MUSICAI,	C O Tl R I F R
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Sarasate’s _ brilliant Serenata Andaluza. This group gave the violinist opportunities to display his virtuosity from many angles. That he charmed his hearers was evident by the reluctance of the audience to depart at the conclusion of the concert,^ when there was a rush towards the platform to hear the artist at short range. His encores were a beautiful song (chanson) of his own, as well as two well known Sarasate numbers, Zapateado and Zigeunerweisen. Giuseppe Bamboschek accompanied sympathetically.
The New York Times says regarding the program: “A large audience enjpyed_ the program, and especially a transcription by the violinist of Sarasate’s Nightingale’s Song, which included imitations of bird calls. He also played his own arrangements of works by Paganini and Gluck, as well as compositions by Mana-Zucca, Sarasate, Bach and Mozart. Bach s sonata in G minor served to demonstrate fleetness of fingers and variety of style.” The New York American wrote: “With his usual artistry and technical command he played classic compositions by Bach־ and Mozart,־ and a group of original works.” The New York Herald: “Mr. Manén was especially happy in the Mozart concerto which proved admirably adapted to his perfection of detail and finished style. . . . Mr. Manén’s performance of the concerto possessed a splendid rhythm and proved him to be a close and ardent student of style. Mr. Manén’s tone is not generally considered a large one, but in Bach’s sonata it emerged sonorous and full, with a fine vitality.”
CITY SYMPHONY: PAUL BENDER SOLOIST
Paul Bender was the soloist on Monday evening at the City Symphony concert which drew a good sized audience to Carnegie Hall. Mr. Bender was in fine fettle and sang with his accustomed dignity of stytle and beautiful, flowing tone. He was most successful in conveying the emotional content of his numbers to his hearers. His is a baritone that always gives pleasure and he was warmly received. Mr. Bender’s selections were: Bach’s recitative, Ich habe genug, and the aria, Schlummert en ihr matter¡ Augen (from Cantate No. 82), and Hans'Sach’s monologue Wahn! Wahn! (from Act 3 of Die Meistersinger). Dirk Foch and his orchestra furnished good support for these.
The orchestra’s selections included Mozart’s symphony in G minor and Smetana’s overture to The Bartered Bride.
TUESDA Y, FEBRUARY 13
BRONISLAW HUBERMAN
Bronislaw Huberman at his recital in Carnegie Hall on Tuesday evening attracted a good sized audience, largely consisting of professional and amateur violinists. He has been acclaimed in all parts of the world as a master violinist which title he fully deserves.
The program opened with Fantasie in C major, op. 159, for violin and piano, which was rendered with great charm,’ the piano part being played by Paul Frenkel. This was followed by Bach’s sonata in G minor (for violin alone), played with dignity and authority, and in which his musician¡ ship was strongly outstanding. The beautiful Saint-Saëns concerto in B minor, op. 61, was presented in a particularly fascinating manner. For his closing group he gave Ave Maria, ׳ Schubert-jWilhelmj ; Nocturne, Chopin-Sarasate; Waltz op. 64, No. 2, Chopin-Huberman, and La Clochette by Paganini.
His big and luscious tone was greatly admired, as were his warmth, technical precision and reliable intonation. The audience was not slow in recognizing his artistry and recalled him innumerable times. At the conclusion of the program two encores were given. Paul Frenkel rendered unusually fine and sympathetic accompaniments.
The New York Tribune writes: “Bronislaw Huberman, since his return here last season, has succeeded in winning a place for himself as one of the violinists well worth hearing. He has become this year a familiar figure at concerts as soloist and ensemble player, and last night in Carnegie Hall gave his first recital of the season. . . . Mr. Huberman has many qualities that make him interesting as a recitalist and seems to have gained something in poise and repose since his appearance last year. The Bach G minor sonata for violin alone was a test which showed him a player of fine attainments, with a grasp of form and style, as well as technical skill.” The New York Herald says: “Bronislaw Huberman brought to his delivery last night a beautiful measure of his brilliant and dignified accomplishments as an artist, and his work was warmly applauded.” The New York American states: “Bronislaw Huberman, whose mastery of the violin has registered several bright spots in recent seasons, gave another grateful exhibition of his musicianship in Carnegie Hall last evening. His readings of compositions by Schubert, Bach, Saint-Saëns, Tschaikowsky, Chopin and Paganini revealed his broad equipment of brilliant technic, virile and. sonorous tone, and excellent sense of nuance.”
WILHELM BACHAUS
Wilhelm Bachaus again displayed his astounding virtuosity, this time in an all-Chopin program, at the Town Hall on February 13, to the evident delight of his audience which demanded many encores. His program included the sonata in B minor, Berceuse, Preludes in F major and D minor, Polonaise in F sharp minor, Nocturne in F sharp (Continued on Page 36).
N E־W YORK CONCERT/
been admired for so long, handled with the same ease and surety, and with the same capability of clean-cut execution in florid passages.
