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MUSICAL COURIER
March 30, 1922
RICHARD BÜRGIN WINS NOTABLE SUCCESS
AS SOLOIST WITH BOSTON SYMPHONY
Young Concertmaster Gives Enjoyable Performance of Concerto—Clara Butt Heard Anew—Haitowitsch Pleases in Recital—Carmela Ippolito Soloist with People’s Symphony—Pawlowski in Piano Recital
that Mr. Courboin alternated with Marcel Dupre, organist at Notre Dame Cathedral, Paris, in the brilliant inaugural recitals when the new organ was installed last fall. The programs were given at times when the school teachers could not attend, so in response to many requests, Dr. Alexander Russell, concert director, arranged the special program for March 18, in order that the teachers might be present to enjoy the playing• of Mr. Courboin.
The auditorium was crowded, and the audience in wrapt attention listened to the following program:
Grand Chorus Magnus......................................Dubois
Aria from suite in D...................................    Bach
Toccata and fugue in D minor..............................Bach
Sketch in D flat.......................................Schumann
Third Chorale in A minor............................     Franck
Nocturne in G minor......................................Chopin
Preludium ............................................Jarnefelt
Toccata from fifth symphony...............................Widor
The concert added another triumph to the already large list of Wanamaker accomplishments. Prior to the recital, Dr. Russell introduced George H. Gartlan, director of music in the public schools of Greater New York, who thanked the Wanamaker management for the consideration shown to the music teachers.
On Saturday, April 8, Mr. Courboin will give a special recital for the members of the New York City High School orchestras.
Penn State Glee Club’s Activities
The Penn State Glee Club, Clarence C. Robinson, director, gave a concert in the auditorium on Sunday afternoon, February 26.
SONATA RECITALS
FRANCIS
IVI O ORE
PIAMO
and
HUGO
VIOLIN
Comments on the Recital given in Aeolian Hall, New York, February 16, 1922:
“Excellent individual attainment, joined with admirable unity of purpose, made their playing highly enjoyable. Three sonatas made up the program. Beethoven’s Opus 30, No. 2, in C minor; Mozart’s in B flat major, and Opus 36 of Gabriel Pierne. Both Mr. Kortschak, who was leading violinist of the Berkshire String Quartet, and Mr. Moore, well and favorably known, are experienced ensemble players and were well qualified to give pleasure in a program of this kind.”—■N. Y. Tribune, Feb. 17, 1922.
“Their individual and ensemble work in sonatas by Beethoven, Mozart and Pierne was a reflection .of taste, style, understanding and ability.”— N. Y. American, Feb. 17, 1922.
“The artists showed a good appreciation of their ensemble work. Their tonal quality, balance and precision were commendable and on the whole the performance of the two players had understanding, finish and nuance. Their playing was enjoyed by a large audience.”—N. Y. Herald, Feb. 17, 1922.
“These works were interpreted in a spirit that was highly sympathetic to all of them, different as they are, and a large audience turned out to witness the enthusiasm that chamber music can still evoke, especially from the violin of Mr. Kortschak and the piano of Mr. Moore.”—N. Y. Sun, Feb. 17, 1922.
“The rugged and tender melodies of Beethoven’s sonata in C minor for piano and violin were heard at Aeolian Hall when Francis Moore and Hugo Kortschak gave a sonata recital. Playing in admirable accord, these artists gave further evidence of high musicianship in a program that included Mozart’s B flat major sonata and the Pierne sonata, op. 36, bringing to the former a graceful charm and simplicity and to the latter a happy treatment of the French subtle harmonies and delicate melodies.”—N. Y. Eve. Mail, Feb. 17, 1922.
