41
MUSICAL COURIER
of his songs exhibit more careful rendering of the text into music with the exception, perhaps of Adelaide. The chorus, well trained by Stephen Townsend and conducted by Artur Bodanzky, gave the work an excellent interpretation. The tone quality was praiseworthy throughout, the mysterious depth of the pianissimo in the Meeresstille being particularly telling.
Beethoven, not having outgrown the imitative period, unconsciously reflected the whole soul of Mozart in the concerto which Artur Schnabel played with rare innate appreciation for its “conventional spirituality.” Whether or not one laughs at Tolstoi’s assertion that all art after the early Beethoven is decadent, it must be admitted something has happened, either lost or outgrown, that makes the satisfaction of imitating, interpreting or even listening to works of this first harmonic period rather uncertain. Can one forget Prokofieff’s symphony for which he mapped out length, proportion and construction according to a certain work by Mozart, and, laying off his coat of dissonance, endeavored to fill this structure with ideas in the spirit of the early master. The result seemed to many the most impudent piece of ironical humor an audience, was ever asked to listen to. With fluent finger technic and exquisite phrasing, Mr. Schnabel spun out the airy melodies like the gossamer threads of a cobweb shining in direct sunlight, tracing a wonderful design with the music’s intricacy of line and perfection of form.
The chorus sang with fine effect in the closing portion of the fantasia. A long introductory passage on the piano (Continued on page 65.)
rival. He has learned how to make the piano sing, no matter how many technical obstacles are thrown in the path. He has an insatiable appetite for euphony, and the cunning of his art is brought to ,bear on the production of captivating sounds. But it must ׳ not be supposed that he is a mere creator of pretty tones. He employs his skill in making poetic interpretations of fine compositions, and he exemplified this admirably yesterday afternoon. His reading of the variations was especially successful in its vitality of rhythm and its subtle treatment of melodic curves. It was possible to listen to every phrase with the feeling that it was presented with the delicate finish of a camço, and above all, Mr. Munz left the hearer at the end of the composition with a conviction that he had heard its entire content.”
FRIENDS OF MUSIC
There was very little in the Beethoven program given by the Society of the Friends of Music at the Town Hall, January 14, to suggest the man who shook his fist at the thunder in his last mortal moment. Yet the opportunity it offered to trace the evolution of the composer made the afternoon both interesting and worth while. Three seldom heard works were performed : the cantata for chorus and orchestra, Meeresstille und Gliickliche Fahrt, op. 112, the piano concerto in G major, No. 4, op. 58, and Fantasia in C minor for piano, chorus and orchestra, op. 80. The text of the cantata is by Goethe and the underscoring is unusually apt and appreciative for the composer who liked better to deal with more abstract musical constructions. None
January 18, 1923
sky arrangement of the Strauss Kiedermaus waltz, It is almost enough., comment merely to detail Mr. Hoffman’s program. He stands, as the Germans say, “ueber seine Sache” in everything he undertakes in a way that is truly impressive. The Hammerklavier sonata in particular was a masterpiece of analysis and exposition. There was not an empty seat in the hall and the same.enthusiasm he always evokes.
IGNAZ FRIEDMAN
There may be somewhere in the world someone who can play Chopin better than Ignaz Friedman does, but if so, his or her whereabouts are still unknown; and, indeed, there are not more than a small handful who can come anywhere near.playing it as well as he does. It is marvelous Chopin! No sentimentality, no languorous fingerings, nothing that suggests the Pole lacked masculinity, as too many of his interpreters hint. It is the straight, clean playing of his music just as it was made, with one of the finest technical equipments of the day devoted solely to the correct, pianistic interpretation of the Chopin thoughts.
Not that Friedman does not play other composers equally well. What could be daintier than the Mozart rondo with which he began his program at Aeolian Hall on Saturday afternoon, January 13? Or, at the other extreme, what more thunderous and yet still within the dynamic bounds of the piano, than parts of the Bach-Busoni Chaconne? Or what more scintillating, more brilliant with technical feats nonchalantly accomplished, than the Strauss-Godowsky Fledermaus with which ’ the *program ended, except for the encores? Besides these items and the Chopin group, there was a Beethoven Bagatelle and two of the Liszt Schubert transcriptions, Ständchen and Erlkönig, which are also Friedman specialties. Without doubt he is a master. A large audience thought so, too, and responded to all his playing with warm and instantaneous applause, compelling numerous repeats and extra numbers.
SUNDAY, JANUARY 14 RUTH DRAPER
The Broadhurst Theater was crowded on Sunday evening to hear Ruth Draper, monologist, in her first recital of the season. The first group of Character Sketches were all old favorites, and the audience enjoyed them hugely. She was forced to encore, adding another hilarious comedy gem, The Debutante. It is in those naturally amusing bits, that Miss Draper is supreme. A class in Greek Poise was received with shouts of laughter.
The second group was all new. A Children’s Party in Philadelphia was true to fife—the young mother with four healthy offsprings at a Christmas party; the Charwoman, a bit of Irish pathos, was the least effective of the entire program. At a Telephone Switchboard proved to be the most interesting and human of all the sketches. The audience was quick to appreciate the excellent illusion. She encored with that choice bit of humor, An English Lady Showing Her Garden.
