MUSICAL COURIER
May 4, 1922
24
ker, Schubert,’ Schumann, Sib’elius,' Strauss, Tschaikowsky, Weber, with two:	The composers represented by a single
work were. Alvarez, Bruch, Chabrier, Chadwick, Cherubini, Converse, De Falla, Eichheim, Gilbert, Goldmark, Gretry, Hill, Hue, Humperdinck, Lalande, Liapounov, Massenet, Mendelssohn, Moussorgsky, Prokofiev, Rabaud, Rossini, Saint-Saëns, Smetana, Smith, Szymanovski, T. Ysaye.
The argument for Mr, Monteux’s reappointment this year is indicated above. Although manifestly not a genius, and notwithstanding the absence of that personal magnetism which characterizes one and another of his contemporaries (not to say some of his predecessors), Mr. Monteux has demonstrated that he is an admirable routine conductor, peculiarly adapted to the present needs of the orchestra, the evident , desires of the articulate Boston public, and perhaps to the unwillingness of the orchestra’s present sponsors to meet the pecuniary exactions of greater leaders.
Royal Dadmun With Federated Glee Clubs.
Royal Dadmun, the highly pleasurable baritone, was the assisting artist at a concert given by the Men’s Federated Glee Clubs of greater Boston April 27, in Jordan Hall. In songs by Handel, Rhene-Baton, Falconieri, Mozart, Rachmaninoff, Moussorgsky, Grieg. Keel, Quilter, and in negro spirituals arranged by Burleigh and Reddick, Mr. Dadmun confirmed and strengthened the exceedingly favorable impression which his. voice and interpretative abilities had previously made in this city.
The Glee Clubs included the Men’s Singing Club of Beverly, the Schubert Club of Malden, the Highland Glee Club of Newton and the Wollaston Glee Club, and numbered over 100 voices. Messrs. Geo. S. Dunham, Edward L. McArthur, James W. Calderwood, and John A. Crowley, the conductors of the several clubs, took turns conducting the chorus. ׳ Conductors, glee clubs, and Mr. Dadmun were greeted with abundant enthusiasm.
Pierian Sodality Orchestra Gives Concert.
The Pierian ,.Sodality orchestra of Harvard University, Walter Piston (’24) conductor, gave an interesting concert, April 26, at the Copley Theater. The program was as follows :	“Unfinished Symphony,” Schubert; prelude to “The
Deluge,” Saint-Saëns; “Song of the Sandman,” from “Hansel and Gretel,” Humperdinck; “Valse Triste,” Sibelius; minuet and gavotte, Lulli; overture to “Iphigenia in Aulis,” Gluck.
Endowed with a high degree of musical intelligence himself, Mr. Piston has brought his men to a fine standard of musical performance. The orchestra plays with precision, euphony, and spirit. The following program note with reference to the history of this organization is worthy of reproduction :
The Pierian Sodality Orchestra, founded in 1808 for the purpose of encouraging interest in choral and instrumental music, is the symphony orchestra of Harvard University. Conceived at a time when instruments and music must be brought from Europe on slow-moving vessels, when rehearsals must be held by candlelight and each player must copy his own part, the Pierian Sodality was endowed with the sincerity of purpose and the spirit of perseverance which have
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BOSTON SYMPHONY ORCHESTRA
ENDS SEASON BRILLIANTLY
Monteux and Players Receive Enthusiastic Farewell—The Season’s Programs—Many Singers Heard—New Converse
Work—Praise for Miquelles
WORKS PERFORMED FOR THE FIRST TIME IN BOSTON
Casèlla: Orchestral Excerpts from “La Couvent sur l’eau;” Franck: Chorus music and Part III. of “Psyche;” Gilbert: Suite from the Pilgrim Tercentenary Pageant; d’Indy: “Poème des Rivages;’- Lalande:	Chaconne gracieuse; Liadov:	“Kikimora.”
“The Enchanted Lake;” Piernè: overture to “Ramuntcho;” Rabaud: Dances from “Marouf;” Ravel: “La Valse;” Saminsky:
Two fragments from “The Lament of Rachel;” Sibelius: symphony No. 5; Szymanovski: symphony No. 2; T. Ysaye: symphony No. 1, F major................................... 14
WORKS PERFORMED FOR THE FIRST TIME AT THESE CONCERTS
Alvarez: Canto del Presidiario (De Gogorza) ; Bach: Overture,
D major, No. 4; Fifth Brandenburg Concerto, D major.,, for pianoforte, flute, and violin; Concerto, D major, for pianoforte (Simonds) ; “Lost Is My Dear Jesus” (McCormack); “Take Thou for Thy Very Own” (McCormack); Handel: “Where’er you Walk” from “Semele” (De Gogorza); Liapounoff:' Rhapsody on Ukraine Folksongs (Schmitz); Mozart: Serenata Notturna, D major, for two string orchestras; one with kettledrums; Moussorgsky: Parasha’s Revery and Dance (Mme. Koshetz); Pierné: Biscayan Rhapsody; Prokofiev:	Song without Words (Mme.
Koshetz); Rimsky-Korsakoff: “Night on Mount Triglav!” Air:
*.‘In Novgorod we lived together” from “The Betrothed of the Tsar” (Mme. Koshetz); Rossini: Overture to “L’Italiana in Alger¡;” Schönberg: “Verklärte Nacht.”................. 16
Philharmonic Choral Society Concert.
The Philharmonic Choral Society, Frederick W. Wodell conductor, gave its third spring concert. April 23, in Symphony Hall. The chorus was assisted by members of the Boston Symphony Orchestra, Jacques Hoffman, principal; Gertrude Gibson, pianist; Harold F. Schwab, organist, and these soloists: Mme. Luella Meluis, soprano; Mrs. Clara K. Leavitt, alto; Mr. Charles Stratton, tenor, and Dr. S. A. Wodell, bass.