Management: EVELYN HOPPER, Aeolian Hail, New York
CHICKERING PIANO USED
in the difficult passages of Paganini’s work. Mr. Haitowitsch was most effective, however, in music of a more reflective nature, playing with sincere emotion and always in fine taste. His listeners were obviously impressed and applauded him vigorously. Mr. Sapiro was an exceedingly helpful accompanist;
Carmela Ippolito Soloist with People’s Symphony. •
Carmela Ippolito, the gifted young־ Italian violinist, was the soloist at the nineteenth concert of the People’s Symphony Orchestra, Emil Mollenhauer conductor, Sunday afternoon, March 19, at St. James Theater. Miss Ippolito exhibited her fine abilities in Saint-Saëns’ melodious concerto in B minor, reflecting in no uncertain way the profound musical learning of her far-famed teachers, Charles M. Loeffler and Georges Longy. To Miss Ippolito’s innate musical feeling has been added a sense of phrasing which contributes greatly to the enjoyment invaraibly yielded by her playing. She was applauded with enthusiasm.
The other numbers on the program were Elgar’s “Dream of Gerontius,” the seventh symphony of Beethoven, and Wagner’s overture to “Rienzi.”
Carl Pawlowski Pleases in Recital.
A favorable impression was made by Carl Pawlowski, pianist, at his intial recital in this city Friday evening, March 24, in Jordan Hall. Mr. Pawlowski showed unmistakable talents in a well-varied program drawn from Schumann, Chopin, Rachmaninoff, Arensky, Scriabin and Liszt. He has already achieved no little degree of technical skill; he has a good sense of rhythm, understands musical structure and plays with feeling. Mr. Pawlowski should strive for a more effective command of nuance and for a surer knowledge of interpretative tradition than he now possesses. His audience was appreciative and he added to his program.
New England Conservatory Notes.
Baldassare Ferlazzo, a young boy of the North End, won the competition, March 20, at the New England Conservatory of Music for a prize of a violin made and given by P. Paltzerson of this city. There were five contestants. The judges, who were Richard Burgin, Georges Fourel and Julius Theodorowicz, of the Boston Symphony Orchestra, were unanimous in their decision. Honorable mention was given to Manuel Zung, also a Boston boy.
Young Forlazzo, who is fifteen years old, entered the Conservatory two years ago last September as a pupil of Roland Reasoner. During the present season he has been studying with Harrison Keller. Besides playing the Corelli sonata in D major, which was required of all the contestants, Mr. Ferlazzo played as his personal selection the first movement of De Beriot’s concerto, No. 9, in D minor.
A. R. F.
after Florence Easton’s appearance there as Sieglinde in “Die Walküre” on March 14. This verdict only confirms what all the New York critics wrote about this artist’s performance of the same role at the Metropolitan last month. Incidentally, Miss Easton has scored again in a new leading role at the opera, that of Fiordiligi in Mozart’s “Cosi fan tutte,” a part which is peculiarly suited to her voice and style.
Forthcoming Engagements for Jollif
Norman Jollif has been engaged to sing the part of Valentine in “Faust” at the Springfield (Mass.) Festival on May 12. This is the result of Mr. Jollif’s success in “Carac-tacus” at Springfield two years ago. On April 28 he will sing Verdi’s Requiem at Fitchburg, Mass., under the direction of Nelson P. Coffin, and “The Elijah” with the Boston Handel and Hadyn Society on Easter Sunday.
Richard Hale to Give Recital
On Friday evening, April 7, at Aeolian Hall, Richard Hale, baritone, will give his annual recital. An interesting and varied program has been arranged and the public will have another opportunity to hear Mr. Hale, who achieved so splendid a success after his appearance last year at the above mentioned hall.
Courboin Plays for Music Teachers
The third organ recital of the 1922 season in the Wanamaker Auditorium, New York City, was played by Charles N. Courboin, in honor of the “Teachers of Music in the Public Schools of Greater New York.” It will be recalled
Boston, Mass., March 26, 1922.—Richard Burgin, the musicianly young concertmaster of the Boston Symphony Orchestra, won new laurels when he appeared as soloist with that band Thursday evening, March 23, at Sanders Theater, Harvard University. Mr. Burgin gave a fresh demonstration of his familiar abilities in Mendelssohn’s songful concerto, bringing out its lyricism without the cloying sentimentalism which so often mars enjoyment of this justly popular work. He was warmly applauded and recalled.
