39
MUSICAL COURIER
March 16, 1922
MARCH 12
New York Philharmonie Orchestra
“Standing Room Only” called the lobby attendant last Sunday afternoon at Carnegie Hall as hundreds of persons formed Hindenburg lines before the box office and refused to be turned back. Inside the auditorium a pleased throng settled themselves in their seats and listened to a concert of a particularly agreeable and insinuating nature. The program opened with Beethoven’s “Lenore” overture No. 1 (not one of the master’s irreproachable works) and thereafter the doings of the afternoon took on a steady crescendo of melody and piquancy that finally wound up in the frankly terpsichorean appeal of Johann Strauss’ “Vienna Blood” waltz, played by Mengelberg and his men with sheer irresistible swing and dash. Preceding the favorite old piece came the Weber-Berlioz “Invitation to the Dance,” another ingratiating performance superbly flavored with honeyed rhythmic and tonal nuances, Grieg’s “Peer Gynt” suite, No.
1, in which “Aasë’s Death” was made into a miniature threnody that brought tears to the eyes, and Ernest Schell-ing’s “Impression from an Artist’s Life,” a set of variations for piano and orchestra, depicting persons, places and incidents that at various times entered into the composer’s experiences and contacts. His formal plan in this opus shapes itself along the lines of Elgar’s “Enigma” variations but the American writer is much more modern, resourceful, interesting, and melodious than his English confrere. Schell-ing has furnished clues to most of his variations by giving them titles or the names or initials of well known persons (chiefly musicians) but his music is so spontaneous and fascinating that it would make a strong appeal even without a key to its “program.” The variations are in all moods, grave, gay, elegiac, reflective, satiric, tragic, as when the recent war is commented upon grimly and unromantically. The orchestration is brilliant in the extreme and often strikingly original. From start to finish the work holds the attention to the hearer through its charm, esprit, humor and radiant coloring.
Schelling played the piano part (which he treats orches-trally) in his composition, and made it eloquent and convincing, with his voluminous and vibrant tone, his tremendous technic, and his intense and temperamental interpretation. The audience were palpably electrified by the piece, the player, and the performance (aided wonderfully by Mengelberg) and applauded for many minutes after the climacteric finale.
Frederic Warren Ballad Concert
The third Frederic Warren Ballad Concert of the season was given before another large audience in the Selwyn Theater, on Sunday evening, March 12. Colin O’More was prevented from appearing by order of his physician. The other artists—Harriet Van Emden, contralto; Norman Jollif, baritone, and André Polah, violinist, each added an additional group of solos to make up for those omitted by the non-appearance of Mr. O’More.
Mme. Van Emden, whose charming personality and exquisite voice won the approval of the large audience, sang three groups, comprising three old English songs ; “On Sunday morning,” Brahms ; the same composer’s “A Hasty Vow;” “Canzonetta,” Loewe; “Ebb and Flood,” Rachmaninoff; “We Two,” Kramer; “Dutch Serenade,” De Lange, and “Nature’s Holiday,” by Hageman, to which she was obliged to add several insistent encores.
Mr. Jollif sang Beethoven’s “Creation’s Hymn;” “Passing By,” Purcell ; “Twankydillo,” Old English ; “Little Bateese,” O’Hara; “Forget-me-not,” Treharne; “The Little Fisherman,” Lane; “Come to the Fair,” Martin, and an extra group of two songs. Mr. Jollif, who like Miss Van Emden made a very fine impression, likewise was called up for encores.
Mr. Polah elicited much applause from the delighted ■ audience for his excellent work. His solos were “Gavotte,” Bach_; “Ave-Maria,” Schubert-Wilhelmj ; “Caprice,” Wieni-awski ; “Improvisation,” Gustave Saenger ; nocturne in E flat, Chopin-Sarasate ; “Spanish Dance,” Refield, and a group of five short pieces.
Francis Moore’s artistic accompaniments were a source of much pleasure.
Robert Murray
Before a good sized audience at the Hippodrome, on Sunday evening, March 12, Robert Murray, boy soprano, gave his first public concert in New York. It is claimed for young Murray that the upper range of his voice extends higher than that of any other human voice on record. In the eighteenth century there was an Italian soprano, Lucrezia Agujari, who is reported to have sung the B flat in altissimo, i. e., the B flat next below the third C above middle C. Young Murray is said to have sung on the Hippodrome stage on Sunday evening the D above this. However absolute the pitch possessed by the human ear, it refuses to operate accu-(Continued on page 42.)
JOHN
McCORMACK
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 Bfr.
ENOCH & SONS, 56 E. 34th St., New York
Other Popular Songs by Easthope Martin “All For You,” “Come to the Fair,” “Absence,” etc., etc.
afternoon, March 11, in a program which comprised^ the “Prelude and fugue on the name of B-A-C-H,” Liszt; “Elevation,” in E major, Saint-Saëns; prelude and fugue in A major, Bach'; “Redemption,” Bossi; “Eklog” (new), Kramer; “La Goccia,” Remondi; “The Squirrel” (new), Weaver; “Marche Russe,” Schminke, as well as three compositions by the concert giver—“Hymn of Glory” (new), “Gesu Bambino” (by request), and “First Concert Study” (by request).
