M arc h 3 0,1922
Musical courier
48
OPINIONS OF THE PRESS
phrasing and modulation. They were warmly applauded and recalled—Herman Devries, Chicago American, March 1, 1922.
Hans Hess and Rudolph Reuter were heard early in the program in a suave, gentlemanly work by Mendelssohn, which they played excellently.—E. Moore, Chicago Tribune, March 1, 1922.
Mme. Liszniewska with Ysaye in Washington
Mme. Marguerite Melville Liszniewska, the well known pianist, head of the piano department of the Cincinnati Conservatory of Music, has had the honor this season of introducing to America the piano concerto by Theo Ysaye, brother
MARGUERITE MELVILLE LISZNIEWSKA
A recent portrait by the celebrated Polish painter, Gzedekowski.
of Eugene Ysaye, conductor of the Cincinnati Symphony Orchestra. She has played with the orchestra, Ysaye conducting, in several cities, its latest presentation being in Washington, where all the critics praised her playing highly and she won a genuine success with the public. This is what the Washington press said:
Washington officially and socially paid homage to the Cincinnati Symphony Orchestra yesterday afternoon, when the celebrated Belgian violinist, Eugene Ysaye, came as conductor, and Marguerite Melville Liszniewska appeared as soloist. Doubly interesting was the aopearance of Mme. Liszniewska for she played for the first time here a concerto by Theo Ysaye, brother of the conductor, and proved herself an artist of force, of decisive, almost virile spirit, with a feminine quality of tone color that promises very beautiful playing of Chopin. Mme. Liszniewska varied from pearl-toned liquid passages to most exquisite delicacy in Caprice. Her delineation is clear and also dramatic, her grace suave and flowing with an abundant technic. In romance her tone is caressing, in accent it can hz biting. For encore this gifted American pianist gave a Polish folk melody arranged for piano by Friedman.—Washington Times, March 15.
Little Anita Malkin Astonishes Chicago
Ten year old Anita Malkin startled and amazed a large audience at Orchestra Hall on Sunday afternoon, March 5, when she presented a difficult program in a most extraordinary fashion. That little Anita is a remarkable violinist is told in the following glowing tributes:
Little Miss Malkin is not 10 years and the most charming artist of her years that I remember. She is such a staid, self-possessed young miss and so absorbed in her music that she has avoided those airs and graces which are so irritating in most of these infant phenomena. She walks sedately to her place upon the stage and curtsies to the audience. She has been told that it is the correct thing to do, but you feel that her whole mind is concentrated on the music and that she puts the people out of her thoughts as soon as she can. She is not there to pay attention to them, but to play the music.
Of course she is unusually talented; yet you gain the impression that her mind is developing. She feels the music structurally, if one may so put it, rather than_ emotionally. There is the melodic line and there are the decorative figures, all of which she is to bring out, with due proportion. Her mental grasp of the music is remarkable. What she comprehends and has learned to do she plays with admirable poise. You feel sure that she could do it as many times as you wished to have her and get it right every time, because she has grasped it.
Her attitude toward the music is sane and healthy. There is nothing of the emotionalism which is an almost infallible sign that their powers will burn themselves out shortly and leave nothing save dead ashes at the time when normal people are just reaching maturity.—Karleton Hackett in the Evening Post.
In her interpretation of the first movement of the Mendelssohn concerto—she pla}ed it all—she displayed a simplicity of taste, an intuitive musical manner and a technical prowess, all of which
ANITA MALKIN,
violinist.
qualifications give sure indications that she should go far in her artistic work if the conditions remain propitious.—Maurice Rosenfeld in the Daily News.
This true musician stands four feet high and is 120 months old.— Chicago Daily Journal.
Mme. Liszniewska identified herself absolutely with the orchestra and seemed quite unconscious of her importance, as if she were
EDWIN HUGHES
THE EMINENT AMERICAN PIANIST
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Anita Malkin’s precocious talents were introduced to the Chicago public by Mr. Stock two years ago, when this gifted daughter of Joseph Malkin, first violoncellist of the Chicago Symphony Orchestra, made her debut in a children’s concert.
Yesterday I heard her play Mendelssohn’s concerto for violin astonishingly well. Not only is she technically beyond her years, she possesses as well powers of expression that are almost mature instead of the sentiment of a 10-year-old child.
Her bow arm is vigorous but graceful, her left hand very flexible and sure, and her trill remarkable.
She is charming in her childlike simplicity, and the audience appreciated these qualities and showed their understanding by very cordial applause. There were many flowers, too, with which Miss Malkin was evidently delighted.—Herman Devries in the Evening American, March 6.
She plays the violin in a way that plenty of much older people would like to be able to do. With all the aplomb in the world she sailed serenely through Mendelssohn’s concerto at a very_ good speed with single and double notes almost invariably in the middle of the pitch, with a tone that neyer failed to be full and never became a squeak, finally, most startling of all, with an idea of musicianship. Give her time—not so very much at that, apparently—and at the present rate she will make a stir.—Edward C. Moore in the Daily Tribune.
Hess Wins Praise in Program with Reuter
What the Chicago critics had to say in regard to the second cello sonata program which Hans Hess gave in conjunction with Rudolph Reuter, pianist, recently, is told in the following encomiums:
Hans Hess and Rudolph Reuter gave the second of their sonata concerts for cello and piano last evening. The Mendelssohn sonata was excellently played. . . . There was no sense for any virtuoso playing nor for effect, but a sincere expression of the meaning of the music. Sonatas, at least some of them, can be made enjoyable, which is the prime function of music. Mr. Hess and Mr. Reuter succeeded in the first part of the program and I doubt not also in the last part, only I could not remain to hear them.—Karleton Hackett, Evening Post, March 1, 1922.
Hans Hess and Rudolph Reuter brought forth at Kimball Hall one unfamiliar work in Ernst von Dohnanyi’s sonata for cello and piano. . . . The performers gave it a clear and artistic rendition.
. . The concert was a treat for chamber music enthusiasts who were present in large numbers.—Maurice Rosenfeld, Chicago Daily News, March 1, 1922.
The Dohnanyi sonata was the modern work offered. It was splendidly played by these two excellent musicians, with fine tone and a capital amount of energy and taste. The Grieg sonata was played in a very happy vein and flawlessly, of course. Chicago Journal, March 1, 1922.
The two artists gave the Mendelssohn sonata a loving and careful reading, exhibiting fine tone quality and a nice feeling tor
THE HIGHER TECHNIQUE OF SINGING
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