March 9, 1922
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B flat, op. 106; andante in F, six variations in F, op. 34; sonata, C minor, op. 27, No. 2 (Moonlight). A large audience listened with rapt attention to the delightful interpretations Miss Ney gave of these well contrasted and carefully selected pieces, and at the end of the concert recalled her for many encores.
Naomi Bevard Pleases.
Saturday afternoon, February 25, in Jordan Hall, Naomi Bevard, pianist, presented the following program to a large and enthusiastic audience: Sarabande and Gigue, from the English suite in E minor, Bach; caprice from “Alceste,” Gluck-Saint-Saens; “Aufschwung,” Schumann; sonata, op. 110 (first movement), Beethoven; “The Island Spell,” John Ireland; “Petite Valse Espagnole,” Granados; prelude in G major, Rachmaninoff; “Laideronnette, Impera-trice des Padoges,” Ravel; “Rigaudon,” Ravel; mazurka, op. 17, No. 1; nocturne, op. 48, No. 1; waltz, op. 69, No. 1; and scherzo in B minor, Chopin.
The program was sufficiently varied to give a good idea of the admirable qualities of Miss Bevard—a beautiful tone, a command of nuance, an understanding of different styles and the spirit of the composers.
John Peirce's Interesting Program.
February 28, in Steinert Hall, John Peirce, baritone, with J. Augus Winter, accompanist, gave the following interesting and well selected program: aria, “II pensier sta negli oggetti,” from “Orfeo,” Haydn; aria, “Qui done commande,” from “Henry VIII,” Saint-Saëns; “The Eden Rose,” In Picardie,” “Through the Long Days and Years,” Arthur Foote; “Memory,” John H. Densmore; “The House and the Road,” “At Nightfall,” John Adams Loud; “Noche Serena,” Edward Kilenyi; “Pregúntale a las estrellas,” Kilenyi; “Habanera,” “Mi Nina,” Guetary; “I chant my lay,” “Hark! how my triangle,” “Silent and Lone,” “Songs my Mother Taught me,” “Tune thy Strings,
JOHN PEIRCE.
Oh Gipsy,” “Freer is the Gipsy,” “O’er the Heights of Tatra,” Dvorak.
Mr. Peirce has a manly, virile voice of good quality, sufficient range, controlled by fine intelligence. He gives much thought to his interpretations, and this recital gave much pleasure to an audience of fair size, which showed approval in no uncertain manner, and Mr. Peirce added to the program. Mr. Winter, was, as always, of earnest and sympathetic assistance at the piano.
Boston Symphony Orchestra in Sixteenth Concert.
Friday afternoon, February 24, and Saturday evening, February 25, in Symphony Hall, the Boston Symphony Orchestra, Mr. Monteux conductor, presented to the usual audiences the following program: symphony in C major, No. 7, Schubert; waltzes for orchestra, Hill; “La Grande Paque Russe,” Rimsky-Korsakoff. The Schubert symphony was read by Mr. Monteux and played by his men in a clear, colorful, brilliant manner. The “Russian Easter” proved a gorgeous painting in tone.
Charles Wakefield Cadman and Princess Tsianina.
In Jordan Hall, March 2, a concert giving unusual pleasure to a large and enthusiastic audience was that presented by Charles Wakefield Cadman and Princess Tsianina, for the benefit of Goucher College, Baltimore, Md. The program:	“Invocation to the Sun God,” Troyer; “Lover’s
Proposal,” Troyer; “By the Waters of Minnetonka,” Lieu-rance (Tsianina) ; intermezzo from “Shanewis,” “To a Vanishing Race,” “Wolf Dance,” Cadman (Mr. Cadman) ; “Her Blanket,” Lieurance; “Ho, Ye Warriors on the Warpath,” Cadman; “From the Land of the Sky Blue Water,” Cadman (Tsianina) ; andante from A major sonata, Cadman ; “The Minstrel of Kashmiri,” “Underneath the Bough,” “The Desert’s Dusty Face,” Cadman (Mr. Cadman) ; “O Golden Sun,” Freebey; “The Naked Bear,” Burton; “Canoe Song” from “Shanewis,” Burton-Cadman (Tsianina) ; “The Spring Song of the Robin Woman” and “Indian Lament” from “Shanewis” (Tsianina and Cadman).
The program was made up largely of Mr. Cadman’s own compositions, the opera “Shanewis,” from which three songs were taken, being in part the story of the life of Princess Tsianina. It was interesting to listen to her interpretation of this music, suggested by Indian themes, of which she has inherited the traditional rendering. With a beautiful mezzo soprano voice, intelligently and carefully trained, she produces her effects largely with no outward signs of emotion other than the legitimate coloring of her phrases in the vocal organ—in tune and with good enunciation.
Mr. Cadman was in the vein, playing his numbers in his familiar style and giving splendid support with his accompaniments to the singer. The audience gave hearty applause both to the singer and Mr. Cadman in his dual role of composer and pianist.	A. R. F.
