39
MUSICAL COURIER
February 22, 1923
CONCERT ANNOUNCEMENTS
TOWN HALL
Monday Evening, March 5
DEBUT RECITAL
ISADOR GREENBERG
Violinist
Pupil of Leopold Auer
Harry Gilbert at the Piano
Mgt. : Wolfsohn Musical Bureau
autumn he goes to England for thirty concerts. About the middle of next December he will return to the United States to fill forty engagements, under the management of R. E.
-Johnston, with whom he signed a contract before leaving New York. Mr. Gerardy will remain in this country until May, 1924.
that lasted for several minutes, so that it had to be repeated. Afterwards the young singer was surrounded and congratulated on all sides for her beautifully trained voice and the artistic way she used it. Indeed her first appearance was a great success. Mrae. Soder-Hueck predicts a splendid future for this talented young singer.
Marguerite Le Mans Gives Delightful Program
Marguerite Le Mans, a noted English soprano, is an authority on folk songs, not only those of her own country but also French, Scotch and Irish as well. At Mme. Le Mans’ recent appearance at Carnegie Chamber Music Hall she offered her audience a program of unusual interest, _ including a representative, though quite unhackneyed selection, of ancient British folk songs, and a tuneful group of song-poems, Les Chansons de Miarka; which were interpreted with much feeling and true artistic instinct. Unlike so many artists who seem to think that a program should consist mostly of florid arias and songs that offer only opportunities for vocal gymnastics, Mme. Le Mans consist-
MARGUERITE LE MANS
WHAT THE JURY THINKS
a
[The music critics of the New York dailies constitute the jury in the appended extracts from criticisms which have appeared in our local newspapers. Many concerts and operas are given in the metropolis, and the following day the critics agree or disagree on the merits or demerits of the performer. However, on most occasions the*writers do not agree, and this department is run for the purpose of reproducing some of the flat contradictions, showing that, after all, the review constitutes but the personal opinion of the critic who covers the performance,—Editor’s Note.]
E. Robert Schmitz, Pianist, January 25
Globe	Herald
. . . His technic magnificent. Also here [Schumann Sonata]
his technic was unfinished.
Conductor, January 25
Evening World
He conducts not only with his hands, but with his head, shoulders and body. We fully expected to see him do a few steps in the final Hungarian rhapsody.
in Die Walküre, January 27
Globe
Her .	.	. voice is not of
large volume, nor is it produced brilliantly.
Willem van Hoogstraten,
World
The thing that distinguishes Mr. Van Hoogstraten’s conducting physically and musically, is simplicity. .	.	.	His beat is
graceful and clear, without wasting motion, and he manages to impart an enormous amount of nervous vitality to his men with the utmost economy of means.
Delia Reinhardt, Soprano,
Herald
The highest tones had both power and brilliancy.
Erna Rubinstein, Violinist, January 28
Mail
Her tone was dry and harsh throughout.
Herald
Her presentation of the cadenza and the whole last movement was crude, rude and cheap. It was genuinely inferior violin playing.
Violinist, January 29
Sun
He is a remote sort of artist, possibly never intimately concerned with the feeling of his music.
World
Her tone was somewhat dry at the beginning, but within a few measures she was producing some richly lambent phrases.
American
To little Erna Rubinstein unquestionably fell the honors of the concert. She played the solo part of Glazounoff’s A minor violin concerto in virtuoso fashion, with a dash and abandonment that she has rarely disclosed here before.
Albert Vertchamp,
Evening World
He is a sound artist, has a feeling for the music. . . .
Clara Miceli to Give Debut Recital
On Monday evening, February 26, Clara Miceli, soprano, will give her debut recital at Aeolian Hall. An interesting program will be presented, consisting of operatic arias and several English songs. She will be assisted by Menotti Francona, tenor, and Achille Anelli will preside at the piano.
Esther Dale to Sing at Vanderbilt Hotel
On Sunday evening, February 25, Esther Dale, soprano, well known for her delightful voice and artistic singing, will be soloist at the regular Sunday night concert given at the Vanderbilt Hotel.
ently presents to her admirers something new and delightful. So widely varied are her selections that one feels she has but skimmed the top of her resources, and that there is still a treasure fund of engaging ballads and carols that tharm the ear by their spontaneity and ־vigor.
Mme. Le Mans is the descendant of an aristocratic and historical Norman family, and since childhood has absorbed the traditions of chivalry and romance that such an atmosphere inculcates. It is perhaps due to this that she portrays so well the spirit of the songs she sings. Her repertory, however, is by no means confined to these, for she is heard to equal advantage in any of the numerous operatic roles with which she is familiar, and where she displays the same appreciation and insight that characterize her simpler renditions.
