MUSICAL COURIER
28
February 23, 1922
lection in view of the fact that she is a contralto of limited range and this particular aria is exacting and requires a dramatic mezzo soprano voice. She was infinitely more interesting in her songs. Francis Moore played the accompaniments.
Friends of Music: Mahler’s “Lied von der Erde”
The Society of the Friends of Music gave a second performance of Mahler’s “Lied von der Erde” at Carnegie Hall on Friday afternoon, February 17. Artur Bodanzky conducted. Again the soloists were Mme. Charles Cahier and Orville Harrold, as at the first performance, from which this one in no way differed.
Serge Prokofieff
Serge Prokofieff, the Russian composer who has come into special prominence this past week through the performances by the Chicago Opera Company of his “Love for the Three Oranges” and his first New York recital at Aeolian Hall on the same afternoon, was heard for a second time in Aeolian Hall, February 17. The program included several of his own compositions, and they so delighted the audience that additional ones were given at the end of the program. Despite the fact that his compositions are futuristic and full of dissonances, they show a thorough understanding of musical forms and a definite purpose. Even though opinion may be stronglyMivided as to the real beauty of his works, it must be admitted that he has a unique individuality and is an independent and original thinker. His playing has a decided resiliency and a brilliancy which is accentuated by his incisive rhythm. Technical obstacles do not exist for him. His “Suggestion Diabolique” was particularly good. His staccato playing is far more successful than his legato, hence in his sonata the fast movements were more acceptable than the andante. The scherzo, given with dash and real humor, appealed to the writer as being the best movement of the sonata.
His entire program follows:
Sonata, A major, op. 101..................................Beethoven
Fable ...................................................  Schumann
Ende vom Lied..............................................Schumann
Etude, E major...............................................Chopin
Poem, op. 32.............................................  Scriabin
Gavotte, op. 32..........................................Prokofieff
Suggestion Diabolique ...................................Prokofieff
Second sonata, D minor,	op. 14...........................Prokofieff
FEBRUARY 18
Ernest Hutcheson
Ernest Hutcheson played a Chopin program at Aeolian Hall on Saturday afternoon, February 18, before a sold-out house, and won for himself such a success as can leave no doubt of his high rank among entertainers at the piano. He plays Chopin as it should be played—unaffectedly, quietly, sonorously. His interpretations are full of sentiment, but not sentimental; full of that real depth of feeling that it seems to have needed a Huneker to discover was in them. As Mr. Hutcheson played them, they showed, indeed, a “greater Chopin.” And who is greater than Chopin when properly interpreted? Up to the present time his memory fears no rival. Others come and others go, but Chopin stands alone, massive, supreme, inviting such players as Mr. Hutcheson to the feast of interpretive joy, inviting audiences again to clap their hands in approval of player and played. Is further comment necessary? Is there any need to analyze the work of the player, to put a point on it ? Is any higher praise possible than to say that he played Chopin as it should be played? Surely not. And with that we may leave it.
Joseph Press and Alfred Mirovitch
A concert that afforded unusual enjoyment to the good sized audience that went to the Town Hall on Saturday afternoon, was the joint one given by Joseph Press, the cellist, and Alfred Mirovitch, pianist. The program consisted of compositions for those two instruments: the Mendelssohn sonata in D major, seven variations on a theme from “Magic Flute” (“Bei Männern Welche Liebe Fuelen”), Beethoven, and the Grieg sonata in A minor. Particularly charming was the Beethoven number, which won much applause. In fact, to be exact each number was warmly received for all were admirably given, proving that these two sterling artists combine their talents sympathetically, one never trying to over-shadow the other.
May Peterson and Bethlehem Choir
May Peterson was the special soloist at the concert given by the Bethlehem Choir of the Swedish Lutheran Church, Brooklyn, February 18. Her appearance on the stage immediately wins an audience, always, and her personality and gracious manner prepare one for “the golden voice,” by which she is known.
Her first group included a Bach aria from “Phoebus et Pan,” an Old English and a French-Canadian song, and a Mozart aria, “Allelujah,” from “Exultate.” Her second group consisted of modern numbers by Debussy, Dalcroze and Max Reger, and Hageman’s “At the Well.” Swedish songs made up the third group, and of these the famous “Norwegian Echo Song” which she sang to her own accompaniment was especially beautiful with its bell-like echo notes. She concluded her program with songs by modern American composers—Wintter Wa’ttsj Katherine Glenn, Lieurance and MacFadyen.
Miss Peterson sings without effort, and her clear, luscious tones sink into one with a distinctly agreeable and satisfying effect. Her interpretations are sincere and artistic, one being conscious of a depth of feeling and understanding back of her songs. The audience which filled the church expressed great pleasure.
