March 2, 1922
MUSICAL COURIER
36
Photo by Mishkin
LEO BERDICHEVSKY,
accompanist and coach.
has invariably won a gratifying success both with press and public. Such papers as the New York Evening Post remarked that he “proved his mastery of technic,”and the Chicago News said that he “displayed technical facility and power.” The Chicago Post notes that he “made a great success with the audience and gave two encores to the insistent applause .... he has vigor and sincerity, which makes the music tell.” The Washington Times records the fact that “he was received with enthusiasm,” and the Dayton Daily that he played with “clear cut technic and great facility.” The Chicago Tribune calls attention to his ability as a composer in the following high tribute: “Leo Berdichevsky was rapturously applauded after the fantasie by Miller and gave as an encore a rhapsody of his own composition which possessed marked individuality.”
There are many more press comments in the same vein, too numerous to quote. As accompanist to Chaliapin he also won much praise, a few words from which may well be quoted:	“Leo Berdichevsky again accompanied with mu-
sicianly skill” (New York Globe) ; “finely sensitive accompanist” (Philadelphia Public Ledger) ; “an extremely efficient accompanist, no easy matter when the freedom of the drama of Mr. Chaliapin’s rendition is taken into consideration” (Evening Public Ledger) ; “an accomplished artist” (Evening Bulletin) ; “splendid accompaniments from Leo Berdichevsky” (Cleveland News) ; “the accompanying of pianist Berdichevsky was as fine a sample of co-operative and supportive work as has been heard here this season— or any other for that matter” (Cleveland Press) ; “a wonderful accompanist, intuitive, a genuine musician and quite brilliant pianist with a wide range of tone color, who never seemed perturbed by the singer’s eccentricities” (Montreal Daily Star) ; “the pianist Berdichevsky is an artist accompanist such as we have rarely heard. His touch is perfect— of extraordinary beauty” (La Presse) ; “Leo Berdichevsky raised his lowly role of accompanist to a dignity which has not been achieved here this season by any other except Gab-rilowitsch” (Detroit News).
Music lovers will be pleased to learn that Berdichevsky is opening a studio in New York offering his services as accompanist and coach.
Longmont Hears Althouse and Gruen
Longmont, Col., February 19, 1922.—Paul Althouse, tenor of the Metropolitan Opera Company, and Rudolph Gruen, pianist, gave a very enjoyable concert here last month at the Auditorium before a good sized audience. Mr. Althouse sang two groups of well chosen songs and the “Celeste Aida” from Verdi’s popular opera. He was in fine voice and won the audience with his excellent style of interpretation and his genial mannner. Many encores were in order. Mr. Gruen, besides furnishing sympathetic accompaniments, played admirably a group of solos by Chopin, Moszkowski and Liszt. He is also a composer, and one of his most recent songs, “The Phantom Ships,” came in for much favor when sung by Mr. Althouse.
JOHN
McCORMÂCK
is singing with great success at all his engagements
BRIDAL DAWN
By Easthope Martin
This beautiful song is rapidly becoming a great favorite in all parts of the country. It is especially suitable for Wedding Services and should be in the repertoire of every vocalist.
Published in keys of F, Ab and Bb.
ENOCH & SONS, 56 E. 34th St., New York
Other Popular Songs by Easthope Martin “All For You,״ “Come to the Fair,” “Absence,” etc., etc.
—
BOSTON HEARS FINE PROGRAMS PRESENTED BY HOFMANN, RACHMANINOFF AND ELENA GERHARDT
The First Named Appears with Boston Symphony—Raymond Robinson, Organist, Assists the Soprano at Benefit Concert— Felix Fox Soloist with People’s Symphony—Elizabeth Bonner in Recital—Notes
Spirit Song” and the “Mermaid Song,” Haydn; “Che faro,” Gluck; “L’Esclave,” Lalo; “Alger, Le Soir,” Fourdrain; “Fior di dolcezza,” Del Paz; “O del mio amato ben” and “Sorge il mio,” Donaudy; the “Steppe” and “Lullaby,” Gretchaninoff; “The Little Bells,” Steinberg-Medvediev; “Floods of Spring,” Rachmaninoff; “Ballad of Trees and the Master,” Chadwick; “I’m Wearin’ Awa’, Jean,” Foote; “Jane,” Mrs. Black; “Little Pickaninny Kid,” Guron; “Joy,” F. Moore.
Miss Bonner has a voice of true contralto quality, rich, rather sombre, of extended range, well suited to the interpretation of majestic, solemn or intensely passionate music.
Her intonation was pure, her enunciation distinct. Her interpretations of several of the songs were most interesting. Francis Moore proved an able accompanist.