NEW ENGLAND CONSERVATORY ORCHESTRA CELEBRATES ITS 20th BIRTHDAY WITH SPLENDID CONCERT
To George W. Chadwick Principally Is Given the Credit for the Fine Achievements of This Organization—John McCormack in Three Concerts—Elly Ney’s Interesting Recital—Naomi Bevard, John Peirce, and Cadman and Tsianina Give Programs—Boston Symphony Concert
director in that year he took the string orchestra over and used it in connection with the organ which supplied the wind parts. In 1899 a canvass among the students developed fairly efficient players of the flute, clarinet, cornet and trombone. Professional oboe and bassoon players were engaged, but the organ was still used for the horn parts. By 1901 the group of players numbered about forty, more than could be accommodated on the then available stage, so that the wind players were seated on the floor. Better accommodation was provided when, in 1902, the Conservatory moved to its present building in which Jordan Hall is a central feature.
On March 2, 1902, the orchestra gave its first public concert as a complete organization, with the following program: Beethoven, symphony in D major (first movement) ; Reincke, concerto in F sharp minor (first movement) ; Mozart, quintet from “Cos¡ Fan Tutti;” Spohr, concerto in D major (violin) ; Beethoven, overture to “Egmont.”
In the new Conservatory building, with an admirable concert hall, with the conveniences of a special library, a tuning room, lockers for instruments and other facilities, the orchestra grew fast in efficiency. The repertory at first was confined to works of the classic period, but gradually more modern pieces were studied and eventually many works of this character were performed by this orchestra for the first time in Boston. Arrangements were also made by which the local students of composition may have their works rehearsed and performed, if of sufficient merit.
The orchestra of recent years has reached the artistic life of the Conservatory at every point. The members here gain a routine knowledge of the symphonic repertory and practical experience which fits them for positions in the best symphony and opera orchestras; and such positions are now being filled by former Conservatory students in the Boston Symphony and other symphony orchestras of the country. Twelve members, for example, of the Boston Symphony of this season received" their training in the Conservatory orchestra.
During the past twenty years more than 150 concerts have been given, including choral works and operatic performances. Some of these concerts have been conducted by students of the conducting class, and in the school year 1905-06, during the director’s absence in Europe, the orchestra was in charge of Wallace Goodrich. Occasional concerts have subsequently been conducted by Mr. Goodrich and by Arthur Sheperd and Clement Lenom of the faculty. With these exceptions all the concerts were conducted by Mr. Chadwick from the organization of the orchestra until the autumn of 1919 when Mr. Goodrich assumed permanent charge of the orchestra.
At the commemorative concert on Wednesday evening, works by three members of the Conservatory faculty appeared on the program. These were the two symphonic sketches by Mr. Chadwick, just mentioned; Frederick S. Converse’s romance for orchestra, “The Festival of Pan,” and Arthur Foote’s piece for women’s chorus with orchestra, “In the Arched Gateway of Fair Ispahan.” Two other choral works by American composers were given: “In May,” by the late Prof. Horatio Parker, and “Eastern Song,” by Mabel W. Daniels. The concert began with a movement of the symphony in F minor (“The Four Seasons”) of Henry Hadley, and, as a third number, was presented the concerto in D minor for pianoforte and orchestra of Edward MacDowell. The other numbers were an aria from Charpentier’s “Louise” and an aria from “Lohengrin.”
Two post-graduate students and two seniors were soloists: Susan Williams, ’20, pianist, of Aberdeen, Wash.; Norma Jean Erdmann, ’21, soprano, Chillicothe, O.; Elizabeth Bingham, soprano, Woodstock, Vt.; and Mary Madden, pianist, Rochester, Minn.
John McCormack in Three Great Concerts.
In Symphony Hall, Sunday afternoon, February 19; Wednesday evening, February 22, and Sunday afternoon, February 26, John McCormack gave a different program at each concert, each arranged in his always careful and artistic manner, to audiences which on each occasion filled all the available room of this large auditorium.
Mr. McCormack was in splendid voice, and it goes without saying that his singing, whether of opera aria, oratorio, or song, was entirely delightful. Much applause and many encores followed at the end of each concert.
Elly Ney in Interesting Recital.
Saturday afternoon, February 25, in Symphony Hall, Elly Ney, pianist, gave this Beethoven program: sonata, D minor, op. 31, No. 2; grand sonata for “Hammerklavier,”
Boston, Mass., March 4, 1922.—A concert in Symphony Hall in commemoration of the twentieth anniversary of the organization of the orchestra of the New England Conservatory of Music on Wednesday evening, March 1, brought out a great audience of trustees, present and former teachers, students and alumni, and friends of the school. Wallace Goodrich, dean of the faculty, conducted, except in the closing numbers when the director, George W. Chadwick, wielded the baton for the performance of two of his own works: “Noel”.and “Jubilee.”
This orchestra, which has served as a training school for many virtuosi now holding positions in the leading symphony orchestras, has had an interesting development. Previous to 1897 the violin students had maintained a string orchestra, which, under direction of their teachers, gave occasional concerts. When Mr. Chadwick became
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