MUSICAL COURIER
34
March 30, 1922
quency with which these numbers are heard made them doubly interesting.
Margaret Keyes
A good sized and appreciative audience attended Margaret Keyes’ song recital at the Town Hall, March 20, expressing every interest by close attention, and sending of many gorgeous flowers to the well known contralto. She sang classic songs of the Italian school (1714-1816), and followed these with seven songs by Brahms, after which she had many recalls. "Botschaft” was thoroughly enj oyed. The third group consisted of songs by living French composers, the last of which, “Villanelle des Petits Canards” (Emmanuel Chabrier), had to be repeated. “Le Temps des Lilas” (Ernest Chausson) received much applause also. In the fourth group were songs by Harling, Moor, d’lndy, and Chabrier, of which “The White Rose” and “Night Song” were very much liked. Miss Keyes’ aplomb and professional ease on the stage, united with her deeply expressive contralto voice and always distinct enunciation, won her renewed recognition of her artistic stature. Applause continued so fervently after the last songs that she had to add two encores, “Danny Boy” and “Mistress Mine.” Coen-raad V. Bos played accompaniments worthy of his high standing.
Mildred Faas
An interesting program was presented in an artistic manner by Mildred Faas at her Town Hall recital, Monday afternoon, March 20. Her first group of old airs was well suited to her clear, bell-like soprano voice, and in the song from “The Peasant Cantata,” by Bach, there was a delightful touch of humor. The Schubert and Schumann songs were given with a charm of sentiment that was appealing. The French group, too, was given with expression and thoughtful interpretation. The “Vocalise,” by Rachmaninoff, sung entirely on the syllable “ah,” was not merely the vocal exercise it might have been with less artistic singers; Miss Faas put as much meaning and as much feeling into it as though she had been actually singing the words. In the English group, “The Midnight Sea” (MS.), by Frances McCollin, was dedicated to Miss Faas.
Miss Faas’s voice is especially well adapted to delicate or wistful songs such as “Pierrot.” She sings with good taste and musical intelligence, and added to these are a gracious stage presence and a charming personality.
Coenraad V. Bos at the piano gave the excellent accompaniments for which he is noted. The program was as follows :
Amour, vois quels maux	tu	nous fais.......................Lully
Now Is the Month of	Maying..............................  Morley
Dido’s Lament ............................................Purcell
Ach es schmecht doch gar	zu gut, from The Peasant Cantata.. .Bach
Ave Maria .............................................  Schubert
Die Forelle .............................................Schubert
Du Bist wie eine Blume...................................Schumann
Frühlingsnacht ..........................................Schumann
Le Matin ...................................................Bizet
Les Cloches de Bruges.......................................Staub
N E-NV YORK CONCERT*/■
anniversary. This original sketch of Miss Draper’s has only three episodes—the first year, after fifteen, and after forty. It is entertaining and she takes a much more human and sympathetic view than the play mentioned above.
“A Lesson in Soul Culture,” which is a sequel to “A Class In Greek Poise,” was a scream. The program, ending with “Vive la France,” had the possibilities of being dramatic though Miss Draper did not work up to a very convincing climax. There is only one Ruth Draper, and she enjoys the distinction of being individual and having an art that is all her own. One can hardly find better entertainment than . is offered by this versatile artist. It is also a credit to her that she writes all of these monologues herself. This series will continue with three recitals a week, until April 7. Many new selections have been added to her program.
MARCH 20
New York Chamber Music Society
On March 20, the New York Chamber Music Society, founded by Carolyn Beebe, gave the third and last of its season’s subscription concerts in Aeolian Hall. This organization, which comprises Carolyn Beebe, piano; Scipione Guidi and Arthur Lichstein, violins; Joseph Kovarik, viola; Cornelius Van Vliet, cello; Anselm Fortier, double bass; Gustave Langenus, clarinet; Nicholas Kouloukis, flute; Bruno Labate, oboe; Benjamin Kohon, bassoon, and Maurice Van Praag, French horn, has attained a very high place in the regard of metropolitan audiences. The receipts from this concert were used to swell the half million dollar general endowment fund which is being carried forward on behalf of Wilson College.
