57
MUSICAL COURIER
March 2 3, 1922
CONCERT ANNOUNCEMENTS
ADELE Rankin
SOPRANO
MENGELBERG AND NEW YORK PHILHARMONIC
ORCHESTRA MAKE AN INVASION OF BOSTON
Handel and Hayden Society Gives Dvorak’s “Stabat Mater”—John McCormack with Boston Symphony—Ethel Hutchison in Recital—Bauer׳ Plays Beethoven—The London String Quartet—Fourth of Orchestra’s Special Concert Series—Titta Ruffo Assists Apollo Club—Duo-Art Concert—Mrs. Beach and Emma
Roberts in Joint Recital
Song Recital, Princess Theater Sunday Afternoon, 3 o’clock April 2. Tickets on sale 1425 Broadway, Metropolitan Opera House Bldg.
Tel. Bryant 1274
“a remarkably fine performer—one of the best feminine players who have faced our public,” an opinion that was seconded by the Inquirer: “Miss Ray is already an artist of distinction, a violinist with a place among the first.” “Genius of the Violin,” said the critic of the Record in the headlines of his review, which carried as its sub-head, “Superb young artist for whom brilliant future is assured.”
The comments concerning her actual qualifications were varied and highly tributory in text. The following are only a few selected at random:
“The great Auer was one of her teachers, and she does his teaching credit. She has the facile and brilliant technic
RUTH RAY, violinist.
characteristic of his pupils; she copes with difficult passages so easily that the unversed would regard them as not difficult at all. .	.	. What sways the hearer far more than her
skilful bowing, her sure command of her instrument, her brilliant execution, is the soul of music in her.”—The Inquirer.
“Miss Ray has a technic which is both brilliant and solid. Her tone is of beautiful quality and surprisingly large for a woman, and her intonation is faultless. But it was in the genuine artistry which she displayed in every number that her superiority over the average violin soloist of today was most apparent.”—Evening Public Ledger.
“Real genius has been given to this attractive and unassuming daughter of the West.”—Philadelphia Record.
Her tone is solid and round and true with emotional warmth.”—Public Ledger.
op. 132, A minor; op. 133, Grosse Fuge, B flat major; op. 135, F major.
It is not extravagant praise to say that it will be years before another opportunity will come when these quartets of the great master can be heard with such consummate artistry as has been presented by these four gentlemen, who play these pieces as Beethoven must have wished to hear them. Frequent and hearty applause, and increasing audiences have greeted the players.
Orchestra's Fourth Concert Special Series.
The Boston Symphony Orchestra, Mr. Monteux conductor, on March 13 in Symphony Hall, gave the fourth concert of the special series inaugurated for the first time this season. Jean Bedetti, first cellist of the orchestra, was the soloist. The program included the symphony No. 5, in E minor, “From the New World,” Dvorak; symphony poem, No. 1, “Le Rouet d’Omphale,” Saint-Saëns; concerto for cello with orchestra, Lalo; overture to “Leonore,” No. 3, op. 72, Beethoven.
Mr. Monteux gave a splendid reading of the Dvorak symphony and was recalled many times by the large and enthusiastic audience. Mr. Bedetti gave a great performance of the Lalo concerto, a work full of technical difficulites, and he also was recalled again and again.
Titta Ruffo Assisting Artist at Apollo Club’s Fiftieth Anniversary Concert.
March 14, in Symphony Hall, the Apollo Club of Boston, Emil Mollenhauer conductor, with Titta Ruffo, the baritone of gorgeous voice assisting, celebrated the passing of fifty years since the foundation of the Club by the late B. J. Lang, so long a power for good in the musical history of an earlier Boston. A very large audience gave every evidence of enjoyment, and Mr. Ruffo added several numbers to the program.
Duo-Art Concert in Steinert Hall.
March 14, in Steinert Hall, under the direction of Velma Balcom, the third concert of the Duo-Art series was given before an appreciative audience. The interpretations of Alfred Cortot were recorded by the Duo-Art with a miraculous impression of the artists’s actual presence. Anis Fuleihan, a Syrian composer, played pieces by Chopin, and Debussy, and Arabian music of his own composition. He was recalled many times. Miss Balcom sang, accompanied by the Duo-Art, the instrument recording the playing of several well known accompanists.
Mrs. H. H. A. Beach and Emma Roberts in Joint Recital.
March 17, in Jordan Hall, under Wendell Luce’s management, Mrs. H. H. A. Beach, composer-pianist, and Emma Roberts, contralto, gave this program; “Come My Dearest,” Serbian folk song; “The Bells,” Belgian folk song; “Maiden of Scilla,” Italian folk songj “Schmerzen,” Wagner; “Elfen-lied,” Wolf; “In der Campagna,” Strauss (Miss Roberts); fantasie, C minor, Bach; “Cat’s Fugue,” Scarletti; “Prae-ludium,” MacDowell; nocturne, op. 20, Sgambati; “Prelude-Arabesque,” W. Storey-Smith; rhapsodie, op. 119, Brahms (Mrs. Beach) ; “Fidelite,” Nerini; “Colombine,” Poldowski; “The Clock,” Sachnovski; “A Dream,” Rachmaninoff; “I Loved Him So,” Balakireff (Miss Roberts) ; “Fantasia Fugata,” “The Fair Hills of Eire, O,” “From Blackbird Hills,” The Hermit Thrush at Morn, The Hermit Thrush at Eve (M. S.), Mrs. Beach (Mrs. Beach) ; “I Pass My Life,” Mexican song; negro spiritual, selected; “Inter-Nos,” MacFadyen; “We Shall Walk in Pleasant Vales,” Willeby; “Twilight,” Mrs. Beach; “The Year’s at the Spring,” Mrs. Beach (Miss Roberts).
