MUSICAL COURIER
8
N E־W YORK CONCERT/
MARCH 27
April 6, 1922
score. Miss Kemper was again heard in Mendelssohn’s concerto, which was made interesting by her force of person-ality and individuality, and in three smaller pieces, among which A Walter Kramer’s “Eklog” was of outstanding beauty.״ Miss Kemper terminated her part of the program by a vivid rendition of Wieniawski’s polonaise in A. She - was received throughout with most hearty manifestations of approval.
Miss Grow is always delightful, and especially so in such songs as were listed on this program—a group of five from the modern French and half a dozen gems by Mr. Huss, who could not wish for a more gifted interpreter. Miss Grow possesses a voice of a warm, velvety quality that would be agreeable to listen to even if it were not controlled by the skill and intelligence which this highly musical artist gives to it. The fact that Miss Grow has had the advantage of being brought up in musical surroundings, and the incomparable foundation of musical antecedents is manifest m all that she does. She is an artist of the first order.
Charles Carver
It was an excellent program, presented with a splendid sonority of tone and an artistic finish quite unusual and showing a steady progress towards a manifestly high goal, which Charles Carver presented to an enthusiastic audience on Monday afternoon, March 27, at Aeolian Hall. That old reliable, Handel’s “Hear Me, Ye Winds and Waves” was the opening number, followed immediately by three songs of Robert Franz—“The Sea Hath Its Pearls,” “Born of a Pam Undying” and “Marie at the Lattice.” Mr. Carver at once established himself in the good graces of his audience, and the enthusiasm waxed steadily throughout the program, which included the “Sapphic Ode” of Brahms Griegs The Way of the World,” “Ruhe meine Seele” and Heimhche Aufforderung” of Strauss, “In the Silence of Night״ and “The Lord Is Risen,” Laparra’s “Des Pas des Sabots, a charming old French song (“An Passant par la Lorraine ) two songs by ■Mr. La Forge (“Longing” and Heart Mislaid”), closing with two Mexican folk songs Of these, special praise is due his rendition of “Heimliche Aufforderung,” the two numbers by Rachmaninoff and the two by Mr. La Forge. Mr. Carver is gifted with a naturally big voice of unusual beauty and range, the development of which has been one of steady progress. Added to this is a stage presence, straightforward and manly, which cannot fail to attract. The artist was obvious in all he did, and his enthusiastic audience manifested its desire to have the program lengthened by the addition of encores, which he graciously accorded.
Frank La Forge, composer-pianist, acted as his accompanist, playing without any notes in accordance with his inevitable custom, and giving to the singer that invaluable support and sympathetic help for which the name of La Forge has become noted.
Chamber Music Art Society
Combinations of strings and wind instruments in chamber music form are always pleasing to the musician. How much the general public may enjoy it is problematical, but, at all events, there was a good sized audience at the concert of the Chamber Music Art Society at Town Hall on March 27, and it seemed to enjoy the music, especially the divertissement by Albert Roussel and the Schubert octet. As for the Brahms trio for piano, clarinet and cello—well, it was by Brahms, and opinions differ on the subject of this composer more than even upon the subject of the moderns. Some like him inordinately and compare him with the Beethoven; others cannot see any beauty in his melodic line Certainly it is music worth playing because of the excellence of the workmanship that went into the making of it, and the trip was excellently played on this occasion, the players Charles Hart (piano), Georges Grisez (clarinet), and Percy Such (cello). Other members of the organization who took part in this concert were Cyril Towbin, violin; Karl Kraeuter, violin; Nicolai Moldavan, viola; Arthur Lora, flute; John Schon, bassoon; Albert Marsh, oboe, and Arthur Geithe, horn. The ensemble was uniformly excellent; there was commendable precision of attack and good tonal balance. The playing of Albert Marsh, oboist, was especially notable for its beauty and artistic finish.