Boston Conservatory Notes.
Sunday afternoon, February 19, at the Boston Conservatory of Music, students of different grades presented the following program:	“Rondo Espressivo,” Bach (Anna
Weinberg) ; aria, “Un bel di vedremo,” from “Madame Butterfly,” Puccini (Florence Crowell) ; “Gardens Under the Rain,” Debussy (Matilda Blumenthal) ; “Racconto,” from “La Boheme,” Puccini (Joseph Antonelli) ; concerto No. 7, Rode (Harold Doyle) ; impromptu, F sharp major, Chopin (Anna Weinberg) ; “Romanza,” Catalini (Florence Crowell) ; “Album Leaf,” Grieg (Matilda Blumenthal) ; “Down in the Forest,” Ronald (Joseph Antonelli) ; “Southern Pictures,” Scharwenka (Juliette and Mildred McCarthy) ; “Lullaby,” Lachmund, and “Rondo,” Green (Violin Ensemble). Mabel Derry was the accompanist.
New England Conservatory Notes.
A movement of the piano trio in B flat minor, by Arthur Foote, of the New England Conservatory of Music faculty, was presented at a pupils’ recital in Recital Hall February 18. The performers were Lucille Buck, of Salamanca, N. Y.; Joyce Bigelow, ’21, Norwood, and Naomi Hewitt, Brighton. Another work by an American composer on the program was the prelude and minuet of the suite in A major for piano, violin and cello by the late Prof. Horatio Parker, of Yale University, the performers being Donald Smith, of North Andover; Louis W. Krassner, Providence, R. I., and Rita Bowers, ,Bisbee, Ariz. Other soloists were Augusta Fingold, of Winthrop; Emma C. Wheeler, Chelsea; Ruth M. Willis, Brockton; John Barron, Worcester; Rose Brenner, Roxbury; Esther Flaxman, Oklahoma City; Minot A. Beale, Rockland, and Lawrence Rose, Malden.
In commemoration of the twentieth anniversary of the organization of the orchestra of the New England Conservatory, a concert will be given by the Conservatory orchestra, Wallace Goodrich conductor, in Symphony Hall, March 1.
New England stories by Mary Wilkins, Joseph Lincoln and others appeared on the program of a recital by Gertrude Wilcox Hubbell, of the dramatic department of the New England Conservatory of Music, given in Recital Hall, February 10. Miss Hubbell was assisted by Josephine Strassner, contralto, and Gertrude Gavitt Brailey, pianist.
Edith Woodman, soprano, gave a recital in Recital Hall, February 17, assisted by George A. Brown, cellist, and Mrs. Charles A. White, accompanist.	A. R. F.
May Peterson Scores with Princeton Students
Princeton, N. J., February 22, 1922.—Alexander Hall was well filled last night when May Peterson made her initial appearance here, and the welcome that the students, particularly, gave her must have made the charming singer feel that she can make many more appearances here in the near future. To give the impression the artist made upon her interested hearers, one would say “a la Princeton,” that she was a “knock-out.” The average student is a restless mortal when it comes to concerts, so the performer must have something worth while to hold him through the program; but this Miss Peterson did with little effort. Her delightful personality and friendliness toward her audience helped a long way. Then, too, her beautiful lyric voice and absolute mastery of it instantly captured her audience. In the selection of the program she showed excellent taste for there was not a single number that did not please.
Miss Peterson opened with the “Aria di Polissena,” from “Radamisto,” by Handel, followed by “A la Claire Fontaine,” a French-Canadian song arranged by Grant-Schaefer. “Oh, No, John,” old English, was received with tremendous applause as were also the following numbers, “Patron, Patron, Voila l’effet du Vent,” “La Lutte entre Phoebus et Pan,” Bach. The next group consisted of two French numbers, the ever lovely “Songs My Mother Taught Me,” Dvorak, and Hageman’s “At the Well.” As an encore, she gave “Whistle and I’ll Come to You,” which went very big with the tudents. The rest of the program included songs in German, Norwegian and English, all of which were warmly received. Stuart Ross assisted Miss Peterson at the piano and came in for his share of applause too.
In short, Miss Peterson will long remain in the memory of those who heard her here, and it is to be hoped that she will favor Princeton with another appearance before very long. Following the concert, Miss Peterson was tendered a reception.	j. V.