Third Bachaus Recital
Bachaus will give his third piano recital in Town Hall on Tuesday evening, March 6, when he will play a program in C sharp minor.
Jean Gerardy to Return Next Season
Jean Gerardy left, via Montreal and Vancouver, for Australia and New Zealand on February 16. He will play sixty concerts there during the summer months. In the early
The Washington Heights Musical Cluh
ANNOUNCES A
PIANO RECITAL
By
ROBERT LOWREY
At The Plaza, Fifth Avenue at Fifty-ninth Street, Tuesday evening, February 27, 1923
At 8.30 O’clock
RROGRAIVUVIE
Fantasia, C minor...............Mozart
II.
Sonata, Op. 57...............Beethoven
Allegro assai
Andante con moto
Allegro ma non troppo-presto
III.
Reflets dans l’eau.............Debussy
Scherzo ........................Mokrejs
IV■ •
Etude, F minor..................Chopin
Etude, F major..................Chopin
Mazurka, B flat major..........5^?°P־n
Nocturne, F sharp	major.........Chopin
Ballade, A flat major...........Chopin
Mason & Hamlin Piano
TICKETS $2.20 (War tax included)
ADDRESS : MISS J. R. CATHCART, Pres.
200 WEST 57th STREET	Telephone Circle 3560
Elsa Fischer Quartet, January 29
Evening Mail
There was much fine ensemble.
. . . But as individual players this quartet was unbalanced.
of Seville, January 29
Evening World
The Mignon Polonaise .	.	.
was practically nil as to artistry and effect.
T imes
Nor had her execution of the florid passages all the brilliancy and verve that they call for.
Herald
The balance at times is uncertain. But the four players’ ensemble shows individual musicianship.
Galli-Curci in Barber
Globe
Thomas’s Polonaise from Mignon was sympathetic and infinitely sweet in quality.
Evening Post
But how brilliant her runs!
Flonzaley Quartet on People’s Symphony Series
The auxiliary club of the People’s Symphony Concerts, Franz X. Arens musical director, is presenting an excellent series of chamber music concerts to the people at a very small price. On February 16, the Flonzaley Quartet appeared (by courtesy of André de Coppet) as one number of this series at Washington Irving High School. The program included Arnold Bax’s quartet in G major, Beethoven’s quartet in E minor (op. 59, No. 2), The Londonderry Air arranged by Frank Bridge, and Puck (from Shakespearean Fairy characters) by Josef Speaight.
One is always prepared to hear the finest ensemble playing from the Flonzaleys. There is a velvety smoothne.ss and finesse, a distinctive tone quality and a unity of feeling and expression that makes their performance wholly satisfying. As usual, they were in good form, but the size of the hall detracted somewhat from the intimate atmosphere needed for their concerts. The Bax quartet, which opened the program, was especially worth while. The first movement, allegretto, semplice, was played with straightforward energy, spirit and joyousness, bringing forth rich color material. The haunting wistfulness of the second movement, lento e molto expressivo, _ was most appealing. The rondo starts like an Irish jig, brings in an Irish folk-tune and concludes with the opening material. The entire quartet presents vital musical ideas, continuity and splendid contrasts.
Following this was the Beethoven quartet. The individual musicianship of the players was again in evidence and they gave the quartet a dignified and artistic reading, but it was a little hard to hold the interest throughout the longer movements, especially the adagio. The Londonderry Air was so disguised in its new dress that it was scarcely recognizable. One had just a hint of the melody now and then, and then it was gone. As if to assure one, the entire melody appeared near the close. A charming and piquant number was Puck, rendered with exquisite delicacy and humor.	. .
The hall was well filled with a decidedly appreciative and enthusiastic audience.
Another Soder-Hueck Artist Before the Public
Anna Reichl, soprano of great promise, was the soloist for the big banquet held by the Prudential Insurance Company of Newark, N. J., at the Waldorf-Astoria, New York, on the evening of February 7. Governor Silzer and Vice-President Coolidge were the speakers at the reception and banquet attended by about 700 field men, division agency heads, bankers and home office representatives of the com-
Preceding the banquet, a reception was held in the ball room. With the accompaniment of an orchestra, Anna_ Reichl rendered two groups of songs. Her aria of Mimi from La Boheme gave special delight, and the Valse Song from Victor Herbert’s Naughty Marietta was accorded applause