MARCH 28
New York Philharmonic Orchestra: Cornelius Van Vliet Soloist
The Philharmonic Orchestra, Willem Mengelberg conducting, at the Metropolitan Opera House on Tuesday evening, March 28, repeated two numbers from recent pro-Srams—Bach B minor suite, No. 2, and the Tschaikowsky
Pathetique” symphony. The other number for the evening was the D’Albert cello concerto, played by the orchestra’s first cellist, Cornelius Van Vliet. Mr. Van Vliet has been known and valued in New York for several years as a soloist- His performance of this seldom heard concerto was of the firsp rank. His technic is impeccable, his tone excellent, and his musicianship of the highest quality. The concerto itself, absent from New York programs for many years, is a melodious, effective work, and it lost none of its effectiveness in the splendid performance given it by Mr Van Vliet, who was repeatedly recalled by the audience.
Philadelphia Orchestra: Hans Kindler Soloist
With Hans Kindler as soloist and Stokowski in his usual supremely excellent form as conductor, the Carnegie Hall concert of the Philadelphia Orchestra on the evening of March 28 was a memorable occasion. The interest was also enhanced by the fact that Strauss’ tone poem, “Tod und Verklarung”—Death and Transfiguration—was played giving an opportunity for a comparison between the composers own conducting of this stupendous and inspired work and the conducting of Stokowski. And the curious part about it is that, in the opinion of not a few musicians who were heard to express their views on this occasion, Strauss came off second best. That was also the opinion of this reviewer Strauss is no doubt weary of repeating over and over again these compositions of many years ago. Youth has given way to age, and the youthful ardor that led to those wonderful early compositions has gone the way of all earthly things. But, however that may be—and it is at best a mere
the trio, op. 97. Both trios were presented with excellent effect, while in the sonata both Messrs. Adler and Guidi not only revealed their extraordinary musicianship but their virtuosity as well. A very large audience attended.
Ruth Kemper
Assisted by Henry Holden Huss, composer-pianist, and Ethel Grow, contralto, Ruth Kemper gave a violin recital on March 27 at the Waldorf-Astoria before a distinguished audience which included a number of musicians and amateurs prominent in the world of music. The program opened with a colorful performance of Mr. Huss’ sonata for violin and piano in G minor,_ op. 19, played by Miss Kemper and Mr. Huss. It is a brilliant and beautiful work, full of pleasing melody and forceful rhythms and developed in masterly fashion. Its rendition upon this occasion left nothing to be desired, Miss Kemper’s fine tone blending perfectly with the sonorous clarity of the composer’s interpretation of his own
New York Trio
The New York Trio presented compositions by Beethoven exclusively, comprising trios, op. 1, in E flat major, and op. 97, in B flat major, as well as sonata for piano and violin, op. 47 (“Kreutzer”), at its third and last concert of the season on March 27 in Aeolian Hall.
An entire evening of Beethoven is rather a heavy diet, but as presented by these three master musicians it afforded continual delight. Every minute detail of light and shade, as well as rhythmic precision and majesty, was religiously brought out, which made the concert one of extraordinary charm and transplanted the audience for the time being from Mother Earth to celestial surroundings.
The concert opened with the trio, op. 1, which was followed by the famous “Kreutzer” sonata and closed with
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WHEELING INTELLIGENCER WHEB־fi.!£L_iEGI5T.E.l
Lyric Tenor Gives Splendid Recital
Fredarie Gtutster Renders Beautiful Program at Martins Ferry
By ROBERT PER MAR
Mr. Frederick Gunster,' American lyric tenor, sang a distinctive and beautiful program in the First Pre’byterian church at Martins Ferry, last night. He came under the ausplices of the ■Lecture-Recital Club who deserve the appreciation of the music-lovers for this splendid effort. It was a pretentious undertaking for an organization of this sort. Gunster is an artist of unusual attainments. His work is slowly and surely coming into the recognition that it deserves. It therefore reflects honor upon the committee, under the able direction of Mrs. Neilly, to sponsor• a recital of this value. May their future efforts be as successful as this one It is our belief that they will if this standard is kept.
