24
February 1, 1923
Paraphrase on the Invitation to the Dance, Weher-Godow-sky; Barcarolle, Rachmaninoff; Danse Macabre, Saint-Saens, and variations on a theme by Beethoven, Saint-Saëns.
The highly enjoyable art of these superlative ensemble pianists is too well known in Boston to require extended comment at this time. Their playing has often been praised in these columns. Suffice it to say that, individually and collectively, their technical skill, keen sense of rhythm and extraordinary musicianship were again abundantly in evidence. A large, friendly audience gave Messrs. Maier and Pattison an extremely cordial welcome, and they were obliged to add many extra pieces to their list.
Fox, Bedetti and Others Active Under Richmond Management.
On January 18, Felix Fox, Boston pianist, and Jean Bedetti, solo cellist of the Boston Symphony Orchestra, appeared with splendid success in Concord, N. H., for the Teachers’ Association, with Edgar Schofield, the baritone. Both these artists are having an unusually active season in solo work as well as in appearance with the Fox-Burgin-Bedetti Trio, which includes Richard Burgin, the popular concertmaster of the Boston Symphony Orchestra. On January 19 this trio appeared at the annual dinner of the Harvard Musical Association, playing the Brahms and Pierne Trios, the latter work appearing on a Boston program for the first time. Mr. Bedetti has been re-engaged for an entire recital at Phillips Academy in Andover the early part of next season.
Of unusual interest is a series of four interpretative concerts to be held under Mr. Richmond’s direction in Jordan Hall, Boston. The Boston Symphony Ensemble, which has had all its time booked for the current season, under Mr. Richmond’s management, has prepared a series of special programs, and Henry Gideon, music critic and lecturer, is to comment on the numbers. The Simmons College Endowment Fund sponsors this series.
Coming Boston recitals under the direction of the same office, are those of George Smith, the pianist, who has a host of admirers in Boston, and Carlos Salzedo, the harpist, in joint recital with Suzanne Dabney, soprano.
Ernest Hutcheson Plays Liszt.
Ernest Hutcheson, pianist, brought his series of concerts of music “From the Great Masters” to a close January 27, In Jordan Hall, with a program drawn entirely from Liszt. In detail he played these pieces: sonata in B minor, sonetto 123 di Petrarca, Funerailles, concert study in F minor, St. Francis Preaching to the Birds, and the thirteenth Hungarian rhapsody.
A good sized audience greeted Mr. Hutcheson, who has won many admirers in this city through his scholarship, his taste and his generally admirable qualities as pianist and musician. He has won the lasting regard of local music lovers for his enterprise ■in undertaking this historical series and for the efficient and enjoyable manner in which he has performed it.
Paulist Choir at Symphony Hall.
January 21, at Symphony Hall, the Paulist. choristers, under the highly efficient direction of the Rev. William J■ F״m> gave an interesting concert before their loyal public. As usual, the program opened with Liturgical music—this time from Vittoria, Palestrina, Handel, Tschai-kowsky, Arkhangelsky and Byrd. The chorus was assisted by these soloists, Nicolas S. Murphy, Fenrick Newell, H. Overton Moyle and Jack Huber. Ann Wolcott was accompanist. Father Finn was assisted by Arthur T. Duffey and W. S. McCullum.
Maria Conde Soloist with People's Orchestra.
Maria Conde, coloratura soprano, formerly of the Metropolitan Opera Company, was the soloist at the thirteenth concert of the People’s Symphony Orchestra, January 21, at the St. James Theater. Miss Conde revealed a flexible voice of generous range and agreeable quality, as well as musical intelligence of a high order in the ornate air Charmant Oiseau from David’s Pearl of Brazil. The purely orchestral numbers of the program included Schubert s Unfinished symphony, Beethoven’s third Leonora overture, Debussy’s Afternoon of a Faun and a waltz by Komzak.
Pierian Sodality Gives 116th Concert.
