MUSICAL COURIER 38 March 22, 1923 effective if baritone Carl Schlegel, the soloist, had stuck a bit closer to the pitch. At least, as the Berlin parvenu said of the first act of Lohengrin: “Man lacht!” for the Grieg songs are all humorous. There were two Easter songs—Pasqua Florida, by Father Donostia, and La Vergine e II Fabbro—in which Miss Gian-nini again sustained the solo effectively; in fact, it was practically only a solo for her with organ accompaniment and a little hummed assistance from the chorus. Pasqua Florida was perhaps the most beautiful number on the program; its quiet simplicity, with its repeated Alleluia, produced a most exquisite effect. In this number and in the final, La Sardana De Las Monjas, Mr. Schindler at last called to his assistance a chorus of boys and girls— little Spanish-Americans they were. This regularly forms a part of the chorus of the Orfeo Catala and it is only by this use that the color effects called for by the composers can be correctly obtained. The chorus sang well, though the men’s chorus is decidedly inferior, both in quantity and quality, to the women’s. The effect of the program on the whole was decidedly monotonous. Miss Giannini was the only thing that seemed to rouse the audience to any particular display of interest. THURSDAY, MARCH IS BOSTON SYMPHONY ORCHESTRA Pierre Monteux’s program sounded, it must be admitted, better than it looked on paper. The Chausson symphony, followed by Till Eulenspiegel, Loeffler’s Le Mort de Tin-tagiles, and the Tannhäuser overture was the list, but these strangely assorted elements turned out to mix very well. Probably the Franck and the Chausson works are to be ranked at the very head of French symphonies. There is great beauty of thought and of orchestration in the latter and it was well played. Charles Martin Loeffier came over to hear his Mort de Tintagiles and had to bow repeatedly from his box. On every hearing it becomes more apparent how much Loeffler, who wrote the work nearly a quarter of a century ago, was ahead of his time. It is modern today—and yet beautiful. There is a wealth of musical ideas, ideas used to build up a programmatic piece that has none of the lack of probity usually associated with so-called “program music” and which never lapses into the vulgarity of which Richard Strauss is occasionally guilty. Concertmaster Burgin played the viola d’amore solo beautifully. Mr. Monteux was a trifle delicate with Till, nor was he over-robust with the Tannhäuser overture. Is there another orchestra anywhere with the beauty and richness of tone that the Boston men, strings, wood and brass, regularly produce? Technically the orchestra is not back to its old standard—the master hand is missing. But it is a joy merely to sit and let the flood of beautiful sound pour over one. MURIEL TINDAL Muriel Tindal, Metropolitan Opera soprano, was heard in recital at Aeolian Hall on Thursday evening. A large audience greeted the singer and was rewarded by hearing a program of songs that offered variety, and many of them seldom heard—at least not sufficiently to become hackneyed. Miss Tindal has much in her favor as a concert artist. She makes a striking appearance and is rather gracious in her personality. Her voice is of a good quality and she uses it with intelligence. Her diction was exceptionally good, and offering such a varied program was decidedly one of the attractive features. Her first group was made up of old songs of the seventeenth and eighteenth century. These were followed by a. group by Wolf and Brahms. The third group consisted of the Beethoven arrangements of three old Scotch songs, and the last of the group was the old ballad, Caller Herring (Gow). Miss Tindal was assisted by violin and cello accompaniments which added considerably to the effectiveness. Her fourth group contained four beautiful songs of Fourdrain, and the last group included English songs. The first was In Silent Woods, a translation, with music by Rimsky-Korsakoff; the second was The Nightingale, arranged by Howard Brockway, and then followed a manuscript song by Paul Eisler, The Roadways. Mr. Eisler accompanied Miss Tindal, and after this song both composer and artist received hearty applause, which they responded to with an encore. The Herald