8
February 22, 1923
Coppelia; Liszt’s Mazeppa; and with Marjorie Moody, the pleasurable soprano, as soloist, the arias Depuis le Jour from Louise, and Caro Nome from Rigoletto.
Mr. Mason’s profound musical scholarship is too well known to be analyzed here. As pianist and composer he has often proved himself a musician of singular attainments. His conducting last Sunday was characterized by the notable skill with which he handled the orchestra and by the taste and authority of his interpretations. The music by Warren Storey Smith deserves more than passing mention; it is admirably written, free from padding and generally agreeable music, comparing more than favorably with not a few compositions of foreign origin which have been inflicted on symphony audiences in this city within recent years. Mr. Smith’s piece was vigorously applauded.
Miss Moody impressed anew with the quality of her voice and the skill of her singing. Mr. Mason gave her a beautiful accompaniment.
Stoessel Sonata Pleases.
Albert Stoessel’s sonata in G major for violin and piano received its first performance in this city Monday evening, February 12, in Jordan Hall. It was played by Persis Cox, pianist, and the composer, Miss Cox, also played the following numbers: prelude, sarabande, two gavottes and gigue, Bach; sonata in A major, Mozart; Farewell, and Hark, Hark, the Lark, Schubert-Liszt; concert etude, Forest Murmurs, Liszt; four folk songs arranged by Josef Hofmann, Helen Hopekirk, Alfred Pochon and Selim Palmgren; Noel, Balfour-Gardiner; Burlesque, Arnold Bax.
There was considerable interest in the sonata of Mr. Stoessel. A first hearing is sufficient to indicate the fact that it is a significant addition to the library of violin literature. The thematic material is not invariably inspired, but Mr. Stoessel has treated it skilfully and written with genuine enthusiasm. The sonata has a certain virility which is not displeasing and was exceedingly well received by a large audience. Mr. Stoessel’s abilities as a violinist are well known in this city. His playing is marked by splendid musicianship, adequate technic and sincerity. Miss Cox and Mr. Stoessel played the sonata with skill and sympathy, giving it a convincing performance.
Ethel Leginska Returns.
Ethel Leginska, the well known English pianist, returned to Boston for her first concert in several seasons, her recital taking place Saturday afternoon, February 10, in Jordan Hall. Miss Leginska played these pieces: eight variations on the theme Tandeln und Scherzen, Beethoven; prelude and fugue in C sharp minor, Bach; nocturne, B major, op. 62, and Scherzo, B minor, op. 20, Chopin; The Gargoyles of Notre Dame, Dance of the Little Clown, Cradle Song, Scherzo and At Night, Leginska; Vaises Nobles et Senti-mentales, Ravel; A Little Funeral March for a Rich Aunt, Lord Berners; The Hurdy-Gurdy Man and Bacchanal, Goossens; St. Francis Walking on the Waves, and Cam-panella, Liszt.
Miss Leginska again proved herself a pianist and person-u ty.of cresting qualities. Her playing is still characterized by the virtuoso spirit and by its emphasis of dramatic values. Of her own compositions it may be said that she has listened to the ultra-moderns and has assimilated their method of expression. Thus, the influence of Ornstein is recognized in her Dance of the Little Clown and in the scherzo. More individuality is displayed in the imaginative Gargoyles of Notre Dame, while her nocturne is pleasurably fanciful. Lord Berners’ cynical Funeral March and Goos-sens colorful Hurdy-Gurdy Man, reminiscent of Stravinsky s Petrouchka, delighted Miss Leginska’s hearers and she had to repeat them. The pianist gave a brilliant performance of Liszt s famous show piece, La Campanella, and she was recalled many times.
John Charles Thomas at Opera House.
John Charles Thomas, the baritone who recently stepped from the light opera stage to the concert platform, gave a recital Sunday afternoon, February 11, at the Boston Opera House. Ably assisted by William Janaushek, his accompanist, Mr. Thomas sang these pieces: Care Selve, Handel; Se fu nfam¡, Pergolesi; Spesso Vibra»per suo jCR’T •c?,r• *i**14 Fer Ia Gloria, Bononcini; Treue Liebe, and O Liebliche Wangen, Brahms; Liebeshymns and Cacilie, Strauss; Lamento, Duparc; La Priere du Soir, Moussorg-sky; LAbesse, DErlanger; Me Suis Mise en danse (Old French melody arranged by Bax) ; Requiem du Couer, Pes-sard; Melancholy, Goossens; Serenade, Jarnefelt; Phantoms Bonner; Nocturne, Peal Curran; and I Must Down to the beas, John H. Densmore.