Mr. Yon, who was recently honored with the appointment as Honorary Organist at the Vatican, Rome (an honor never before extended to anybody), was in unusually fine form. His many admirers who attended the recital were greatly-charmed by his extraordinary musicianship and virtuosity.
In arranging his program Mr. Yon showed excellent judgment, as works were selected to show his artistry and versatility from many angles. In the opening number he at once revealed himself as a master, and held the interest of all throughout the entire program. His extraordinary musicianship was disclosed in the prelude and fugue by Bach; in the performance of this gigantic work he appealed to his audience as only a serious thinking musician can do.
His second group was one of varied character and gave Mr. Yon many opportunities to show his versatility. Of the three compositions by the concert giver which constituted the third group, two were given by special request.
Maurice Dambois
Maurice Dambois gave a recital for the benefit of disabled veterans, under the auspices of the Veteran Association of Women War Workers, in Aeolian Hall, on the evening of Saturday-, March 11. Mr. Dambois appeared in the triple capacity of cello soloist, composer and pianist.
The concert was doubly interesting because of the fact that the majority of the accompaniments were furnished by the Duo-Art reproducing piano, from records originally played by Mr. Dambois, thus hearing the cello solos played in person by Mr. Dambois and accompanied by himself.
The opening number was Saint-Saëns’ concerto for cello and orchestra, which Mr. Dambois presented with his accustomed warmth and mastery. This was followed by Liszt’s concerto for piano, from a record by Rudolph Ganz, in which Mr. Dambois played (in person) the orchestral part on a second piano. Next came a group of three cello solos, comprising “Clair de lune,” Dambois; “Minuet,” Boccherni, and “Arlequin,” by Popper, all three accompanied by the Duo-Art piano from recordings by Mr. Dambois.
“The Bagatelle,” No. 1, composed especially for the Duo-Art by Mr. Dambois, was written in the form of a duet in which Mr. Dambois, seated at the piano, alternated with the Duo-Art in the performance of this brilliant composition.
“Kol Nidrei,” Bruch, and “Rhapsodie,” Popper, were the only cello solos played by Mr. Dambois which were not accompanied by the Duo-Art. In these numbers, as well as the several encores, he had the assistance of Marcel Han-sotte at the piano. The concert closed with Brahms’ Hungarian dances, Nos. 1 and 6, for two pianos, produced by the Duo-Art from Mr. Dambois’ recording, with the concert given at the second piano.
Metropolitan Museum of Art Concert
Not even the storm on Saturday evening, March 11, interfered with an enormous attendance (over 5,000) at the concert given by David Mannes and his excellent orchestra of selected musicians, at the Metropolitan Museum of Art.
Mr. Mannes presented with his accustomed finish an unusually interesting program comprising the overture to “Euryanthe,” Weber; Schumann’s symphony, No. 1, in B flat major; suite from “Coq d’Or,” Rimsky-Korsakoff; “Largo,” Handel; as well as Wagner’s “Death of Siegfried” and overture to the “Flying Dutchman.” The audience showed its appreciation by outbursts of applause after each number.
Maria Ivogiin
Her excellent work with the Chicago Opera and her recent appearance at a symphony orchestra concert had convinced New Yorkers to such an extent regarding the yocal and interpretative qualities of Maria Ivogiin, that her recital at Carnegie Hall last Saturday afternoon, March 11, drew an unusually representative audience of professionals and lay lovers of song.
The recital began with two Mozart arias from the “Magic Flute,” and, of course, the singer was in a field which she understood thoroughly and exploited with every resource of vocalism and art in delivery. Her voice is particularly adapted to the music of Mozart, and she has mastered also the reposeful style and the long-breathed legatos which are essential in the presentation of the master’s operatic measure. The coloratura passages were rendered with uncommon dash and brilliancy. Profuse applause rewarded the artist for her splendid work.. In the second group of songs, which opened with three Schubert lyrics, Mme. Ivogiin again demonstrated her intelligence and skill and, in addition, revealed also very deep feeling and poetic insight. “Seligkeit,” by Schubert, was the best of the three songs, and in consequence drew the most appreciation from the audience. A rather lengthy song by Hugo Wolf, “*Storchenbotschaft,” seemed hardly to warrant the great amount of study which the concert giver evidently had expended on the piece. Mahler’s “Hans und Gretel,” a charming little bit in folk style could not have been delivered with greater pith, prettiness and charm than were embraced in Mme. Ivogiin’s presentation. Schubert was also represented with the tremendously long song ,“Der Hirt auf dem Felsen,” with clarinet obligato. Mme. Ivogiin was much admired for her artistic sincerity and devotion. The final group contained the gavotte from “Manon,” rendered with exquisite diction, grace and delicacy. The “Romance” from “Lakme,” in which some beautiful phrasing and tonal coloring were in evidence, and Dell’ Acqua’s “Vilanelle,” in which an uncommonly flexible use of voice and particularly appealing tone coloring helped to put the audience in a most responsive mood, as evidenced by prolonged applause, forcing Mme. Ivogiin to add some numbers to her program.