Mrs. Beach played in her well known, finished style, and with great beauty of tone. Much interest was shown in her own compositions, and she was compelled to add to the program.
The songs by Miss Roberts were well chosen, and before each song she gave a simple but satisfactory description of its character. William E. Weston proved a helpful accompanist.	A. R. F.
Ruth Ray Galled “Genius” in Philadelphia
When Ruth Ray, violinist, played in the Quaker City on February 16׳, she not only met with the warm approval of a good sized audience, but also received very flattering—yet well earned—comments from the press.
The reviewer of the Philadelphia Public Ledger called her
Boston, Mass., March 18, 1922.—Thursday evening, March 16, in Symphony Hall, to a large and enthusiastic audience, the New York Philharmonic Orchestra, Willem Mengel-berg conducting, gave the following program: “Overture to Oberon,” Beethoven; “Les Preludes,” Liszt; prelude to “Lohengrin,” Wagner; and Richard Strauss’ “Ein Helden-leben.” The orchestra was keenly alive to the wishes of Mr. Mengelberg, heeding his every gesture. The applause was spontaneous and long continued.
Handel and Haydn Give Dvorak’s “Stabat Mater.”
Sunday afternoon, March 12, in Symphony Hall, the Handel and Haydn Society, Emil Mollenhauer conductor, gave an admirable performance of Dvorak’s setting of the “Stabat Mater.” The assisting artists were Helen Stanley, soprano; Kathryn Meisle, contralto; Arthur Hackett, tenor, and Clarence Whitehill, bass.
Again the chorus showed the effect of the efficient drill of Mr. Mollenhauer—accurate attacks, splendid shading, good balance of the parts and clean leaving of the phrase. The soloists were all entirely equal to the demands of the music, and were awarded hearty and spontaneous applause by the very large audience.
John McCormack and Boston Symphony Orchestra.
Friday afternoon, March 10, and Saturday evening, March 11, in Symphony Hall, the Boston Symphony Orchestra, Mr. Monteux conductor, with John McCormack, soloist, presented the following program to capacity audiences: “Haffner Serenade,” No. 7, Mozart; air from the cantata, “Lost is my dear Jesus,” Bach; air, “Take Thou for Thy very Own,” from the cantata, “All they from Sheba shall come,” Bach; Irish fantasies for voice and orchestra, Loeffler; excerpts from the dramatic symphony, “Romeo and Juliet,” op. 17, Berlioz.
Mr. McCormack was suffering from the effects of a cold, but in spite of this, he sang as the great artist that he is, and it was certainly a joy to hear him with this splendid orchestra, as it was when he was singing opera, and especially Mozart, as nearly perfectly as we can expect to hear it in this world.
The Mozart “Serenade” gave Mr. Burgin an opportunity to show his artistry, and there were many recalls for Mr. McCormack, Mr. Loeffler, Mr. Monteux and Mr. Burgin.
Ethel Hutchison in Recital.
Saturday afternoon, March 11, in Jordan Hall, Ethel Hutchison, pianist, gave a recital under the management of A. H. Handley, with this program: B minor, Gavotte, Bach-Saint-Saens; fourth sonata, MacDowell; nocturne, “General Lavine,” Debussy; “Paradise Birds,” Scott; F sharp major etude, Arensky; “Polichinelle,” Rachmaninoff; C minor etude, op. 10, No. 12, Chopin; “Nachstuck in F,” Schumann; waltz from “Faust,” Gounod-Liszt.
In the lighter numbers, as in the Arensky etude, which gave opportunity for crystal runs, Miss Hutchison made her most favorable impression. A fair audience awarded her with generous applause.
Harold Bauer in Beethoven Program.
In Symphony Hall, Saturday afternoon, March 11, Harold Bauer, pianist, and Pablo Casals, cellist, gave this program: sonata in G minor, op. 5, No. 2; sonata in C major, op. 102, No. 1; variations on a theme by Mozart; sonata in A major, Beethoven.
A large audience, among it many young people, presumably students at the many schools of music of Boston, was much interested and benefited. The performance was excellent, the ensemble perfect, and each respected the rights of the other. The audience was warmly enthusiastic.
The London String Quartet.
In Jordan Hall, every evening from Monday, March 13, to Friday, March 17, and Saturday afternoon, March 18, the London String Quartet (James Levey, first violin; Thomas W. Petre, second violin; H. Waldon Warner, viola, and C. Warwick-Evans, cello) played all the Beethoven quartets, the program being as follows: March 13—op. 18, No. 1, F major; op. 18, No. 2, G major; op. 18, No. 3, D major; March 14—op. 18, No. 4, C minor; op. 18, No. 5, A major; op. 18, No. 6, B flat major; March 15—op. 59, No. 1, F major; op. 59, No. 2, E minor; op. 59, No. 3, C major; March 16—op. 74, E flat major; op. 95, E minor; op. 127, E flat major; March 17—op. 130, E flat major; op. 131, C sharp minor; Saturday afternoon, March 18—
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assured. Serious advice and voice trials free. Careers directed. Harriet De Young, formerly Chicago Opera Company, care Mortimer Kaphan, Concert Director, 104 West 43d Street, New York. Telephone, 4288 Bryant.
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SEPTEMBER OPENINGS for colleges and conservatories: Pianists, men, salaries $3,000 to $4,000; men for Voice Culture, $3,000 and more; Violinists, $1,900. Voice
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