March 1, 1923
MUSICAL COURIER
8
AUSTRO-GERMAN MUSICIANS’ RELIEF FUND COMMITTEE
Theodore Spiering, Chairman
List of contributors up to and including February 24,
1923: Harold Randolph	Marguerite Melville-Liszniewska
Arthur Shattuck	Georges Enesco
Josef Hofmann	Oscar G. Sonneck
Amy H. Beach	Ossip Gabrilowitsch
Dagmar de C. Rybner	Carl R. Edson
Dr. Cornelius Rybner	Mrs. Carl R. Edson
Thuel Burnham	Leopold Auer
Carl Busch	Sophie Beebe
Henry Hadley	Frederick Jacobi
Victor Herbert	Walter Knupfer
Margaret A. Cox	C. O. Herz
Mme. Charles Cahier	Mrs. John Gerrian
Frank La Forge	Adolph Mayer
Myra Hess	Louise Robyn
J. Lawrence Erb	Edith Braun
Nicoline Zedeler-Mix	Augusta Murphy
Sergei Klibansky	Bertha J. Burlingame
Louise Keppel	Mrs. L. von Bernuth
Theodore Spiering	Willem Mengelberg
Eva S. Joseph	George Fergusson
Ida S. Lester	Frederic Reidemeister
Ernest Urchs	Theo. Cassebeer
Chalmers Clifton	Hans Kindler
J. B. Berkhoel	Marcella Sembrich
Alfredo Oswald	Joseph Lhevinne
Guy Maier	Augusta Cottlow
Steinway & Sons	Frederic Jacobi, in memory of
Joseph Regneas Fred Steinway	the late Robert Leonhardt
	Paul H. Wagner
Herman Irion	Henry Ziegler
Walter Fischer	Ernest Hutcheson
Fritz Kreisler	Alvin L. Schmoeger
Victor Harris	George Meader Elly Ney
Anna Faber	
B. H. Balensiefer	Willem van Hoogstraten
Paul H. Schmidt	Max Adler
Theodore E. Steinway	Mr. and Mrs. Crosbey Adams
R. Mojewski	Frank A. Schaedler
Hattie Kammerer	Alfred Hertz
Albert Stuercke	Paul H. Bilhuber
Sylvia Cushman	Carl Westmann
Bern Boekelmann	Elizabeth Cueny
Madeleine S. Stern	Florence Easton
Mrs. Norman S. Goldberger Anonymous, Springfield, Mass	Francis Maclennan
	¡.William H. Daniels
Francis Macmillen	Ted Bacon
Hans Schneider	Edwin Grasse
Walter Spry	Rubin Goldmark
Herman Epstein	Katherine Cavalli
A. C. Wieland	Alfred E. Human
Emerson Whithorne	Euda R. Sollitt
John R. Oatman	Phillip Gordon
Rudolph Ganz	Guiseppi A. Randegger
H. C. Kudlich	Theodor Bohlmann
John Passaretti	Charles Pabst
George Raudenbush	Paul Mansolff
Morris Goldberg	R. F. Balke
Paul Miersch	Hugo Kortschak
Herman Diestel	Thilo Becker
August Palma	William K. Schmoller
Louis Lupo	Mrs. David J. Kelley
Carl J. Stern	Jacob J. Froess
Frank Paul J. J. Hattstaedt	Joseph Knecht W. C. Dierks
David Stanley Smith	Anonymous, Brussels
Gustav Saenger	I. J. Paderewski
Martha Martin	H. H. Flagler
Eugene Gruenberg	W. H. Humiston
Eastman Theater	Arthur Alexander Orchestra (Rochester)
Orchestras of the Eivoli and Capitol theaters, New York	
Contributions are to be sent to Ernest Urchs, treasurer, care Steinway & Sons, 109 East Fourteenth street, New York.
February 23, Edith Thayer and Joseph Mendelssohn, principal artists of the Blossom Time company, now playing at the Boston Opera House, appeared in selections from the opera, given in costume with action. Miss Thayer was formerly a student at the Conservatory.
Four pupils of the dramatic department—Phyllis Keyes, Karl Trisovsky, Donald Keyes and Marie Kendrick—presented Sydney Grundy’s one-scene comedy, Sympathetic Souls.	J. C.
