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June 8, 19 22
MUSICAL COURIER
Gelin and Borgström (who are evidently champions in their line) developed upon the uncustomary instruments, but still more astonishing the volume of noise that can be produced by one man! The fact that Mme. Prochownik sang Mozart and Schubert between accordéon selections by Teike, Herzer and Brink did not succeed in elevating the whole proceeding beyond a vaudeville show. But the audience well filled the Beethoven-Saal.
Melos' Stormy Nights.
Special mention in this season-end report is due to the last of the chamber music evenings of the Melos Society, at which the string quartet of Philip Jarnach, op. 10, first heard at the Donaueschingen Festival of last year, had its Berlin première. In this double hearing (at the Melos evenings everything is played twice) it confirmed the impression of being the vital utterance of an independent and thoroughly, musical personality wholly in sympathy with the trend of the time without resorting to the bizarre in order to achieve originality. Five songs which preceded the quartet (sung by Wilhelm Guttmann, baritone) were especially notable as examples of an essentially modern lyricism, beautifully expressive without relapsing into the romantic vein, poignant without taking recourse to dramatics. They are among the most beautiful songs written, it seems to us, since Mahler and Wolf. Their texts are selected from Rainer Maria Rilke, Stefan George, Heine and from “Des Knaben Wunderhorn.”
These evenings, held in the “Storm” Art Gallery, whose walls are covered by examples of ultra modern, futuristic and super-futuristic paintings that make one blush for the “backwardness” of the sister art, have become easily the most stimulating and instructive item in Berlin’s musical life. They have made local music lovers acquainted with Schönberg and Bartok in their moré recent phases, and with such composers as Malipiero, Casella, Honegger, Milhaud, Goossens, Bax, Gerard Williams, Hindemith, and the young Schreker group. To Melos we owe very largely the confidence that musical production, even in Germany, is not dead.
This, indeed, is the consoling thought at the season’s end. There has been less “Betrieb”—mere doings—than last year, but a few more real happenings. Little remains to be told ; the Philharmonic’s fortieth anniversary, at the end of the month, will be the swan song of the musical year.
The Opera: Prospect and Retrospect.
The Opera has not wholly fulfilled its promises. Berlioz’s “Trojans,” the most interesting revival, has been put off till next season. One of almost equal interest, and a great deal of charm, Cornelius’ “Barber,” is a box office attraction— surely the first time in its career. Beside it Schreker’s “Schatzgräber” is the chief item of public interest, while the other novelties have—already—all but disappeared. One more “re-study” production is scheduled, namely, “Carmen,” with Barbara Kemp. It promises to be interesting as a corrective in the matter of style, so far as German productions of French operas are concerned. Another restaged classic, Mozart’s “Don Giovanni,” is promised for the opening of the autumn festival season, which, as a new civic enterprise, makes its first appearance this year. If it is as successful as the “Cosi fan tutte,” vintage of 1921, it will augur well for a season which, with three opera houses running, will be the biggest in the history of Berlin.
César Saerchinger.
Philharmonic Notes
With Mengelberg, Stransky and Bodanzky in Europe, Henry Hadley, the associate conductor of the Philharmonic Society, is the only member of the staff of conductors who remains in New York. He will conduct the Philharmonic Orchestra at the Stadium concerts, dividing the direction of the orchestra with Mr. Van Hoogstraaten.
Arthur Judson; who succeeds Felix F. Leifels as the manager of the Philharmonic Society, commenced his active duties in that_ position a few days ago. The personnel of the orchestra is complete with few changes from that of last season and the schedule of concerts for the eighty-first season is similar to that of last year. The Philharmonic offices will remain at Carnegie Hall, where subscription renewals may be made and new orders for seats placed.
Scipione Guidi, the concertmaster, will be heard next season as a soloist at the Philharmonic concerts, as will Leo Schulz and Cornelius Van Vliet, the leading cellists in the orchestra. The list of soloists who will appear with the orchestra has been considerably enlarged over that of last season and will include the most prominent artists available.
Both Stransky and Mengelberg will present new compositions of inteShational importance during the season, and the Philharmonic Society’s new plans for the presentation of works by American composers give the assurance that native compositions will occupy important places in the season’s programs. American composers are invited to communicate with Mr. Hadley through the Philharmonic office in reference to manuscript scores. Scores submitted will be examined by Mr. Hadley for recommendation to the society.
The Advisory Board of the Philharmonic Society is actively engaged upon plans for educational concerts for next season, given in conjunction with lecture courses upon the programs and the composers represented. These concerts as at present planned will broaden the society’s field of endeavor considerably and extend its concert activities in an educational alliance with local colleges and neighborhood societies.
Fay Foster’s Pupils’ Concert
Fay Foster’s unusual originality and versatility as a teacher of vocal and dramatic art, interpretation, stage deportment and composition was revealed on Sunday evening, May 28, at the Princess Theater, New York, when her pupils appeared in a costume recital.