The Pierian Sodality of Harvard University, under the admirable leadership of Walter Piston, conductor, was heard in its annual concert, January 24, at the Copley Theater This historical orchestral society, probably the oldest musical organization in the country, is having its 116th season. After the inevitable Fair Harvard the following program was heard: Overture to The Caliph of Bagdad, Boieldieu• Egyptian ballet, Luigini; Romanza and Polka, Dvorak־ Orientale (cello solo, E. T. Payson, 26׳), Cortege from The Queen of Sheba, Gounod; piano pieces: Melody in E, Rachmaninoff; Impromptu in F sharp major, Chopin’ Sonetto 123 del Petrarca, and Jardins sous la pluie, Debussy.
Shirley Combines Religion and Music.
Sunday evening, January 21, at the Epworth Methodist Episcopal Church in Cambridge, Paul Shirley directed the 500th musical service of worship held weekly in greater Boston churches by members of the Boston Symphony Orchestra. This highly successful project was undertaken four years ago by Mr. Shirley, viola player of the Boston Symphony Orchestra and a recognized authority on the viola d amore.. At that time Mr. Shirley conceived the idea of a musical church service, an instrumental concert of semi-religious character to be incorporated into the evening SurVire	churches. The first experiment was tried at
the Epworth Church in Cambridge with tremendous success, and it was therefore appropriate that the 500th service last Sunday was held in this same edifice.
The services took hold immediately, people finding the music appropriate and enjoyable. Pastors found that they strengthened and ^ beautified the evening worship and put the congregations in a receptive mood for the sermons which iollowed. While three or four soloists appeared at each service, sixty members of the Boston Symphony Orchestra and thirty other Boston artists have assisted throughout the past four years. These services have been held Sunday evenings in churches in Boston and vicinity.
. The idea itself is the outgrowth of Mr. Shirley's conviction that music and religion should be combined. He is quoted thus: “Religion depends on art and endeavors to (Continued on page 39)
MUSICAL COURIER
BOSTONIANS REVEL IN WEEK OF PIANISTS
Münz Has Sensational Success in Debut-Harrison Potter Appears Again-Enescft Soloist with Symphony and Represented Also as Composer—Hofmann in Only Boston Recital—Maier and Pattison and Hutcheson Also Win
Favor—Other Events
ready of the superior nature which would entitle him to such a distinction.
Harrison Potter Pleases in Recital.
Harrison Potter, pianist of this city, gave a recital January 19, in Jordan Hall. He was heard in these numbers . dances and aria, sixteenth century (transcribed by Respighi); Gagliarda, Galilei; Villanella, unknown; Sicili-ana, unknown; Balletto, Molinaro; prelude, B minor, Bach: sonata, G minor, Schumann; sonata, D major, Scarlatti" The Holy Boy, Ireland; El Puerto, Albeniz; Feux d’Artifice Debussy; Dreamer’s Tale, Peterkin; and Sevillana, Infante.
It was only a few weeks ago that he appeared as soloist with the People’s Symphony Orchestra and won a truly brilliant success with his admirable performance of the Saint-Saëns concerto. Mr. Potter, at his recital last Friday, renewed and strengthened the splendid impression he made at that time and on other occasions as a concert pianist in this city. To begin with, his program indicated the careful research of a discerning musician and was one of the most interesting heard here this season. He played the charming old pieces—transcribed without mutilation by Respighi—with a fine regard for their musical values. Mr. Potter’s style of playing is admirably suited to the romantic music of Schumann, and the songful G minor sonata re-ceived an altogether revealing and pleasurable performance. Debussy’s delightfully impressionistic Feux d’Artifice was given with appropriate color and subtlety, and had to be repeated. Mr. Potter ripens steadily as a pianist, as an artist. He has keen aesthetic perceptions and a command of technic and tone which enables him to transmit to his hearers the beauty of music as he finds it. This he does without ostentation, in a manner wholly free from mannerisms, with the result that he creates an atmosphere of intimacy in the concert room such as one seldom experiences in the presence of other artists. His playing is always musical and his audiences invariably respond to it warmly.
Enesco Soloist with Symphony.
