MUSICAL COURIER
26
March 23, 1922
Chanson Indoue ............................Rimsky-Korsakoff
Spanish Dance ......................................Rehefeld
Xavier Cugat
(Antonio Lora at the piano for Mr. Cugat.)
The Time of Parting (new)............................Hadley
Swans ...........;..................................Kramer
Pierrot .......................................De C. Rybner
Indian Spring Bird (Ski-bi-bi-la).................Lieurance
Alleluiah (from “Le Cid”)..........................Massenet
Tarantella .........................................Rossini
Gertrude Debin
Gertrude Debin, a young pianist of about fifteen, appeared in a debut recital at Aeolian Hall on March \7, and pleased Her many friends and admirers, this being evident by the spontaneous applause she received after each number. Her program was a pretentious one for a performer of such tender years, and contained “Chaconne,” Bach-Busoni; “Melodie,” Gluck-Sgambati; “Etudes Symphoniques/’ Schumann; “The Little Shepherd,” Debussy; five Chopin numbers, comprising C sharp minor valse, fantasy _ impromptu, C sharp minor mazurka, polonaise in G sharp minor and the “Revolutionary etude,” as well as “The Nightingale,” Ala-bieff-Liszt; Staccato etude, Rubinstein, and twelfth Hungarian rhapsody by Liszt. She revealed undoubted talent and gives much promise for a brilliant future.
Aside from the difficult and lengthy program, she gave several encores, and was the recipient of many beautiful floral pieces.
Martin Richardson
On March 17, Martin Richardson tenor, gave a recital at Aeolian Hall, at which he proved himself to be a singer of merit. He possesses a good voice, and sings with particularly fine taste. His program consisted of French, Italian and English songs, all of which were heartily received by his audience. So delightfully sung and interpreted was the “Le Reve de Des Grieux,” Massenet, that a repetition of it was demanded. Gordon Hampson, at the piano, proved himself to be an excellent accompanist.
MARCH 18 Adele Bliss
On Saturday evening, March 18, Adele Bliss, soprano, delighted a large audience with her song recital at Aeolian Hail. In her singing she displayed a good voice and her interpretations were commendable. She received several encores and an abundance of flowers. Lina Coen presided at the piano.
Boston Symphony Orchestra
The final concert of the New York season by the Boston Symphony orchestra, Pierre Monteux conductor, was given on Saturday afternoon, March 18, in Carnegie Hall. The symphony presented was Brahms’ No. 1, in C minor, op. 68. This work has been produced in New York many times this season by various symphony orchestras. Mr. Monteux’s reading, which materially differed from the interpretations of our local and guest conductors, failed to arouse enthusiasm, but rather revealed absence of inspiration. Debussy’s “Iberia,” Images No. 2, another work featured
not to hear, and ended with a routine reading of that dullest of Rimsky-Korsakoff works, the “Great Russian Easter” overture. Before the Loeffler works Mr. McCormack sang two Bach arias and sang them exceedingly well, as he always sings Bach. The accompaniment with occasional ragged entrance, especially on the part of the organ, suggested that more rehearsal would have been of benefit. Also half as many strings would have, one felt sure, sounded more Bach-like than the whole of the powerful string band of the Boston Symphony.
Sergei and Max Kotlarsky
Sergei and Max Kotlarsky, violinist and pianist, respectively, gave a joint recital in Aeolian Hall, March 16, which showed the brothers in a bright, artistic light. The violinist, the elder, has a large tone, well developed technic, and plays very musically; this much said, it is only fair to name his pleasant stage presence as another asset. This, too, is true of the younger, the pianist, who plays with musical fervor and clean technic; his education has been entirely American. Together they played Ries’ beautiful suite notably well, the finale (“Perpetuum Mobile”) with splendid speed and clearness. Lalo’s Spanish symphony and pieces by Tartini, Mendelssohn and Wieniawski for violin went well, applause interrupting the performance of “Scherzo Tarantelle.” Auer’s transcription of “Hymn to the Sun” (played as encore) showed his noble tone. The pianist played MacDowell’s “The Eagle” with crashing crescendo, and a Debussy piece, as well as two Liszt works, with altogether fine effect, for he plays spontaneously and with warmth. A big audience heard and applauded the brothers, and it seemed as if half the audience thronged the artist’s room afterward, with congratulations. Included were well known musical and professional folk, and perhaps the proudest persons in the room were the parents of the young artists, as well as Albert Ross Parsons, instructor of the pianist.
MARCH 17 Alice Verlet
Alice Verlet, a Belgian soprano who has sung in the leading opera houses of Paris and London and well known here, gave pleasure to a large audience in Carnegie Hall, March 17, when she offered an interesting program. Her light soprano voice was effectively used in coloratura and lyric airs. She sang with charm and understanding of style, and her pure tones were delightful. For Mozart’s aria, “II Re Pastore,” Xavier Cugat played a violin obligato, and later he gave a group of violin solos. Mme. Verlet had the artistic support of John Warren Erb at the piano. The program was as follows:
Batti, Batti	(from	“Don Giovanni”)....................... Mozart
Aria from “II Re Pastore” (violin obligato by Xavier Cugat) .Mozart
Sur les Rocs	et	les	Fjords.................................Grieg
Prologue
Ragnhild
Pourquoi .........................................   Tschaikowsky
Les Cloches	.............................................Debussy
Romance ................................................. Debussy
Ariette ...............................................Paul Vidal
Dansons la Gigue...................................Charles Bordes
Larghetto ..............................................   Handel
before a fair sized audience at Town Hall, March 16. A number of choral works were effectively rendered, the composers represented being Gounod, Rossini, Saint-Saëns, Camilieri, Charles P. Scott, G. B. Nevin, and Thomas Moore.
