MUSICAL COURIER
8
March 15, 1923
program was given by Alma Kitchell, contralto; William Durieux, cellist; Kurt Dieterle, violinist; Mr Suskind, pianist, and William Buttolph, accompanist.
Franklin Dunham v׳as in charge of the musical program.
BERLIN CONCERTS
Francis E. Arányi.
Another violinist, Arânyi, of Budapest, appeared with the Philharmonic Orchestra, performing the Sibelius and the Dohnanyi concertos (the latter with a very acceptable cut) in impressive style. He was assisted by Paul Schein-pflug of Duisburg (now occupied by the French), who, besides conducting in an energissimo manner his own overture to a Shakespeare comedy, also offered for the first time in Berlin, selections from Das Nusch-Nuschi, by Paul Hindemith, one of the liveliest things heard here recently. Its humor caused lots of giggling as well as applause.
A. Q.
Ludwig Kentner.
Here was the first piano sensation of the season, Ludwig Kentner, a fifteen or sixteen-year-old lad from Budapest, startled us with his superior pianistic and musical gifts in his recital given in a modest way entirely devoid of any bombast. The lad has at his command ample technic, beautiful tone, skillful pedalling, cultivated taste, and good physique as well as personality—what more is needed? Unfortunately, there were not many representatives of the press at his concert as he was quite unknown here, but at least two veterans were noticed shouting “bravo!” after an inspiring performance of Schumann’s Carneval. His interpretation of Bartok’s Rumanian Dances was simply stupendous—the native fire and dash completely captivated his listeners.	A. Q.
Josef Fuchs.
An engagement in Frankfort, where he will play the Brahms concerto, and a recital last evening (January 30) mark the last activities of Josef Fuchs, American violinist, in Germany before his return to America on February 13. In this recital he offered the Bach partita in E minor, Brahms D minor sonata (assisted by Waldemar Liachow-sky), Kiorngold’s now popular suite and two Paganini numbers, including the Moses fantasy. There is no doubt about Josef Fuchs being a violin talent of the first order, though he must be classified as brilliant rather than alluring. His technic is beyond reproach, his tone agreeable and his musicianship sound, even though he does indulge in Elmanesque glissandos 1 The audience remained for several encores and was most enthusiastic in its response.	A. Q.
Eleanor Reynolds.
The American contralto, Eleanor Reynolds, for some time a member of the Chicago Opera, has considerable following in Berlin as a Lieder singer. On January 30 she again gave evidence of her ability and good taste in that capacity, singing interesting groups by Handel, Schumann, Mendelssohn and Brahms. It is remarkable how the all-too-neglected Mendelssohn songs retain their gentle charm even in such company, and one of them, the scintillating Pagenlied, had to be repeated. Mme. Reynold’s voice is of extraordinary strength. Being cultivated too definitely American with the aim of brilliance, it sometimes lapses into hardness.	C. S.
Leonid Kochanski—Leonid Kreutzer.
Leonid Kochanski, brother of the violinist, had the collaboration of his former teacher, Prof. Leonid Kreutzer, at his most recent Berlin recital (January 29), in Max Reger’s Introduction, Passacaglia and Fugue for two pianos, one of those “monumental” compositions of the German composer which show him to possess the skill and architectural instincts of a Bach, without, however, laying successful claim to his inspiration. There is something terrifying to the. mind—and the ear—in the superposition of so many notes, a super-consonance that has the effect of dissonance. The two players gave a magnificent and most musicianly performance of the difficult work and earned an ovation for their pains. Mr. Kochanski displayed similar qualities alone in two Bach transcriptions by Stradal and Busoni, and, in addition, a great deal of brilliance and dash in Liszt’s fifteenth rhapsody. Prof. Kreutzer, besides being a pianist of real eminence, is now recognized in the foremost rank of European pedagogues as well.	C. S.
Rudolph Polk.
Rudolph Polk, the American violinist, was again heard with the Berlin Philharmonic Orchestra, this time conducted by Egon Poliak, of Hamburg. He offered a Spohr concerto in D minor and the oft-played Tschaikowsky. At none of Mr. Polk’s former concerts have I heard him play with so much verve, or in plain American,־“pep,” as on this occasion. Even though the power of his tone has not grown to any great extent, still he has succeeded to a large degree in ironing out of his playing that former stiffness which only a few years ago was so evident. In consequence of this he now commands the attention of his audience from the beginning to the last note of his performance. Mr. Polk was called out repeatedly at the close of this concert and enthusiasm was evident on all sides.	A. Q.
ChaS. N. DRAKE will
direct the first American tour of Madame Ninon Romaine. Dates for this re-markable pianist now booking.
507 Fifth Ave.
New York
EASTERN MUSIC SUPERVISORS’
SIXTH ANNUAL CONVENTION
Successful Meeting Held in Newark, N. J.—Louise Westwood the New President
that the deadening influence of these academic subjects if persisted in would do more than any other element to retard education.
