M 77 e 7 f A T rnnu r c n
32
January 25, 1923
delighted his hearers, who manifested their approval by means of hearty applause.
Mr. Gaillard followed with a group of his own compositions, extremely subtle tone paintings, colorful, filled with delicate nuances and elusive harmonies and a certain technical exquisiteness that give high promise for this young Frenchman. His final group consisted entirely of Debussy works, and in these he showed himself to be a past master of esoteric modern classicism. He played them with modesty, with no effort to draw attention to himself at the expense of the music. His tone, soft and sonorous, loud and brilliant, by turns, and ■ the sparkle and glitter of his passage work, lent the music great charm.
Mr. Gaillard has just completed a long tour in South America to which country he returns for another long tour next season. He will also next season give a number of concerts in the United States.
RAYMOND HAVENS
The program given by Raymond Havens, pianist, at Town Hall Monday afternoon was of special interest in that it contained several worth-while numbers that are little heard. Beginning with a musicianly reading of the Vivaldi concerto in D minor (transcribed by J. S. Bach), about which there is considerable discussion as to the real composer, he followed with three preludes on Gregorian melodies. These melodies have been richly and skillfully harmonized by the Italian composer, Respighi, and were played with understanding. A Hill Tune, by Arnold Bax, was in lighter vein, also modern though not eccentric, and with a pleasing melody. The remainder of Mr. Havens’ program consisted of such standard works as the Beethoven Appassionata sonata, a group of Chopin—a waltz, a berceuse and an etude—and the Liszt sixth rhapsody. He played the Beethoven sonata with sincere musical feeling, careful phrasing and regard for details and thoughtful interpretation. He has an adequate technic and good tone quality. The Liszt rhapsody, while lacking somewhat in power and brilliancy, revealed a facile technic and flexibility of wrist, and it delighted his audience immensely. Mr. Havens is modest in manner and has considerable of artistic value, to offer.
It is not customary nowadays for a soloist to break into a well built program with encores, these being left until the end. Mr. Havens did insert an encore, after the sonata, but he had the good taste to use a Chopin nocturne, leading into the group of Chopin which followed. His audience was enthusiastic and called for a number of encores at the close of the program.
Deems Taylor wrote in the World: “Mr. Havens’ range of tone color is only moderate, and his playing, even at its most emphatic, wants power, but within these well-defined limitations he is an interesting player, with a competent technic and an intelligent approach to his subject matter.” The Herald reviewer commented: “There was delicacy of touch, a facile and accurate technic which at times developed real power, and a sincerity of style which proved valuable assets to the enjoyment of his art.”
CLARA CLEMENS
Those who have let the dust collect on their volumes of classics must surely have hastened from Town Hall after Clara Clemens’ song recital, January IS, to wield a Dustless Duster and renew old acquaintances. For this sincere and intelligent singer and her flawless accompanist, Ossip Ga-brilowitsch, certainly demonstrated that Haydn, Schubert and Brahms still have power to illude. The naturally warm mezzo of Mme. Clemens’ has a kaleidoscopic way of reflecting the words of the text. One is reminded of Mimsey and Peter Ibbetson’s discovery of “dreaming true.” Some few artists seem to have the secret of “singing true” and part of the formula may be “lying flat on your back, putting your hands behind your head, crossing your ankles and dreaming true,” in order to enter into the composer’s psychic presence. Add the ability to substantiate this captured spirit in tonal body and an ordinary program becomes a succession of distinct entities.
One of the most enticing of these was Haydn’s Mermaid Song; its refrain of “Follow, Follow Me,” being given with a great .variety of shading and inflection. Mr. Gabrilo-witsch, who has a perfect Haydn and Mozart technic, made this gleeful and gurgling accompaniment a thing of rare pleasure. His accompaniment to Schubert’s Gretchen at the Spinning Wheel was wonderfully deft and dexterous, so perfectly spontaneous and complete in itself and yet meeting the demand of the voice part so exactly. Peter Cornelius, Monotone is best known of his songs in this country, although most of his works have been worn threadbare on the Continent. This and two others were offered by Mme. Clemens and The Violet was repeated. Five Brahms’ numbers followed, the lilting rhythms of On Sunday Morn, and restrained ecstasy of Thou Art My Glorious Queen, provoking unusually enthusiastic applause.
