MUSICAL COURIER
16
February 2 3, 1922
number brilliantly and with a surprising volume of tone. His next number, Bach’s chaconne (for violin alone), received a dignified, inspiring and musicianly reading. Following his performance of this great work, the audience burst forth in thunderous applause, recalling the artist many times. Next came a group of four pieces comprising romance in G major, Beethoven;; Hungarian dance No. 12, Brahms, as well as Sarasate’s “Malagueña” and “Habanera,” in which his supreme violinistic art was revealed. Sincere and long continued applause was again bestowed, but Mr. Heifetz refrained from granting encores until he finished the last two program numbers, melodie from “Orfeo,” Gluck, and “Caprice” No. 24, Paganini-Auer. Following this, the audience made a wild rush toward the concert platform and demanded encores. Mr. Heifetz responded with five, the most important being Mendelssohn’s "On Wings of Song,” Ries’ “Perpetuum Mobile,” and “Valse Bluette,” by Drigo. Samuel Chotzinoff accompanied sympathetically.
FEBRUARY 14
New York Philharmonic Orchestra
The Metropolitan Opera House was packed to capacity on Tuesday evening, February 14, the occasion being the third concert this season by the Philharmonic Orchestra under the baton of Willem Mengelberg, guest conductor.
The program (entirely free from modernism) was made up of the “Concerto Grosso” No. 8, Corelli; Mozart’s “Eine Kleine Nachtmusik” and Schubert’s symphony No. 7, in C major. The opening number by Corelli, scored for harpsichord, two solo violins, cello solo, organ and string orchestra, created a pleasing effect. In this work Mr. Mengelberg was heard in the dual role of conductor and harpsichord soloist. The other soloists were Scipione Guidi and Adolph Bak, violin; Cornelius Van Vliet, cello, and W. H. Hunis-ton, organ. Mozart’s “Eine Kleine Nachtmusik,” a combination of four dainty morsels (also for string orchestra), was likewise presented in an appealing manner. The concert closed with a colorful performance of Schubert’s symphony No. 7.
Mr. Mengelberg's conducting throughout the evening was full of intelligence and particularly effective. While concert goers of the present time rarely attend performances where works by living composers do not figure on programs, it was somewhat refreshing that modernism was omitted.
Serge Prokofieff
Tuesday was a busy day for Serge Prokofieff—l’enfant terrible of music, as someone aptly christened him. In the afternoon he gave a piano recital at Aeolian Hall, then swallowed a hasty supper and dashed over to the Manhattan Opera House to conduct the first—and doubtless the last—New York performance of his opera, “The Love for the Three Oranges.” At the recital he played a prelude and fugue by the ancient Buxtehude, three Beethoven country dances, which could have been written very well by some one other than Beethoven, and a long group of Schubert waltzes, which he had collected from one work or another and elaborated for concert use. These promise to make a very pleasing addition to the modern concert repertory. Then there was a Russian group which included a Liadoff prelude and the comic “Ballet of the Chickens in Their Shells” from Moussorgsky’s “Exhibition pictures,” also a "Conte,” by Medtner, which must have been a story about something very exciting indeed. Then there was a final group of some of his own works, including a march and intermezzo from the opera which was heard in the evening. Prokofieff is not a player in whom the sentimental side predominates or is even prominent. He has a tendency, both in his playing and compositions, toward sharp rhythms and strong accents. His technic is facile and his musical taste for works of other composers _ is invariably excellent. There was a large audience which seemed much interested in what he did and applauded him enthusiastically.
Rachmaninoff
If the reviewer were to say what he thought regarding the Rachmaninoff recital at Carnegie Hall on February 14 he would say that the thing that most impressed him about it was the fact that the player evidently had in mind a very sincere desire to please his public. He did not invite people to the hall merely to hear a very fine exhibition of piano playing of pieces, difficult but unlovely, that nobody wants to listen to—at least not in America. He did not ask them to pay two or three dollars for a ticket for the privilege of being educated and bored. He played what he knew that people would thoroughly enjoy—and they did. He was generous with his encores—not coy and retiring— and he played, also in the encores, what he knew his auditors wanted to hear him play. It is trite and unnecessary to say that he played magnificently—that, of course. There are other pianists, too, who play magnificently. But too many of them play with no regard whatever for the wants and desires, likes and dislikes, of the public which supports them—too many of them are churlish and ungenerous about their encores. Because Rachmaninoff is none of these things, and because he is not only a great pianist but a great composer, he deserved all of the splendid success that was his at this recital.
His program was selected from works of Handel, Beethoven, Weber-Tausig, Chopin, Medtner, Liszt and himself.
Mildred Dilling and Mona Gondre
An exceptionally attractive program was given by Mona Gondre, the charming little costume recitalist, and Mildred Dilling, the sterling young harpist, in the assembly rooms of the Cosmopolitan Club on the evening of February 14. Miss Dilling opened the program with the first movement of the Renie concerto in C minor, and at once demonstrated her ability in making the harp a most interesting solo instru-(Continued1 on page 28)
N E-W ־YORK CONCERT־/״
music. He showed his true love for music by making himself merely one of the four thorough musicians who were doing their best to play Beethoven as Beethoven would like to have himself played.
Helen Levison
On February 13, at Town Hall, Helen Levison, mezzo, gave an interesting and artistic program before a good sized house. Her program was varied and gave her ample opportunity to prove her ability. She has a voice of good quality and her diction is clear. She won favorable criticisms from the press, all of which were justly deserved.