The MacDermids in Program of American Music
The first of a series of programs of American music was given at Wanamaker’s Auditorium in New York, under the auspices of the New York Federation of Music Clubs, February 20. Besides original compositions for organ, played by Edward Shippen Barnes, and for piano, played by Hans Barth, Sibyl Sammis MacDermid sang two groups by James G. MacDermid, accompanied by the composer. In introducing Mr. and Mrs. MacDermid, Caroline Lowe, chairman of the music committee, said:
“The songs by James G. MacDermid, published during twelve years, are very well known to artists, teachers, students and music lovers of the last decade. Some forty songs have appeared, including fifteen Scriptural songs which have been a boon to church singers. Mr. MacDermid is proud to number among artists who sing his songs such well known names as John McCormack, Edward Johnson, Julia Claussen, Frances Alda, Cyrena Van Gordon, Carolina Lazzari, Arthur Middleton, Paul Althouse, Theo Karle and a host of others of equal prominence. Last but not least of these is his charming wife, Sibyl Sammis MacDermid, who^ presents his songs today. Mrs. MacDermid has an established reputation in her own right as an artist and teacher, and she has appeared with most of the symphony orchestras and large choral bodies of the country, as well as having made three tours to the Coast in joint recital with Mr. MacDermid.”
Gigli Soloist for Mozart Society
Beniamino Gigli’s vacation from the opera is up, and on February 11 he was heard in La Bohême. • On February 16 he sang in Andre Chenier. He was soloist at the Moza’rt Society concert on February 20.
Next Bender Recital
Paul Bender, baritone of the Metropolitan Opera Company, will give his second song recital in Carnegie Hall on Tuesday evening, March 20.
CORTOT AND THIBAUD DELIGHT BOSTON
Both Are Heard in Memorable Performance of Kreutzer Sonata—Haitowitsch Impresses on Second Appearance—Brard, Heard with Symphony, Sustains Excellent Impression Made Previously—Germaine Schnitzer Plays
with People’s Symphony
Although handicapped by an ill-advised program—both as to intrinsic musical interest and unreasonable length— Messrs. Thibaud and Cortot proved anew their fitness to rank with the greatest of contemporary instrumentalists. Mr. Thibaud at his best could hardly be improved upon as a violinist of infinite grace, sensibility and finesse. There is hardly a thought of technic on the part of the listener; one senses only the fact that beautiful music is being recreated by a great artist. Musical intelligence of a superlative order and exquisite musical taste also characterize the work of Mr. Cortot. To these qualities, the pianist also adds a flawless technic and an extraordinary conception of musical design, of tonal architecture. Indeed, it is this last quality which is the most conspicuous attribute of Mr. Cortot’s great art, a talent which makes for an almost uncanny clarity. Messrs. Thibaud and Cortot gave a memorable performance of the celebrated Kreutzer sonata, ■bringing out its melodic charm and dramatic power in a manner that will not soon be forgotten. Their audience was warmly appreciative and recalled them many times.
Salzedo Soloist With Symphony.
Carlos Salzedo, the harpist, played the solo part in his new tone poem, Enchanted Isles, at last weeKs concerts of the Boston Symphony Orchestra, Friday afternoon and Saturday evening, February 16 and 17, in Symphony Hall. The other numbers were Schumann’s melodious Rhenish symphony, Loeffler’s dramatic tone poem, La Morte de Tintagiles, based on Maeterlinck’s play of the same name, and two of Dvorak’s Slavonic Dances.
It was good to hear the Rhenish symphony again and it is to be hoped that Mr. Monteux will include the fourth, unheard here for some time, in a program before the close of the season. Loeffler’s admirably written symphonic poem does not sound as revolutionary since our ears have grown accustomed to recent importations from overseas. It was effectively performed by the orchestra, the viola d’amore solo of Mr. Burgin, the admirable concertmaster, being particularly noteworthy. The delightful simplicity of Dvorak’s songful dances made their customary appeal, bringing the concert to a brilliant close.
Haitowitsch Scores in Recital.
Abraham Haitowitsqh, Russian violinist, appeared in Boston for the second time, on Thursday afternoon, February 22, in Jordan Hall. He played an interesting and well-varied program, comprising these pieces: sonata for piano and violin in G minor, Tartini; Symphonie Espagnole, Lalo; Gypsy Serenade, Valdez; Indian Snake Dance, Cecil Burleigh; Hymn to the Sun (Coq d’Or), Rimsky-Korsakoff, Kreisler; Perpetuum Mobile, Ries; Romance Andaluzia, Sarasate; and Caprice No. 24, Paganini-Auer. The violinist was ably and sympathetically accompanied by Henry Levine, the musicianly pianist of this city.
Mr. Haitowitsch confirmed and deepened the splendid impression which he made here last season. His program was a grateful one, giving him ample opportunity to exhibit his talents. His technic is serviceable, his tone is rich, and he plays with a fine regard for musical values. Of greater importance is the fact that he approaches his music with a ready sympathy for its emotional content and with a marked ability to communicate the mood of music to an audience. Mr. Haitowitsch was heard by one of the largest audiences that has attended a recital in Jordan Hall this season and was. obliged to add many extra pieces.
Brard Pleases at Symphony Concert.
