35
MUSICAL COURIER
March 30, 1922
lightful sample of the exquisite art of Mme. Hempel and it earned resounding salvos of applause for the popular singer.
Schubert and Schumann, sung with intense warmth and keen appreciation of musical values, bridged over the romantic part of the program to the very modern numbers by Hahn, Strauss and Pfitzner, all of which held the listeners by virtue of Mme. Hempel’s interpretative variety, wealth of tonal nuances and wide general resourcefulness.
The evening marked one great series of ovations for Mme. Hempel, to which she responded with encores and dozens of gracious bows and other amiable acknowledgments. Coenraad V. Bos was the more than able accompanist and his piano assistance played a very large share in the finished artistic aspect of the concert.
MARCH 22
Florence Trumbull
On Wednesday afternoon of last week, Florence Trumbull, pianist, made her debut before a small but very friendly audience at the Town Hall. Miss Trumbull opened her program with Mozart’s fantasie in D minor; pastorale and capriccio, Scarlatti, and “Gigue,” Haessler. This was followed by the Beethoven sonata, No. 1; a Chopin group, which included nocturne (No. 3), polonaise in E flat minor, berceuse, and etudes one and two. She concluded with Rachmaninoff’s “Serenade;” Leschetizky’s “Intermezzo Scherzando;” Saint-Saëns’ “Bourree,” and Liszt’s “St. Francis Walking on the Waves.”
Miss Trumbull displayed considerable talent and was interesting to hear. Perhaps in the Chopin group and the last numbers she gave more variety to her playing.
MARCH 23 Idelle Patterson
Idelle Patterson gave another of her delightfully artistic recitals at Aeolian Hall, on March 23, to a friendly and sympathetic audience. She opened her program with a group of classics, including Handel’s “Oh! Had I Jubal’s Lyre,” Haydn’s “She Never Told Her Love,” Mozart’s (Continued on page 38)
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La Première Danse ........................................Massenet
Après un Rêve ...............................................Fauré
Le Temps a laissie son	manteau...........................Debussy
Would God I Were the Tender Apple 'Blossom.........Arr. by Fisher
(Irish air from County Derry)
The Sprig of Thyme (English folk song)...........Arr. by Grainger
Turn Ye to Me (Old Highland melody)...............Arr. by Lawson
Gai Ion la (French Canadian folk song)...........Arr. by Manney
Dei Heiligen drei Könige (German Christmas song)............Josten
(First time)
La Girometta (Venetian folk song)..................Arr. by Sibella
The	Windflowers ..........................................Josten
The	Lament of the	Moon ...................................Josten
The	Swing Song . ..........................................Moore
The	Great Awakening ......................................Kramer
New York Philharmonic Orchestra: Ernest Schelling, Soloist
Willem Mengelberg led the Philharmonic Orchestra at the Metropolitan Opera House on Tuesday evening. The items of the program were: Brahms’ “Academic Festival Overture;” Ernest Schelling’s “Impressions from an Artist’s Life;” MacDowell’s suite, No. 2 (“Indian”), op. 48, and Liszt’s symphonic poem, “Les Preludes.” Except for the MacDowell suite these were but repetitions from the season’s repertory. The new Schelling work was reviewed at length when it was played a week or two ago. Schelling again played the piano part in masterly fashion, and the work pleased the audience immensely. The MacDowell suite has not been heard here for a long time in its entirety. No American has ever done better work than this. Compared with some of the products of today it sounds distinctly conventional. However, it gives no impression of being old fashioned, and one is willing to wager that it will continue to be played long after the ephemeral successes of today have been forgotten. There was a good sized audience which applauded lieberally.
Alberto Sciarretti
At Town Hall, on March 21, the American debut of Alberto Sciarretti, a young pianist, took place. An excellent performance was given, and in his playing a substantial tone, fine technic, and brilliancy were displayed. The program consisted of numbers by Martucci, Sgambati and others, all of which were artistically interpreted. Mr. Sciarretti appeared at first somewhat nervous, but it did not seem to affect his playing. He was enthusiastically applauded and obliged to give encores.
Frieda Hempel
One of the outstanding features of the charming and interesting recital given by Frieda Hempel at Carnegie Hall on Tuesday evening of last week was her remarkable pronunciation of English, the improvement in this regard being so marked that it was a subject of general comment among the auditors. Our native tongue has been acquired by Mme. Hempel in a degree of perfection which very few American singers reveal in their singing diction. However, languages do not seem to possess any terror for Mme. Hempel, as she sang also in German, French, and Italian, and throughout her program not even the most captious critic could find anything to depreciate in the finish of her diction and pronunciation.
It is as a vocalist, however, and as a singing interpreter, that Mme. Hempel reveals her greatest assets and these qualities were in evidence at the latest of her New York recitals. She never was in better voice and never gave a fuller exhibition of her powers as a matured artist in every sense of the word. Her tones had luscious warmth, her delivery and phrasing were accurate and polished to the last degree and her rare musical intelligence and experience were displayed in every number of her program. Aside from the lovely legato she possesses and the beauty of her lyric singing, there must be mentioned also her brilliant coloratura abilities and the last named were amply demonstrated in Handel’s “Thou Sweet Bird,” the rapid passages of which were gems of technical correctness and tonal effulgence.