Georges Enesco, the Roumanian composer, conductor and violinist, whose music has often given pleasure in Boston, was the guest with the Boston Symphony Orchestra at its concerts of Friday afternoon, January 19, and Saturday evening, January 20, in Symphony Hall. As composer he was represented by his charming suite for orchestra, op. 9, which he conducted. As violinist he gave a memorable per-fonuance of the Brahms concerto, his playing revealing a violinist of brilliant technical attainments, a fine sense of style and a ready response to the melodic and emotional phases of the concerto. Mr. ■ Enesco was greeted with genuine enthusiasm, indicating not only a keen appreciation of his genius, but also perhaps a desire to hear the orchestra conducted now and again by other leaders. The other numbers on the program were the spirited overture to Berlioz’ opera, Benvenuto Cellini, and Debussy’s beautiful Rondes de Printemps from his Images for orchestra.
Josef Hofmann Plays.
Josef Hofmann, pianist, gave his only Boston recital of Ae season here Sunday afternoon, January 21, in Symphony Hall. Mr. Hofmann played these pieces: Hammerklavier sonata in B flat, op. 106, Beethoven; six etudes: E major C sharp minor, A flat major, C sharp minor, G flat major,
C minor, Chopin; Mignonettes (Children’s Corner)• Lonesome (Song without words), Wooden Soldiers (March) Complaint (nocturne) and Sister’s Dolly (polka) Josef Hofmann; etude in C major (for the left hand alone) Hofmann; Consolation in D flat major, and Spanish Rhap-sody, Liszt.
Mr. Hofmann’s far-famed virtuosity, his mastery of the piano and its possibilities, again gave pleasure. He gave a musicianly interpretation of the interminable Hammerklavier sonata, and entertained the audience with his own interesting and charming little pieces. But it was in the etudes of Chopin that his particular genius manifested itself most effectively, the beautiful study in C sharp minor being played in a manner that will not soon be forgotten. An audience of good size was very enthusiastic, makin״ necessary a substantial lengthening of the program.
Maier and Pattison in Concert.
Guy Maier and Lee Pattison, who had their beginnings m this city, gave a concert of music for two pianos January 25, in Jordan Hall. They played the following pieces: sonata in D major, Mozart; andante from sonata op 34 bis, Brahms; Gavotte and Musette, Raff; Contrapuntal
Boston, January 28.—It has been given to very few artists^ appearing in Boston for the first time to win the sensational success which Mieczyslaw Münz, the young Polish pianist, had at his debut recital in this city January 24, in Jordan Hall. Although Mr. Münz had handicapped himself with an unusually, exacting list of pieces, it is a commentary on his abilities as pianist and interpreter that he was able to hold the attention of his audience from first to last. In detail his program comprised these compositions: Toccata-adagio-fuga, C major, Bach-Busoni; sonata, op. 5, F minor, Brahms; prelude, aria, finale, César Franck; St. Francois d Assisi Bird Sermon and St. Francois de Paule Walking on the Waves, Liszt.
Although the salient characteristic of Mr. Münz’ art may be his extraordinary technical skill, he gives the impression of being a highly sensitive, imaginative, poetic pianist. His playing of the Bach fugue delighted the audience by its superlative musicianship. The Brahms sonata was given in the romantic mood, with beauty of tone and poetry of impression as the prevailing qualities of Mr. Münz’ musical interpretation. The pianist was no less effective in sensing and communicating the spiritual ardor of the César Franck, while the brilliant• closing numbers out of Liszt,were played with such virtuosity as to rouse Mr. Münz’ audience to vigorous and prolonged applause. Recalled many times, he played pieces of Chopin in a manner which gave one cause to regret that they had not been included in his regular program. It is to be hoped that Mr. Münz will be given an opportunity here next year as soloist with the Symphony Orchestra. His playing is al-
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Ethel Jones
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“Ethel Jones, mezzo contralto, is an interesting artist and she showed fine dramatic ability.”—W. J. Henderson, New York Herald.
“She is a gracious interpreter.”—New York Evening Sun.
“Ethel Jones disclosed a voice of good volume. Miss Jones has the right idea.”—Frank Warren, New York Evening World.
“Her lovely voice is a thing of full warm tone and rich sympathy. Ethel Jones’ diction is perfect.”—Herman Devries, Chicago American.
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Manager Louise Quealy 848 Sunnyside Ave. Chicago