June 15, 1922
MUSICAL COURIER
40
OPINIONS OF THE PRESS
lovers of chamber music. Perfect ensemble, a beautiful tone and beauty of interpretation—one can always rely upon the Flonzaley Chronide “1Sp ay t“ese <lua^lties in everything they interpret.—Daily
The Flonzaley Quartet made one of their none too frequent London appearances. They had the full audience that was to be expected, seeing their well-established fame for string playing as smooth and sweet as the whole world today can. show.—Daily
Their playing is strongly characterized by an intense suavity, a velvety smoothness and a luscious beauty of combined and individ-ual tone. The manner certainly is masterly and authoritative. —Daily Telegraph.
Malkin Shares in Success of Farrar Tour
Joseph Malkin, prominent cellist, formerly first cellist of the Chicago Symphony Orchestra, has been scoring heavily on tour with Geraldine Farrar, coming in for a large share of the success of the concerts. The excellence of his playing is emphasized in the following press tributes:
Of the artists appearing, Mr. Malkin, through his fine tone and noble musicianly playing, was the most interesting. He played the Lalo number with great taste, and after “A Song of India,” from Rimsky-Korsakoif s Sadko, and Popper’s “Hungarian Rhapsody,” na!S Mal3t0 P a/ tW° eXtra numbers'—:Minneapolis (Minn.) Jour-
Mr. Malkin played two groups. He is head of the cello section ot the. Chicago Symphony Orchestra, under Frederick Stock, which is quite a sufficient guarantee that his performance would be ex-ceptionally fine. It was all of that; indeed, he scored something PressVeMaynea3rly resembled 3,1 0ration.—St. Paul (Minn.) Pioneer
The third of the trio of artists was Joseph Malkin, who played his cello with strength and assurance. There was nothing of the sweetly sentimental in his numbers, but they did abound with a vigor and freshness that was as gratifying as a brisk breeze.—Rock-ford (111.) Register-Gazette, April 28.
ArAn?íhf,r• ar,_tist 'vho won approbation was Joseph Malkin, cellist. Mr. Malkin has for many years been first cellist with the Chicago Symphony Orchestra and is an artist of marked ability. His playing revealed him a true artist, who has attained a perfection seldom encountered His marvelous tones and phrasing and the dex-Anti °J hls Ieft hand were notable.—Rockford (111.) Morning Star,
Joseph Malkin gave two groups of cello numbers. His “Song of India and Hungarian Rhapsody” drew such a hearty applause that he responded to an encore by playing Beethoven’s “Minuet.” But again the audience was insistent, and after five calls he returned playing ‘Träumerei.” Tones so deep that it was almost impossible to hear them, yet with all the plaintive sweetness of a high violin tone, came forth as the artistic Malkin drew his bow across his great cello. Nor was it his dreamy playing alone that showed his skill, for with a nonchalant flourish he could draw forth ^y-erriest and lightest of tones.—Racine (Wis.) Journal-News,
Joseph Malkin, cellist, made a splendid impression. His rendition of The Song of India” and “Hungarian Rhapsody” won him
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.—Green
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ing was pleasing and his choice of sélections was excellent. Bay (Wis.) Press-Gazette, May 10.
Alice Gentle Delights Pittsburg, Kan.
On April 27, Alice Gentle sang in Pittsburg, Kan., and the appended notices were the result:
Registering a winning personality and beautiful voice in the very soul, it seemed, of her audience, Alice Gentle, dramatic mezzo soprano, scored perhaps the greatest hit of any artist who has appeared in Pittsburg, with a recital last night in Carney Hall, sung and enacted m a manner that attested the unusual versatility of a truly great singer. The manner in which Miss Gentle captivated her hearers was remarkable. Rarely does an artist so completely wm the accord of those who sit and judge as did Miss Gentle nf I״« r en״C dl55la7ed qhvi.ous delight in the beauty and grace g a k r G j *• * a°d her singing was finer perhaps than anyS one had believed it would be possible to hear from a daughter of the
MAX GEGNA ’Cellist
Management: CHAS. N. DRAKE, 507 Fifth Ave., N. Y.
