54
March 2, 1922
MUSICAL COURIER
sans parole״ and “Rondo elegant;״ “Plagera,” Sarasate; “Hungarian Dance,” Brahms; “Jocelyn,” Godard, and “Gypsy Dance,” Nachez, to which she added two encores.
Master Radoff (for whose benefit the concert was given) scored a veritable triumph. Despite his youth he plays with marked maturity and surprised his hearers by his performance. His trying program, which he played with assurance and intelligence, comprised the introduction and “Rondo Capriccioso,” Saint-Saëns; “Kol Nidrei,” Bruch; a group of Kreisler numbers—“Sicilienne et Rigaudon,” “Schoen Rosmarin,” and “Menuet” (which had to be repeated)—as well as “Zephyr,” Hubay; “Serenade,” Schubert-Elman; “Capricieuse, Elgar, and “La Ronde des Lutins,” Bazzini. Following this, he was obliged to give several encores.
The accompanists were Irving Frisch for Irma Frisch, and Bertha Schtierman for Nathan Radoff.
Exhibition of Fine Arts at Carnegie Institute
The exhibition of works by the faculty of the College of Fine Arts, Carnegie Institute of Technology, Pittsburgh, held in the galleries of the institute, February 8 to 26, was wide in scope and proved a ,revelation to many people who did not realize what the Carnegie Institute is accomplishing in the field of fine arts, as well as in training men and women as engineers and technical experts. The College of Fine Arts, E. Raymond Bossange director, is remarkable because of the fact that it teaches all the arts under one roof ; thus, all the various departments are co-ordinated and combined. The atmosphere and surroundings, too, are artistic and a great incentive to the student. _ The exhibition, a most comprehensive one, included paintings in oil and water color, sketches, etchings, illustrations, posters, architectural designs, pottery, costume designs, theatrical costumes, working drawings, interior decoration, sculpture, industrial art, jewelry, weaving and designs and models for stage settings.
The department of drama observed the 300th anniversary of the birth of Moliere by presenting two of his plays— one, “The Learned Ladies,” on February 6, 7 and 11; the other, “Don Juan,” on February 8, 9 and 10.
Every evening of the week and on Saturday and Sunday afternoons faculty members were present to give information regarding the exhibits, and in addition, special lectures and musical programs were presented on certain evenings.
On Sunday afternoons, February 19 and 26, brief lectures were given by Mr. Saudek on “The Instruments of the Modern Orchestra,” illustrated by ten or twelve members of the faculty and students.
A symphony concert by the orchestra of the College of Fine Arts (numbering about seventy-five members) was given in Music Hall on Sunday, February 12. J. Vick O’Brien, head of the department of music, directed the orchestra in an interesting program, which included the following orchestral numbers:	Overture from “Sakuntala”
(Goldmark), ballet music from “Gioconda” (Ponchielli), prelude to “Die Meistersinger” (Wagner). Max Silverman played the Mendelssohn violin concerto in E, op. 64, and Charles C. Krane performed the Lalo cello concerto in D. Oscar L. Halfenbein played the ”Variations Symphoniques” for piano and orchestra (Franck). Altogether the exhibition was a splendid one, bringing much of interest and profit to all who attended.	H.
Herma Menth Delighted with Success
“It was one of the greatest experiences of my life, that week at the Capitol Theater, when thousands of persons heard me play the Liszt concerto in E flat with that splendid organization, the Capitol Symphony Orchestra, Erno Rapee conducting. Mr. Rothafel is a wonderful man and it was fascinating to play there.”
Miss Menth has every cause to be enthusiastic over the engagement. It is understood that in the near future she is to have a re-engagement at the Capitol. At the present time this young artist is on tour.
Fourth Recital Here for Bachaus
Bachaus will give his fourth New York recital this season at Town Hall on the evening of March 24.
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(Continued from page 10)
Goodson and violinist Marie Hall, on their way to a concert in Stockport. Naturally, with such companions, the rest of my journey seemed very short. Manchester is in the county of Lancashire, which, with over 2,300 human beings to the square mile, is probably the most densely populated county in the world. Manchester’s great symphony orchestra was founded by Sir Charles Hallé and for many years conducted by the late Hans Richter. Its present conductor is Hamilton Harty. But I must leave the cotton spinners of Manchester to the mercies of the Musical Courier’s Manchester correspondent, Eric Fogg, and attend to the spinning of my own yarn.