The last part of her program was devoted to a scene, At the Court of Philip IV. This was enhanced by a striking Spanish costume and gave the artist ample opportunity to prove herself to be quite a linguist—Spanish, French, German and English as spoken by a Spanish woman. The sketch was most enthusiastically applauded.
Miss Draper is indeed an artist and one can note a greater depth and subtle appreciation for the illusion she creates ’ over last season. Her versatility is amazing, and histrionically she was excellent. This is the first of a series of ten concerts to be given at the Broadhurst Theater this month.
“She is indeed consummate,” said the Times. “There is illusion. . . . It’s all real.” The Herald thinks “She is more than a mimic; she is a searching exponent of character. Her versatile performance is a lesson in histrionic art-.”
NEW YORK SYMPHONY:
MIECZYSLAW MÜNZ SOLOIST
The New York Symphony Orchestra, Albert Coates, guest conductor, gave its regular Sunday afternoon subscription concert in Aeolian Hall on January 14 before a large audience. The orchestral numbers presented were: Suite from Tsar Saltan, Rimsky-Korsakoff; prelude and finale from Tristan and Isolde, Wagner, as well as Beethoven’s Symphony in C minor, No. 5, all of which the conductor rendered in a pompous and spectacular manner.
Mieczyslaw Münz, the young Polish pianist, who at his two recitals in Aeolian Hall earlier in the season created a lasting impression, was soloist, playing César Franck’s Symphonic Variations, which he gave with much fire,^ dash and musicianship, revealing himself again as a master pianist. This was Mr. Münz’s first hearing in New York with orchestra. That he electrified his audience was evidenced by the fact that, after his brilliant and musipianly performance of the Franck work, he was greeted with shouts of bravo from both the audience and members of the orchestra and was recalled many times.
The New York Times says: “Franck’s Symphonic Variations for piano and orchestra were played, by the Polish pianist in a brilliant manner, with smoothness through the technically difficult passages and with the orchestra under the commanding direction of Mr. Coates, playing its part in close sympathy with the soloist.” The New York American vvrites; “It seems a pity, in a way, that young Münz should not have had an opportunity at this his first appearance with orchestra to disclose his talents in a more interesting composition than the Franck Variations—say in a concerto by Brahms. Nevertheless, the delicate charm of his phrasing! the fine expressiveness of his touch, and the unobtrusive warmth of his sentiments were not wasted on music that for lack of variety grows tiresome.” Deems Taylor in the New York World comments: “This was Mr. Münz’ first appearance with orchestra when a consonance of tempo and mood was paramount and a new interrelation of two factors necessary. Mr. Münz played the piano solos for the Symphonic Variations of César Franck. This is not an intrinsically great work, and it was not great playing that he produced, but he did give the audience some exquisitely liquid tones and buoyancy of rhythm with transcendent effect.” W. J. Henderson in the New York Herald remarks:	“Mr. Munz’ playing of. the Franck
composition was something to remember with delight. This young artist has a command of touch which few others can
EDNA
INDERMAUR
Contralto
New York Debut Aeolian Hall, December 6th, 1922
MORNING TELEGRAPH, DEC. 7th, ’22■
“Edna Indermaur disclosed a nobly endowed contralto voice, a naïve and unaffected dignity of presence, coupled with fine sincerity, contributed greatly to a substantial artistic success. Her voice is resonant and rich in the lower tones and she managed it well in the higher passages.”
NEW YORK EVENING MAIL, DEC. 7th, ’22■
“A golden glow seemed to radiate through Aeolian Hall yesterday afternoon when Edna Indermaur, contralto, made her debut. Her warm, pretty voice, combined with intelligent interpretations, was rewarded by a large and friendly audience.”
NEW YORK EVENING SUN, DEC. 7th, ’22.
“It was an altogether unusual program which gave her a chance to prove a good sense of style and keen musicianship.”
NEW YORK TRIBUNE, DEC. 7th, ’22.
“Her German diction was good and her tone was clear. . . her high notes were strong and resonant. She seemed her best in her closing American group.”
NEW YORK TIMES, DEC. 7th, ’22.
“Miss Indermaur has a pleasing manner and her voice has rich depth in the lower register.”
NEW YORK HERALD, DEC. 7th, >22.
“Miss Indermaur’s voice is agreeable in quality and her diction was excellent, especially in her group of German songs.”
NEW YORK WORLD, DEC. 7th, ’22.
“Her diction in all three languages was clean-cut and clear.”
© Underwood & Underwood
Management of EVELYN HOPPER Aeolian Hall, New York City
Erie, Penn., Dec. 12th, 1922. Evelyn Hopper,
Aeolian Hall,
New York, N. Y. INDERMAUR WINS OVATION WITH GENERAL ELECTRIC GLEE CLUB RICH VOICE IMPRESSIVE INTERPRETATIONS CHARMING STAGE PRESENCE A MOST SATISFYING ARTIST.
WILSON ROOT BUSHNELL Director