The purely orchestral numbers of the program were Tschaikowsky’s dramatic symphony in F minor, which received a fine performance; Saint-Saëns’ stirring symphonic poems of Omphale’s spinning wheel, and Goldmark’s turbulent overture, “Im Frühling.” Mr. Monteux was in the vein, and the orchestra played brilliantly.
Large Audience Greets Clara Butt.
Dame Clara Butt, the popular English contralto, and Kennerley Rumford, baritone, sang at Symphony Hall, Sunday afternoon, March 19, to an unusually large audience for concerts of this character. Assisted by “Melsa, the Celebrated Polish Violinist,” and Grace Torrens, an able accompanist, they were heard in a long program of rather uneven interest. Dame Butt recalled old pleasures in songs from Beethoven, Gluck, Haydn, Goodheart and German. Mr. Rumford also pleased the audience in pieces by Williams, Davies, Ireland, Farrar, and a folk song arrangement by Sharp. Mr. Melsa played compositions labelled Pugnani - Kreisler, Schubert - Wilhelmj, Paganini - Auer, Wieniawski and Hubay. There was enthusiasm in abundance, especially for Dame Clara Butt. It is to be hoped that on her next visit to this city she will present a program of greater interest and more deserving of her gifts.
Blind Violinist Makes Splendid Impression.
Abraham Haitowitsch, blind Russian violinist, played in Boston for the first time Thursday evening, March 23, in Jordan Hall, winning fine success. Mr. Haitowitsch, whose vision was impaired in early childhood, acquiring his musical training through the Braile system of raised characters. Disclosing unusual talent, he was sent to the Imperial Conservatory in Petrograd in 1911, and was graduated with the highest honors.
Mr. Haitowitsch’s program indicated that he is an artist of serious purpose, with no desire to win favor except on merit. Opening with Brahms’ sonata in D minor, an exacting and not the most grateful work in the violin repertory, he proceeded with Wilhelmj’s transcription of Paganini’s ornate concerto in D major, continued to pieces by d’Am'brosio, Kreisler, Achron and Hubay, and brought his interesting list to a close with numbers by Aulin and Wieniawski. The violinist was brilliant where brilliance was demanded, as in the final movement of the sonata and
Mary Mellish with St. Louis Symphony
Mary Mellish, who is finishing her fifth season as a member of the Metropolitan Opera Company, has been engaged as soloist by the St. Louis Symphony Orchestra for the
WHAT THE PRESS SAYS New York Herald.—“Her voice is one of unusual beauty and volume. She sang with much warmth.”
New York Tribune.—“As an interpreter she displayed intelligence and authority. Her voice is beautiful and her diction fine.”
Carnegie Hall, New York
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Management, Derrel L. Gross, Room 115,
EDMUND BURKE
BARITONE
Formerly of Covent Garden; Royal Opera, Holland; Municipal Opera, Marseilles; Beecham Opera, London, is now under the
Management of CHAS. N. DRAKE, 507 Fifth Avenue	New
AMERICAN TOUR 1922-23 NOW BOOKING
Photo © by Lumiere Studios
MARY MELLISH,
soprano of Metropolitan Opera Company.
performance of three oratorios. On April 27 she will sing Coleridge-Taylor’s “Tale of Old Japan” and “The New Earth” by Hadley, at Decatur, 111., and two days later “Hiawatha’s Wedding Feast” by the first named composer.
Easton’s Sieglinde Welcomed in Philadelphia
“Vocally, she was as interesting as any of the great array of sopranos who have made the role memorable,” was the verdict of the music critic of the Philadelphia Record