MUSICAL COURIER
40
February 22, 1923
poise. The second number was the overture of Mendelssohn’s to a Mid-Summer Night’s Dream. In this Mr. Wal-ter gave all of the mysterious beauty and imaginative force which the music requires.
The second half of the program was the Schumann symphony No. 1, in B flat. This is a particularly difficult number to create to arouse interest, but he gave to it great richness of tone and a nobleness, which are absolutely necessary for the type of composition. He closed with the Prelude to the Meistersinger, and in this he created every necessary nuance and :brilliancy to the score, which is expected.
The New York Times said: “The performance as a whole was so correct in style, so clear in outlines and so neatly presented in matters of phrase and dynamics, that it aroused the audience to real enthusiasm. Mr. Walter is not a conductor who relies on pictorial effects. He is a direct, magnetic and authoritative leader of musicians, and he conveys his commands to them in the shortest and simplest manner. In reading the Schumann symphony, Mr. Walter advanced still further into the rich land of romanticism. Here, indeed, he let loose the full power and richness of his orchestra and broadened out the ■brilliant brass proclamation of the opening so that it assumed a noble and grandiose aspect. Throughout the symphony he showed himself to be a passionate lover of Schumann and an adequate interpreter of his message. The composition was heard with manifest delight.” The New York American declared: “Of Bruno Walter’s accomplishments as a serious musician and a wielder of the baton, there can be no two ways of thinking.” The New York Tribune: “As his reception had been marked by appreciative interest so was his farewell. He was a less demonstrative individual than others who have come, gone, or are still with us, ,but made as deep an impression ■as any of them—perhaps a deeper impression than some because he kept the attention of his audiences fixed upon the music rather than upon himself. He did not strive for sensationalism either in his programs or his interpretations, nor did he find it necessary to convey the meaning of the music which he performed by pose and gesture.”
EDNA THOMAS
Edna Thomas gave her second recital on Sunday evening at the Belmont Theater. A capacity audience greeted this charming singer who has created a unique position for herself among concert artists. She aroused so much interest that her program was doubled through the insistence and demands for more songs. There were fourteen extra numbers after the last group. She specializes in Southern ballades and Creole folk songs. Her program is declared to be unique and original ip every detail. Walter Golde was the sympathetic accompanist. So successful was this recital that arrangements have been made for another New York appearance for Miss Thomas on March 18.
The World wrote: “And Edna Thomas, that genuine artist, drew a crowd at the Belmont Theater for her second recital of old Southern and Creole folk songs. She elicited superlatives from more than one reviewer after her first appearance in January, and a second hearing intensifies and augments the impression she made before. To hear her sing the languorous, Ai Suzette, as she sang it last night, is to have heard one of the loveliest things American music has produced. Her program is full of treasures, and her magnetic personality and fine voice set them off to the fullest advantage. It was an evening of rare charm and memorable beauty.” The Times declared: “Edna Thomas reappeared before a large audience at the Belmont Theater last evening, singing unusual types of songs, particularly the negro spirituals, in which the audience took special interest, and of which it demanded both repetitions and additions to her list. There was sympathy and charm in the interpretation of Jesus Walked, and Nobody Knows de Trouble I’ve Seen, and of French Creole songs such as Toucoutou and Ai Suzette.”
ERIKA MORINI
There were plenty of trills and thrills at Erika Morini’s last recital of the season at Town Hall, February 18. The Devil’s Trill was handled so smoothly and easily that one forgot they had been the nomer of Tartini’s sonata and thought, instead, of the lyric and poetic qualities of the work. Such is this young artist’s power to make all her material appear matter for thought. The combination of high sensitiveness and acuity of perception with bristling energy always makes her recitals an interesting psychological study.
Passages given forth with full tone and broad, graphic, concept alternated in the A major concert with crips, dashing technical flights which never departed in spirit from the unabashed simplicity of Mozart. Miss Morini’s audience was most appreciative of her group of shorter numbers which included Tschaikowsky’s Barcarolle, Wieniawski’s Valse Caprice, and Zarzycki’s Mazurka. The picture of Miss Morini bending forward enticingly over her violin and the graceful patter of her bow on the strings was as alluring as the sounds she draws forth in these dance things. Paganini’s Moses Fantasie closed the program although three encores were added. Sandor Vas was a skillful accompanist.
The Times said: “She has continued to show gain in the introspective qualities of her art ... . using her powers for the publishing of the inner content of the compositions she plays, rather than for the exploitation of her brilliant gifts as a violinist.” The American exclaims: “What a joy to hear music—making that springs spontaneously from true instincts as yet unspoiled by too much cerebration!”
German Novelty at the Metropolitan
Mona Lisa, opera in two acts (book by Beatrice Dowsky, music by Max Schillings) will have its first American performance at the Metropolitan Opera House on Thursday evening, March 1. The title role will be sung by Barbara Kemp, the new dramatic soprano, just arrived from Berlin. Michael Bohnen, the new bass-baritone from the Berlin Opera, will, also debut the same evening. The cast also includes Curt Taucher, Delia Reinhardt, Ellen Dalossy, Marion Telva, and Messrs. Gustafson. Schlegel, Meader, Bloch, d’Angelo, and Paltrinieri. Mr. Bodanzky will conduct. The scenery comes from Kautsky of Vienna.
Schwarz to Be Heard March 9
Joseph Schwarz, Russian baritone, will make his only concert appearance of the season here on Friday evening, March 9, at Aeolian Hall.
urday evening Carnegie Hall concert. The famous French violinist was in superb fettle and all the most polished and brilliant facets of his art were in evidence, such as beauty and warmth of tone, extreme refinement in musicianship, delicacy in nuancing, and swiftness, skill, and accuracy in execution.