In presenting her pupils, which she calls “Fay Foster Interpreters,” she brings before the public something different. It is a pleasure to hear vocal numbers presented by pupils (as was done at this concert) with absolute freedom. The accustomed stiffness which is evident at the average student concert is absent in the work prepared by the Fay Foster Studios. The dramatic action and stage deportment of all the participants made the evening one of delight. This was evidenced in the fact that the entire audience remained until the close of concert, 11 :30 p. m.
Pauline Jennings opened the program with three “Fairy Songs” (by request) Besley; and was later heard in a
FOREIGN CONDUCTORS ENLIVEN BERLIN SEASON’S CLOSE
Schneevoigt, Neumark and Szulc Lead International Concerts—Szigeti, Eisenberger and Wadler, Soloists—Eleanor Spencer and Harold Henry in Recital—An Irish Concert—“Melos” Novelties—The Opera Season
altogether too neglected violin concerto, played by Joseph Szigeti with truly aristocratic, musicality, glowingly "beautiful but never “mushy” tone, and rare sentiment, which never degenerated into sentimentality, was accompanied discreetly enough. A rare treat, in both senses.
Native Conductors; Foreign Soloists.
Two native Germans must be added to the number of self-invited “guest conductors”—Werner Wolff and Dr. Heinz Unger. Both accompanied, foreign soloists, who each offered one native work. Wolff’s protege, Gualtiero Vol-terra, played Martucci’s rarely heard piano concerto in B flat minor, a brilliant and exceedingly difficult piece, of not great personal distinction but not ungrateful, nevertheless. This was played in a clear-cut manner, brilliant and incisive, by the young Italian musician, for whom the future should hold a great deal in store. In Chopin’s E minor concerto he was most successful in catching the poetic spirit of the romanza. Between the two concertos Mr. Wolff conducted, with evident understanding, two of Busoni’s shorter orchestral pieces, the first of which, “Gesang vom Reigen der Geister” (“Indian Diary,” second part), is altogether remarkabfle in the uncannily spookish coloring of its orchestra. The second, a “Tanzwalzer,” is an attempt of an intellectual to catch the real popular swing of a born waltz king—with rather more than the usual success.
Mayo Wadler Plays Vogrich.
Dr. Heinz Unger’s concert fulfilled its chief purpose in providing a background for Mayo Wadler’s refined and progressive artistry, its secondary one in affording the conductor—handicapped by the Mahlerian and modernistic “tag”—-to prove his ability in the very fundamentals of classicism, which he did satisfactorily in Beethoven’s fifth. Wadler did his bit for American music by presenting Max Vogrich’s fanciful “Momento mori,” and gave a splendidly finished reading of Tor Aulin’s third violin concerto, which is excellently written for the violin and well adapted to varying the monotony of the violinistic treadmill. A “novelty” at the beginning of the program by yet another young composer named Mendelssohn—Joachim is his front name— was not as novel as one would expect, since the two unhackneyed lovers of its title, “Protesilas and Laodamia” (how well read our musical youth is getting to be’), might just as well have been any other mythical amorous pair, but especially well—Tristan and Isolda. . . .
Picking the Raisins.
From the numerous season-end recitals it is easy to pick the “raisins,” for the average quality is naturally not as high as mid-season. Raisin number one was the Freidberg-Flesch sonata matinee at the Theater am Kurfiirstendam, which, despite the blue-and-silver boudoir atmosphere of the place, lost nothing of its high classic character. We heard, besides, part of a rarely played Mozart sonata, the popular César Franck, which, while following the Belgian tradition of rather slow tempi, was a feast of sensuous beauty and exemplary in the aptness of its phrasing. A wonderful team, whom one would wish to hear together in America.
As raisin number two we submit, without qualification, the recital of Eleanor Spencer. We know of few pianists—■ and perhaps no woman pianist—of the season who deserves such unstinted praise for musicianly and enjoyable presentation of so varied and interesting a program, ranging from Scarlatti to Prokofieff. The latter’s C major prelude, op. 12, rivalled the composer’s own playing of it, which we heard in London two weeks ago, while the two poèmes and three etudes of Scriabin were technically accomplished and tremendously satisfying in tonal beauty and spiritual content. The Mendelssohn “Variations Sérieuses” seem to have pleased the Berlin critics especially, one of whom said that Miss Spencer proved that Mendelssohn is still very much alive, while the Schumann G minor sonata impressed us both by its power and its poetry. Miss Spencer, by the way, like Mayor Wadler, is one of the very few artists who do not forget their nationality when they are in Europe, as she showed by her previously recorded performance, of the MacDowell concerto.
Harold Henry Remembers MacDowell.
Another is Harold Henry, who in his first Berlin recital since the war played the same composer’s virile “Keltic” sonata with power and incisive expression. Two pieces of his own, which preceded it pleased the audience even better, and he was made to repeat one of them, just as he had to add a number of encores at the end. He was at his best, perhaps, in the more brilliant numbers of his exacting program, his outstanding asset being a thoroughly dependable technic. His success was good, with critics and public alike.
