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MUSICAL COURIER
A p r il 6, 192 2
Le Rossignol das Lilas..............................Reynaldo Hahn
Poem by L. Dauphin.
L’hiver ...............................................C. Koechlin
Poem by Th. de Banville.
La Pie ....................................... Modest Mo’ussorgsky
Poem by A. Pouschkine.
To Helen ..................................Charles Martin Loeffler
Poem by Edgar Allen Poe.
Mirage ................................................ Cyril Scott
Poem by R! M. Watson.
At the River’s Edge (MS.)..................Florence M. Grandland
Poem from Chinese Foa-man
Hallelujah ............................................F. Hummel
Poem by F. Philippe
MARCH 29
Felix Salmond
Felix Salmond, English cellist, made his debut in this country at a recital at Aeolian Hall, March 29. He began with three old Italian pieces by Nardini, Veracini and Guerini, to accompaniments arranged by Joseph Salmon, of Paris. They are delightful things in the typical style of the eighteenth century, and their delicacies were excellently set forth by Mr. Salmond. It seemed, though, as if his French almost-namesake had occasionally been too exuberant in the arrangements of the accompaniments. The second number was the Brahms sonata in F major, the third the Lalo concerto, and the final group included an old Irish melody, “The Londonderry Air,” arranged by G. O’Connor-Morris, and “Melodie” (dedicated to Felix Salmond), by Frank Bridge. Frank Bibb was at the piano, and the sonata was given such a sympathetic reading as only two fine artists, thoroughly imbued with the spirit of Brahms, can produce. Lalo’s fascinating rhythms sparkled and jumped under Mr. Salmond’s bow in the intermezzo and finale of the concerto, and the two numbers of the final group were played with simplicity and fine musicianship. Mr. Salmond evidently is (one is tempted to say, “Thank Heaven!”) a cello player who cares more for the beauty and dignity of the instrument and its music than for its tricks and acrobatics. Technic he has in abundance, but it is kept subservient to the purpose of making music. His instrument —a Goffriller,. Venice—is a splendid one, and Mr. Salmond (Continued on page 35.)
audience greeted the artist,'who played a rather interesting program. He opened with the Andante in F, Beethoven, followed by MacDowell’s sonata (“Keltic”) in three movements. This well known composition was followed by three Chopin numbers—nocturne, No 1; etude, No. 5, and scherzo. .The last group included Rachmaninoff’s prelude, No. 5, and closed with Liszt’s “Annees de Pelerinage” (“Au bord d’une Source and Orage”). Mr. Dixon plays with considerable musicianship and excellent technic.
Augusta Redyn
Augusta Redyn, a product of the Oscar Saenger studios, gave a debut recital at Aeolian Hall, March 28. Miss Redyn is a native of Brooklyn and has pursued her entire musical education in this country. She presented a rather unconventional program in a pleasing manner. She has a mezzo soprano voice of sympathetic quality, especially rich in middle register, and sings with evident sincerity and good style. “Auf Flugeln des Gesanges” was particularly well given, and another song in her German group—“Venetian-isch”—was so well liked by the large audience that it was repeated. “L’hiver” was especially interesting because of the unusual accompaniment, which was deftly played by Emily Miller. Florence M• Grandland’s MS. song, “At the River’s Edge,” was an interesting one, written in impressionistic, modern style. The audience also called for a repetition of this.
Miss Redyn has a gracious stage presence and was well received. Floral tributes were heaped upon the piano. Emily Miller gave artistic support for all the numbers. The entire program follows:
Invocazione di Orfeo (Euridice)...................Peri (1560-1625)
Mermaid’s Song..................................Haydn (1732-1809)
Divinités du Styx (Alceste).................Von Giuck (1714-1787)
Es muss was wunderbares sein...............................F. Ries
Poem by O. von Redewitz
Auf Flügeln des Gesanges..................F. Mendelssohn-Bartholdi
Poem by Heinrich Heine
Neue Liebe ...............................F. Mendelssohn-Bartholdi
Poem by Heinrich Heine
Venetianisch .......................................... Ed. Behm
. Richard Strauss Rimsky-Korsakoff
From Daumer’s Polydora Poem by H. v. Gilm
Zueignung La Sirène
Poem by L. Méia
guess—certainly Stokowski has lost none of his ardor,, and he brings out every ounce of force and beauty that there is in this amazing orchestration, such orchestration as no one but Strauss ever conceived or executed.