Tschaikowsky’s string serenade gave the orchestra a chance to shine as a producer of purely tonal and phrasing effects, while in Strauss’ Heldenleben the players performed veritable virtuoso feats under the spirited and masterful guidance of Mengelberg, who, according to Strauss’ own publicly expressed verdict, is the world’s greatest interpreter of Heldenleben. Whether that be true or not, at any rate one may say without fear of contradiction that the reading of last Saturday was tremendously powerful, vital, picturesque, and convincing. The audience gave Mengelberg an acknowledgment that sounded like a football ovation, than which no hero could wish for more in America.
SUNDAY, FEBRUARY 18
NEW YORK CONCERTS
(Continued from page 37)
various numbers, and a short program of familiar numbers before Miss Mauret’s appearance.
The Tribune wrote: “Against a screen of leaves which concealed the musicians Virginie Mauret and an ‘ensemble choreographique’ of three young women danced short musical numbers, giving piquant interpretations.” The Herald reviewer commented:... “there was also a wealth of dancing from Virginie Mauret and a group of assistants, accompanied by the orchestra. The choregraphy was by Michel Fokine and Miss Mauret.. .Miss Mauret danced charmingly, as did a comely ensemble.”
NEW YORK PHILHARMONIC: JACQUES THIBAUD, SOLOIST
Jacques Thibaud in Lalo’s Symphonie Espagnole was the soloist, and a most appealing and engaging one, of the Sat-
ESTELLE LAIKEN
Estelle Laiken, soprano, who gave a recital on Sunday evening, in Town Hall, made a decidedly favorable impression. This recital, originally scheduled for January 18, was postponed owing to the indisposition of the concert giver.
Mme. Laiken, who is a pupil of Mme. Edythe Le Ber-muth, revealed in her work excellent tone placement and good delivery, which reflected much credit upon her teacher.
Her program was made up of four groups, comprising Non-so-pin, Mozart; In Questa Tomba, Beethoven; Batti-Batti, Mozart; Brahms’ Vergebliches Staenchen, and Der Schmeid; Grieg’s Die Princessin and Mein Schwan; Aime-moi, Bemberg, two numbers by Weckerlin-Jennes Fillettes and Maman-dites-moi; Chanson d’Amour, Holl-mann; On the Waters of the Minnetonka, Laurance, and One Spring Morning, by Ethelbert Nevin. The last three numbers were given with cello obligato, played by Lazar Elkind, who gave as cello solos:	Allegro Appassionato,
Saint-Saëns; Arioso, Bach, and Serenade Espagnole, by Glazounoff.
The New York Times writes:	“Mme. Laikin had a
rather light soprano, with a bright manner and unusually distinct enunciation, and a tone often agreeable if not pushed far. But she was apt to wax uncertain in tone and pitch when high and loud tones were needed.”
JOHN CORIGLIANO
John Corigliano, a young Italian-American violinist who has already been heard here on several occasions, gave a recital at Carnegie Hall on Sunday evening and displayed an agreeable talent with many commendable features. He played a high-class program of the classics and moderns and proved himself, temperamentally and technically fully equal to the difficult task he imposed upon himself. _ His taste, skill and musicianship were appreciated by his audience, which evidently enjoyed his offerings and applauded him enthusiastically. He is an artist of much promise. *
NEW YORK SYMPHONY
On Sunday afternoon, Bruno Walter directed his farewell performance with the New York Symphony Orchestra, where he has been a guest for two performances. Mr. Walter strengthened the impression of his masterfulness and his innate musicianship. The program which he offered was an exceedingly difficult one for the average person to enjoy, and coupled with a lack of any theatricalism on the part of the visiting conductor, caused the splendid concert to be most impressive.
His first number was Mozart’s Hoffner Serenade. The rather long work was given a sympathetic and poetic reading. He conveyed his meaning with great simplicity and
JOSTEN
M1
["ETROPOLITAN singers instantly recognized the conspicuous gifts of Werner Josten as a song-composer, especially in texts in a lyrical vein. There is modernity in his songs without going to extremes and his work is characterized by refined taste. What attracts singers particularly to these songs is the composer’s evident knowledge of the voice.
Net
A winter dream (Wintertraum).
High .60
Exaltation...................High .60
Summernight .................High .60
Morning...........High or Medium .60
The windflowers. . .High or Medium .60 Sumer is icumen in.High or Medium .60 Crucifixion (Octavo, 8 parts, mixed voices with bass solo).............20
G. SCHIRMER, Inc.
NEW YORK
3 TIMES IN 6 MONTHS
Bethlehem Bach Choir
Singing Principal Solo Parts B Minor Mass
Philadelphia Bethlehem May 26	Bethlehem
(Coming Spring Festival, May 25-26)
November 4 December 27
MABELLE
ADDISON
“A contralto who is recognized as having attained the			essence of perfection in her art.”	
“Interprets with intelligence and grace, sweet contralto voice, magnetic presence.” — Pittsburgh Leader.	“Sang beautifully, a creditable interpretation of the solo parts.” — The Bethlehem, Pa., Times.	“Voice is true contralto and she sang with real dramatic force.” — Pittsburgh Dispatch.	“That always satisfying artist contributed full share to the en-tertainment.”^ — Philadelphia Inquirer.	“Voice is well adapted to the many difficult measures she sang.” — Philadelphia Record.
Concert Management Arthur Judson, Fisk Building, New York—Pennsylvania Bldg., Philadelphia, Pa. Personal Management:	M. C. Addison, 411 Knabe Bldg., New York