said: “Miss Tindal’s singing pleased her audience. Her voice, was at its best in the medium and upper registers, the lower notes being prone to a veiled or husky quality. Her general style needed more color, but her feeling for the texts of her numbers and her dignity and sincerity were admirable.” The Times said: “Miss Tindal’s voice, despite a tightening in the higher tones, responded to her demands upon it; she sang sincerely, with musical intelligence, much dignity and animation.” The American thought: “Miss Tindal has a broad acquaintance with song literature and possesses certain accomplishments as an interpreter. Her vocation, however, left something to be desired in the matters of warmth and charming quality.” The World stated: “One caught her taking high notes en passant, touched upon and cautiously left behind in a hurry. She had plenty of volume and a fine diction, especially in the lieder, which, representing Hugo Wolf and Brahms, comprised the largest group on _ her program.” The Sun declared: “As to Miss Tindal, be it recorded that she gave evidence of no little vocal sonority except in rapid passages, that she enjoyed much animation and assurance, ing it at points of climax to eloquent proclamation. Last night’s soggy air, cruel to strings, gave some problems, manfully met, in the sustained tones and rapid passage work of Tartini’s Devil’s Trill. It was midway in Tschaikowsky’s concerto that he won his house with an emotionally powerful crescendo, re-echoed in long applause. The heightened interest was held with serene beauty in the muted andante movement, crooned like a song.” It was the opinion of the Evening Post that “Mr. Ross knows not only how to get a warm, beautiful, and varied tone out of his instrument, but how to play with expression. His rhythmic incisiveness was particularly noteworthy. His intonation was usually good, even in double stops, in which so many players come to grief.” WEDNESDAY, MARCH 14 CITY SYMPHONY ORCHESTRA: DE GOGORZA SOLOIST On Wednesday afternoon, the City Symphony Orchestra, Dirk Foch conductor, gave its last New York concert of the season at Town Hall. The closing performance for the orchestra was on March IS, at a special concert in the High School Auditorium at East Orange, N. J. The orchestral numbers offered for the March 14 concert comprised overture to The Marriage of Figaro, Mozart; Symphonic poem Mazeppa, Liszt, and Brahms’ Symphony No. 1 in C minor, op. 68. Of these the last two were given by request. Emilio De Gogorza was the soloist, singing the same program as on Saturday evening at Carnegie Hall—Handel’s aria from Semele, Where’er You Walk, and arioso from Le Roi de Lahore, Massenet. Although suffering from a cold, Mr. De Gogorza charmed the large audience as few singers can. Mrs. Louise Ryals de Gravioto, chairman of the music committee, again delivered a short address, in which she summarized what has been accomplished by the City Symphony Orchestra during its first season, and appealed to the audience for further support so that the good work thus far achieved might be continued. The New York Times says: “The largest audience which has attended the series of concerts given at the Town Hall by the City Symphony Orchestra was on hand yesterday afternoon to hear the last program to be given by that orchestra in New York this season.” The New York World comments: “The Town Hall was packed to the doors yesterday afternoon by a vociferous audience to bid ‘au revoir’ for the season to the City Symphony Orchestra. The ensemble, which had Emilio De Gogorza as soloist, seemed to feel the oats of an oncoming vacation for it played zealously through its program and drew no small amount of applause for its energetic work. Mr. De Gogorza repeated the Handel and Massenet airs which he had sung last Saturday with marked ease and style, in spite of a slight hemorrhage of the vocal chords and a physician’s warning not to tempt their condition.” SGHOLA GANTORUM: DUSOLINA GIANNINI SOLOIST The Schola Cantorum, at its second concert of the present season at Carnegie Hall, Wednesday evening, sang its usual program of internationally culled folk and art songs from practically all countries except America. The real feature of the evening was not on the program. Anna Case