Rozsi Varady, cellist, and Rafaelo Diaz, tenor, were the soloists. The former played “Chanson Triste,” Tschaikowsky; “Serenade Espagnole,” Glazounoff, and “Tarantelle,” Popper, as well as Handel’s “Largo,” which latter number was presented in conjunction with the chorus.
Mr. Diaz was in excellent voice and sang charmingly an aria from “L’Elisir D’Amore,” Donizetti; “Elegie,” Massenet, and Oley Speaks’ “Morning.” He received an ovation and was obliged to add two encores—“Mexican Folk Song,” and “Call of the Sea” by Townsend.
Dr. John H. Finley, who was Guest of Honor, made an address on “The Influence of Ensemble Singing in a Great City,” in which he complimented both chorus and conductor, saying among other things, “Its sound symbolizes America.”
Maurice Eisner accompanied the soloists sympathetically.
Boston Symphony Orchestra: John McCormack Soloist
The heroes of the Boston Symphony Concert at Carnegie Hall, Thursday evening, March 16, were Charles Martin Loeffler and John McCormack. They are mentioned in that order because if Mr. Loeffler had not written such splendid songs as he did, John McCormack would not have been able to sing them in the masterly way that he did. The songs are a setting for tenor voice and orchestra of two poems by W. B. Yeats—“The Host of the Air” and “The Fiddler of Dooney”—and of W. Hefernan’s (The Blind) “Song of Caitilin in Holahan.” (Incidentally Mr. Loeffler calls them fantasies, not songs.) While the apparatus which Mr. Loeffler employs to set the simple poem is a large one, so skilfully has he constructed the accompanying symphonic poem (for that is what it literally is) to each one that there is no feeling of over-elaboration. There is exquisite delicacy, imagery in all three. “The Host of the Air” is the most frankly melodious; “The Fiddler of Dooney” has some wonderful reel tunes, and “The Song of Caitilin-ni-Holahan” is a truly inspired utterance in which the composer, making use of a solemn march rhythm, has led up to the climax that is moving in the extreme. Best of all Mr. Loeffler, while never commonplace in writing for voice, has provided a vocal line that is eminently singable. John McCormack’s presentation of these three songs has already been described as masterly, and that is the single word for it. Aside from being what all the world knows he is—a singer of songs—■ Mr. McCormack is a musician of the first rank and an artist second to none in any branch of the vocal field he enters. The audience welcomed all three of the fantasies most heartily and after the final one Mr. McCormack was called back time and again, bringing Mr. Loeffler with him to share in acknowledging the demonstration, a fine and well deserved tribute to a great artist and a great composer, for Mr. Monteux, it must be said that he conducted the Loeffler works with sympathy and understanding. Modern works seem much more to his conductorial taste than the classics, for the concert opened with as dull a performance of the dull Schubert C major symphony as one would wish
WALTER MILLS
BARITONE
Walter Mills, well-known baritone, sang with Anna Case, soprano of the Metropolitan Opera, at the Waldorf-Astoria in New York, for the Sphinx Club, and was obliged to respond with three encores. —Troy Times.
Walter Mills, the well known young baritone of New York, was in splendid voice. THE SIMILARITY OF HIS TONE QUALITY TO THAT OF DAVID BISPHAM WAS AT ONCE EVIDENT. It is the rare beauty of this quality which forms the foundation of Mr. Mills’ excellent interpretation. In Forsyth’s “From the Hills of Dreams” he revealed a true lyric feeling, while “Deep River” by Fisher was sung with a religious fervor that brought tears to the eyes of many listeners. It was, however, in Manney’s “Consecration” and Huhn’s “Invictus” that the greatest heights of dramatic power and intensity were reached.—Peterborough Transcript.
Mr. Mills possesses a rich, luscious vocal organ, combined with great intensity of interpretation.—Musical Courier.
Walter Mills was given a great ovation when he appeared in Concert last week. Mr. Mills is a baritone of EXCEPTIONAL POWER. He responded to a dozen curtain calls, and every number was encored.—Albany Knickerbocker Press.
Personal Address :
327 Central Park West	New York
Telephone Riverside 3170
RECITALS IN
Photo by Edwin F. Townsend
PHILADELPHIA, BOSTON, BUFFALO, ALBANY, TROY, NEW HAVEN, KEENE, N. H., LITTLE FALLS, N. Y., ENGLEWOOD, N. J., PLAINFIELD, N. J., ROCHESTER, N. Y., NYACK, N. Y.