Studio 149 Manhattan Aye, (Phone: Academy 1527) New York
IRENE WELSH
Lyric Coloratura Soprano
״ ״	,,, OPERA CONCERTS
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Gerhardt Scores in Three London Appearances
Elena Gerhardt sang an all-Brahms program at her third London recital on May 11, and on the 18th she gave her fourth concert there this spring with a Hugo Wolf program. As in her recitals in March, Miss Gerhardt attracted packed houses that left no doubt as to her popularity and drawing power in London. She appeared again on the evening of May 18 in a monster charity concert at Albert Hall. Of her Brahms concert, the London Morning Post said:
For the third time this season Londoners showed their appreciation of Madame Gerhardt’s singing by crowding to Queers Hall yesterday afternoon. For those who are habitual listeners the recital set a standard by which aspirants could be judged elsewhere and at other times; for the aspirants themselves—such as had the good sense to be present—it was a lesson more valuable than many on which their guineas had been spent. The program would have run to tedium in the average singer’s hands, for Brahms easily outstays his welcome, but it revealed this singer at her best. Brahms excels in quiet, long-drawn melody, and so does Madame Gerhardt. While she was singing “Immer leiser wird mein Schlummer” and Feldeinsamkeit ’ her art rose far above comparison with the em-pincal methods that pass current today. It is this perfect control of the breath, the emission ,of tone, the quality of the tone and its moulding into smooth phrases that will never be attained by short cuts in training. Her melody in “Am jüngsten Tag” had the subtle inflexions of good violin playing. And so on, through three groups °f Brahms. One’s objections to “encores” were silent in the case of Das Mädchen spricht,” for not only was the singing an exhilaration, but Paula Hegner made it a perfect bit of accompanying, alone worth the repetition.
Mme. Leschetzky’s European Successes
Marie Gabrielle Leschetizky, the Polish pianist and director of the Leschetizky Institute of Piano, 47 Boulevard Berthier, Paris, has returned to Paris after a series of concert triumphs in the leading Scandinavian and German cities
MME. LESCHETIZKY
where she won the highest tributes from both public and critics. Mistress of all styles from the strictly classical through the romantics and moderns, she is peculiarly adapted by race and heredity to interpret the music of Chopin, being a direct descendant of Jules Fontana, an intimate friend of Chopin and editor of many of his posthumous works.
The following excerpts from press notices speak for themselves :
The Chopin group was interpreted as only one of the greatest artists are capable of doing. It was not only the tenderness and poetry of Chopin which were revealed to us, but tenderness and poetry blended with an intensity and power, the power inseparable to the Polish genius.—Hialmar Borgstrom, Christiania.
Chopin is the composer nearest her heart and has few secrets from her. Her art and personality are characterized by an aristo-cratic reserve and aversion to all commonplace and noisy effects which unfortunately have created more than one world reputation. Neyer endeavoring to intrude her own personality, she gives her entire effort to penetrating the mystery world of the great tone poets, and dedicates herself and her art to their worship. She comes as a messenger from a finer and nobler world at a time when we have greater need than ever before of the purifying influnce of art and music.—Gerard Schjelderup, “The Urd,” Christiania
A pianist poetic and spiritual.—“Politiken,” Copenhagen.
A musician predestined for the piano, masculine force, rhythm, energy and temperament, breadth of conception.—“National Tidende,” Bucharest, Roumania.
A style of purity and classic nobility, the technic of a virtuoso, an execution clearcut and as finely chiseled as a jewel, intense musicianship, remarkable agility, all placed at the service of a profound sentiment poetic and human. All this gave a masterly performance to the Chopin F minor concerto whose vast melodious genius this great artist interpreted with ineffable beauty. Marie Gabrielle Leschetizky is more than a musician, she is a musical soul and being.—“La Roumanie,” Bucharest.
As an interpreter of Chopin she transcends all the great artists within our memory.—“Neue Augsburger Zeitung,” Augsburg.
She is not only an artist but a human soul who expresses in music her innermost being,—“Schwäbische Volkszeitung,” Stuttgart.
Superlative Praise for Flonzaley Quartet
Following are some English press comments on the London concert given by the Flonzaley Quartet on April 21:
The principal difficulty experienced in writing about the Flon-zaleys is to find a new way of saying once again how superlatively, and incredibly good they are.—Westminster Gazette.
When the musical profession is strongly represented in a concert audience, something of superfine quality may be expected. The augurs were correct when the Flonzaley Quartet made their first appearance this year. They truly had ideas to communicate to the British chamber-music players who were listening, although the ideas were such as to embody a greatness of style more readily felt׳ than analyzed. There was always the great master manner with a graduate technic grounded as an instinct.—Morning Post.
The visits of the famous Flonzaley Quartet are always events to
THE HIGHER TECHNIQUE OF SINGING vv. t M	7"	i/niauc RooA
HENRI Mjr\\ “The Practical Psychology ,	,	, ,	Voice,” pub. G. Schirmer
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EDGAR
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STEINWAY HALL
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! Celestine Cornelison
I	MEZZO-SOPRANO
TEACHER OF SINGING
I STUDIO, 3122 EUCLID AVE. CLEVELAND, OHIO
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RIEMENSCHNEIDER
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PIANIST
(with LESCHETIZKY 1903-06)
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