By a strange coincidence, the program opened with the same, seldom-heard composition by Brahms, the trio in E flat major, which served as the first number on the program which the Beethoven Association presented in the same hall exactly one week previously. The three players gave it an interpretation which was eminently pleasing and called forth appreciative applause. Of special interest was the andante and scherzo, still in manuscript, which Henry Hadley composed and arranged especially for the society. This is for piano, two violins, viola, cello, double bass, flute, oboe, clarinet, bassoon and French horn. It proved a melodious work, arousing the spontaneous approbation of the delighted audience. Mr. Hadley was present and graciously bowed his thanks from a box. The remaining numbers were the Cole-ridge-Taylor quintet for clarinet, two violins, viola and cello, and the Roussel divertissement in A minor, op. 6, for piano, flute, oboe, clarinet, bassoon and French horn. The infre-
MARCH 19
Miron Poliakin
On March 19, Miron Poliakin gave his second recital of the season at Carnegie Hall, the huge auditorium being practically filled with an enthusiastic audience.
This violinist made his debut at Aeolian Hall a few weeks ago when he created a favorable impression. He was sufficiently successful to be offered again at the larger hall. It seemed that he played with much more skill than at the first hearing. He had lost most of the nervousness that was apparent, and produced a tone that was broad and full and not without considerable richness despite the fact that many times his intonation was not exact. His style is not particularly brilliant but he displays considerable musician-ship. There have been so many violinists introduced to the American concert audiences during the last three years that one must play with exceptional ability in order to attract more than general interest. His program was not marked by any particular variety.
The first selection was the Charlier arrangement of the Vital¡ “Chaconne.” This was followed by the E minor concerto by Mendelssohn. The third group composed “Ha-vanaise,” Saint-Saëns; “Hungarian Dance No. 1,” Brahms; nocturne in D major, Chopin-Wilhelmj ; rondo, Mozart, and closed with the larghetto, Handel, and polonaise in D major, Wieniawski.
To the writer’s mind the last two groups were the most pleasing. There was contrast in these selections, and he played with more sweetness of tone than in the Mendelssohn number, where he was often faulty in pitch.
It is understood that Mr. Poliakin will make an American tour next season. Paul Frenkel played satisfactory accompaniments.
Ruth Draper
On March 19, Ruth Draper gave the second recital of the series which she is offering at the Selwyn Theater. There was not a seat to be had and quite a few were standing. Miss Draper is unique, and her vogue in New York is justly deserved. Some of the numbers were familiar to many Draper fans. For instance, “A German Governess,” “At an Art Exhibition” and “A Southern Girl at a Dance,” but there was one particularly interesting number which was new, “Three Breakfasts.” This seems to be popular for the moment. Two weeks ago a play was offered at the Princess Theater entitled “The First Fifty Years,” showing rather a cynical view of married life up to the fiftieth
Ralph Leopold
THE POETIC PIANIST
Par Excellence
A Few Recent Press Comments:
He showed himself an artist of substantial attainment, of broad grasp as regards both classic and romantic masters.—New York Times.
He has what every modern pianist must possess, an admirable technic, but he also possesses what is not given to everyone, a beautiful touch and rich, mellow tone. He played with complete lack of effort and with absolute simplicity.—New York Post.
He played with a bold freedom of style, finely developed and sure technic. There was convincing power and understanding in his performance.—New York Sun.
Mr. Leopold is among the best American virtuosi, his art being of a crystalline beauty, in which he brings forth the poetry of the music. His pianissimos and tender effects are as fine as those of any player on the boards.—New York Evening Mail.
Mr. Leopold’s playing gave genuine pleasure because of its musical solidity, its sanity, its technical cleanliness, its manly vigor, its unaffected warmth and expressiveness.—New York American.
Ralph Leopold Will Be in the Middle West During October and November IQ22
BOOKINGS FOR THE SEASON BEING ARRANGED NOW
Steinway Piano
Management: RAOUL BIAIS, Metropolitan Opera House