The symphonic poems which Richard Strauss conducted sounded infinitely better in the Free Trade Hall than in London’s gigantic Albert Hall. The same may be said of Ethel Frank’s voice, although this young American soprano was evidently suffering from a cold. Her songs were all by Strauss, who accompanied some of them on the piano and some of them with the orchestra. In one of the orchestral accompaniments the celesta part was played by no less a musician than Sir Henry J. Wood, who certainly did everything in his power to make Richard Strauss feel at home in England. Sir Henry, who is a great favorite in Manchester, was giving a rousing reception when he came forward to relieve Strauss and conduct the orchestra while Toscha Seidel played the solo part in Beethoven’s violin concerto. So great was Sir Henry’s confidence in Toscha Seidel and in the Manchester orchestra that he excused them from rehearsal in order that Strauss might have the entire rehearsal morning for his own works. But Richard Strauss, the greatest living composer and an unquestioned authority on musical interpretation, is not the magnetic and inspiring conductor Sir Henry J. Wood is. The orchestra sounded like another organization when the virtuoso conductor played upon it. I would not have believed the difference possible if I had not heard the same orchestra conducted by the two directors in one evening. Toscha Seidel’s magnificent playing and Sir Henry Wood’s electrifying accompaniment took the vast audience by storm. Beethoven was the overwhelming success at the Strauss concert—thanks to Toscha Seidel. Perhaps if Beethoven had conducted several of his familiar works and Toscha Seidel had played a Strauss concerto with Sir Henry Wood directing it, the success of the evening would not have been Beethoven.
A Festive Gathering.
Before the midnight train left for London a number of musicians and friends of music gathered round the festive board, as they say in country towns. In the restaurant I had a few words with Prof. Granville Bantock, Dr. Engle-field Hull, Hamilton Harty, and others whose names escape me. Eight of us sat down at one round table in a kind of modern imitation of Shakespeare, Marlowe, Ben Jonson and sundry companions at the Mermaid Tavern at an earlier date.
There was Major Rudolph Mayer, and next to him sat the soprano, Ethel Frank, who kept the table well supplied with American chocolates. Then came the young Russian violinist, Toscha Seidel, with Mrs. Seidel, his mother, at whose right hand was placed the Musical Courier’s humble representative. Next to me sat the only Knight of the Round Table, Sir Henry J. Wood, and the magic circle was completed by Dr. Richard Strauss, the great German Field Marshal of the International Army of Musical Composers, who was brought to England by Major Rudolph Mayer of the British Artillery Service.
With the help of English, French, Russian, German, most of us understood the better part of the prandial polyglot. Richard Strauss and Toscha Seidel spoke English. Major Rudolph Mayer spoke German, and the American soprano spoke French, otherwise the linguistic conditions were normal.
Modest R. S.
Dr. Strauss said that the most difficult question he had to answer in America was, “What music do you like best?” “How did you answer it?” asked Sir Henry Wood. “Well,” said the composer, with a hearty laugh, “at last I had always to say, ‘My Music.’ ”
Sir Henry has just received a letter from a stranger asking him to settle a dispute whether Handel or Wagner was the great composer. Strauss was amused when Sir Henry told him that English choral societies need never be at a loss for works to perform, as they could always fall back on the safe and reliable “Messiah,” “Elijah,” “Cavalleria Rusticana” and “Faust.”
Toscha Seidel was full of ־enthusiasm and looked forward with delight to his forthcoming Australian tour. “Ah! you are young,” said Strauss; “I am old. I wish this concert was my last. I like to live quietly in the country.” “You were young in 1886,” said I. “Eigh-teen-eigh-ty—six,” rerepeated Strauss slowly, as if translating the words mentally. “Yes; thirty-six years ago, when I first entered Free Trade Hall to hear Anton Rubinstein’s Chopin recital. This concert tonight is the first one I have attended in Free Trade Hall since the Rubinstein recital thirty-six years ago.” _
In May, 1886, none of the Strauss works on the evening’s program had been written, and Rudolph Mayer, Ethel Frank, Toscha Seidel, were as yet unborn. Henry _ J. Wood, a boy of fifteen, was soon to be completely dominated by the personality of Rubinstein when the great pianist played in London a week later.
Thirty-six years hence some of us will be old, some of us famous, some of us entirely forgotten. In the meantime, J am	Clarence Lucas.
Goldenberg Artist Pupils in Recital
Albert A. Goldenberg, New York violin pedagogue and preparatory teacher to Prof. Leopold Auer, presented two talented pupils (Nathan Radoff and Irma Frisch) in recital at the Academy of Music, Brooklyn, February 18. The fine work of these two pupils reflected unusual credit upon Mr. Goldenberg, whose untiring efforts resulted in developing not only their technic, but likewise their good intonation and musicianship.
Little Irma Frisch charmed the large audience with the excellence of her playing and was liberally rewarded by receiving many beautiful floral offerings. _ Her program numbers comprised two Wieniawski selections—“Romance
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