The two songs by Gabrilowitsch, which followed a French group by Duparc, Chausson, Lalo and Saint-Saëns, proved to be the climax of the evening. They gave final assurance that emotional expression is his supreme consideration, arousing the audience to a high pitch of enthusiasm and the last, Near to Thee, had to be given a second time. The deliciously humorous Hopak, by Moussorgsky, and a final encore ended the program.
The Times said: “Madam Clemens’ singing evinced a strong individuality seeking expression.” The Journal spoke of her program as “exceptionally well chosen, various, and excellently arranged with intelligence and taste.”
CARMINE FABRIZIO
Carmine Fabrizio, violinist from Boston, created a very favorable impression at his recital in Aeolian Hall on Monday afternoon. His program opened with Beethoven’s sonata, op 12, No. 1, in D major, in which he had the efficient assistance of Alfred De Voto at the piano. Riccardo Zandonai’s Concerto Romantico followed; this work was heard in New York for the first time (if memory serves the writer correctly), and while it is an interesting composition, its repetition would not benefit or rather enhance the violin repertory, _ even though Mr. Fabrizio brought out all the good qualities effectively and infused into it much warmth and fire. The closing group contained Havanaise (Saint-Saëns), Spanish Dance (Ketten-Loeffler), Reve d’Enfant (Ysaye) which had to be repeated, and Rondino (Vieux-temps). In addition, he was obliged to give several encores.
Mr. Fabrizio’s playing throughout was characterized by sincerity, warmth, rhythmic precision, beautiful and carry-
little about the score that is familiar in character of former works from Mr. Chadwick’s pen.
This overture was written to mark the twenty-fifth year of Mr. Chadwick’s directorship of the New England Conservatory. The premiere took place last June at the Norfolk Festival.
The familiar Tschaikowsky fourth symphony was given a splendid reading by Mr. Hadley and his musicians. It appeared to many in the vast audience that Mr. Hadley had never conducted with more verve or precision than on Sunday. Saint-Saëns’ Animal Carnival was heard again, with Kurt Schindler and Mr. Marshall playing the piano solos. The program closed with the finale to Die Meistersinger.
CITY SYMPHONY: WILLIAM DURIEUX, SOLOIST
On Sunday afternoon. January 14, the sixth “pop” concert of the City Symphony Orchestra was held under the direction of Dirk Foch at the Century Theater. Despite the heavy snow storm a large audience was on hand and apparently enjoyed to the utmost every number on the program. The soloist was William Durieux, first cellist of the orchestra, who played Boellmann’s symphonic variations for cello and orchestra. The purely orchestral part of the program included Smetna’s overture to The Bartered Bride, two Hungarian Dances by Brahms and Rimsky-Korsakoff’s symphonic suite, Scheherazada.
MONDA Y, JANUARY 15
ISADORA DUNCAN
It was, perhaps, her American farewell which Isadora Duncan danced at Carnegie Hall on Monday evening, January IS, before an enthusiastic audience. Assisted by a symphony orchestra, Modest Altschuler, conductor, the famous dancer gave a program made up almost entirely of compositions by Wagner, the two exceptions being the six waltzes of Brahms and the Schubert Marche Militaire. This last was one of the best things she did. Her clamorous audience crowded to the platform at the close with insistent calls for a speech. She was finally prevailed upon to say a few words, although she said she would not dare to make a real speech, for Mr. Hurok, her manager, had put it into her contract that if she made speeches she would receive no money and as money was necessary for obvious reasons, she would have to forego that pleasure, though, she said, “I am dying to make a speech.”
“We thought Miss Duncan most expressive when she danced the slow ‘Tristan and Isolda’ number, although her friendly audience expressed approval for all,” declared the J ournal.
