M TT .<? I r A I r n rr r? 1 Ì? &
48
playing of the Beethoven trio—made up of M. Jennette Loudon, pianist; Ralph Michaelis, violinist, and Theodore Du Moulin, cellist-^for it has a great deal to offer, much that goes for the perfection of ensemble playing, bringing out all the beauties contained in the numbers it presents and, on the whole, making chamber music thoroughly enjoyable. The numbers above mentioned were so charmingly done as to make the listeners happy to have been there, and doubtless made the players as happy. All in all, it was a most pleasurable hour and one could not help enjoy, besides, the wholly “homey” and intimate atmosphere afforded by the sumptuous drawing room and the informality and comfort of the seating. Why cannot all chamber music be presented thus? This concert added another success to the long list enjoyed by the Beethoven Trio. The third and last program of the series will be given Sunday afternoon, March 25, at the same hour, five o’clock.
Columbia School Faculty Members Heard.
At the Playhouse, Alma Hays Reed, soprano, and William Hill, pianist, members of the faculty of the Columbia School of Music, were heard jointly, making the sixth recital of last Sunday afternoon.
Arthur Kraft with Glee Club.
As soloist with the Armour & Company Glee Club at Kimball Hall, Monday evening, February '12, Arthur Kraft carried off the honors of the night. Displaying his lovely tenor voice to best advantage and singing with his customary charm and skill, Mr. Kraft accomplished some of the best singing he has done in these surroundings. That means much, for Mr. Kraft is often heard in Chicago, and he seldom—one might say, never—disappoints.
Harold O. Loring on Indian Music.
The Prairie Club met Tuesday evening, February 13, in tullerton Hall, Art Institute. Although a disagreeable night for Prairie doings, a good-sized audience was assembled which made up in enthusiasm for its lack in numbers. The offering was Harold A. Loring in a very unique and decidedly different than usual lecture-recital on the subject of Indian music and character. A full-blooded Sioux Indian, in native raiment and native accoutrements, assisted in illustrations of Indian life, ceremonials, and various dances characteristic of the race.
Mr. Loring proved a very interesting exponent of primitive American song and tune at the piano, and was full■ of his subject. In lecture or narrative he was at home and evidenced possession of all of the essentials. authenticating long residence among the red men. He is not only pleasing as a talker but also speaks with assurance and is convincing. It was a scholarly effort both from the standpoint of music and diction. He played several of his own transcriptions. In short; he gave a very intimate view of the original American,^ which was not only educational but also highly entertaining. The audience was very responsive.
Richard Czerwonky’s Recital.
Richard Czerwonky, head of the violin department at the Bush Conservatory of Music and conductor of its training school orchestra, offered his annual Chicago recital at Kimball Hall, Tuesday evening, February 13. For the occasion Mr. Czerwonky had ■built an unusually interesting program, introducing several new compositions, and rendered it with his accustomed fine art and skill. A large audience applauded everything he did to the echo. First performances were given to II canto della Lontananza by G. Francesco Malapiero, Paul Jlion’s ^ Chant du Berceau and Humoresque Orientale by Joseph Piastro, Rowland Leach’s Impromptu and Mr. Czerwonky’s own Ein Lebenscarnival.
Music the Blind Man’s Solace.
Music had always been a hobby of Albert Franciscus, and when he suddenly lost his eyesight, it became his solace. He had a collection of 700 phonograph records which he played during the long hours when he was alone. A Junior Red Cross worker asked him to tell the stories of some of the operas to the hospitalized ex-service men, and to illustrate these stories with his fine records. Mr. Franciscus refused, for he didn’t believe the men would care for opera. He, however, got up a program and took the bedridden men on a “Hearing Europe” trip, during which they visited fourteen countries and heard Spanish dances, soft melodies and Gregorian chants. This took so well that he branched out and is now giving a series of talks on the History of Music, illustrated with records. He has a clientele of women’s clubs, church societies and neighborhood groups.
Menns Entertain for Raisa and Rimini.
Dr. and Mrs. Rudolph Menn gave a dinner in honor of Rosa Raisa and her husband, Giacomo Rimini, at their residence, Wednesday evening, February 14. This being Valentine’s Day, suspended above the table were two hearts, one showing the picture of Rosa Raisa and the other of Rimini. Besides the guests of honor and Dr. and Mrs. Menn and their children—Paul, the well known lawyer and a fine vio-
GHIGAGO HAS ANOTHER BUSY
DAY OF CONCERTS ON SUNDAY
Francis More, Maria Ivogun, Lyell Barber and the Beethoven Trio Appear the Same Day-Columbia School Faculty in Sixth Recital—Arthur Kraft with Glee Club—Harold Loring Impresses—Czerwonky in Annual
Appearance—Other Events
fine _ side of life, who enjoys it and knows how to make music lively, be it even Beethoven or Bach.
