February 15, 1925 New York Concert Announcements Carnegie Hall Carnegie Hall . .Aeolian Hall . . .Town Hall Thursday, February 15 Symphony Society of New York, afternoon... Cecilia Guider, song recital, evening............ Frederic Lamond, piano recital, evening.......... Olive Nevin, song recital, evening............... Carnegie Hall .....Biltmore Carnegie Hall Carnegie Hall .Aeolian Hall .Aeolian Hall Friday, February 16 Sjmphony Society of New York, evening....... Friday Morning Musicale ................ Saturday, February 17 Symphony Concert for Young People, afternoon Philharmonic Society of New York, evening. . . Ossip Gabrilowitsch, piano recital, afternoon.... London String Quartet, evening.............. Sunday, February 18 Philharmonic Society of New York, afternoon............Carnegie Hall John Corigliano, violin recital, evening................Carnegie Hall Symphony Society of New York, afternoon.................Aeolian Hall Lrika Morini, violin recital, afternoon................ Town Hall City Symphony, afternoon .....................................Century Edna Thomas, song recital, evening....................... . . . .Belmont Carnegie Hall ■ Aeolian Hall .Aeolian Hall 19 Monday, February City Symphony, evening................. Mary Browne, song recital, afternoon.... New Trio, evening ..................... Tuesday, February 20 Ethel Leginska, piano recital, evening..................Carnegie Hall Alfredo Casella, piano recital, afternoon................Aeolian Hall Guy Maier, piano recital, evening........................Aeolian Hall City Symphony, afternoon ...................................Town Hall Music League of America, evening............................Town Hall Wednesday, February 21 Philharmonic Society of New York, evening..............Carnegie Hall Frances Nash, piano recital, afternoon.................Aeolian Hall Arthur Shattuck, piano recital, evening...................Town Hall the communicative ardor rarely found in pianists of the younger generation with which to transmit the poetic, con-ten of his music to an audience. In other words, Mr. Tillotson manifestly has the spark and ought to go far. It is hardly to be expected that an artist of his age and experience should sound the depths and scale the heights of musical expression. Nevertheless, his playing is generally convincing^ and always pleasurable. A large audience responded with a keen appreciation of his talents, and Mr. Tillotson was obliged to add many encores. In view of his recent success with the People’s Symphony Orchestra, together with the excellent impression made at his concert of last Saturday, it is to be hoped that we will be given an opportunity to hear Mr. Tillotson in the near future as soloist with the Boston Symphony Orchestra. Sigrid Onf.gin Pleases at Debut. One of the most important musical events of the season was the first appearance in this city of Sigrid Onegin, the Swedish contralto of the Metropolitan Opera, February 8, in Symphony Hall. She was heard in the following program : II mio bei fucco, Marcello; Pur dicesti, Lotti; Chi vuol la zingarella, Paisiello; Der Musensohn and Der Erl-koenig, Schubert; Sapphische Ode and Willst du dass ich geh? Brahms; pastorals and romances of the seventeenth century, arr. by J. B. Weckerlin; L'amour s’envoie, Menuet dExaudet, Non je n’irai plus au bois, Jeune fillette• I Heard a Cry, Fisher; April, Harris; The Blind Ploughman, Clarke, and Come Up, Deis. Mme. Onegin had sung but very few measures before the audience realized that it was hearing, so to speak, an artist of uncommon abilities. Gifted with a voice’ of extraordinary timbre and power, she disclosed marked ability in coloring it, together with a technical surety which makes her singing appear wholly effortless. Although she has achieved this mastery of vocal art, it cannot fairly be said that her interpretations are invariably faultless—but it would be hypercritical to search for flaws in an artist of her stature. Mme. Onegin’s charming personality made an immediate appeal and she was applauded with enthusiasm throughout the evening. Bürgin Quartet’s Program. The Rl£hard Bürgin String Quartet (Messrs. Bürgin, I hillois, Fourel and Bedetti, leaders of their sections in the Boston Symphony Orchestra) gave its first program of the season last Wednesday evening, February 7, in Jordan Hall. The program comprised Mozart’s quartet in D major; five pieces for string quartet, by Casella (first time m America), and Brahms’ piano quintet in F minor op. 34. Heinrich Gebhard, the admirable concert and en-semble pianist, assisted the quartet in the closing number The Burgms have made significant strides since last season m tonal beauty (noteworthy in their superlative per-formance of the songful quartet from Mozart), precision, euphony and balance. Individually and collectively they have already achieved an admirable sense of proportion and style as performers of chamber music. Although Casella s pieces are deliberately humorous in a labored way, their chief interest as music derives from the novel harmonic devices and original melodic designs employed by the bold Italian composer. Mr. Gebhard s part in the performance of Brahms’ quints;; merits more than .passing notice. This pianist has rapidly come to the fore as an ensemble pianist par excellence principally because of his genius for blending the tone of Ins instrument with that of the strings. Mr. Bürgin has proved to be a program maker of discernment and it is to be hoped that his wholly admirable quartet will attract a larger audience for their second concert on March 20 in Jordan Hall. Ivogun at Symphony Hall. Maria Ivogun, the coloratura soprano, gave a concert Sunday