The Bethlehem Choir (Conrad Forsberg, F. A. G. O., choirmaster) sang “David’s Psalm” (Wennerberg) with
Chansons Modernes
J3.eceuillement (Ch. Baudelaire, Musiq by Rollinat)
La Femme! (Jules Laforgue, Music arr. by G. Ferrari) Yvette Guilbert
FEBRUARY 16
Francis Moore and Hugo Kortschak
A surprisingly large audience heard a recital of three sonatas for piano and violin given at Aeolian Hall, February 16, by Francis Moore, pianist, and Hugo Kortschak, violinist. It was a surprisingly large audience because this form of art has a limited clientele; it is sure that there would be more lovers of this art were all executants as able as these two young artists. Beethoven’s sonata, op. 30, in C minor, showed the rhythmic incisiveness of the violinist, and this quality, plus accuracy, in that of the pianist. There was fine unity in every movement, although the bright scherzo-like fourth movement pleased most to judge by the applause. There followed a sonata by Mozart (B flat major), and Pierne’s sonata, op. 36, which doubtless had able exponents in Messrs. Moore and Kortschak. There were other numbers not heard by the writer but evidently just as splendidly performed judging from reports.
NEW YORK CONCERTS
(Continued from page 16)
ment. Her rendition of “Le Chanson de Guillot Martin” was especially fine, her pianissimos, fortissimos and crescendos being very pronounced. This number was repeated. Miss Dilling brought out all the harmony in Handel’s “The Harmonious Blacksmith,” and in the “Légende” by Renié the joy and tragedy of the poem were well depicted. In addition to encores the young harpist also was heard in numbers by Debussy, Poenitz, etc.
The petite and very pretty Miss Gondre presented songs grave and gay in the costumes of their periods and charmed her hearers from her very first number. Miss Gondre has much personality, she is a splendid actress, and gave each of her songs with the proper spirit. The majority of her numbers were given in French, but there were several in English, such as “There Was an Old Woman,” “Oh, Soldier! Soldier!” and “Frog Went a-Courting,” which were made doubly interesting because of Miss Gondre’s characteristic French pronunciation. Miss Dilling played excellent accompaniments on the harp for the young singer’s last group. Flora Wills was at the piano.
New York Symphony Orchestra: Siloti Soloist
At Carnegie Hall on Thursday afternoon, February 16, Albert Coates, conducting the New York Symphony Orchestra, presented a program which began with Tschaikow-sky’s fifth symphony and ended with one of Mr. Coates’ favorite war-horses, Scriabin’s “Poem of Ecstasy.” Between these two numbers Alexander Siloti played the piano part of Liszt’s “Wanderer” fantasy for piano and orchestra. Mr. Siloti gave a straightforward, clear-cut, thoroughly musical reading of this work which is so seldom heard nowadays, a reading that was informed with intelligence and thorough sympathy for the music of Schubert which formed the basis of the fantasy and for the brilliances with which Siloti’s famous master, Liszt, had decked out. It was a vivid and interesting performance which drew great applause for both soloist and orchestra. Mr. Coates swims in the lush and both the melodious symphony and the highly colored poem were much •to his taste. Before the afternoon was over, overburdened ears fairly dripped with the richness of sonorities.
Max Jacobs String Quartet Gives Concert
The program at Hunter College (one of the numbers of the Adolph Lewisohn Free Chamber Music Educational Course) February 16 was given by the Max Jacobs String-Quartet (Max Jacobs, first violin; Hans Meyer, second violin; Carl Binhack, viola, and Bernard Altschuler, cello). Dr. Henry T. Fleck, director of the course, followed his usual plan of giving short explanatory talks on the melodic and harmonic structural content and form of the works to be played, with illustrations on the piano. This was especially helpful to the audience.in listening to the Mozart quartet, op. 21. The second group consisted of Russian numbers and “Molly on the Shore” (Grainger). The quartet plays with good feeling for ensemble and a unity of thought in interpretation. The tone, individually and as a blended whole, is satisfying, and each player has adequate technic. The “Andante Cantabile” (Tschaikowsky) was given with expression, the legato and singing quality being very appealing.
The same quartet will give a concert there on March 2, when it will play the Haydn quartet, op. 76, No. 1, and a group of shorter numbers.
FEBRUARY 17
Biltmore Morning Musicale
A large audience attended the eighth and last Morning Musicale of the season at the Hotel Biltmore on Friday, February 17. The concert was in the form of a joint recital by Rosa Raisa, soprano, and Giacomo Rimini, baritone, both of the Chicago Opera. A better combination of artists with which to close the season could hardly have been selected.
Mme. Raisa, who was in glorious voice, scored a tremendous success. She opened the program with a group of songs comprising “Deh Vieni non tardar” from “Nozze di Figaro,” Mozart; “Widmung,” Schumann, and “Un doux lieu,” Del Brack. Her other numbers were: aria from “Otello” (with harp accompaniment by Amelia Conti), Rossini; “All for You,” Easthope Martin, “Robin, Robin, Sing Me a Song,” Spross, and “The Great Awakening,” Kramer. Warmth and sincerity were the outstanding features of her artistic offerings. The enchanted audience was not slow in recognizing these points, and recalled the popular soprano innumerable times. She was obliged to give several encores.