was announced as soprano soloist, but when it came to the Italian folk songs it was an unknown young singer, named Dusolina Giannini—a pupil of Mme. Marcella Sembrich, it was whispered—who stepped out to take her place, for Miss Case was ill. She has a lovely mezzo-soprano voice of an unusually rich, warm quality, and appears-already to know pretty well how to use it. She made an instant hit with the audience and got the most applause of the evening, one of her numbers having to be repeated. They were all from Le Piu Belle Canzoni D’ltalia, which are collected and harmonized by the woman singer-composer, Geni Sadero. One of- the groups is made up of all five chorals that constitute opus 104 of Johannes Brahms. Im Herbst seemed rather the best of them. Kalbeck proclaims them as belonging to the very finest songs of Johannes, but if you don’t want to agree with him, you needn’t. Certainly some of them do not. The program opened with old French and Italian madrigals and part-songs. Later on there was a group of Norwegian folk songs and dances for men’s chorus, the opus 30, of Grieg, which are far from belonging to the best work of that composer. They might have been more NEW YORK CONCERTS (Continued from page 30) program at Town Hall, Tuesday evening, following a tour abroad, where he played in Berlin (with orchestra), Dresden, Stuttgart, Bremen and other cities. He numbers among his teachers Sametini and Auer. The major numbers of his program were the Tartini G minor sonata (Devil’s Trill) and Tschaikowsky’s concerto in D major. In both of these he displayed a skillful and facile technic, a firm, clear and resonant tone and admirable phrasing. He brought to the interpretation of the Tschaikowsky concerto keen intelligence and excellent musical feeling. The andante movement, muted, was particularly beautiful. This young artist plays with assurance and poise and employs varied tone, ranging from broad, rich tones to delicate and fine singing tones, smooth and well sustained even in the harmonics. He has a marked rhythmic sense and good intonation. The two groups of shorter numbers included a nocturne. in E minor (Chopin-Auer), Tambourin Chinois (Kreisler), Deep River (Coleridge-Taylor-Maud Powell), Witches’ Sabbath (Rubin Goldmark), Vogel als Prophet (Schumann-Auer) and Introduction and Tarantelle (Sara-sate). The Tambourin Chinois and Witches’ Sabbath were especially well rendered. Mr. Ross is effective in passages requiring speed and fleetness. He is accurate and does not blur. The middle section of Vogel als Prophet had warmly expressive tones in the double stopping. There was a large and appreciative audience which expressed its enthusiasm decidedly, recalling the artist for a number of encores. Sander Vas gave valuable assistance at the piano. The Times said: “Still diffident when entering the stage, he showed when playing a sudden fire and distinction, free of mannerism, deeply sunk in the music’s mood and bring- Compositions of = David W. zzz Guión = SONGS A Kiss, Medium $ Compensation, Medium .60 — .60 — De Ol’ Ark’s A-moverin’, High— = ■ .60 — Greatest Miracle of All, etc., ־־־־־ High—Low .60 ־ Life and Love, Medium .60 " ־~* — Little Pickaninny Kid, High— zzz: — Low .60 Love Is Lord of All, Medium. . . .60 Mary Alone, Low .75 — My Own Laddie, Medium...... .60 — Prayer (Sacred), High or Me- = dium .60 zzz — Return, Medium .50 — — Resurrection, Medium .60 Run, Mary, Run, Medium—Low. 160 = = Shout Yo’ Glory, Low .60 zzz The Bold Vaquero, High or Me- — ' dium 1.00 ' ' PIANO SOLOS .60 ' — Pickaninny Dance .60 Sheep and Goat (Transcription) . .60 = Southern Nights (Valse) .60 =z — Turkey in the Straw ( iranscrip- ~ ~~~ tion) .60 EE G. Schirmer, IncNew York zzz ÜÍI llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllli HAZEL WEGNER BACHSCHMID RECITALS ORATORIO *Coloratura qualities are thrilling” Management ol HAZEL BACHSCHMID, 935 Pa. Avenue. N. W. - - - - - - - Washington, D. C. Coloratura Soprano ״,ONCERT Lyric-Coloratura Soprano Concerts, Festivals, Oratorio Metropolitan Opera Hoase Studios New York City ele RANKIN AD Indian Soprano CONCERT — RECITAL - - Tel. 1396 Riverside PRINCESS ATALIE ADDRESS: 104 WEST 94th ST.. MEW YORK JOSEPH SCHWARZ Distinguished European Baritone S. HUROK, Aeolian Hall, New York