NEW YORK THURSDAY, March 15, 1923.
jV\USICAL(OURIER
VOL. LXXXVI—No. 11 Whole No. 2240
BOSTON CROWDS OPERA HOUSE TO HEAR GALLI-CURCI
Alfredo Casella in Triple Role—Cecilia Society Gives Concert—Novaes Captivates in Only Recital of Season— Flonzaleys and Helen Stanley Give Interesting P rogram—Onegin Scores with Symphony—Dabney-Salzedo Concert—Queena Mario Pleases—Other News
tabile; the first of Beethoven’s quartets, that in F major of op. 18, and for a novel piece Scalero’s setting for two violins, viola, cello and voice of D’Annunzio’s verses, Rain in the Pine Woods, with Helen Stanley, soprano, as assisting artist.
Mr. Scalero’s music failed to evoke the wistful charm, the magic beauty of D’Annunzio’s lovely verses. To be (Continued on page 37)
GERMAN OPERA KEEPS ON
Under Pilotage of Lawyer Dalberg It Weathers Financial Storm and Opens to Full House at Lexington Theater
Despite the repeated tales of increasing financial difficulties as the season of the Wagnerian Opera Festival drew to a close at the Manhattan Opera House last week—tales which were doubtless true—the company managed to weather all the storms and, as had been promised, to move to the Lexington Theater on Monday of this week, opening there (about an hour late, to be sure) with a performance of Die Meistersinger. The company appears to have been saved through the energetic action of Melvin H. Dalberg, a New York lawyer, who becomes general director of the reorganized company, with Lawrence Brown as comptroller, William Small as treasurer, Richard Snier as business manager, and George Blumenthal the general representative. A statement issued by the new management read as follows: “Several wealthy music lovers, it is announced, through their legal representative, Melvin H. Dalberg, yesterday entered into active control of the Wagnerian Opera Festival and by a substantial loan have rendered certain the future of this organization which for the last four weeks has been giving German opera at the Manhattan Opera House and which last night opened a three weeks’ season at the Lexington Theater. This loan has been used in liquidating the most pressing obligations of the company and in paying the theater rent, and salaries of the principals, chorus, and musicians in advance. Mr. Dalberg has been made general director of the organization and is to have full management of the company. In discussing the reorganization, he said last night: ‘The new blood entering into the management assures a three weeks’ season _ at the Lexington Theater and following that, a tour throughout the country. The splendid reception already given our artists both by the press and public proves that both New York and the country at large welcome the festival and is eager to support it. It was in this knowledge that my clients have placed their loan at our disposal. The Wagnerian Opera Festival is now on a firm basis and will probably be made a permanent institution.’ ”
The performance of Die Meistersinger on Monday compared favorably with those that have preceded it at the Manhattan. Outstanding were Schorr (Sachs), Zador (Beckmesser) and Fräulein Koettrick (Magdalena), while Hutt (Walter), Latterman (Pogner>, and Fräulein Fleischer (Eva) were acceptable. But it is not so much the individual performances that make the work of this company so good to see ,and hear as the splendid ensemble and the feeling, conveyed _ from the stage, that each and every artist is giving his very best. So it was Monday evening. There was recall after recall as the curtain fell on each act. Edouard Moerike conducted. The orchestra, unused to the acoustics of the new theater, occasionally got a bit obstreperous.
The novelty for this week is Beethoven’s lone opera, Fidelio, which is announced for a first performance on Saturday afternoon. Next week, Der Freischütz- is promised, and Hänsel und Gretel is also to be looked for. Leo Blech, ill, with Friedrich Plaschke, Eva von der Osten, Ottilie Metzger and a few more members of the company that sang at the Manhattan may leave for home on Saturday of this week. In Blech’s place will be Ernst Knoch and Otto Schwarz
is altogether satisfying. She fairly sings her music— or shall we say, she lets the music in hand sing itself?— and those who listen hear the music recreated; and the rare, distilled beauty of it all never fails to awaken an enthusiastic response in people with aesthetic perceptions— and an ear for truth.
Flonzaleys Give Pleasure in Last Concert.
A very large audience greeted the Flonzaleys at their last concert of the season in this city, Thursday evening,
March 8, in Jordan Hall. The program was an unusually interesting and pleasurable one, including Tschaikowsky’s songful quartet in D major, with the popular andante can-
Boston, Mass., March 11,—An audience that filled the Boston Opera House from pit to dome heard Mme. Galli-Curci, Sunday afternoon, March 4, this being her last local appearance of the season. She was assisted with customary skill by Manuel Berenguer, flutist, and Homer Samuels, pianist,_ in a program consisting of old airs, operatic arias and miscellaneous songs. Mme. Galli-Curci gave another demonstration of her familiar abilities and was obliged, as usual, to lengthen her program considerably to satisfy the demands of her enthusiastic listeners.
Casella in Triple Role.
Alfredo Casella waited a long time before visiting Boston, but when he came he made up for this neglect by appearing in the triple role of composer, soloist and conductor with the Boston Symphony Orchestra in its concerts of Friday afternoon and Saturday evening,
March 2 and 3, in Symphony Hall. Mr.
Casella played the piano part in his own arrangement for piano and orchestra of Albeniz’ Spanish rhapsody. He conducted his pupazzetti (five pieces for marionettes), and his Rhapsody Italia.
Pierre Monteux opened the concert with Glazounoff’s melodious fourth symphony and Mendelssohn’s overture, Fingal’s Cave.