In Memoriam : Terence McSwiney.
Speaking of Keltic things, a whole evening of Keltic music must needs be recorded as somewhat of a curiosity in Berlin. Shades of Roger Casement and other Irish idealists flitted past as a German audience applauded with particular sympathy the compositions of Swan Hennessy, an Irish exile resident in Paris. A string quartet written in memory of Mayor Terence McSwiney, the Sinn Fein martyr, and first played at the Irish Congress in Paris, we missed, but a piano and violin sonata, a little string trio, a Keltic rhapsody for piano and violin and a suite for string quartet all attested to a copious and somewhat obvious fusion of folk music elements with good German Faktur. All the slow movements have a sort of Mavourneen touch, and most of the finales might be marked allegro jigoso. No disturbingly dissonant elements obtrude themselves, the violin sonata being especially mellifluous and not devoid of genuine feeling—even passion of a kind. Regarded not as the result of an old culture, but as the initial step in a new development (why not an Irish school, indeed?). Mr. Hen-nessy’s music commands respect, though it is not yet a three-star brand.
Sousa on the Accordéon.
A curiosity of another kind, with less claim to artistic consideration, signalized an amusing triumph of^ American music. At an accordéon concert, where two valiant Danes shook the pleats out of a number of well known ditties, John Philip Sousa’s “Stars and Stripes” was the leading favorite.
It was truly astonishing what polyphonous dexterity Messrs.
Berlin, May 16.—Berlin, so it seems, intends to make music all summer. The “season” is really at its end, as every respectable season ought to be when the chestnut trees are in full leaf, but the free-lance concert-givers evidently don’t know it. Not only the usual “fag-end” recitals but orchestral concerts by outside conductors rend the air, and both the Philharmonic and the Bluthner orchestras play for hire night after night. It is the time when the foreign conductor, whose own season has come to a close, comes to Berlin to conduct one or more concerts and so gets himself “rated” on the international conductors’ exchange. For, war and its consequences notwithstanding, Berlin “notices” are accounted indispensable for America and the gilt-edge countries, while an occasional affirmation of one’s powers by the German Beckmessers is not without its value for the folks at home.
Schneevoigt and the “Ninth.”
Thus Prof. Georg Schneevoigt, of the Stockholm Orchestra, finds it worth his while to give two orchestral evenings with the Berlin Philharmonic, and in one of them to serve up the hundredth-odd performance of Beethoven’s “Ninth.” Professor Schneevoigt’s ability and temperament are well famed in America by virtue of reports from Stockholm and from Scheveningen, where he conducts the summer season. He did justice to his reputation and earned a commensurate amount of applause. Still, bearding the lion in his den is not without its danger (the Berlin lions, as is well known, have a patent on Beethoven and Brahms), and though we have not awaited the verdict we are convinced that it is not devoid of “buts.”
Professor Schneevoigt’s new colleague in Scheveningen, Ignaz Neumark, of the Philharmonic Orchestra in Christiania, left his card in Berlin a few days before. His appearance was in the nature of a surprise. A Pole by nationality and still a very young man, he gave evidence not only of a decided talent for orchestral leadership, but a remarkable understanding for the German classics, as represented by the neo-classic Brahms. Between a remarkably clear and splendidly balanced rendition of the Haydn variations and a powerful presentation of the first symphony he accompanied, with superior skill, Severin Eisenberger’s playing of the D minor piano concerto—an outstanding feature of the whole season, so far as pianistic accomplishments go. Convincing expressive powers allied to a magnificent architectural sense and a truly masterful technic gave Eisenberger’s performance that rare authentic stamp which characterizes the artistically elect. One wonders why such an artist is so seldom heard.
Neumark’s countryman and colleague, Bronislaw Szulc, of Warsaw, was equally happy in the selection of a soloist, though less so in his own interpretative essays.» His “Till Eulenspiegel” was anything but mercurial, though Tschai-kowsky’s fourth had native Slavic temperament (which it seems was especially appreciated in Liverpool). Goldmark’s
Festival Committees
Engage
E DC AR
FOWLSTON
Anglo-American Bass ־ Baritone
HAS SUNG IN 65 DIFFERENT ORATORIOS
In Messiah, 88 times; Elijah, 26 times; Creation, 14 times
Mr. Albert Stoessel, conductor of the New York Oratorio Society, writes—N. Y., May 26, 1922:
My dear Mr. Fowlston :
It gives me much pleasure to tell you how satisfactorily you performed the difficult. baritone part at our last performance of Bach St. Matthew Passion.
It requires a keen ability of dramatisation as well as great vocal skill and beautiful voice to sing the beautiful music Bach has written to the words of Jesus.
I felt that you met all of these requirements.
(Signed) Albert Stoessel.
EDCAR
FOWLSTON
Now Booking Season 1922-1923
Personal Manager, G. M. CARR Address, 53 E. 34th St., New York City