Mr. Thomas renewed and confirmed the favorable impression which he made at his first appearance in recital here a tew seasons ago. Gifted with a warm, smooth, resonant voice, he has lately perfected his control of it until it invariably does his bidding. As an interpreter he summons appropriate warmth. The audience was of fair size, but included numerous admirers of Mr. Thomas and he was recalled often.
Handel and Haydn Society Sings Elgar Oratorio. Elgar s religious cantata, The Dream of Gerontius, was performed by the Handel and Haydn Society in Symphony Hall Sunday afternoon, February 11, under the direction of Emil Mollenhauer. The society was assisted by the Boston Festival Orchestra, John W. Crowley, principal; E. Rupert Sircom organist, and these soloists: Riohard Crooks, tenor•
Icodq contraho, and Clarence Whitehill, bass.
"gh,r r d?isr not 3■,1ways achieve the spiritual exaltation of Cardinal Newmans impressive poem, his music is exceedingly well written and usually dramatic. Mr Crooks, who sang the part of Gerontius, was heard here for the ,first time. The young tenor revealed a voice of fine quality, liberal range and marked vocal skill. He sang his splos with a high degree of musical intelligence and a pas-
M awifvdnuithat st!rred h.ls listeners to vigorous applause. Mr’. Whitehill as priest, witness and the Angel of Agony again gave pleasure with the clear diction, technical surety and dramatic quality .of his singing. Mme. Alcock as the Guardian Angel strengthened the impression she has made on other occasions with the quality and range of her voice. The chorus sang acceptably, but without the spontaneity whmh marks its handling of the more familiar music of older and more popular oratorios.
Novaes Assists Harvard Glee Club.
theGH°a?™r^r?eSrihil charuming Brazilian pianist, assisted the Harvard Glee Club at the second concert of its annual series, Thursday evening, February IS, at Symphony Hall
(Continued on page 32)
MUSICAL COURIER
BOSTON PLANS TO HAVE A LONGER
CHICAGO OPERA SEASON NEXT YEAR
Seidel Scores with Symphony—Mason Conducts People’s Symphony—Stoessel Sonata Heard—Leginska Delights—John Charles Thomas Recalled Many Times by Appreciative Audience—Handel and Haydn Society Gives The Dream of Gerontius—Novaes Assists Harvard Glee Club—Flonzaleys and Bordoni Also Heard—Notes
thronged the opera house to hear Aida, Snegourotchka, Die Walküre and Carmen three or four times. Another season, furthermore, the Chicago company could add French opera to its repertory for Boston, together with guest artists like Chaliapin for one or two performances of Boris. Then again, the huge cost of transporting the Chicago organization would be the same for three or four weeks as for two, while the increasing returns of a third week would counterbalance any possible deficit: of an opening week. This year the public waited to be convinced of the merit of Chicago operatic standards before flocking to the Opera House. Next year such delay would be minimized if not altogether removed.
Toscha Seidel Successful with Symphony.
Toscha Seidel, the young Russian violinist, made his first Boston appearance in several seasons on Friday afternoon and Saturday evening, February 9 and 10, as soloist with the Symphony Orchestra in Symphony Hall. Mr. Seidel was heard in Mendelssohn’s ingratiating concerto, playing it without excessive sentimentality and with engaging sincerity. He has grown as an artist since his last appearance in this city and has gained in poise. To the brilliant technical equipment shared by pupils of the Auer school, Mr. Seidel adds genuine musical feeling and an ability to grasp and impart the emotional content of his music. He was received with tremendous applause, and was recalled many times.
