MUSICAL COURIER
60
April 20, 1922
15, in the grand ballroom of the Waldorf-Astoria. Of course, it was not the last event in the Rubinstein season as President Mrs. William Rogers Chapman pointed out, for there remains the final concert and the annual white breakfast. Rosa Ponselle presented the program, assisted by Stuart Ross, pianist and accompanist. She began with an aria, “Pleurez ! Pleurez mes yeux” from Massenet’s “Le Cid,” and during the course of the afternoon gave another operatic number, “Ernani Involami” from Verdi’s “Ernani.” The beauty and power of her operatic work is too well known to metropolitan audiences to require comment. It was in her smaller numbers, naturally, that interest centered. Those programmed included “Chi vuol la Zingarella” (Paisiello), “Stille Thranen” (Schumann), “Maria Wiegen-lied” (Reger), “Chanson Norvégienne” (Fourdrain), “At the Ball” (Tschaikowsky), “A Memory” (Rudolph Ganz) and “Homage to Spring” (Alexander MacFadyen). One of the best things she did was the Reger, of■ which she gave an exquisite interpretation. Her remarkably fine diction added immeasurably to the enjoyment of an enthusiastic audience, which demanded many extras. And Miss Ponselle endeared herself to everyone by her gracious generosity in this regard. These encores included La Forge’s “To a Messenger,” Tosti’s “Goodbye,” Brewer’s “The Fairy Pipers, “Annie Laurie,” etc.
In addition to the accompaniments, Mr. Ross gave two solo groups, playing works by Chopin, Balakirev, MacDowell and Liszt.
APRIL 16
N ErW YORK CONCERT/
Schumann Heink
Hearing Mme. Schumann Heink at the Hippodrome on Sunday evening, April 16, the first impulse on Monday morning was to turn to a dictionary of musicians. Yes, she was born on July 15, 1861. In three months she will be sixty-one years old—but it is impossible to believe it! There are no apologies to be made for her voice today. The upper register is perhaps not as large as it once was, but the magnificent lower register is still full, round and firm and as' marvelous as it ever was, and her art has in no way diminished. On the contrary, if anything it has ripened. There is nothing to be known about singing that she does not know, and she is a supreme mistress of interpretation to whatever school of music her numbers may belong. _
Sunday evening she began with Rossi’s aria, ‘ Ah Ren-dimi,” from “Mitrane,” and then sang two selections from Wagner, the Erda scene from “Rheingold” and Brangane’s call from “Tristan and Isolde.” Her second group was all German, including favorite lieder by Reichardt, Schubert, Brahms and Strauss. Brahms’ “Wiegenlied” had to be repeated at once and Reimann’s “Spinnerliedchen,” with which the group concluded, made a hit that called for two or three encores. The final group was made up of three American songs and Arditi’s “Bolero” (in Italian). There was a very large audience to hear Mme. Schumann Heink, who long ago ceased to be merely a singer and became a national institution. The audience was as enthusiastic as it was large, and well it might be.
Mme. Schumann Heink’s accompaniments were well played by Arthur Loesser, who contributed two groups of piano solos to the program.
Manhattan Orchestral Society
The Manhattan Orchestra Society, an orchestra organized from the members of the permanent orchestras of the Shubert theaters of Greater New York, gave its first concert at the Century Theater on Sunday evening, April 16. The program was divided into four parts, of which Max Bendix conducted the first and third, giving a program that included the “Rienzi” overture, the Tschaikowsky ‘Cap-priccio Italienne” and “Marche Slav” and the ballet music from “Faust.” The soloists in these two parts were G. Besrodny, violinist, who played the Meditation from “Thais,” and Matilda Locus, youthful pianist,^ who gave the final movement from Saint-Saëns’ concerto in G minor with much vigor and dash. Parts two and four consisted of music from Sigmund Romberg’s light operas—“Blossom Time, “Rose of Stamboul,” “The Blushing Bride” and “Blue Paradise.” The composer conducted some of these and officiated at the piano for the others. The assisting soloists were Marion Green and Harold Murray. Alfred Goodman conducted when Mr. Romberg did not. There was a good sized audience, which seemed to enjoy what it was listening to and applauded copiously and stayed until the end.
Maria Ivogun
Repeating the artistic and popular success she made at her first recital here, Maria Ivogun again drew a large audience to Carnegie Hall for her second essay, and duplicated the
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Mme. Ney then played the Schubert sonata in D major, op. 53; the Chopin F minor fantasie, op. 49, and Schumann’s “Etudes Symphoniques,” with encores interspersed after each group.