While I would have liked to hear Mr. Gunster sing an oratorio aria (a field in ,which he has attracted very cordial notice) the program he ■presented was of genuine musical importance and of admirable balance. The first group included two of the best known modern French classics, Rabey's “Jes Yeux” and Fourdrain’s "Ma Maison”, and Gluck’s ■austere and lovely “0,)del mlo dolce ardor,” a work of cameo-like, pristine 1beauty. Gunster'3 true 1 legato, suave and fully controlled, and his purity of tone was heard in this fine old aria to excellent advantage: Grieg’s “A Swan” and “In a Boat,” Hugo Wolf’s “Secrecy” (one of the greatest of his magnificent German lieder), and Rubenstein’s "The Aera" were his second group. It was Gunster’s singing of Grieg that made the^netropolitan critic praise him worm-ly. He did them finely. His musician’s conception, his ingratiating quality, and his wise use of the nuance brought into the interpretation of Greig’s master songs the beauty and innate ■power that is their essence. Twelve widely diversified songs, with four encores, completed the program. Most interesting a-mong them were: Dvorak’s poignantly beautiful “Songs My Mother Taught Me,” (the difficulty of which, by the way, is suggestive of the deceptive s'im-plicity of Schubert); a, Russian group including Gretaninoff's surging “Mon Pays,” the now seemingly inevitable Volga Boatman’s Song” and Borodines exquisitely wrought "Dissonance"; Curran’s “Rain” and “Kitty, My Love, Will You Marry Me” (old Ulster)■ which demonstrated Gunster’s excellent phrasing and truly extraordinary enunciation (he sings much in the pure metier of Alda); Speak's haunting "Sylvia”• O׳-Hare’s brilliantly rhythmic “Leetle ״Bat-eese”; and ■three of Burleigh’s Negro Spirituals (significant in that they are artistic arrangements of the only genuine folk music that we possess).
, There is a certain charm in Gunster’s singing. tVe hope to hear him again if He is well worth any ones attention who is interested in good music adequately interpreted. And our cheer and felicit-atons to the Lecture-Recital Club for having the courage to give this splendid evening.
NOTED NEW YORK TENOR SINGS TO APPRECIATIVE AUDIENCE IN MARTINS PERRY—AN ARTIST OP RARE GIFTS
Hearers Dike Personality As Well as Voice—Well Accompanied by Mrs. Jesse Llpph-ardt.
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(BY ELMER G. HOELZLE)
The, above program, ׳with'many, encores, was given, before a very appreciative audience at the First Presbyterian church,ih Martins. Ferry Jast night. Ift this-־, recital Mr. Gunster displayed a most lovely tenor voice, superb diction and splendid •musicianship, coupled-with a fine manly personality which won the audience‘ right- at the start. Mr, Gunster’s singing grew more and more in favor as the lengthy program progressed, His singing is of the type !hat carries many fine shading and tone colors that do not allow the program to grow monotonous in any way. Each song was an Individual number. In itself, ,as each demanded a־ different mood and interpretation, Here his artistry showed to Its best advantage:	“Secrecy,”, by
Wolf,, and “The: Asra,” by Rubinstein, were master songs done in a masterful manner. “The Volga Boat Song” was so enchantlngly- sung that it sho.uld.have been repeated, and, in fact, there are not many songs on thep rogram but that the' audience would have been glad to hear again. “The Great Awakening,” by Kramer, Is one of the most dramatic of thh fine American, songs that.are being . used so extensively on programs, and Mr. Gunster gave a very thrilling interpretation of this . In his Negro Spirituals he sang as only singers of his type can Sing, and this with a true and definite understanding of . the “Spirituals” as they should be sung. "Leetle Batees,” by O’Hara, was another song ,that he gave'a most unusual interpretation.
Has Rare Gifts.
Mr. Gunster fs an artist of rare gifts.
HfS voice is rich, mellow, with resonance and' excellent volume, a breath support that was. used with skill, and j he, .is, an intelligent interpreter of,; • lyrics. There'is a quality in •Mr. Gua-i e ster’S voice that Is - tender yet1 masen-! OI line. He slng^Yn gentler manner or in j re heroic.moods‘as the song requires, and | wi is artistic in every inspect.
Mr. Gunster has been engaged to assist
GERALDINE FARRAR
on her spring tour, 1922
Management: Haensel & Jones, Aeolian Hall, New York