March 22, 1923 combination is an experienced organization and Mr. Schnabel, of course, a pianist of distinction.” TUESDAY, MARCH 13 PHILADELPHIA ORCHESTRA The usual large crowd of delighted listeners was on hand at Carnegie Hall to greet Leopold Stokowski and his symphonic hosts from Philadelphia in a program consisting of Schubert’s C major symphony, Henry Eichheim’s Oriental Impressions and Strauss’ Till Eulenspiegel. According to those who know, Mr. Eichheim is a former member of the Boston Symphony and later was conductor of an orchestra at Winchester, Mass. He wrote the Oriental Impressions for the Pittsfield Festival, where it was performed in 1921. The score called for a small group of instruments “about as large, but not of the same character, as a Chinese orchestra.” Subsequently the composer rewrote his work for a large orchestra and it was played in Boston March 24, 1922. There are five movements in the suite, but only four were on the program here last week—the Korean Sketch, the Siamese Sketch, the Chinese Sketch, and the Japanese Nocturne. For some reason, Mr. Stokowski elected to perform only the two last named pieces. They proved to be bizarre, piquant, and attractive, delicately orchestrated, with plentiful use of what the critics call “typical Oriental color,” and “characteristic atmosphere.” The audience liked the morceaux and applauded them heartily. The Schubert number had a finished and ingratiating reading, the orchestra playing with particular finesse, polish, and devotion. Rollicking spirit, infectious humor, and virtuoso execution marked the performance of the Strauss score, and it inspired the hearers to loud and prolonged demonstrations of approval. BORIS LEVENSON The third concert by Boris Levenson, Russian composer, assisted by Flora Negri, soprano; Yascha Fishberg, violin; David Yaroslavsky, baritone, and Metek Volk, piano, was given in Chalif Hall on Tuesday evening. Compositions by Mr. Levenson were exclusively presented. The various works afforded much pleasure to the large and ethusiastic audience, whose sincere applause followed each number. Mr. Levenson, who prior to coming to America enjoyed renown in his native Russia and other European countries, has, during the short period of his residence here, established a large following among musicians. His compositions are featured by many artists. Mr. Fishberg opened the program with Dreams and Dance Orientale (the latter by request), and, later gave Lullaby and Jolly Dance, the last number being redemanded. Miss Negri was heard in two groups, comprising The Dawn, The Days Float Unbroken Along, Gaily Lived the Tiny Mouse, Kaddish, Sog mir, due schein Meidele (by request) and Fraegt die Welt die alte Kasche. Mr. Yaroslavsky sang in Russian a group of four songs—Is Spinning a Trade that Befits a Lad? When I Hear, Should I Love, and Hymn to My Free Motherland. As the closing number the composer, together with Mr. Volk, played (by request) the Oriental Dance from Mr. Levenson’s opera, The Circassian Captive Warrior. Mr. Levenson accompanied the soloists. ASSOCIATION OF MUSIC SCHOOL SETTLEMENTS Not a single individual’s name appeared on the program of the Association of Music School Settlements, at Aeolian Hall, March 13; personality is entirely submerged in the great issue of carrying the best in music-teaching into the lives of 2,150 children of forty nationalities living in New York. The demonstration given of the success of this effort was remarkable, for the results were not only marked by careful training but also by spontaneous joy in doing and in some cases by real metier. The program opened and closed with the senior orchestras from the Bronx House Music School and the Music School Settlement, respectively, which represented fourteen orchestras maintained in the seven centers. Marche Slave, Tschaikowsky, and the first movement of Schubert’s Unfinished Symphony were the selections presented. There was an abundance of strings and the wind and brass parts were played on the piano, producing a very adequate effect. The string tone was full and true, the ensemble good and the interpretations spontaneous and convincing. The Greenwich House Music School presented five little boys, two at the piano and three fiddlers, in elementary music of a high character. A group of small girls demonstrated work in rhythmics also. A young girl violinist, representing the East Side House Music School, gave a splendid rendition of Tartini’s G minor sonata. A young man trained at the Brooklyn Music School Settlement showed marked talent by his performance of Brahms’ D minor violin sonata. His accompanist also deserves special mention as she entered into the work with both intelligence and enthusiasm. Singing games were given by the Music Play Class from the latter school. This group of little girls showed such keen pleasure in the clever little enactions that it was a joy to