The pianistic powers which Mme. Ney has ever at her command were in evidence throughout—the moods of the varying Brahms forms, the witching rhythms of the Schubert scherzo and rondo. The Chopin fantasie was a poem of tone and in the varying brilliance of the final etudes Mme. Ney’s technical accomplishments seemed unbounded.
Winifred Byrd
Winifred Byrd returned from her western trip to delight an audience that filled every available seat, including seats on the stage, at Aeolian Hall on April 11. Her program was of the pleasing order, the best of the classics: Schumann, Chopin, MacDowell, Stierlin-Vallon (“Arlequin”), Leschetizky, Strauss-Schulz-Evler, and Liszt. It was played as only this bright and vivacious, and, at the same time, forceful and intense, artist can play such things. Miss Byrd gives herself over to her work and radiates a personal charm, and what one must call magnetism for want of a better word, that adds greatly to the real perfection of the purely technical side of her playing. She not only plays what the composers set down, but she also plays her own charming self into it, to the delight of her audience. There was much enthusiasm and many encores.
Orpha Kendall Holstman
Orpha Kendall Holstman, soprano, sang the entire program of her Aeolian Hall recital Thursday afternoon, April 11, in English, the songs being, however, from German, Russian, English and American composers. She evidenced sincerity, intelligence and a straightforwardness in her interpretations and a style that was pleasing. Her diction was clear, and careful preparation was displayed in her singing, while a gracious stage presence, added to the general effectiveness of her appearance. The audience was enthusiastic. Two songs were by her accompanist, Marx Oberndorfer, and these were especially liked. Her program was as follows:
Folk Song ...........................................Brahms
Are They Tears, Beloved?...............................Gneg
Christ the Friend of Children...................^oriV;illir
E’en Little Things.....................................Wolf
The Vain Suit........................................Brahms
The Wounded Birch .............................Gretchanmoff
Cradle Song ...................................Gretchanmoff
The Clock .......................................Sachnowsky
Melodies of Revolutionary Times.........Arranged by Endicott
Sheep in Clusters ......................Arranged by Endicott
The Heavy Hours ........................Arranged by Endicott
Love’s Morn ....................................Oberndorfer
Aspiration .................................... Oberndorfer
In My Soul’s House............־...................McKinney
Westland Row ........................................Dobson
The Lark Now Leaves His Watery Nest..................Parker
- Boyhood ......................................... Garnett
Life ..............................................  Curran
APRIL 13
Oratorio Society of New York
The “Passion According to St. Matthew” was given a splendid rendition at Carnegie Hall on the evening of April 13 by the Oratorio Society of New York, conducted by Albert Stoessel, before a very large audience. It was in every way a notable occasion both because of the excellence of the chorus singing and the soloists engaged to assist. These were Olive Marshall, soprano, whose pleasing voice and personality charmed in the quiet Bach music; Marguerite d’Alvarez, contralto, who sang with splendid warmth; George Meader, tenor, impressive in the recitations so difficult to make interesting; Reinald Werrenrath, about whose art it is surely unnecessary to say a word, so well are its excellencies known, and Charles T. Tittmann, whose heavy and sonorous bass brought vividly to light the meaning of the text and its musical setting. As a whole the performance could hardly have been better.
APRIL 15
Ponselle with Rubinstein Club
The children have a saying, “The last the best of all the game, and if that wasn’t absolutely true about the final musicale in the Rubinstein Club season—well, at least there were none better than that given Saturday afternoon, April
APRIL 10
Rudolf Jung
An entire evening of Brahms songs was the fare offered the guests of Rudolf Jung, the Swiss tenor, at a recital given 'on April 10, the setting being the ball room of the Hotel des Artistes. Upon this occasion the Brahms song cycle, “Die Schöne Magelone,” consisting of fourteen songs, was given a very brilliant and understanding rendition by Mr. Jung, accompanied by Juan Reyes in a most sympathetic and appealing manner, the combined wealth of interpretative fervor of these two excellent artists being altogether satisfying and delightful. A very distinct addition to the Brahms songs was introduced by a reading of the story from which these songs derived—a curious medieval thriller by Ludwig Tieck, translated and read by Dr. Ernest Dewald. It would be impossible from the texts of the songs themselves to form any conception of their meaning, but, the story being told, their intention is obvious, and the impressiveness of the whole greatly heightened.	.