Paulist Choir
In the presence of Archbishop Hayes and other high dignitaries of the Roman Catholic Church a gala concert, February 13, at Carnegie Hall, given by the Paulist Choir, Father Finn founder and conductor, assisted by a reduced Philharmonic orchestra, was attended by a big audience. Such as had previously heard this choir of boys and men were no whit surprised by what they heard; to others it was a revelation in choral music, for this young Father Finn gets results and effects altogether unusual. His own dynamic personality explains this, for such controlled energy is rare indeed! He treats voices like instruments, and his singers respond in kind; there is never any hesitation as to attack, as to pitch, as to what or when to sing. The boys alone sang Pergolesi’s “Fac ut ardeat,” showing pure tone quality and almost grown-up appreciation of text and music. There was an impressive “Amen” following, with a swell and diminish wonderful in degree. Modern music was heard when two Russians, Kallinikoff and Gretchaninoff, were given place in their “Lord, I Cry,” and “Cherubic Hymn,” with fine expression and low Ds by the second basses. The baritone solo in an old time carol stood out, and finely wrought shading distinguished the singing of “Good King Wenceslas,” when Father Finn showed his ability as organist. On suggestion by him all the singers responded to applause by rising and bowing en masse. An immense wreath of flowers was handed the young conductor whose training and enthusiasm had produced these results. Following an intermission, solos were sung, some of them with orchestra, by members of the choir, namely, Over-ton Moyle, John Finnegan, Jack Huber, Edward Slattery and Eugene Guilfoyle, and needless to say, these gave real pleasure to the assemblage. Anne Wolcott assisted at the piano and Father Finn at the organ, as occasion demanded.
Jascha Heifetz
The popularity of Jascha Heifetz was again evidenced on Monday afternoon, February 13, on the occasion of his third violin recital this season at Carnegie Hall. The audience filled every available seat in the auditorium and on the stage and many hundreds stood throughout the entire performance.
His beautiful, luscious tone of velvety quality, as well as perfect phrasing and musicianship, were apparent in everything he played. In his opening number, “Scottish Fantasie,” Bruch, he displayed remarkable warmth. He rendered this
FEBRUARY 13
Beethoven Association
The Beethoven Association at its concert at Aeolian Hall on Monday, February 13, presented one of its usual all-star casts, in this particular case headed by Jascha Heifetz, who made his first appearance in this city as a chamber music player. The others on the program were Hugo Kortschak, Willem Willeke, Rene Pollain, George Meader, Georges Barrere, Aurelio Giorni and Coenraad V. Bos. The evening began with the trio (Serenade) in D, op. 8, by the gentleman after whom the association is named, played by Messrs. Heifetz, Pollain and Willeke. Then Messrs. Barrere and Giorni played the second Bach sonata for flute and piano and played it very well indeed. After this George Meader sang a group of familiar Brahms songs so well that the audience insisted upon five instead of the four originally scheduled; and to conclude with, Messrs. Heifetz, Kortschak, Pollain and Willeke played the ,Beethoven C major quartet, op. 59, No. 3. It must be rather discouraging to a member of a quartet which has played for years to hear a scrub quartet like this, with practically no rehearsal, play as well as these four men did. There was excellent precision and balance. One felt that, with not more than a week’s rehearsal, they would compare favorably with any quartet in the field. Particularly interesting was it to learn that Heifetz is not, like some of his colleagues, a “gallery” player even in chamber
Management HAENSEL & JONES, Aeolian Hall, New York
YYYYYYYYYYYYYYYYYYYYYYYY YYYYYYYYYYYYY Y YY YYYY Y YY YYYY Y Y YY Y YYYYYY YYY Y YYYY YYYY YY Y
IVIr. Musician—Read This
THE HAMLIN HYGROSTAT
A device for PROTECTING Musical Instruments against the DANGERS attendant upon DAMPNESS and other Deleterious Elements
Model L for the larger instruments, as PIANOS, ORGANS, WALL or SHOW CASES, DISPLAY WINDOWS, CLOSETS, VAULTS, LOCKERS, etc.
Model S for the smaller instruments, as	MODEL S
Pending
VIOLINS, CELLOS, BANJOS, DRUMS, HORNS, ETC.
Can Be Recharged in a Moment simply carry it in your case Harmless, Odorless, Fumeless, and Not Inflammable EI_.IMIMA.XES
MODEL L
Drum and Banjo Head Sluggishness
Keys from Sticking and Warping
Spittle in Horns, etc., Getting Foul and Germy
Tarnishing of Polished Band Instruments
Moths Attacking Felt Hammers
Gut Strings from Swelling and Snapping Metallic Strings from Rusting Warping of Wooden Parts and Actions Glued Joints Softening and Giving Away Danger of Sounding Board Splitting
IF YOUR DEALER CANNOT SUPPLY YOU WE WILL SHIP DIRECT TO YOU POST-PAID ON RECEIPT OF
PRICE
MODEL L $3.50 EACH NET MODEL S $2.00
MANUFACTURED BY
THE HAMLIN HYGROSTAT CORPORATION, 438 West 125th Street, New York City
VIOLINIST
Management :
HARRY and ARTHUR CULBERTSON
Aeolian Hall	4832 Dorchester Ave.
New York	Chicago
VALENTINA CRESPI