In addition to her art and her lovely voice, Mme. Ivogiin also possesses a modest and ingratiating personality and it was plain to be seen that she had won not only the admiration but also the affection of her hearers.
_ The piano accompaniments were given with unusual insight and sympathy by Walter H. Golde.
masterly manner, with sincerity, and with richness of tone color. He was given splendid support by Mr. Damrosch and his men.
MARCH 10
Ethel Hayden
Ethel Hayden, soprano, new to New York, was heard in an exacting program at Aeolian Hall, Friday afternoon, March 10, and met with immediate and decided favor. The audience was spontaneous in its applause, showing its approval of Miss Hayden’s genuine artistry. She is a pupil of Mme. Sembrich, and in addition to a naturally beautiful voice, she reveals characteristics which might be expected of her as a pupil of this distinguished teacher. Her tones are of fine timbre, pure, and colorful. She has splendid breath control and sings with intelligence, refinement of phrasing and elegance of style. Her diction is clear, and her interpretations thoughtful and pleasing. Her legato work in “Rose Softly Blooming” was admirable. The aria from “Louise” was effectively given and there was much charm of sentiment in her group of Schubert and Schumann. In the English and American group, “It Was a Lover and His Lass” (Harris) was dedicated to Miss Hayden. It was a well built program, and Francis Moore at the piano helped to make it an artistically rendered one. The program follows:
Rose Softly Blooming...........׳.............................Sp'olir
Aria from “Nozze	di Figaro”..................................Mozart
Aria di Poppea..........................................Handel-Bibb
Pastorale ....................................................Bizet
Green ......................................................Debussy
L’oiseau bleu.................................... .. . ...Dalcroze
Aria from “Louise”......................................Charpentier
Frühlingsglaube ...........................................Schubert
Die Forelle ...............................................Schubert
Intermezzo ................................................Schumann
Schneeglôcken .............................................Schumann
Friihlingsnacht .......................................... Schumann
A Dream ....................................................Horsman
To a Violet..............................................La Forge
It Was a Lover and His Lass..................................Harris
(Dedicated to Miss Hayden)
Lullaby ......................................................Scott
Joy .......................................................Wentzell
Rosing
Rosing terminated his American season with a recital^ at Aeolian Hall for the benefit of intellectuals among Russian famine sufferers. It was a recital without _ a printed program, the only indication of its nature being a note stating that characteristic songs of Russia and the Russian people would be sung. There were also other features: Some songs were sung in English—Mr. Rosing made an address—Claire Sheridan’s marble sculpture of the head of a child was auctioned off—and, all in all, $1,600 was contributed to this worthy cause.
This was a “pay as you leave” recital. Everybody was welcome, and no tickets were sold. The success of it was tremendous. During Rosing’s appeal for starving Russian musicians he sang “The Starving Moujik,” and was so deeply moved that he had to hurry off the stage, while in his audience many a man was in tears. It was the powerful appeal of a great art.
The effect was cumulative. Song after song, done with such intensity as few besides Rosing can muster, reached straight into the heart of the audience and left not even the most stolid unmoved. What he sang was in response to requests from the house. He announced each song and, following his usual custom, told in English the story of those which were sung in Russian.
The entire recital was deeply impressive and will long be remembered by those who had the good fortune to be present.
Victor Golibart
Victor Golibart, tenor, won artistic success at his Town Hall debut Friday afternoon, March 10. He was heard in a well varied program of Italian, German, French and English songs. His voice, while light, is of a naturally beautiful quality, and he does not attempt to force tones. The range is good, and he delivers his songs with an evident understanding of the texts and an appreciation for style, manifesting musicianship and temperament. His diction, too, was clear. He was assisted at the piano by Stuart Ross. The program follows : “Where’er You Walk,” Handel; “Nel cor piu non mi sento,” Paisiello; “She Never Told Her Love,” Haydn; “Invocazione di Orfeo,” Peri; “Mainacht,” Brahms; “Mädchen mit dem rothen Mündchen,” Franz; “Bür Musik,” Franz; Stille Thränen,” Schumann; “L’heure Silencieuse,” Staub; “Beau Soir,” Debussy; “Phy-dile,” Duparc; ‘Les Roses,” Alin; “Dansons la Gigue,” Poldowski; “Ships of Arcady,” Head; “In the Moonlight,” Haile; ‘From a Roman Hill,” Watts; “Memory,” Ganz; “The Sea Gypsy,” Head.
MARCH 11 Pietro Yon
Pietro A. Yon, composer-organist, was heard in an unusually interesting organ recital at Aeolian Hall on Saturday
Pianists Prepared lor Pablic Appearances
Paris, France
SWAYHE
WAGER
33 Avenue Montaigne,
Jean de Reszke 53 Rue de la Faisanderie Paris
Ï rcrurTI7VV ^staute
LLuLnlj 1 IlIV I of Piano
47 Boulevard Berthier, Paris, France
Under the personal direction of MME. THEODORE LESCHETIZKY
(Marie Gabrielle Leschetizky)
John Heath, Associate Director. Artists’ Class and Private Lessons.
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