Miss Garrison began with Oh, King of Kings, from Handel’s Esther, the final passages of which were a splendid illustration of the trained vocalism just mentioned. Next came numbers by Mozart and Pergolesi, also cleanly sung. The group of German lieder by Schumann, Brahms and Strauss, gave evidence of the work which she had done last summer with Mme. Lehmann. They were splendidly sung, with real feeling, the first of the Schumann Brautlieder being particularly well done. The artist showed her versatility by singing a group of three of the Moussorgsky Nursery Songs. The successful rendition of these depends almost entirely upon the interpretation, and the singer brought out every shade of meaning there is in them. Stravinsky’s Pastorale, without words, an early work with a lot of decided melody, especially suited her voice. She ended her program with a number of English songs, among which a Prayer by George Siemonn, her thoroughly capable accompanist, proved a favorite, as did Howard Brockway’s transcription of The Nightingale and David Guion’s arrangement of Swing Low Sweet Chariot, classed as American folk songs.
That Miss Garrison gave distinct pleasure to her audience was very evident by the hearty applause that followed her throughout the program and the demands for extra numbers, both between the groups and at the end.
THE BEETHOVEN ASSOCIATION
At its fourth subscription concert of its fourth season the Beethoven Association gave a program of Brahms, Schubert, and Beethoven, interpreted by Gabrilowitsch, Huberman, Salmond and Sigrid Onegin. There were two trios, Brahms in B minor, op. 8, and Beethoven in C minor, op. 1, No. 3, between which Mme. Onegin sang Schubert and Brahms songs. Needless to say it was an evening of delight for those who delight in the classics done as they should be done. The number must be large, for the house was crowded and enthusiastic.
JUAN MANEN
Juan Manen, Spanish violinist, gave his second New York recital of the season on Monday afternoon at Aeolian Hall, when he again revealed his many excellent and outstanding qualities, such as a luscious and fascinating tone, facile technic, impeccable intonation, and, above all, musicianship. His artistic and highly finished playing reached the hearts of the large and interested audience which showed its appreciation by bestowing sincere applause.
His program opened with Mozart’s concerto in D major (No. 4) in which his extraordinary musicianship was admired. Next came Bach’s G minor sonata (for violin alone). In this, Mr. Manen’s beautiful and smooth tone, as well as clarity and rhythmic precision, made the work doubly interesting.
His closing group comprised Caprice No. 9, Paganini-Manen; Ballett-Lento, Gluck-Manen; an effective arrangement of Sarasate’s Nightingale Song by the concert giver (which had to be repeated), Mana-Zucca’s Budjely, and
SUNDAY, FEBRUARY 11
NEW YORK PHILHARMONIC: CORNELIUS VAN VLIET SOLOIST
On Sunday afternoon, Carnegie Hall was completely filled with hundreds of standees to hear the Philharmonic Orchestra, under the direction of Willem Mengelberg. The program was practically the same as was offered at the first concert that Mr. Mengelberg conducted this season when he appeared at the Metropolitan Opera. The Eroica symphony of Beethoven was given with such effectiveness that it has been one of the most commented upon events of the season. The last number was made up of three movements from Berlioz’ Damnation of Faust, which earned for the conductor and his musicians a splendid greeting at the end of the program.
Cornelius Van Vliet, cellist of the Philharmonic, gave a concerto by Saint-Saëns for cello and orchestra. Mr. Van Vliet played with considerable skill, giving a splendid touch and good style to the delicate Saint-Saëns music. He was recalled many times.
CITY SYMPHONY: GDAL SALESKI SOLOIST
The eleventh “pop” concert of the City Symphony Orchestra drew, as usual, a large audience on Sunday which could not but enthuse whenever opportunity offered. The Mozart G minor symphony (No. 40) was splendidly given, Conductor Foch holding his men under fine control and bringing out what beauty there is in this score. Russian Folk Tunes (Liadow) and the Wedding March from Mendelssohn’s Midsummer Night’s Dream also proved popular and well deserved the applause they received. The symphonic poem, Stenka Razine (op. 13), by Glazounoff, proved unusually interesting, and as an added number the orchestra gave A Mosquito Lullaby, a humorous work, which Mr. Foch explained to the audience in interesting manner.
The soloist was Gdal Saleski, cellist of the orchestra, who interpreted with fine effect the A minor concerto for cello and orchestra by Saint-Saëns.
MONDAY, FEBRUARY 12 MABEL GARRISON
Mabel Garrison, fresh from notable successes on the other side of the water, both in opera and concert, came back to her home city on Monday afternoon, giving the first New York recital since her return at Carnegie Hall. It was of special interest to hear her for she has spent a good part of the summer studying with that famous teacher, Lilli Lehmann.
Miss Garrison has given great pleasure in past years here by her singing, both with the Metropolitan Opera Company and as a concert singer, and she did not fail to do the same at this recital. There has perhaps been a little strengthening of the voice in the lower and middle registers. Except for that it was the same pure, clear, lyric soprano that has
56th SUMMER SESSION
Six Weeks’MASTER CLASS Conducted by The Great Pianist and Teacher
MME. MARGUERITE MELVILLE L1SZNIEWSKA
Intensive Course in PUBLIC SCHOOL MUSIC, State Accredited — for Six Weeks,
from June 15th to July 28th, 1923.
PROGRESSIVE SERIES OF PIANO LESSONS
All Departments open until Aug. 1st. Students may enter at any time.
Send for announcement to Bertha Baur, Directess, Highland Avenue and Oak St., Cincinnati, Ohio
“PRINCE OF THE RECITALISTS״
Management :
EVANS & SALTER
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Mason & Hamlin Piano Used Victor Records
Coloratura Soprano
with Metropolitan Opera Company
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