Mr. Rimini’s first number was an aria from “Onegin,” Tschaikowsky, which he sang with much fire and passion. His later group comprised “II viandante,” Schubert; “Psyche,” Paladilhe, and “La Serenata,” Tosti. Sincere applause and numerous recalls were accorded him, and he was likewise obliged to add encores.
The musicale closed with a duet “Nina,” by Guercia, beautifully and effectively sung by Mme. Raisa and Mr. Rimini. In this delightful number the voices of the singers blended beautifully. A. Franchetti was accompanist.
Elaise Gagneau
On February 17 Elaise Gagneau gave a recital in Aeolian Hall to a fair size audience. Her first group of songs was Italian, followed by a Brahms group, then Russian, French, and closing with three songs by John Alden Carpenter. She disclosed a voice of good quality, although apparently suffering from a severe cold. The German group was very well given. She chose for her operatic aria “O Don Fatale,” from “Don Carlos,” and it seems to have been an unfortunate se-
FEBRUARY 15
Josef Borissoff
The inclement weather materially interfered with the attendance at Josef Borissoff’s violin recital in Carnegie Hall on February 15. He is not a newcomer to metropolitan audiences, having appeared here many times last season, when his work won recognition. At this concert he fully substantiated the excellent impression previously made. His program comprised, besides his own violin concerto, No. 2 in E minor (dedicated to Fritz Kreisler and played for the first time in America), sonata in E major, Handel; chaconne (unaccompanied), Bach; “Apres un Reve,” Faure-Elman; “Humoresque Oriental,’ Borissoff; “Hindu Chant,” Rimsky-Korsakoff-Kreisler, and Sarasate’s “Zapateado.” He was ably accompanied by Josef Adler.
Bronislaw Huberman
Bronislaw Huberman has now played so many times in New York that one knows what to expect from him, and he did not disappoint at the recital he gave at Carnegie Hall on Wednesday evening, February 15. His is not the glittery art of some virtuosos, but a fine, musicianly playing of works written for the violin; excellent interpretative work, built up on a basis of a technic that is always ample but never intrudes. His program was of particular interest. He played the new Respighi sonata for violin and piano, announced as the first performance in America; the adagio and C major fugue of Bach, unaccompanied; three seldom heard Tschaikowsky numbers, grouped under the title of “Souvenir d’un lieu cher,” and distinguished by the free melodiousness which characterizes the Russian’s works; and finally all four movements of the Lalo “Symphonie Espagnole.” The Respighi sonata is not quite so modern in feeling as some other works of his that have been heard here. It is frank, free music, with little of sentiment even in the slow movement, well written for violin and occasionally demanding effects of the pianist that are more orchestral than pianistic. The audience seemed to like it and most certainly approved of Mr. Huberman’s playing as a whole, rewarding him with frequent and hearty applause.
Margherita Valdi
Before a large audience, Margherita Valdi made her debut at Aeolian Hall, Wednesday afternoon, February 15. Her program consisted of operatic arias, French, Italian and English songs. The selections were sufficiently varied to show the possibilities of the young singer’s voice, which is lyric soprano. Some of the tones are lovely and the voice is young and fresh, but there is much affectation in her interpretation that often marred its natural good qualities. In time she can overcome these defects. Frank Bibb rendered valuable assistance as accompanist.
Yvette Guilbert
Yvette Guilbert, with her players and assisted by Mildred Dilling (harpist) and Edmond Rickett (pianist), gave her second and last recital of the season on February 15 at the Town Hall. Picturesquely gowned, she fairly_ fascinated her listeners with her broken English and delightful style. Her impersonations were especially liked. The audience was very enthusiastic and showered her with applause. The work of the players showed the thorough training she had given them and especially in “Hammering,” an old negro song, did they excel. The playing of Miss Dilling and Mr. Rickett were added features. The full program was as follows :
Chants des Images des Cathédrales:
L’Annonciation
Gloria in Excelsis	״״״.,״• ״״
Deux Légendes Dorées:
Le Voyage de Marie et Joseph à Béthléem La Passion
Yvette Guilbert
Deux Chansons du Moyen-Age (Farces du Mariage) : Pourquoi me bat mon mari?
La Dame mal marié
Yvette Guilbert
Dance avec Chanson du Moyen-Age (Song Dance) La Touzette et le Chevalier
Yvette Guilbert
Dance arranged by Plácido de Montoliu Hammering (Old Negro Song)
The Players
Deux Chansons Crinoline:
La Lisette
La Pauvre Innocente
Yvette Guilbert
Un Flambeau (Old Carol, the visit to the Crib) Gambrinus	The players
LARSEN! CARNEGIE HALL
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