The purely orchestral numbers of the program included Chausson’s symphony in B flat major; a new suite for orchestra, from the Garden of Hellas, by the American composer, Ballantine; and, for a first performance in America, two fantastic dances _ by the Spanish composer, funna. Mr. Ballantine’s music was reviewed in. these columns after a first hearing in Cambridge the previous week. Listening to it the second time it is clear that it is the best music that has thus far come from the Harvard teacher’s pen. It is to be questioned whether the swollen orchestra which Mr. Ballantine has used is appropriately suited to the simple verse of the Greek anthology. The composer has nevertheless used his orchestra to good effect in bringing out the poetic and generally imaginative ideas inspired by the poems. Although Mr. Ballantine’s suite does_ not suggest the product of an intense ardor craving musical expression, it was nevertheless favorably received and Mr. Ballantine was obliged to bow his acknowledgments from the platform. Mr. Monteux and the orchestra gave an eloquent performance of Chausson’s noble symphony, bringing out its exalted beauty and spiritual serenity in a manner which stirred the audience deeply. The dances of Turina are exotic, colorful and altogether stimulating music. They were delightfully played and warmly applauded.
Mason Conducts People’s Symphony.
Stuart Mason, the eminent composer, pianist and lecturer, conducted last Sunday’s concert of the People’s Symphony Orchestra at the St. James Theater. Mr. Mason arranged an unusually interesting program, in detail as fol-lows: overture to Der Freischutz, Weber; third symphony,
- chubert; theme Slav Varie from Delibes’ melodious ballet,
Boston, February 18.—A decision will be reached within the next week or ten days as to the length of time which the Chicago Civic Opera Company will spend in Boston next season. One of the members of the managing committee who was instrumental in bringing the Chicago company to Boston this winter, told the representative of the Musical Courier that there was considerable sentiment for a three weeks’ season, due largely to the enthusiasm support^ given the Chicago company this year, as soon as the public discovered the artistic merit of its performances. Thus, while the box office receipts during the first week amounted to approximately $68,000, they jumped to more than $90,000 during the final week. Those supporting the longer season cite this significant increase, together with the fact that nearly all the seats in the balconies were sold before the season commenced, to prove the feasibility of a longer term. To strengthen their argument, moreover, they Point out that the delay in arriving at a decision to have the Chicago company come here this year made it impossible to conduct a long and elaborately planned publicity campaign, making the success of the season appear all the more remarkable. Manifestly, if the managing committee were to launch a vigorous campaign this spring and resume it in the fall, there would be every reason to believe tnat the opera loving public of Boston and its thickly populated suburbs would support a season of longer duration than two or even three weeks.
Other considerations suggest themselves. For example, while there was no apparent public demand for a second performance of L’Amore dei tre re or Tosca during this years season, it was obvious that the public would have
ALVINO GRAND OPERA COMPANY
The ALVINO GRAND OPERA COMPANY has been recently organized in New York with a double end in view; that is to establish a permanent theater for Grand Opera at popular prices, giving first class opera performances by the best local talent available and to stage a series of debuts under the supervision of a committee of opera, managers who will choose the best from among the debutants and start them on a theatrical career. This will be a boon to the local talent striving in vain for recognition.
AH those men and women who have studied music and are endowed with a good voice are invited to register at the ALVINO GRAND OPERA COMPANY’S office at 25 West 42nd Street, Room 210, any day from 10:00 A. M. to 5:30 P. M.
& JW o n t ft from Carter
FIVE EASTER CHANTS by Russian ComposS"® f“*״'
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THE RESURRECTION, music composed by Carl Venth.
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TEN CHORALS FOR LENT, EASTER, ASCENSION AND WHITSUNTIDE.
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AWAKE THOU THAT SLEEPEST by Warren ' W ’ An I mu.............................15
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REJOICE, YE PEOPLE, by RuTHTO^KmosL”“‘ *	.........................!!
I KNOW THAT MY REDEEMER LIVETH, by RutmrVord Kingsley!.......................\\
WELCOME HAPPY MORNING,‘by G. Marschal-Lokke"6 W״h piano or orga"•
THE LORD IS MY STRENGTH/by V Novello	................................12
VERY EARLY IN THE MORNING, ‘fro^^h^Cantata^^he' Resurrection,’’’ by Carl Venth ' ‘ ‘' Z ?Boston	Cajl tseijer, cooper	!•>eto gorft 430-32 £>. ULtiasfj 2liif.,