An important personality in the contemporary world of music, Mr. Casella’s visit was eagerly anticipated by musical Boston and he received a very warm welcome. His orchestration of Albeniz’ colorful piece is free from the bold harmonic devices that abound in the humorous music for marionettes. Mr. Casella played the piano part unobtrusively, admirably. _ He was equally unassuming and effective as a conductor. His Italia rhapsody, which was first brought out in Boston by Mr. Jacchia at the “Pop” concerts several seasons ago, is masterfully written, vivid music. It received an eloquent performance, bringing the concert to a brilliant close—with many recalls for Mr. Casella.
Jacchia Conducts Cecilia Concert.
The Cecilia Society, Agide Jacchia conductor, gave a concert Wednesday evening, March 7, in Jordan Hall. The chorus was assisted by Marie Nichols, violinist, who played with her customary skill and taste, pieces by Reis, Arensky,
Moussorgsky, Fidick, Daquin-Manen,
Reger and Grasse. Rose Thayer Thomas, soprano, and Frances Beyer Hog-hardt, mezzo-soprano, sang solos The accompanists were Ernest Harrison and J. Angus Winter. The choral numbers included: Blessing, Glory and Wisdom and Thanks (double chorus and organ),
Bach; Wynken, Blynken and Nod (for soprano solo, chorus and four-hand piano accompaniment), Nevin; Pan (choral dance for mixed voices), Boughton;
Deep River (Negro Spiritual), arr. H.
T. Burleigh; St. Mary Magdalene (mezzo-soprano solo and female chorus),
D’lndy; On Himalaya, Bantock; My Love Dwelt in a Northern Land (a cap-pella), Elgar; Cherubim Song, Church-Russian (full chorus and organ), Tschai-kowsky.
There was plentiful evidence in the singing of the Cecilia Chorus that Mr.
Jacchia has succeeded admirably in restoring the very high standards that gave this body a position of prominence in years gone by. Precision of attack, flawless intonation, a great variety of color and dramatic understanding now stamp the singing of the Cecilia. In other words, Mr. Jacchia seems to have infused life into the organization and he need have no fear now in undertaking more ambitious programs than that of Wednesday evening. A friendly audience applauded conductor and chorus vigorously.
Novaes Captivates Audience.
YEATMAN GRIFFITH.
H	Of vital interest to the artist, teacher and student is the announcement made by	H
H	Manager L. E. Behymer that Mr. Griffith, eminent vocal pedagogue of international	B
U	fame, will conduct his eighth consecutive summer master class in America this summer	H
M	in Los Angeles, Cal., from July 2 to August 11. Owing to the great number of	₪
j¡¡	foreign and American artists in this country and teachers from all parts of the	a
|	United States studying with Yeatman Griffith, this is the first season in America	a
H	that he has been prevailed upon to hold these master classes outside of New York	M
H	City. To those concerned with the advancement of music and art in this country it	■
H	should be a joy and satisfaction to know that this American in his summer master	§|
g	classes,' ivhich he established in London in 1912, has taught singers and teachers	a
¡1	°f Kinging from almost every country and every State in the Union—a record that	|
B	needs no comment. The New York studios will remain open during the summer under	B
g	the direction of assistant teachers, Euphemia Blunt and Harry Colin Thorpe.	■
'R JOSEF STRANSKY
ept Conductorship
want to hear—and not, for example, anything like the Mahler' Seventh Symphony.
“Our players will be strong especially in a fine string section, partly from the experienced Philharmonic men who were dropped in the amalgamation with the National Sym-phony, but also with many new men from Russia, young violinists, who have been pupils of Auer. Some present Philharmonic men will join us, several having signed as incorporators.”	•
The new orchestra will probably be named the State Orchestra. It is understood that dates for eight Carnegie Hall concerts are already definitely engaged. Although or-(Continued on page 64)
NEW ORCHESTRA F
Says He Expects to A
The rumor that a new orchestra would be organized in New York with Josef Stransky as conductor appears to have been well founded after all. On last Saturday articles of incorporation were sent to Albany for a new orchestra, two of the incorporators being Jacob Altshuler, a well known viola player, brother of Modest Altshuler, formerly conductor of the Russian Symphony Orchestra, and Paul Berthoud, a former Philharmonic violinist and orchestra manager for the musicians.
Mr. Altshuler made the following statement: “We shall have eighty-five men, working on a co-operative basis. The orchestra is organized entirely by musicians, for the purpose of giving the right sort of programs—music that the people
Guiomar Novaes, the charming Brazilian pianist, gave her only Boston piano recital of the season Saturday afternoon, March 2, in Jordan Hall. She was heard in the following program: Les Airs de Ballet (from Alceste), Gluck-Saint-Saens; Carnaval, op. 9, Schumann; Impromptu, F sharp, Mazurka, two etudes, scherzo, C sharp minor, Chopin; Le Ballet des Ambres Heureuses (from Orpheo), Gluck-Friedman; La Jongleuse, Moskowsky; Au jardin du Vieux Serail, Blanchet, and tenth rhapsody, Liszt.
It is difficult to recall an artist that is more satisfying than Mme. Novaes in the concert hall. To begin with, there is her attractive presence, together with the delightful simplicity and freedom from affectation that are the attributes of true greatness. When one reflects on her qualities^ as a pianist it is difficult to avoid superlatives. Suffice it is to say that from any point of view her art