evening, February 4, in Symphony Hall. Admirably assisted by Michael Raachleisen, accompanist, and Arthur Brooke, flutist, Miss Ivogun was heard in the following program; Lo, Here the Gentle Lark (with flute) Bishop; Nur wer die Sehnsucht kennt, Pastorella, Die horelle and Seligkeit, Schubert; Cavatina, So anch’io, Don Pasquale, Donizetti; Come Unto These Yellow Sands La borge; Windflowers, Josten; Pirate Dreams, Huerter; Brown Birdeen, Buzzi-Peccia, and variations on a melody by Mozart (with flute), Adam. It is a question whether the empty bravura of coloratura pieces will win for Miss Ivogun that permanent following 38 MUSICAL COURIER BOSTON CONCERTS AGAIN IN LIMELIGHT FOLLOWING A BUSY OPERA SEASON Richard Burgin Wins Brilliant Success with Orchestra—Frederic Tillotson’s Delightful Program—Sigrid Onegin Pleases at Local Debut—Burgin Quartet Gives First Program of Season—Ivogun Enthuses Symphony Hall Audience —Dorothy Fairbanks Heard—New Courses in School Singing at Harvard liant and well-deserved success for the modest, unassuming and thoroughly artistic concertmaster of the Boston orchestra. The purely orchestral portion of the program included the first performance of a new suite by Ballantine In Garden of Hellas, revealing the steady growth of Mr. Ballan-tine as an American composer to be reckoned with. This composition is divided into four parts—Invocation to Pan, Nocturne Aphrodite and Unloose Your Cables—suggested Gainsborough Studio thoto FREDERIC TILLOTSON by four poems from the Greek anthology. The music is admirably conceived, commendably brief and well written. Mr. Monteux opened the concert with Mozart’s ever-charming symphony in E flat and closed with Strauss’ delightful tone poem, Til Eulenspiegel. Frederic Tillotson Scores Fine Success. Frederic Tillotson, pianist, took another step forward in his career as an artist when he gave his recital Saturday afternoon, February 3, in Jordan Hall. He set himself an exacting and unusually interesting program, comprising these pieces: prelude and fugue, Bach; Symphonic Etudes, Schumann; Lotus Land, Cyril Scott; Une barque sur l’ocean, Ravel; Minstrels and Danseuses de Delphes, Debussy; Triana from Iberia, Albeniz; valse, G flat, and etude, Chopin; The Lark, Glinka-Balakireff, and Campa-nella, Paganini-Liszt. Mr. Tillotson has an extraordinary talent. His technical equipment is more than adequate; it is brilliant—even in these days when there seems to be an abundance of purely mechanical virtuosity. But this young pianist fortunately possesses, moreover, much that cannot be learned from teachers, because it cannot be taught. There is an intensely musical feeling that vitalizes much of his playing, an instinctive grasp of the composer’s intentions, and B ::ton, February 11—Richard Burgin, concertmaster of the Boston Symphony Orchestra, gave a fresh demonstration of his familiar abilities as violinist and artist when he appeared as soloist with the Boston Symphony Orchestra, February 8, in Sanders Theater, Harvard University. Mr. ^Burgin played the solo part in Tschaikowsky’s extremely •difficult concerto, giving it as artistic and convincing performance as has been heard here in recent years. He ־played with that breadth and appreciation of the beauty of melodic contour and phrase which have always marked his qualities as a sensitive musicians. As on other occasions, Mr. Burgin’s virility and warmth of temperament raised the music to a high degree of poetic eloquence, stirring his audience to tremendous applause. It was a bril- Bcrlin Critics Praise HAROLD HENRY “IN THE FRONT RANK OF VIRTUOSI.” —Deutsche Zeitung. “A VIRTUOSO OF EXTRAORDINARY TECHNICAL POWER.” — Allegemine Musik-zeitung. “FAULTLESS TECHNIQUE.” — Täglische Rundschau. “FAULTLESS, PERFECTLY DEVELOPED, EVEN TECHNIQUE.”—Deutsche Tageszeitung. “THE GENERAL IMPRESSION IS DELIGHTFUL.”— Die Zeit. HAROLD HENRY devoted his first piano recital to the romanticists and proceeded from Brahms’ Intermezzi and Schumann’s great G minor sonata to Chopin; to colorful pieces by MacDowell, Grieg, Debussy, Palmgren, Scriabin, and to an appealing art-piece of his own composing. He stands forth with a faultless, perfectly developed, even technique, and brings a convincing power to his pianistic performance. A skillful mastery and real sincerity characterize this piano playing which was received with lively applause.—Deutsche Tageszeitung, November 18, 1922. HAROLD HENRY:—spirited temperament with delicate touch as occasion demanded; rhythmically sharply sensitive; phrasing well and consequently musical.—Lokal Anzeiger, November 19, 1922. HAROLD HENRY is a distinguished pianist. Understanding, power, temperament as well as tone meet the most exacting demands. The general impression is delightful.—Die Zeit, November 14, 1922. HAROLD HENRY, the American pianist, who is also in the front rank of virtuosi, devoted the large part of his internationally made program to works by Beethoyen, Brahms and Schumann and took honest pains to enter into the spirit and realms of feeling of these composers.— Deutsche Zeitung, November 13, 1922. HAROLD HENRY understands how to make music unostentatiously and to play the. piano elegantly, without mannerisms. That means that in every case he was satisfied to devote himself without excesses to the charm of the keyboard.—Borsen Courier, November 10, 1922. NOTE—Mr. Henry Accepts Pupils in Europe. For all particulars address Secretary of Harold Henry, care Guaranty Trust Co., 1 and 3 rue des Italiens, Paris, France. Sophie Frances BRASLAU ----*nd- ALDA Feature with tremendous success ЩШШ ж THE DISCREET NIGHTINGALE Sophie Braslau and CHRISTMAS by WERNER JOSTEN Boylston BOSTON s4$-«2.h CHICAGO CARL FISCHER g°r: NEW YORK