Berdichevsky to Open New York Studio
Leo Berdichevsky was born in the southern part of Russia, at Cherson, and remained there until his graduation from ■ high school. He then went to Odessa where he studied with Aisberg, exponent of the Leschetizky method. Later he moved to Berlin where his musical studies were continued under Leonid Kreutzer. He remained there until 1914. When the war broke out he returned to Russia and graduated at the Conservatory of Petrograd, his principal instructor there being Prof. Maikaparr. He became pianist to the chamber music organization known as the “Zimro Ensemble” _ and made an extensive tour through Russia, Siberia, British India, China and Japan and thence to America. In ׳ this country he has played frequently in various parts of the south and west as well as in New York, and
Boston. Mas״., February 25, 1922.—In Symphony Hall, Friday afternoon, February 17, and Saturday evening, February 18, this season’s fifteenth pair of concerts by the Boston Symphony Orchestra, Mr. Monteux conductor, brought this program :	Beethoven overture to “Egmont,”
and piano concerto in E flat, No. 5; “Prelude to a Drama,” Schrecker; “Iberia,” Debussy. Air. Hofmann played the piano concerto without undue personal assertion as to what the composer should have written, but rather a careful and intelligent reading of the work as it stands. Mr. Monteux and the orchestra were in perfect accord with the interpretation of the pianist. The prelude of Schrecker has caused much discussion, the general opinion at this first hearing being that it is loud, bombastic, failing to have any great inevitable climax. Debussy’s “Iberia” received the usual appreciative reading by Mr. Monteux.
Rachmaninoff Delights Great Audience.
Saturday afternoon, February 18, in Symphony Hall, filled to the doors, Sergei Rachmaninoff presented this program:	“Aria con Variazioni,” Handel; “Sonata Pa-
thétique,” Beethoven; “Invitation to the Dance,” Weber-Tausig; barcarolle, valse, polonaise, Chopin; “Two Fairy Stories,” ops 20-34, Nicholas'Medtner; “Etude Tableau" (op. 39), “Daisies” (op. 38), prelude in B flat major (op. 23), Rachmaninoff; rhapsodie No. 2, Liszt.
Mr. Rachmaninoff’s program was well chosen, played in his usual dignified, artistic manner and gave very great pleasure.
Elena Gerhardt and Raymond Robinson.
Friday evening, February 17, in Jordan Hall, for the fund now being raised by the American Friends Service Committee to provide food for the children of Germany, Mme. Elena Gerhardt, soprano, and Raymond Robinson, organist, gave an interesting program to a large and enthusiastic audience. Mme. Gerhardt was in fine voice, singing pieces by Brahms, Schubert, Handel and Richard Strauss in her own delightful way, and was recalled many times. Mr. Robinson played the prelude from “Parsifal,” and “Siegfried’s Funeral March,” from “Götterdämmerung,” in a thoughtful and musical style, as those who know his work always expect. Maurice Eisner accompanied in a helpful manner.
Large Audience at People’s Symphony Concert.
Sunday afternoon, February 19, in St. James Theater, the People’s Symphony Orchestra, Emil Mollenhauer conductor, with Felix Fox, pianist, presented to an audience filling the entire theater, a program made up entirely from the works of Tschaikowsky : “Pathétique” symphony ; concerto for piano, No. 1, in B flat minor, op. 23 ; and “1812” overture.
Mr. Fox gave a masterly performance of the concerto, and was recalled again and again. The orchestra seems to gain in precision, balance and clearness of the different choirs, a steady progress which is most gratifying to the many friends of the organization, and much credit is surely due to Mr. Mollenhauer for his splendid work in rehearsal.
Elizabeth Bonner in Recital.
Thursday afternoon, February 23, in Jordan Hall, Elizabeth Bonner, contralto, gave the following program: “The
A little more
than a week ago, when Helen Teschner Tas was soloist with the Philharmonic Society, Mengelberg conducting:
N. Y. Times:
She is a sincere artist.
American:
Helen Teschner Tas had the privilege of an appearance with Willem Mengelberg at yesterday’s matinee of the Philharmonic Society. And behold, Alozart’s violin concerto in A major with her as soloist, proved to be one of the most satisfying offerings. Her playing left little to be desired.
World:
Helen Teschner Tas played it (Mozart Concerto in A major) with persuasive charm and a cool beauty of tone that became it well.
Globe:
The audience was cordial in its reception of the Mozart Concerto, and after it recalled Mme. Tas several times.
Eve. World:
Her touch was light and her performance satisfying.
Staats-Zeitung:
Mme. Teschner Tas played the Mozart Concerto with a beautiful tone and with much charm.
Morning Telegraph:
Helen Teschner Tas was the soloist in Mozart’s A major Concerto for violin. Her playing was of first quality and the audience applauded her accordingly.
Manager:
H. Godfrey Turner, 1400 Broadway, NewYork,N.Y.