District Superintendent William E. Grady of the New York City Public Schools addressed the Conference on the subject of The Superintendent an the Supervisor, An Educational Partnership. Mr. Grady carefully outlined for the teachers not only the preliminary training in general education which was necessary, but the fact that to be successful as teachers of music it was importan for them to be an integral part of the school system, and to appeal to the child’s love of melody and beauty, rather than a formal insistence on didactic instruction. He warned the supervisor against losing the good-will of the pupils and teachers by a mechanical insistence upon accumulative knowledge, and told them, through the medium of a pretty story, how the teachers and pupils locked themselves in a class room, and the unsympathetic supervisor besieged them without result. He made a distinct impression upon the audience. Mr. Grady was followed by Dr. Eugene Noble, of the Juilliard Foundation, who told the meeting some cf the plans of the Foundation in relation to the interests of high school music teaching.
In the evening a concert was given in honor of the Eastern Music Supervisors’ Conference by the Lyric Club of Newark, under the direction of Dr. Arthur D. Woodruff.
Thursday, March 8.
The morning was given over to the visitation of the parochial schools, under the direction of Superintendent Lawlor. It is interesting to note that the work of the parochial schools of Newark is keeping pace with the public schools in the matter of music. At the same time the suburban schools were open for visitation, and the glowing reports brought back by the supervisors indicated that the small towns in and around Newark are decidedly progressive in the matter of school music.
The afternoon session was given over to the annual business meeting. The following officers were unanimously elected for next year: Louise Westwood, president; Arthur F. A. Witte, first vice president; Laura Bryant, second vice president; Russell Carter, treasurer, and Grace G. Pierce,
secretary.
Following the business meeting the orchestral demonstration was given by Mr. Giddings and Mr. Maddy; assisted by a combined orchestra from the Newark high schools. The orchestra did not play any set selections, but demonstrated a method of the beginning of instrumental instruction in schools. It showed clearly how work of this character is started and developed: how children who have had practically no experience in the various instruments of the orchestra can be taught in a very short time to be players of value in elementary and high school orchestras.
In the evening a concert was given in the auditorium of the Central High School by the various orchestras and choruses from the high schools of Newark. Following the concert an informal dance took place.
Friday, March 9.
The morning session was again devoted to visiting the elementary and the high schools of Newark.
The afternoon meeting, held in the auditorium of the Belmont Avenue School, was given over to a series of demonstrations as follows: fourth grade, tone, word reading and interpretation—Rose Schmidt; fifth grade, a practicable method of individual singing—Maud Howes; sixth grade, the first steps in voice testing and its application—Esther Greene; seventh grade, the changing voice and its treatment—William Short; eighth grade, voice testing for four part singing and its application—T. P. Giddings.
The demonstrations by Mr. Short and Mr. Giddings were well received and gave the supervisors an opportunity to study at first hand the methods of class teaching and management as practiced by experienced supervisors. A discussion on the work of the afternoon was conducted by Charles Miller.
The conference was brought to a close by the annual banquet. The toastmaster was George H. Gartlan, director of music in the Public Schools of Greater New York, and the principal speaker was Dr. Ashley Day Leavitt of the Harvard Church, Brookline, Mass. A delightful musical
The Eastern Music Supervisors’ Conference, comprising the New England and Middle Atlantic States, held the sixth annual convention in Newark, N. J., March 7, 8, and 9. The convention was one of the most successful in the history of the Conference, and shows a growth not only in membership, but also in the ideals of music teaching, which is hopeful for the welfare of school music. One of the most interesting features of the Conference, in addition to the visitation and inspection of class room work, was the demonstration of practical orchestral procedure, by T. P. Giddings, director of music in the Minneapolis Public School, and J. E. Maddy, director of music in the Richmond, Ind., Public Schools.
The Friday afternoon session was particularly interesting because of the practical demonstfations which were given in the Belmont Avenue School. As a rule supervisors prefer practical demonstrations in class room work to lectures on this subject, and in this particular this Conference served their purpose perhaps better than most conventions do.
Wednesday, March 7.
The morning session was given over to the inspection of the schools, under ׳the direction of Louise Westwood, director of music in the public schools of Newark, and her assistants. Reports given by the supervisors indicated that the work was praiseworthy and demonstrated unusual ability on the part of the pupils and teachers. The afternoon session, held in the ballroom of the Robert Treat Hotel, provided the formal opening of the conference with a very interesting address on Music in the Schools of Newark, by Dr. David B. Corson, Superintendent f Schools in Newark. ,Dr. Corson stressed the importance of music in the schools. He pointed out that one of the fundamental errors in general education is the constant insistence on arithmetic—arithmetic—arithmetic. He proved conclusively
“One of the most agreeable soloists ever brought to Pittsburgh.” Harvey Gaul, Post.
Self-evident Success
Bach Choir, May 27, 1922 Bach Choir, Nov. 4, 1922 Bach Choir, May 25, 1923
EMILY STOKES HAGAR Soprano
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