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MUSICAL COURIER
lili
P eb r uár y 23, 1922
MAGDELBINE
CARP
The Distinguished French Pianist
MR. KREHBIEL
in New York Tribune, Jan. 26, 1922.
Concert in Carnegie Hall, Jan. 25. Assisted by	Philharmonic	Orchestra,
Josef Stransky, Conducting
1.	Concerto	No. 5....Beethoven
2.	Concerto	..........Schumann
But when	it was	all	over	the resid-
uum of pleasurable emotion left in the minds of her judicious hearers was that caused by her exhibition of the lovely artistic qualities which she had disclosed in her recitals last season. The rest was amazement at her daring in attempting a prodigious feat and admiration for the splendid technical equipment which she brought to its execution. Her performance of all the music was practically fleckless on its mechanical side; but it was in the serene loveliness of the slow movements of the concertos, not in the brilliancy of their finales, that she showed her knowledge of the works, her sympathy for their emotional contents and her capacity for expression. She placed herself unmistakably in the ranks of the virtuosi.
3.	Poëme Symphonique, Gabriel Pierné
(First time in America)
The pianoforte intones a solemn canticle, a song of strong, vital, exalted beauty; and when this is taken up by the orchestra the pianoforte adorns it with vigorous chords, like the tramp of victorious hosts. A middle section is enriched with more scintillant embellishments, and finally there is a crashing melee, a fugato, in which the solo instrument holds its own against the fortissimo of the orchestral army:
“Gloire à notre France éternelle!
Gloire à ceux qui sont morts pour elles!”
It is a splendid hymn of triumph, and it was splendidly sung.
MR. KREHBIEL
In New York Tribune, Feb. 9, 1922.
Miss Du Carp Again Charms With Poetic Quality of Playing
Foregoes All Effort to Dazzle and
Reveals a Remarkable Finesse in an Agreeable Program at the Piano.
Miss Magdeleine Du Carp, who, besides many qualities of admirable musicianship made known last year, exhibited a newly acquired tonal puissance at a recent concert with the Philharmonic Orchestra in Carnegie Hall, gave a piano recital yesterday afternoon at Town Hall. Her program was an agreeable one, composed of pieces by Mozart, Rameau, Bach, Scarlatti, Chopin, Debussy, Scott, Fauré and Liszt. Having revealed another phase of her pianistic accomplishments in a conspicuous fashion at her previous concert, she was content yesterday with laying greater emphasis upon those characteristics of her playing made known last year, notably finesse and poetic interpretations. These qualities were requisites of the pieces on her program, and in her playing there was appropriate and abundant charm rather than any effort to dazzle.
Underwood & Underwood
PRESS COMMENTS
Farewell Appearances Season 1921-22 BOSTON CHICAGO NEW YORK
AT PRESENT TOURING EUROPE
AVAILABLE FOR SEASON 1922-23
PHILIP HALE
in Boston Herald, December 15, 1921.
Miss Du Carp’s playing delighted her hearers. Her performance has strength, smoothness, elegance. It brings out the remotest shadings of meaning with the most perfect precision and delicacy. She is a musician of rare attainments, both technically and temperamentally, who knows what she wishes to say and says it clearly.
Beautiful pictures were formed in the mind by her exquisite rendering of the Schumann “Papillons” and the Chopin Nocturne.
ROBERT PENFIELD in Boston Globe, December 15, 1921.
Mme. Du Carp’s first Boston recitals last season left an unusually deep impression in the imagination of those who then heard her. One half feared to be disappointed last night, as so often happens when high expectations of musical excellence are cherished in advance. But her playing of Saint-Saëns’ Toccata, Schumann’s Papillons, and shorter pieces from Chopin, Liszt, Pierni, and Cyril Scott had a precision, clarity, accuracy, force and delicacy as extraordinary as her performance last year.
She is a musician’s pianist. There is nothing spectacular about her work. She does without fuss or flourish what many obvious theatrical virtuosi of both sexes pantingly strive to accomplish. Every note, every nuance of pedaling and phrasing is exactly right, without apparent effort on her part. No other living woman and very few living men can give so quietly perfect a performance as hers.
One hopes to hear her with the Symphony Orchestra.
HERMAN DEVRIES In Chicago Examiner, Jan. 23, 1922.
At the Blackstone Theater I heard Magdeleine du Carp in her last group composed of works by Fauré, Cyril Scott, Debussy and Liszt. Last year, when writing of Mlle, du Carp’s playing I said she was a good pianist.
I retract the statement in order to say that I consider her one of the best among the women pianists of today. Her interpretation and delicious shading and phrasing of Faure’s Second Impromptu are enough to rank her among the celestials of the piano keyboard; all that she touches is impregnated with the beauty and refinement which are the hallmarks of her exquisite art.
Management: G. H. PFEIFFER, AEOLIAN HALL, NEW YORK
Steinway Piano
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