Magdeleine Brard, the French pianist, was the soloist at the third Boston Symphony concert of the extra Monday evening series, February 19, in Symphony Hall. Miss Brard was first heard in this city three seasons ago when she appeared with the orchestra and made an excellent impression with the technical brilliance of her playing. At Monday’s concert, Miss Brard played Grieg’s songful concerto in A minor, giving it a performance that was adequate and enjoyable, if not altogether eloquent. Her art has matured in its musicianly aspects and in its poetic qualities. She was warmly applauded.
Pierre Monteux opened the program with a rather matter-of-fact reading of the Eroica Symphony, a performance that lacked the mighty sweep which it demands and which it was wont to receive in the days of Dr. Muck and his predecessors. The concert was brought to a brilliant close with Enesco’s stirring Roumanian rhapsody in A major.
Marion Leach and Howard Goding Play Two Pianos.
Marion Leach and Howard Goding gave a recital of two-piano music, February 20, in Jordan Hall. Their program was in detail as follows: Introduction and romance from second suite, Rachmaninoff; variations on a theme of Beethoven, Saint-Saëns; etudes in canon form, andantino and scherzo, Schumann-Debussy; Cache-cache, Mitoula, Tailleferre; Polonaise, Arensky; Barcarolle, Rachmaninoff; Gay but Wistful (from In a Nutshell Suite), Grainger; Waltz, Chopin; and España, Chabrier.
Miss Leach and Mr. Goding individually are talented pianists of notable technical skill and musical intelligence. In their first appearance locally as a two-piano team they demonstrated that they had already achieved the indispensable qualities of ensemble playing. It cannot be said,.Jiowever, that their playing was marked throughout by the degree of euphony and admirable proportion which ought to result from continued association. They have nevertheless made an excellent beginning and a good-sized audience testified to its pleasure.
Germaine Schnitzer Plays with People's Symphony.
Germaine Schnitzer was the soloist at the concert of the People’s Symphony Orchestra, Sunday afternoon, February 18, at the St. James Theater. She played Liszt’s exacting concerto in E flat, and, notwithstanding a rather precarious accompaniment, gave it a performance characterized by the familiar merits of her art. For orchestral numbers, Mr. Mollenhauer conducted Tschaikowsky’s Pathetique Symphony and Berlioz’ overture to King Lear.
Musical Comedy Stars at N. E. Conservatory.
At the second Friday afternoon dramatic recital of the New England Conservatory of Music, given in Recital Hall,
Boston, February 25.—Two of France’s distinguished virtuosos, Alfred Cortot, pianist, and Jacques Thibaud, violinist, divided the final concert of the Steinert series, Sunday afternoon, February 18, in Symphony Hall. Together they played Beethoven’s Kreutzer sonata and a sonata of Saint-Saëns. For solo pieces, Mr. Thibaud played a fantasy of Hue and Saint-Saëns’ rondo capriccioso, while Mr. Cortot chose a Concerto da Camera by Vivaldi and Chopin’s andante spianato and polonaise.
“Past Master of Ensemble
Playing.”----H. T. Parker, in
Boston Transcript.
RECENT SUCCESSES IN CHAMBER MUSIC CONCERTS OF
Concert Pianist
In Concerts with the
Wendling String Quartet Elsa Fischer String Quartet Burgin String Quartet
Richard Aldrich in New York Times, Oct. 17, 1922:
“In the Brahms F-minor Quintet the piano part was played with exceedingly great discretion by Heinrich Gebhard of Boston—A CHAMBER MUSIC PIANIST OF SUBTLE SKILL.״
New York Times, Jan. 30, 1923:
“In the Cesar Franck Quintet they had the assistance of Heinrich Gebhard, excellent pianist, whose tastes make him an especially skillful interpreter of French music.״
Philip Hale in Boston Herald, Nov. 21, 1921:
“The accomplished Mr. Gebhard played delightfully . . . with unerring proportion and esthetic intelligence.״
Olin Downes in Boston Post:
“The triumph of the concert, however, was undoubtedly the performance of Franck’s Quintet, with Mr. Gebhard as past master of the piano part of one of the noblest works in the whole literature of chamber music.”
Olin Downes in Boston Post, Feb. 8, 1923:
“Admirable performance of Mr. Gebhard.”
Stuart Mason in Christian Science Monitor, Feb. 8, 1923: “Mr. Gebhard joined the quartet in a more than excellent performance of Brahms’ Quintet. His abilities as a player of chamber music have often been praised, yet that is no reason why they should not once again receive mention. Mr. Gebhard possesses the faculty of blending the tone of the piano with that of the strings, a faculty as rare as it is delightful. In this respect he was unusually happy last evening, and consequently the quintet gained immeasurably in tone color.”
HEINRICH GEBHARD
Concert Pianist
Address: Steinert Hall	Boston
BALDWIN PIANO