MUSICAL COURIER
30
N&W YORK CONCERTA־
March 1, 1923
and splendid tone color. Both offerings brought forth enthusiastic applause from her appreciative listeners.
Carl Deis deserves much commendation for his sympathetic accompaniments.
TUESDAY, FEBRUARY 20
ETHEL LEGINSKA
Ethel Leginska’s re-appearance in New York on Tuesday evening, at Carnegie Hall, resulted in an ovation for the English pianist. When she made her entry, the vast audience gave her a reception that kept her bowing for several minutes. And at the end of the concert hundreds crowded about the stage, clapping and calling “bravo” even after several encores had been given. The lights were turned out, but the crowd insisted upon more and the lights were then turned on again for another number. Leginska’s admirers demonstrated their delight in having the pianist with them again, after an absence of two seasons during which she has not been heard in her own recital here, but her playing merited the splendid reception she received. In better form than ever, she rendered her program in a masterly manner, revealing her fine technic, admirable rhythm and interpretative skill.
Of interest on the program were several of Leginska’s own compositions: Dance of the Little Clown, and At Night (An Etching), which had their first performances in New York, a Cradle Song and scherzo. The first two mentioned seemed to be the favorites. Especially At Night, which is indeed a little gem. Others in the modern group were Ravel’s Vaises nobles et sentimentales, Lord Berners’ A Little Funeral March (For a Rich Aunt), down on the program for a first performance, and also for the first time, Goossens’ The Hurdy-Gurdy Man. A Bacchanal by the same composer was also on the program. There were eight variations on the theme, Tandeln und Scherzen (Beethoven) ; prelude - and fugue, C sharp major (Bach), and Chopin’s nocturne, B major, op. 62, and scherzo, B minor, op. 20. For her _ final group, Leginska played the Liszt Legend, St. Francis Walking on the Waves, and La Cam-panella.
Following are a few comments of the daily press: “Her playing last night was deeply earnest and free from extravagances,” said the Tribune, whose heading was: “Mme. Leginska Wins Ovation at Piano Recital.” The Herald stated: “Many pleasant things may be said of Mme. Leginska’s recital. She appeared in her accustomed short black velvet dress with Byronic collar and hair bobbed. Her winning personality brought her at once into sympathy with her large audience, and, thus supported, she gave a full display of her gifts as a performer. Tonal beauty, splendid rhythm, and a polished finger technic were among the leading qualities of her style.” The World said: “Miss Leginska is an excellent pianist, with a fine sensitive style, a lovely touch, a deep musical feeling. Her musical palette contains a variety of colors.”
ALFREDO CASELLA
Alfredo Casella, composer and pianist—he was so modest as not to play even one of his own compositions—appeared in recital at Aeolian Hall on Tuesday afternoon. He began in the most respectable fashion—musically speaking—with a Theme and Variations of Haydn, two pieces by Scarlatti, and the familiar Mozart A major sonata. Next he played the César Franck Prelude, Chorale and Fugue. Mr. Casella is a musician to the finger tips. Though his own trend is toward the most modern, his education was in the strictest school, and he is a fine interpreter of classicists and romanticists alike.
With the third group he jumped to to-day, playing first The Cypress Grove by Castelnuovo-Tedesco, an affair of rather effective colorings, and Stravinsky’s Piano Rag Music, which proved that Igor should leave the job to Irving Berlin, who can do it better. In the final group there was the Ravel set of Vaises Nobles and Sentimentales, which, once heard in the orchestra, sounded pale and anemic on the piano, despite Mr. Casella’s exquisite delineation of them; and an early Debussy set, the Prelude, Sarabande, and Toccata, which—once strange things of the future—now sound like solid and respectable music, and fine music at that, especially the Sarabande. The audience liked Mr. Casella’s finely tempered and toned playing and insisted upon three or four extra numbers at the end.
GUY MAIER
The great Maier-Pattison pianistic dual alliance was momentarily discontinued when Guy Maier gave a recital of his own at Aeolian Hall. He demonstrated that he has much to offer also as a solo player, and he furnished keen artistic enjoyment to a very large and extremely appreciative audience.