The program comprised excerpts from various oratorios, including Haydn’s “Creation,” Rossini’s “Stabat Mater,” Gounod’s “St. Cecilia,” Verdi's “Manzoni Requiem,” Mendelssohn’s “Elijah” and Handel’s “Messiah.” The admirably trained chorus of the society again displayed its familiar qualities. A feature of the concert was the début appearance in this city of Mme. Meluis. This soprano revealed a light flexible voice of agreeable quality which she uses with considerable skill. Her charming personality and splendid art made a distinctly favorable impression on the audience which filled Symphony Hall, and she was vigorously applauded.
Mr. Monteux’s virtues as a program maker are further revealed in the statistical tables compiled by Philip Hale for his justly celebrated program-book. For example, of fifty-five composers represented on this season’s lists Wagner led with six performances. Then come Bach and Rimsky-Korsakoff with five each; Beethoven, Brahms and Liszt with four each; Franck, Handel, Liadov, LoefHer, Mozart, with three each ; Berlioz, Casella, Debussy, Haydn, d’lndy, Pierre, Rachmaninoff, Ravel, Saminsky, Schönberg, Schre-
Boston, Mass, April 30.—The forty-first season of the Boston Symphony Orchestra was brought to a brilliant close last night with a highly enjoyable performance of Rimsky-Korsakoff’s ever-welcome “Scheherazade.” This vividly pictorial music, glowing with sensuous warmth and Oriental songfulness, served as an admirable vehicle for the display of Mr. Monteux’s abilities as conductor—he excels in pieces of this character—and of the truly great orchestra which the French conductor has reconstituted and trained to its present high state. Mr. Monteux may not rank with the great conductors of the past and present; but it is generally conceded that few, if any, other leaders could have transformed so quickly and effectively the wreck left by the war and the strike into the Boston Symphony Orchestra of this writing—as splendid an organization, in beauty' of tone and perfection of ensemble, as it ever was.
There was little occasion for enthusiasm during the first part of the program—a suite of charming eighteenth century dances from Gretry’s opera, “Cephale et Procris,” discreetly transcribed by Mottl; the׳ dramatic entr’acte from Chabrier’s opera, “Gwendoline,” and Schreker’s reminiscent, clumsily orchestrated though occasionally effective “Prelude, Entr’acte Music and Festive Procession” from his opera “Die Gezeichneten.” But interest was kindled and waxed warm as the gorgeously colored canvas of “Scheherazade” was unfolded by Mr. Monteux’s band of virtuosos; and with the final note of Mr. Burgin’s narrating violin came a burst of applause which did not subside until long after the French conductor had bidden his excellent concertmaster and then the whole orchestra to rise and share the applause with him.
Boston’s contentment with Mr. Monteux derives not only from the tireless energy and clear skill with which he has restored the orchestra to its ancient glories, but also to the striking catholicity of his programs. He has a ready ear for radical composers of today and for the neglected works among the classics—generally selecting his pieces with creditable discernment. Thus, the following composers were represented at these concerts for the first time: Alvarez, Casella, De Falla, Eichheim, Hue, Lalande, Pierne, Proko-fieff, Saminsky, Schreker, Smith, Szymanoffski and T. Ysaye. These orchestral compositions were performed for the first time anywhere:
Converse: symphony, E major; Eichheim: Oriental Impressions; Franck-Goodrich: Organ Chorale No. 2, B minor, arranged for orchestra and organ; Hill: waltzes for orchestra; Loeffler: Three Irish Fantasies for voice and orchestra (John McCormack); Smith: “A Poem of Youth.”................................ 8
WORKS PERFORMED FOR THE FIRST TIME IN AMERICA
De Falla: Three Dances from “The Three-Cornered Hat;” Hue: “Titania,” Orchestral Suite; Saminsky: Two Fragments from the Ballet “Lament of Rachel;” Schreker: Prelude to a Drama; Szymanovski: symphony No. 2, B flat major, op. 19. 5
THE CORNISH SCHOOL, Seattle
Announcing the
SUMMER SESSION
JULY 1st to SEPT. 1st
THE advantages available at the Summer Session of the Cornish School, recognized among the leading Art Schools of America, will surpass any heretofore offered in any institution of the west.
SPECIAL CLASSES
Under the tutorship of such eminent Guest Artists as:
ADOLPH BOLM, one of the foremost dancers in America—Choreographic artist and producer—Master class for teachers—Amateur and Professional Dancers.
SERGEI KLIBANSKY, leading New York Vocal Instructor—Private and class lessons for Singers and Teachers. CORNELIUS VAN VLIET, celebrated Dutch Cellist—Private instruction in Violoncello.
SAM HUME, distinguished authority on Dramatic Literature and Art—Arts of the Theater—Community Drama— Stage Management.
RUDOLPH SCHAEFER, Graduate of Kunstgewerbe Schule, Munich—Classes in Arts and Decorations.
CALVIN BRAINERD CADY, a leading figure in Music-Education—Music Education Normal—Piano.
ANNIE LOUISE DAVID, Harpist.
THE regular Faculty through whose efforts this Institution has gained such popularity will have classes in Piano, Violin, Harp, Orchestra Conducting, Glee Club Conducting, Ensemble and Accompanying, Music History Appreciation, Arts and Decoration, Arts of the Theater, School of the Spoken Word, Normal Course for Public School Teachers—Playground and Gymnasium Directors, French.
For illustrated catalogue and complete particulars address The REGISTRAR.
THE CORNISH SCHOOL
Seattle, U. S. A.
BOYD WELLS, Associate Director
NELLIE C. CORNISH, Director
701 Roy Street