Mr. Jung’s dignified and quiet manner was well suited to the nobility of the Brahms music, and the entire evening presented the aspect of one of those intimate feasts of artistry, frequent enough in Germany, but decidedly rare in America.
Schumann Club
The Schumann Club gave its last concert as the Schumann Club at Aeolian Hall on Monday evening, April 10. Percy Rector Stephens having exhausted all the good existing literature and a lot of special literature prepared for the club by Deems Taylor, will disband the club and reorganize as a mixed chorus of about sixty members to be known as the Schumann Chorus.
Mr. Stephens has brought his women’s chorus to a really high point of accomplishment. The mechanical part of its work is excellent and, best of all, the tone color is always agreeable even when the sopranos are singing their loudest and highest. The Schumann Club is distinctly a musical organization, not merely a social one, as so many women s choruses are apt to be. The program illustrated the paucity of genuine material for women’s voices. The first group consisted of four of Schumann’s well known songs arranged by Deems Taylor. The second group included French and Belgian songs, with examples by Duparc and Chausson—arranged by Deems Taylor. The fourth group consisted of Czecho-Slovak folk songs—arranged by Deems Taylor. And the final number was a cantata by Deems Taylor, *4The Chambered Nautilus arranged by Deems Taylor from his original work for mixed voices. From the artistic standpoint, Mr. Stephens is quite right in giving up his chorus. A program consisting entirely ot arrangements cannot justify itself.
The Czecho-Slovak folk songs were given for the first time and sung in Czecho-Slovak. They were, to be frank, rather unoriginal music, the best number being a Moravian folk song, “Waters Ripple and Flow, a beautiful and simple tune made more beautiful by Mr. Taylor s skillful
ar“TheeIaiambered Nautilus” has been heard here before in its original form. It is a tuneful, melodious work, well written for the voices. One feels that Mr. Taylor would have written it a little differently today—m fact, that he would hardly have selected that particular poem for mu-
S *Assisting” in the concert was the Chamber Music Society which played with elegance and finish the pleasant little chamber symphony by Wolf-Ferrari and the orchestral score that Mr. Taylor had prepared especially to accompany his nautilus.
APRIL 11
Elly Ney
Ellv Ney’s piano recital at Carnegie Hall, on Tuesday evening, April 11, was the fifth this artist has given « New York this season. The occasion, which also marked her final appearance before sailing for Europe, was in the nature of a farewell. At the close of the program the pia-ffist’s admirers crowded around the stage and seemed loath to have the evening’s music come to an end. Innumerable were the recalls and four encores after the final number failed to satisfy Mme. Ney’s hearers.	,	,
Opening the program with a group of Brahms works,
Phone: Bryant 7233
41% West 45th Street, New York City
EFFA ELLIS PERFIELD,
By
MISSOURI
FLORENCE E. HAMMON State Normal Teacher Private Lessons and Graded Class Work Seven Assistants
Musical Art Bldg.	St. Louis
FOREIGN
CANADA
CARA FARMER Piano and Class Lessons, Demonstrations Certified Normal Teacher Mothers’ Creative Music Course 750 Bathurst,	Toronto
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CHINA
RUTH JULIAN KENNARD Piano and Class Lessons 15 Claremont Ave., N. Y. Phone: Morn. 3889	ALICE M. SPAULDING Piano, Coaching and Accompanying Scientific Muscular Pianoforte Technic Individual and Class—All Ages 234 West 74th St., N. Y. Phone: 9284 Col.
IDIS LAZAR Concert Pianist and Teacher 50. Morningside Drive, Apt. 42, New York Phone 7770 Cathedral	
	MABEL COREY WATT Examining Normal Teacher Directress of Music Flatbush School Four Assistant Teachers 94 Prospect Park W., Brooklyn Phone: South 3688 J.
GLADYS MURGATROID Piano and Class Work 361 Sterling Place, Brooklyn Phone: Prospect 5542	
	NEW JERSEY ETHEL Y. THOMPSON President, Roseville Music Club Individual and Class Lessons 11 Pittsfield Ave., Cranford
MRS. W. D. REED 34 West 96th St. Riverside 4634	
NEW YORK
C. KATE BEACOM Piano and Class Work 621 E. 29th St.,	Brooklyn
Phone: Mansfield 1297
EDITH BEARDSLEY Piano and Classes Pupil of Xaver Scharwenka 332 West 85th St.,	New York
Phone: 8265 Schuyler
ADELE F. FAUTHARD 11 West 96th St.	Riverside 9773