MARIUS FRANCOIS GAILLARD
Marius Francois Gaillard, twenty-two year old French composer-pianist, who played the accompaniments of some of his songs at a recent concert of the International Composers’ Guild, gave a recital at the Knabe Studios on the evening of January IS before a distinguished audience of invited guests. Mr. Gaillard began his program with works of Daquin, Mozart and Chopin without demonstrating any great sympathy for this “old stuff;” but when he reached the new Brazilian Scenes of Darius Milhaud it was another story, and his transcendental technic and sympathetic modernistic interpretative powers came to the foreground and
FRIDAY, JANUARY 12
NEW YORK SYMPHONY
The New York Symphony Orchestra, under Albert Coates, guest conductor, offered another genuine treat at its Thursday and Friday concerts. To a large and enthusiastic audience Conductor Coates played the first movement and finale from the Tsar Saltan (Rimsky-Korsakoff), the prelude and finale from Tristan (Wagner) and Brahms’ fourth symphony. Throughout the program the men showed an unusual interest in their work, at times playing as though greatly affected by the Britisher’s personality.
NEW YORK TRIO AND FRED PATTON
The New York Trio—consisting of Clarence Adler, piano; Scipione Guidi, violin, and Cornelius Van Vliet, cello— and Fred Patton, baritone, were featured at the Morning Musicale of the Mundell Choral Club on Friday, January 12, in the Heights Casino, Brooklyn.
The New York Trio played with accustomed finish two groups, comprising Allegro from the trio in G major, Mozart; adagio, Haydn; gavotte from the trio in G major, Beethoven; Gypsy Rondo, Haydn; two Norwegian Dances, Grieg, and Spanish^ Dance by D’Arbos. Their artistic work, as always, elicited much sincere applause.
Mr. Patton was equally successful with his fine singing of Let the Dreadful Engines (Purcell), Droop Not, Young Lover (Handel), I Am a Roamer Bold (Mendelssohn), Jester Song (Bantock), Israel (Huhn), The Floral Dance (Moss), and Promise Lan’ (Burleigh). The other soloist was Mrs. Frank H. Woodruff, Jr., soprano, who sang Ah! Love But a Day (Beach), What’s In the Air Today (Eden), and Rain (Curran). Mrs. Wilhelmina Muller was the accompanist.
SATURDAY, JANUARY 13
ISADORA DUNCAN
Isadora Duncan, assisted by the Russian Symphony Orchestra,^ Modest Altschuler conductor, appeared again at Carnegie Hall on Saturday. Her audience was not as large as, it was enthusiastic, but she seemed to please immensely with her numbers, judging by the applause. The program began with Tschaikowsky’s_ 1812 overture played by the orchestra. Then followed Miss Duncan with Tschaikowsky’s Pathétique Symphony. Later she gave Scriabin’s scherzo (from first symphony) and Tschaikowsky’s Marche Slav. The orchestra also played the Idyll from Scriabin’s second symphony.
SUNDAY, JANUARY 14
NEW YORK PHILHARMONIC
The particular feature of the fifth of the Philharmonic Orchestra series given at Carnegie Hall was the Anniversary Overture by the American composer, Charles W. Chadwick. Mr. Chadwick was present and both he and Henry Hadley, the conductor, received much sincere applause from the large audience. As a composition, the overture has won much favorable comment. It is wrought with considerable skill and much sound musicianship. He has also created many beautiful themes of pure lyrical quality, which were noticeably fine, and many authorities agree that there is
The Washington Heights Musical Club
ANNOUNCES A RECITAL FOR THE BENEFIT OF THE MRS. MacDOWELL COLONY FUND
---By--
ETHEL GROW, Contralto
At the Plaza, Fifth Avenue at Fifty-ninth Street Tuesday evening, January 30, 1923, at 8.15 o’clock
Tickets 75 ־c, $1.50, $2.00 Each
Apply to Miss J. R. Cathcart, Pres., 27 West 57th Street	Tel. Plaza 5859
	I.			h.	
a.	Cangio ’d’ aspetto			Aria.. Cleopatra’s death...		.. Henry Holden Huss
b.	Quando miro quel bel ciglio		Mozart		(by request)	
C.	Vezzosette e care					
				IV.	
	III.		a.	Moon and Night		
a.	Soir 			b.	There is no friend like	an old friend. .Cathcart
b.	Lied 	)		C.	The best is yet to be..	
C.	Il pleure dans mon coeur r ■ ■ ■	.Florent'Schmitt	d.	Fairies		....Mabel Wood Hill
d.	Fils de la Vierge 	;		e.	Banjo Song		
e.	Le Dentelliere de Bayeux...	Felix Fourdrain	f.	Lazy Song