MUSICAL COURIER	January 1 8, 1923
GREAT INTEREST SURROUNDS LEGINSKA’S NEW YORK RECITAL
Pianist to Be Heard on February 20 in First Recital Here in Three Years—Own Compositions to Be a Feature—Her
Late European Successes—Classes Here and in London
SILHOUETTE OF ETHEL LEGINSKA,
which is not only a splendid piece of work, hut is also remarkable in the respect that the Baroness V on May dell, who made the silhouette, did so from memory, as the pianist did not sit for her at all. The Barobess has cut silhouettes and painted
portraits of most of the European nobility and royalty.
we must raise our hats. That distinguished Yorkshire musician, Ethel Leginska, returned to London last week after touring in Italy and Germany, and at Queen’s Hall on Friday evening took such a part with Eugene Goossens’ Orchestra in the performance of Mozart s A major concerto and Hans von Bulow’s transcription of one of Liszt’s piano rhapsodies that we can only endorse wholeheartedly the homage of her large audience. That same Hungarian fantasy we may hear, perhaps, scores of times in the course of a year, but not so often is Mozart interpreted with such charm, such faultless phrasing, such unerring rhythmic sense.—The Daily Telegraph.
Leginska has been little heard of in England in late years, but her playing at Queen’s Hall last night made us heartily glad to see her back. She was always remarkable, even wonderful; her art now (to judge from performances of a Mozart concerto and Liszt’s Hungarian fantasia) is even more refined and sensitive.—Evening News.
. . . her performance of the Liszt Hungarian fantasy with the orchestra was remarkably brilliant. As a composer, Miss Leginska was represented by an orchestral work, Beyond the Fields We Know. Miss Leginska shows a gift for handling a big orchestra, and her music has many original ideas, with much that is effective and interesting.—Daily Chronicle.
Leginska, an Englishwoman, is a pianist of the first order.—Daily Express.
December 9 marked Ethel Leginska’s final recital in London, in a program comprised of works by Beethoven, Bach, Chopin, Ravel and Liszt. Also featured were her own, the Gargoyles of Notre Dame, Danse d’un petit Bouffon, Cradle Song, Scherzo (after Tagore) and At Night.
While in Europe Leginska met many famous musical personages, among them Stravinsky in Berlin, with whom she enjoyed an interesting two or three hour chat, and while in London Eugene Goossens proved to be a wonderful friend.
At her Carnegie Hall recital on February 20, she will play for her modern group, two works by Goossens as well as one by Ravel, Lord Berners and four from her own play for her modern groups two works by Goossens as well time pieces: Dance of the Little Clown and At Night.
During her sojourn abroad, Leginska added to her compositions by completing three short poems for orchestra and three piano pieces, also nearly finishing another big
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Many students and admirers of Ethel Leginska have drawn a red line around February 20 on their calendar and are anxiously awaiting that date. It will mark the,first New York recital at Carnegie Hall in some three years of the English pianist, whose reappearance to the American concert stage will be enthusiastically welcomed. During her retirement Leginska has devoted nearly all of her time to composition—the main reason for her withdrawal—to teaching, and recently to a limited number of European appearances. Last year, however, she gave two joint recitals in New York and several concerts on tour, but now she will devote several months each year to a concert tour over here, having transferred her permanent home to England.
Concerning the prospects of another tour in America, where she is a great favorite, Leginska was very enthusiastic and said she looked forward to January 30, when her tour opens at the Arcadia in Detroit, after which some of the principal cities she will visit are: Lansing, Flint, Boston, Washington, etc., the tour winding up on March 6 when she will appear at the Town Hall, New York, in a joint recital with Leo Ornstein, under the auspices of the International Composers’ Guild, sailing several days later for Europe.
Mr. Ornstein and Leginska have been engaged to give a two-piano concert in Paris, after which Leginska will go to Nice for a recital, immediately afterwards returning to London for another. Following that date, she will concentrate on finishing her big suite for orchestra, which will be performed in London next winter.
During the ten months that Leginska was in Europe, she played with great success in London, Berlin and Florence. The Musical Courier has printed reports of these various appearances, so at this time it is not necessary to dwell at length upon the manner in which her work—both as pianist and composer—was received.
On July 6 last, she gave a concert of her own compositions at Aeolian Hall, London, consisting of four poems for string orchestra, played by the Philharmonic String Quartet; three songs—Dunsany, the Gallows Tree and In a Garden, sung by Mirsky, baritone; fantasy, From a Life, for two flutes, piccolo, oboe, two clarinets, bassoon, two violins, viola, cello and piano; four songs—Kalte, At Dawn, Yellow Head and Sorrow, rendered by Carmen Pascova; piano solos—the Gargoyles of Notre Dame, Danse d’un petit Bouffon, Cradle Song, At Night (an Etching) and Scherzo, played by Leginska, and Six Nursery Rhymes (songs) — Jack and Jill, Three Mice Went Into a Hole to Spin, Sleep, Baby, Sleep, Gorgy-Porgy, Little Boy Blue and Old King Cole, sung by Elene De Frey. The concert aroused much interest and was very well received.
Ildebrando Pizzetti, the famous Italian composer, arranged a concert in Florence on October 30, 1922, to introduce Leginska as a pianist and composer. The impression created may be gauged by a glance at the appended, which appeared in La Nazione, over Pizzetti’s name:
As an executant she possesses a technic of the first order, extraordinary and crystal-clear agility, sweetness and power of tone as needed, consummate skill in detaching or sustaining notes, as well as in the use of the pedal. Most important of all, however, she brings out the sense, the meaning, and the beauty of all the compositions she plays. It would be impossible to imagine a more striking or brilliant performance of the B flat nocturne of Chopin than we heard last night, nor yet anything more exquisitely fantastic than her rendering of Ravel’s waltzes, nor an interpretation more perfect in style than that of the Bach prelude and fugue in C sharp minor. The very large audience applauded with the greatest enthusiasm every performance of Leginska. No less applause was bestowed on her own compositions, which it need hardly be said were faultlessly interpreted. As a composer, Ethel Leginska is an ultra-modern and her works, among which we would instance especially the scherzo, inspired by a poem ot Tagore and a lively and humorous Danse dun petit Bouffon, showed as much variety and rarity of rhythm, dissonant and simultaneous tonality as can be found in the works of the most advanced German composers, of Hungarians (like Bartók and others), of Russians (like Stravinsky and Prokofieff), or Americans (like Ornstein).
On November 18 the pianist-composer appeared as soloist with the Philharmonic Orchestra in Berlin, playing the Mozart concerto in A and the Liszt Hungarian fantasy, while the orchestra, under Werner Wolff, rendered her symphonic poem for orchestra, Beyond the Fields We Know (after Dunsany), and a Scherzo (after Tagore), both having their first performance in Berlin.
Next she returned to London where she appeared on November 24 at Queen’s Hall with the Goossens Orchestra. Besides the Mozart concerto in A major and the Liszt Hungarian fantasy which she played, the program included the first performance in London of her symphonic poem, Beyond the Fields We Know, and her group of Nursery Rhymes for small solo orchestra and soprano. Elene De Frey was again the interpreter.	.
In commenting upon the concert the daily press said m part:	,	•	-
A nianist who can give an equally brilliant and authoritative account3"¿ a Moaarrconcerto and a Liszt fantasy is one to whom
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