watch them. After the intermission the Junior Glee Club of the Crysto-dora Music School filed onto the stage in sailor suits and bright ties and sang Rossitter Cole’s Far Out at Sea; Roses, by Anice Terhune, and Spring Song, by Jessie Gaynor. The voices were light and sweet and each face told the story of the song with evident satisfaction of expression. A surprisingly clear, intelligent and technically proficient performance of the allegro animato from Bach’s Italian concerto, by a young girl from the Neighborhood Music School, elicited great approval from the audience. Three young ladies from the same school followed with Beethoven’s D major trio for piano, violin and cello, which was very well executed. An audience which appeared vitally interested and sympathetic gave each number hearty applause and the_ j oy of these children at pleasing their auditors was manifest by the happiest of smiles and the politest of bows. GILBERT ROSS Gilbert Ross, a young American violinist, son of a faculty member of Wisconsin University, was heard in an interesting (Continued on Page 38). 30 MUSICAL COURIER InE-W YORK CONCERT/ skillful.” Said the Times: “In the Italian songs of the opening group the singer displayed the warm quality of her voice and its technical capabilities to the best advantage, and she gave much individuality to her interpretations.” The Tribune thought her voice “had a most agreeable smoothness and richness of tone.” Marie Louise Ford played the accompaniments. BEETHOVEN ASSOCIATION: LETZ QUARTET AND THERESE SCHNABEL SOLOISTS The Beethoven Association heard the Letz Quartet and Artur and Therese Schnabel at the last concert of its present series, at Aeolian Hall, March 12. A vigorous and intelligent reading of Beethoven’s quartet in F opened the program appropriately, which continued with eight Schubert songs sung by Madame Schnabel, contralto, accompanied by her husband. These were given with authority and closg attention to all the niceties of lieder singing. This singer has given her interpretations much thought and brings out each successive song with thg assurance with which one introduces an old friend. Mr. Schnabel succeeds in reflecting all the color and shifting of the verbal meaning in his accompaniment. In his performance of the Brahms quintet in F minor with the Letz organization, he revealed all the power and incisiveness of his pianism. The strings played their share of this Opus with devotion and sympathy for its depth and introspective beauty. The Times said: “Madame Schnabel sings with meticulous care for phrasing, accent and expressive declamation, and with a clear enunciation.” The Globe said : “The Letz Quartet are well known masters of their instruments and brought to their playing of the Beethoven selection a poise not every day to be heard in chamber music.” The World : “The Letz MONDAY, MARCH 12 CARMEN REUBEN At the Town Hall, Monday evening, Carmen Reuben, mezzo-soprano, pupil of Francis Rogers, gave a debut recital before a good sized and appreciative audience. She sang three groups of songs, in Italian, German and English. The introductory number on the program was Handel’s Come Ever Smiling Liberty, followed by O del mio dolce_ ardor (Gluck) and other interesting selections of Pergolesi, Cal-dara and Carissimi. The second group encompassed selections of Mozart, Schubert, Schumann and Brahms, special attention being attracted to O liebliche Wangen, by the latter composer, for the fine interpretive expression with which it was rendered. The final group was most deserving of praise, consisting of such variety of compositions as O Thou Billowy Harvest Field (Rachmaninoff), Shule Agrah (Le-mont), Blackbird’s Song (Scott), and Go Down Moses (a Negro spiritual) by Burleigh. The audience was most enthusiastic, particularly over her delightful presentation of Kelly’s Lady Picking Mulberries. Miss Reuben has a voice of large capacity. Far above the average debut recitalist, it may even be said of her that in poise and finesse her performance exceeded those of many veteran singers. Her technical knowledge is thorough and the quality of her tone smooth, rich and'colorful. Her diction and method of interpretation promise great achievements. The newspapers were impressed by her splendid self-sufficiency and expressed their approbation in no uncertain terms. Said the Herald: “Her schooling was of the best observed in a new young singer here this season. Her vocal technic had such security that she was able to sing admirably even in her first numbers, where nervousness is wont to mar the delivery of a debut singer. Her style had poise and admirable finish. Her diction was clear and her phrasing I Exclusive Direction of s I Catharine A. *Bamman, 53 West 39th Street, New York City 5 5 *l|lltlll!l■ll|118ll«llal!fll«II«Il«lIlll9liail«lllll91l«IIBII|ll|ll|l!|ll«ligiI«limi«llfll|lll!19ll|l!|l!l!l91l«I!ill|lllll| 9>!«llfllf