Mr. Moore made a big success and he may be counted among the popular pianists heard here this season. Unfortunately, this reporter had left the hail when Mr. Moore played Mozart’s sonata in F major, Debussy’s Arabesque, Brahms’ waltz in A flat, the Chopin-Liszt Maiden’s Wish, Chopin’s Barcarolle and the Schumann Symphonic Etudes, but from a reliable source it was learned that the further the program advanced the more tumultuous was the audience in its approbation and more impressive the renditions given by the recitalist.
Ivogun at Orchestra Hall.
Orchestra Hall held a large’ audience for the recital which Maria Ivogun offered there, under the Wessels and Voegeli management, also on Sunday afternoon last. Miss ivogun, a great favorite here, sang Bishop’s Lo, Hear the Gentle Lark, a group of lieder by Schumann, the cavatina from Donizetti’s Don Pasquale, a group of English songs by La Forge, Josten, Huerter and Buzzi-Peccia, and the Zer-binetta aria from Adriadne auf Naxos. Although somewhat hampered by a cold, Miss Ivogun sang with her customary charm and lovely phrasing, winning, her listeners from the start, and she scored heavily at the hands of a delighted audience. There were recalls and demands for extras throughout the program.
Lyell Barber in Recital.
A former resident, returning after having conquered other lands and other parts of his own country, Lyell Barber was greeted by a large and friendly audience at his piano recital at the Studebaker Theater, Sunday afternoon, February 11. Inasmuch as Mr. Barber has received the major portion of his training in the Windy City, Chicago takes pride in the success he has attained. A young pianist with much to recommend him, Mr. Barber sets forth readings that are admirably thought out, clean-cut and exquisitely finished. There is a certain elegance and refinement of style, coupled with imaginative insight and musical intelligence, evidenced in his renditions. Heard for the purpose of this review in a Chopin group—made up of the B flat major polonaise, C minor nocturne, two preludes and B minor scherzo—and his last group consisting of Cyril Scott’s A Mountain Brook, Prelude by Edward Harris (dedicated to Mr. Barber), Nerini’s Ronde des Lutins, Tschaikowsky’s Meditation and the Liszt Mephisto Waltz, all carefully and admirably executed, Mr. Barber made a splendid impression. Needless to add that his auditors found much enjoyment in his playing and left no doubt in the young artist’s mind as to their hearty approval. He was compelled to add encores and repeat some of his numbers. Here is a young pianist whose progress will ■be interesting to watch, and he will progress steadily, for it is in his make-up.
The Beethoven Trio’s Second Program.
At five o’clock, when all other concerts were practically finished, an enjoyable hour was spent in the drawing room of the Cordon Club, listening to the second chamber music program of the Beethoven Trio’s series. In that length of time this splendid organization played two trios—Rubinstein’s in B flat and Gretchaninoff’s in C minor and a set of Miniatures by Bridge. There is much to admire in the
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Chicago, February 17.—The vast Auditorium was not big enough to harbor all the admirers of Kreisler at his first recital of the year, and some eight hundred had to content themselves with seats on the stage and sixty-four others were accommodated in the orchestra pit. Neither Kreisler nor his accompanist were at their very best. If singers are criticized when they sing off pitch, also violinists who sin against true pitch should be called to account and Kreisler on more than one occasion at this recital deviated sharply from the intended tone. This criticism being set down, let it be said further that Kreisler’s program was not the one expected of such a great artist, who may say today, “Business is business; I give the public what the public wants. When I did not, I played even in Chicago before empty benches at Orchestra Hall. Today I play simple things that sell the house as well as my records. Thus, I should care if a critic, on a musical paper finds fault with my program.” True, Mr. Kreisler, but then play those little pieces as though you enjoyed them, as though you had practiced them, but not in the manner you rendered them on Sunday afternoon, February 11. True also, the public was most enthusiastic, that repetitions were numerous; that thirty minutes after the program was concluded the insistent applause made imperative the addition of many encores. It is true also that the reviewers on the daily papers were, as ever, sanguine in praising Kreisler’s playing, but surely Kreisler knows that he did not play half as well as^ he can, and to one of his greatest admirers, he was on this Sunday afternoon a keen disappointment. F. Wight Neumann managed the concert.
Francis Moore Recital.
At the same hour Francis Moore gave a piano recital at the Blackstone Theater, under the management of Rachel Busey Kinsolving. Heard in the Beethoven Dances in G and C major, the young and very talented artist made a fine impression on his discriminating audience. His playing reflects the serious student, but one who has looked on the
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