Maier has a lovely touch and tone, a delicately accurate technic, and uncommon taste in the arts of interpretation and nuancing. _ Besides, he is a musician of rare insight and understanding. He elected to present an unconventional program and he filled every number with a variety of attractions in phrasing, color, and tonal adjustments. The audience gave literally striking evidence of the player’s success by overwhelming him with prolonged and hearty handclappings that brought forth graceful acknowledgments and encores. Because of its unusual complexion, the Maier program should be recored in full: Andantino and Scherzo, Seven Little Waltzes, Schubert; Perpetual Motion, Weber; Impromptu in F sharp major, Two Studies from op. 25, Ballade in G minor, Berceuse, Polonaise in A flat major, Chopin; Rigaudon, MacDowell; Berceuse, Juon; The Crapshooters’ Dance, Lane; Old Vienna, Godow-sky; Evening in Granada, Debussy, and Etude en forme de Valse, Saint-Saëns.
JOSEPH HOLLMANN AND ANTON BILOTTI
On Tuesday evening a joint recital took place at the Town Hall, given by Joseph Hollmann, cellist, and Anton Bilotti, pianist. Their program consisted of three sonatas—the second, a sonata No. 2, op. 123, of Saint-Saëns, having been performed for the first time in America on that evening. It was first produced at the Salle Erard, in Paris, from the original manuscript by the late Camille Saint-Saëns and Joseph Hollmann. Following this, they toured France presenting the composition in various appearances for the benefit of the wounded soldiers. It is a characteristically
ments: “A pity that Dirk Foch could not have carried out his original plan and presented Anton Bruckner’s fourth symphony at last night’s concert of the City Symphony in
Carnegie Hall.....However, it was a pleasure to hear
Schumann’s fourth (D minor) once more........Besides,
Bronislaw Huberman contributed a masterful performance of Beethoven’s violin concerto.”
NEW YORK TRIO
The third and last subscription concert this season by the New York Trio was given in Aeolian Hall, on Monday evening, before a good sized audience. The program contained two trios, Beethoven’s in B flat major, op. 97, and Schumann’s in D minor, op. 63.
The three well known musicians comprising the New York Trio—Clarence Adler, piano; Scipione Guidi, violin, and Cornelius Van Vliet, cello—cast a spell over the enchanted listeners in the presentation of these works. Excellent balance, delightful gradations of tone, building of climaxes, sincerity and musicianship, in short, every minute detail which constitutes a thorough ensemble, were again the outstanding features at this concert.
The New York Tribune writes: “The New York Trio was heard again last night in Aeolian Hall in a characteristically conservative and well played program. Beethoven’s Trip in B flat, op. 97 and Schumann’s in D minor, op. 63, were the offerings, and got something more than competent handling.” The New York Herald says: “The admirable playing of the three artists was a fitting conclusion to their season’s activities. They have developed a fine accord and sympathy in their ensemble work which revealed last evening a good deal of delicate precision and a grace of movement.” The New York American states: “Concerts of this character strongly appeal to the cultured music patron, and the audience last evening evinced sincere admiration and approval of the efforts of the little orchestra in a romantic list. Only two numbers formed the program. These were Beethoven’s mellifluous B flat trio and the D minor trio of Schumann with its numerous episodes of haunting tunefulness. Both selections were executed with technical efficiency, a fine sense of proportion and dramatic effectuation effectively placed.”
MARY BROWNE
Mary Browne, mezzo-soprano, appeared at Aeolian Hall on the afternoon of February 19, in a recital for the most part devoted to German lieder. The program was one of high artistic value, requiring not only excellent vocal ability, but also understanding and careful handling of the various selections. If her first number, Schumann’s Schone Wiege, did not quite equal the finished excellence of the succeeding renditions, resulting from a certain nervousness of manner which she endeavored to control, it was entirely due to an accident that occurred just before her appearance, when, stepping from her cab, Miss Browne managed to sprain her ankle badly, causing considerable pain. As the program continued, however, she regained her equilibrium and by the second group, was holding her audience with the pure quality and resonance of her most agreeable voice. She displayed good taste and splendid interpretative powers. Particular mention must be made of Hugo Wolf’s Er ist’s, and Leoni’s Tally-Ho, which she sang with fine expression
Powell discovered him in Texas, has been rapid and he stands now among the foremost American pianists.”—Birmingham Age-Herald, Dec. 3, 1922.
“Mr. Moore, whom unfortunately I could only hear in the Chopin Barcarolle, discovered a larger technical equipment and equally fine command of tone in all inflections and a fine, manly directness of style that compelled admiration.”—Chicago Herald and Examiner, Feb. 12, 1923.