In the very dignified Bach aria, “The Day Is Done,” Mme. Hempel proved that she is at home also in the strictest classical style and the delivery of the famous old air was marked by breadth of interpretation and chasteness of musical spirit. Another ancient classic, “Pauvre Jacques,” by Rameau also was done with the measure of devotion and refinement called for by the music.
In more modern vein were the polonaise from “Mignon” and Arditi’s “II Bacio,” both of which endeared themselves to the audience through Mme. Hempel’s very radiant presentation. She threw off runs and trills with the utmost ease and fluency and throughout the difficult music her intonation was flawless and her phrasing never was neglected in any effort to exploit merely her technic. It was a de-
.............................  Chausson
.......................... Rachmaninoff
(Dedicated to Miss Faas),
Frances McColiin
.........................Roger Quilter
.........................Wintter Watts
..................................Besly
Le Temps des Lilas........
V ocalise ...............
The Midnight Sea (Mss.)
Dream Valley .............
Pierrot ..................
Three Fairy Songs.........
MARCH 21
Henrietta Conrad
The recital given by Henrietta Conrad, soprano, assisted by Frank La Forge at the piano, on March 21, at Aeolian Hall, proved to be a very interesting affair.
Miss Conrad, who was heard in New York two seasons ago at one of the Symphony Society’s concerts under Walter Damrosch, again revealed herself as a sincere artist. Her interpretations were emotional, full of warmth, and descriptive, each number being rendered with particular intelligence and excellent tone coloring.
Her program contained German, French and English groups, comprising “Widmung,” Schumann; “Gretchen am Spinnrade,” Schubert; Brahms’ “Von ewiger Liebe” and “O liebliche Wangen;” Wolf’s “Zur Ruh, zur Ruh,” “Maus-fallen-Spruechlein,” “Gesang Weyla’s,” and “Ich hab in Penna einen Liebsten;” “Lied Maritime,” D’Indy; “La Flute enchantée,” Ravel; “Air de Lia,” Debussy; “May, the Maiden,” Carpenter, as well as Frank La Forge’s “Nocturne,” “Reawakening” (which had to be repeated), and “To a Messenger.” In addition to these she was obliged to give four encores. She received floral pieces in abundance, sufficient to cover the piano. Mr. La Forge’s accompaniments were rendered masterfully.
Calvé
Emma Calvé was heard in her second recital of the season at Carnegie Hall on Tuesday afternoon, March 21, this concert being under the auspices of the Women’s Department of the National Civic Federation, New York and New Jersey section. It is needless to say that the audience was large and proved very responsive.
Mme. Calvé, looking very smart in a flowing black gown, seemed to be in excellent vocal form, and from the outset of her program captured her hearers and held their attention and admiration until the final number. She is still a great artist and should be a model for numerous singers now appearing before the public. Fler big voice possesses a warmth and richness that is delightful, and she sings with such feeling and skill that one never tires of her, as is the case with some singers after the first group or two is over. She is magnetic and natural in her movements and gestures, all of which makes her the more interesting.
The large audience upon this occasion found much that was delightful and let the singer realize this frequently. Romualdo Sapio furnished artistic accompaniments for the singer in the following program:
.........Franck
.......Caccini
.......Schumann
.......Schumann
..........Lulli
Rimsky-Korsakoff
.......Massenet
.......R. Hahn
....Anonymous
.......Massenet
..........Bizet
.....Anonymous
.....Anonymous
.....Anonymous
.....Don Perez
Nocturne ................................
Tiedes haleines .........................
Le Noyer ................................
La Rose, le lys..........................
Amour que veux-tu de moi.................
Aimant la rose...........................
Les larmes (from “Werther”)..............
L’heure exquise .........................
Beau Ramier ...................
Légende de la sauge (from Le Jongleur)
Habanera (from Carmen)...................
La Lisette (Old folk songs)................
Pierre et sa mie (Old folk songs)........
Montagne Pyrénées (Old folk songs).......
Ay ! Ay ! Ay ! (Spanish Song)............
Evelyn MacNevin
Evelyn MacNevin, contralto, appeared in recital at Aeolian Hall, March 21. Unfortunately she was suffering from a severe cold, which interfered with her freedom of tonal emission. However, she sang intelligently and with knowledge of musical style. At her New York recital last year, when she was in good vocal condition, she revealed a voice of beautiful quality and received very flattering comments from the press.
On her program were three songs by her accompanist, Werner Josten, one sung for the first time. “The Swing Song,” by Moore, had to be repeated. The large audience was appreciative and called for encores.
The following program was given:
. . . . Rossi Pergolçsi . . Handel . Scarlatti . .Franck
Ah rendimi (Aria from Mitrane)
Se tu m’ami se sospiri................
Care Selve ..........;..............
Su Venite a consiglio...............
La Procession ......................
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The National Meeting of Harpists will be held at The Blackstone April 5th, 6th and 7th, 1922. The Drake and The Blackstone are under the same management