F e b r u ä 'r y. 8,1923
MUSICAL COURIER
44
GITA GLAZE,
soprano, who .will give her second recital of the season, assisted by Giuseppe Adami, violinist, on Friday evening, February 16, at the Hotel Waldorf Astoria, Neic York.
sadly missed, even though since his departure from Chicago several prominent musicians have been given the direction of the Paulist Choir of Chicago. Father Finn, an able musician, !knows exactly what he can expect from each one of his singers, and the results are a credit to his musicianship and knowledge of the voice. Each new number on the piogram was as enjoyable as the preceding one, and the evening was a succession of ovations for the conductor and his choir. To go into an analytic review seems unnecessary, as everything the choristers did was praiseworthy and the singing of the soloists equally as agreeable. Father Finn may well be as proud of his contingent as New York must be to harbor him and his choir. The concert was under the management of F. Wight Neumann.
Muenzer Trio.
At Kimball Hall, also on Wednesday evening, the Muenzer Trio, an organization that hails from Leipsic and which can already be counted as one of the best organizations of its kind, made a successful appearance before an audience made up principally of musicians. The personnel of the trio is composed of Hans Muenzer, violinist; Hans Koelbel, cellist, and Rudolph Wagner, pianist. The latter should surely occupy a ׳big position in the musical life of this city. This reporter’s main reason for attending the recital was to
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CHICAGO HEARS TEN CONCERTS IN A DAY
Harold Bauer, the Flonzaley Quartet, Chaliapin and Civic Orchestra Among Attractions—Dumesnil and Sollitt in Two-Piano Recital—Paulist Choristers Delight—New Trio Heard—Other News
The Civic Orchestra.
Every organization with which the name of Frederick Stock is associated as . musical conductor is bound to be a success. This thought came to mind while listening to the Civic Orchestra’s performance last Sunday afternoon. The Chicago Civic Orchestra is today already an admirable organization and, let it be whispered, it could stand comparison with any orchestra in the land, and may some day rival in supremacy the Chicago Symphony Orchestra. Better praise could not be given either to Stock or to the young orchestra which, under his masterful handling, plays today as a body of veterans. When speaking of the Civic Orchestra the name of the assistant conductor, Eric Dela-marter, should always be closely associated and his work will not be forgotten by this reporter.
Chaliapin.
Chaliapin probably did not want to disappoint anew his followers, which are innumerable here, though suffering from a severe cold, he gave his postponed recital at the Auditorium on the same afternoon, fiere also the house was close to capacity and the applause as enthusiastic as when Chaliapin is at his ׳best. This being said, it may be added that in some numbers Chaliapin was good, but in none as fine as he was at his first concert here last season, nor did he appear in the same advantageous light as at his five performances in Mefistofele with the opera. Some of his singing was very poor, but this was not his fault but that of nature, and a singer hampered by a cold that compels him to sing most of a program mezza-voce should not be criticized, but on the contrary congratulated for pluck, and if ever there were a valiant artist, it is Chaliapin, who risks his reputation rather than disappoint. A very rare quality among musicians.
Dumesnil-Sollitt Two-Piano Recital.
The third concert in the Edna Richolson Sollitt course took place at Kimball Hall, Tuesday evening, January 30, before a representative musical audience. Maurice Dumesnil and Edna Richolson Sollitt gave a two-piano recital, which took up two-thirds of the program, starting with a Mozart sonata (D major), followed ׳by the suite, No. 2, op. 17, by Rachmaninoff, which were beautifully delivered, synchronization being absolute, proving the artistry and understanding of both players, and conveying both pleasure and delight. There was a rippling and sparkling manipulation of keys which did not lack balance, power or finesse. Recalls were numerous, and in response each number forced an encore. The solo numbers played by Mr.. Dumesnil were. andante spianato and polonaise (Chopin), La plus que lente (Debussy), Les Collines d’Anacapri (Debussy), toccata, op. Ill (Saint-Saëns). All were played with that vim, suavity, aplomb, interpretative understanding and great technic which proclaim him a master of his instrument. He was forced to play several encores at the close of the evening, the last of which sent his auditors home in a whirlwind of ecstatic joy after they had swarmed back on the stage to greet both participants. Little wonder he is becoming a popular vogue.
Paulist Choristers.
The Paulist Choristers of New York, under the direction of their conductor and leader, Rev. William J. Finn, gave a concert at the Auditorium on Wednesday evening, January 31. Father Finn, who counts in this city a host of friends, has done as well for the New York Choristers as he did while a resident here for the Paulist Choristers of St. Mary’s Church, where his absence from the choir has been
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Chicago, February 3.—Ten concerts took place on Sunday, of which the most important were the piano recital of Harold Bauer, which took place at the Studebaker Theater, under the management of F. Wight Neumann; the Flon-zaley’s chamber music concert at the Blackstone Theater, under Rachel Busey Kinsolving’s management; Feodor Chaliapin, who sang his postponed recital at the Auditorium; the Civic Orchestra of Chicago with Mildred Brown, violinist, as soloist, at Orchestra Hall; the Sinai Orchestral concert at Sinai Temple, Arthur Dunham, conductor, and Josef Rosenblatt, the famous cantor, who, assisted by the same artists heard last week at Orchestra Hall, gave a concert at the Ashland Boulevard Auditorium.
Harold Bauer.
A large audience greeted the popular Harold Bauer at the Studebaker. Bauer is so well established, as one of the most popular visiting artists that yearly come to Chicago, that in saying that many musicians of the city, among whom were many pianists, mingled their rapturous plaudits with those of the music lovers will suffice to attest that Bauer was at his very best, and under such conditions his work throughout the afternoon was most enjoyable.
Flonzaley Quartet.
That unique organization .of chamber music known as the Flonzaley Quartet is becoming more and more popular in this community, judging by the top-heavy house that again crowded the balconies of the Blackstone Theater. Rachel Busey Kinsolving deserves credit for bringing that organization yearly to Chicago, and musicians as well as the general public should respond even more generously to her efforts by buying tickets not only for the series of the Flonzaleys, but also for that of the London String Quartet, or any other worthy organization or.artist presented under her management. Miss Kinsolving always gives Chicagoans their money’s worth. She refuses to manage recitals of musicians which she thinks might hurt her reputation _ as a manager. She is a very serious woman, well deserving Chicago’s patronage.
The Flonzaley Quartet’s program consisted of the Brahms A minor and Novak G major quartets and the Beethoven variazioni, opus 18, No. 5. Their playing, as ever, was a source of rare enjoyment and perfection of ensemble.
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