“Francis Moore has a vigorous way of going at his playing and has ideas. There was dynamic variety in his playing and he has good technical command of his instrument.”—Chicago Evening Post, Feb. 12, 1923.
“Francis Moore, piano virtuoso, with brilliant and masterful playing, wins hearts of entire audience, (heading)
“No pianist ever received such a spirited and insistent flood of greeting from the, start to the finish of his concert as did Francis Moore. He demonstrated that he has mastered his art * * * was obliged to play several extra numbers. It was an evening of music so delightful that Romans will be glad of any opportunity to hear him play again. Everyone who hears him feels proud of such ,san American virtuoso.”— Rome Sentinel, Nov. 25, 1923.
SUNDAY, FEBRUARY 18
NEW YORK PHILHARMONIC
Willem Mengelberg offered an interesting program of orchestral miisic for the Sunday afternoon concert of Eebruary 18. And the Dutch conductor is so versatile and brings such a freshness and verve to his work that he had little trouble holding the audience’s attention throughout a program on which there was no soloist. The numbers played were the Beethoven overture to Coriolanus, Rubin Goldmark’s Gettysburg Requiem, which was given recently, Tschaikowsky’s serenade for string orchestra and Ravel’s La Valse.
In the Beethoven, Mengelberg was most successful in bringing out the various moods of a superbly played work, which was received with due appreciation. The Goldmark work continues to please, and the composer, who was present, was obliged to rise and acknowledge the warm applause. Tschaikowsky was rendered brilliantly and the graceful charm of the Ravel waltz was most alluring.
Mr. Mengelberg is indeed a master of the baton and he came in for much applause after the various numbers.
MONDAY, FEBRUARY 19
CITY SYMPHONY ORCHESTRA: BRONISLAW HUBERMAN
The City Symphony Orchestra, Dirk Foch conductor, offered at its pair of concerts in Carnegie Hall on February 19, and in Town Hall, February 20, a very interesting program. Bruckner’s Romantic symphony, which was scheduled for performance at this pair of concerts, was replaced by Schumann’s symphony No. 4 in D minor. This change was made necessary because of the non-arrival of the music from Europe.
Aside from the Schumann symphony, which received a good reading, the orchestra played Valse Triste, op. 44 (Sibelius), Andante Cantabile from String Quartet, op. 11 (Tschaikowsky), and overture to the Flying Dutchman (Wagner),
Bronislaw Huberman was the soloist, playing _ Beethoven’s violin concerto with much charm and musicianship. His beautiful, mellow, rich and carrying tone, as well as warmth and fire, gained for him that applause due an artist of his calibre.
The New York Times writes: “Bruckner’s Romantic symphony was to have been played on both occasions, but an official note said the orchestral parts had not come from Europe in time for these representations of a composer whom the Wagnerians once made their champion against
Brahms......Bronislaw Huberman was a much applauded
soloist in Beethoven’s violin concerto.” The New York Herald says: “The audience was warm in the evidence of its approval. Schumann’s buoyant and gladsome D minor symphony is brought to light at infrequent intervals. Under Mr. Foch’s baton, parts of its musical spirit and beauty were revealed.” Max Smith, in the New York American, com-
“The Chromatic Fantasie and Fugue is one of the most colossal of the serious compositions Bach wrote for the piano, and Mr. Moore played it with that fact in mind, for he rendered the fantasie with great freedom in rhythm and in tone gradation and with clear, brilliant technic. The fugue he held close to its form, bringing forth with good effect the different voices. Altogether we must count him among the big pianists now touring in concert.” — Chicago Daily News, Feb. 12, 1923.
“Three pianists were on the boards yesterday afternoon. Francis Moore made a very good impression. He has good technic, musician-ship and a certain elegance of style.”—Chicago Evening American, Feb. 12, 1923.
“The Birmingham Music Teachers’ Association is to be congratulated on the success of the Francis Moore piano recital at the Tutwiler on Saturday afternoon. Two dances, by Beethoven, were given with a crispness which is one of the features of Mr. Moore’s style. An admirable rendition of the modernized version of Bach’s Chromatic Fugue and Fantasy was perhaps the outstanding number of the recital. Altogether, it was an enjoyable concert, an afternoon spent with a healthy, robust, intellectual type of artist. Mr. Moore’s rise in the musical world from the time Maude
UNDER THE DIRECTION OF
EVELYN HOPPER AEOLIAN HALL NEW YORK CITY
Francis Moore
AMERICAN PIANIST “Among the Big Pianists Now Touring”