Comparison was possible on this occasion with Wagner’s early inspiration, the overture of the “Flying Dutchman” being played. This was written when Wagner was about the same age as was Strauss when he wrote his tone poem. The comparison is highly interesting: the melodic invention in the Wagner overture is of the highest order while there is little of any moment in the Strauss poem. And yet the Strauss poem is highly expressive. It is really a great work, undoubtedly, but its invention is of another kind, not the kind that gives the promise of lasting supremacy such as is found in the Wagner overture. Which only confirms the traditional belief that melody, not color, is the basis of music. Let it be said here that Stokowski gave a most tremendous reading of the overture! He gave it with a “punch” that aroused the highest enthusiasm.
The third orchestral number on the program was Mendelssohn’s Scotch symphony, which may best be passed over in silence. Why an orchestra of this calibre should waste its time on such trash is hard to see.
Hans Kindler played a concerto by Eugen d’Albert which proved to be a beautiful work, melodic in parts, brilliant and difficult in others, offering opportunity for the display of the artist’s fine legato and brilliant technical mastery. Mr. Kindler has the sort of tone that penetrates through even a heavy orchestration, and the cello part was at no time obscured. The music was played with tender plaintiveness
and robust vivacity in turn, and the contrasting character of the composer’s inspiration was perfectly brought forth in the great variety of tonal nuance which Mr. Kindler has at his command and uses with consummate skill and taste. His self-possession and poise added greatly to the charm of his performance and the taste and finish of his interpretation, the crispness of rhythm and perfection of phrasing were greatly appreciated. He was enthusiastically received.
Frederic Dixon
On Tuesday afternoon of last week Frederic Dixon, pianist, gave his New York recital at the Town Hall. A small
TESTIMONIALS TO MME. SODER-HUECK
Distinguished Vocal Teacher and Coach
MARION LOVELL,
coloratura soprano, who hails from Providence, R. I., and had gained recognition in the concert field outside of New York prior to her debut at Aeolian Hall early this season. She has been winning new successes everywhere since then, n?־״־׳״־.................
Owing to Requests From Out of Town Singers and Teachers Mme. Soder-Hueck Will Again Hold a
MASTER CLASS
June 15־August 10
For Particulars Address:
METROPOLITAN OPERA HOUSE
1425 Broadway	New York City
WALTER MILLS,
baritone, who after years of study, has developed into a successful concert artist and is now filling many dates with much success.
GRACE ELIZABETH BRIGGS,
mezzo contralto, who besides conducting a conservatory of music in Hutchinson, Kan., is a splendid concert artist. She spends her vacations coaching with Mme. Soder-Hueck in New York.
ELLIE MARION EBELING,
soprano, who has gained recognition in both the concert and operatic fields, and is at present assistant teacher to Mme. Soder-Hueck.
GEORGE REIMHERR,
well known concert artist, whose New York recitals are a familiar feature of the musical season.
Camp Upton, I.Y.
Kay lit*, 191Ö.
Dear Madame Soder-Hueck:-
As I expect very shortly to go to France witn the colors, 1 feel before doing so tnat 1 wish to again express my appreciation of your kindly interest in my voice ana career, and all the success 1 have had I feel is due to your splendid raetnod ana thprough understanaing of the voice and its requirements.
I consider you one oi tne foremost voice builders in this country. Your friendly interest and sympathetic understanding has always meant a great deal to me and wnerever I am, 1 assure you I shall always be,
Your grateful pupil and wellwisher.
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