MUSICAI. COTI ti I FR
28
NE-W YORK CONCERT/
well grounded, Mr. Dixon should go far in the world of music. Although still in his twenties, he has already accomplished much and is to be ranked with the first key-board artists of the present younger generation.
He opened his program with the Mendelssohn Variations Serieuses, which he played admirably, following with the Beethoven sonata, op. 57. In this latter selection the pianist showed that he thinks for himself and plays works as he reasons the composer intended, not as others before him have done. While Mr. Dixon played the Beethoven a little faster than it is usually heard, this did not detract from the audience’s interest or warm approbation of his rendition. His third group included a charming Deems Taylor poem, op. S, No. 2, from two Studies in Rhythm, which was well received; Guitarre, by Beryl Rubinstein, and two preludes, by Marion Bauer, which went so well that the pianist called upon the composer to acknowledge the audience’s applause. Chopin comprised the final group: ballade, op. 52, two etudes, op. 25, No. 3, and op. 10, No. 3, and the scherzo, op. 20. The Chopin was beautifully played and aroused the audience to such a pitch of enthusiasm that he was obliged to give three extra numbers at the close of the very enjoyable and extremely well rendered program. ״ The Sun, in commenting in part upon his playing, said: “Mr. Dixon is a young American heard here last spring, and again last fall, with inevitable interests. For he possesses in addition to a full fund of technic, a keenly intellectual energy, a phraseology of interpretation that should express itself in fine musicianship.” Said the Globe: “The Mendelssohn selection Mr. Dixon executed with great smoothness, intelligence and technical facility.”
MUSIC OPTIMISTS—BEL CANTO SOCIETY
The American Music Optimists and Bel Canto Society (Mana-Zucca, founder and president, and Lazar S. Samoi-loff, acting president and musical director) gave the fourth concert March 20, at the Waldorf-Astoria Hotel. A program of great interest, both for its artistic worth and variety, was offered.
Giuseppe Adami, a young Italian violinist, opened the program, playing the sonata in G minor (Locatelli), with the able assistance of Enrico Barraja at the piano. Later, he played Chanson Triste (Barraja), Budjely (Mana-Zucca), Zortico l’lparraguirre (Sarasate), and several encores.
Gita Glaze, the Russian soprano whose Aeolian Hall recital early this season was such a success, sang the aria from Butterfly in a voice of great beauty, rich, vibrant, and flexible, which shows excellent schooling. Mme. Glaze also sang a group of Russian songs, including Whether by Day (Tschaikowsky), To the Little Star (Moussorgsky), and Live, Let Us Live (Gliere). For her final group Mme. Glaze offered' several unusually interesting songs by American composers. They were The Eagle (Emil J. Polak), My Love for You (Katherine Schuyler Ahnelt), and I Shall Know (Mana-Zucca), sung with violin obligato. Her interpretations mark Mme. Glaze as a singer of keen intelli-(Continued on page 30)
and yet rarely is it played so engrossingly, so authoritatively as it was yesterday. The first movement—the allegro con brio—Mr. Lamond really played with brio. It was a performance notable for the clarity of its phrasing, for its finely adjusted contrasts, for its sure sense of design, for its general brilliance, and yet likewise for its pianistic continence. The declamatory second movement he treated with a sculptural cleanness, and the transition into the final rondo came as a natural efflorescence—almost without one’s knowing it the rondo was there! And Mr. Lamond continued to play the rondo most delightfully and with a real sense of climax.” The Evening Post writer thought the colossal Don Juan fantasy of Liszt was the best thing Lamond did, commenting: “He tossed off its technical obstacles without a thought,” while the American said of the same number that it was “performed with astonishing clarity and sharpness of definition.” The reviewer for the Evening Mail noted that, “There is something comfortably definite and decisive in this man’s playing, and he has a knack of immediately setting a pace and keeping it.”
PAUL BERNARD
Paul Bernard, violinist, gave his second recital, on Monday evening, before a large and enthusiastic audience. This young musician proved himself to be an artist of remarkable technical skill. His program, comprising Tartini’s sonata, Devil’s Trill, concerto in B minor by Saint-Saëns, and the Wieniawski Polonaise Brilliant, was played with intensity of feeling, and other numbers by Tschaikowsky, Brahms, Sarasate and Saenger were interpreted with fervor and artistry. His intonation is rich in color and he plays with musicianship of understanding and animation. Sandor Vas presided at the piano and played sympathetic accompaniments.
The reviewer of the American said in part: “He draws a rich, luscious tone from the instrument.” The Herald commented : “Mr. Bernard’s playi g is rich in musical feeling. His tone is of good volume.” The Tribune stated: (He) played with technical skill throughout, and, as a rule a clear, smooth tone, especially in the concerto.”
TUESDAY, MARCH 20
FREDERIC DIXON
On Tuesday evening, Frederic Dixon, the talented young pianist, attracted a large and distinguished audience at Aeolian Hall for the second time this season. Since Mr. Dixon made his auspicious debut last year, he has made great strides in his art until today he quite measures up with some of the more frequently heard pianists from Europe. Equipped so finely technically and possessing an intellect that makes his work at all times interesting and
SUNDA Y, MARCH 18
JUSTIN ELIE AND SUZANNE GALLIEN
Justin Elie, the well known composer, appeared in concert at the Princess Theater on Sunday evening, March 18. The assisting artist was Suzanne Gallien, Parisian mezzo-contralto. Beginning with three Chopin numbers and one of Franz Liszt, the renditions consisted, for the most part, of compositions written by Mr. Elie, including a Suite on two Tropical Melodies for two pianos, which Mr. Elie played in conjunction with Lily Elie. Among her other selections, Madame Gallien sang two Aboriginian poems—Chant de guerre de Caonabo, and Lamentations—in a rich, delightful voice, charming the audience with her splendid interpretive ability and inimitable grace of manner.
The program concluded with two Haytian Dances and a Valse de Concert.
MONDAY, MARCH 19
LAMOND
The piano recital given by Lamond at Aeolian Hall, Monday afternoon, served but to increase the admiration which music lovers here have for his art. As at his previous recitals this season, he displayed astonishing virtuosity and soundness of musicianship. His technic, while amazing, is of the sort that does not intrude. He plays with ease and apparent lack of effort. The variations and fugue on a theme of Handel, B flat major, op. 24, by Brahms, which opened his program, was rendered with admirable clarity of exposition and power. The Waldstein sonata of Beethoven following had an energetic and masterly reading, and equal poetry and charm were portrayed in the melodious Sonata-Fantaisie in G sharp minor by Scriabin. The last group consisting of Chopin, Glazounoff and Liszt numbers, called forth Lamond’s amazing command of color resources and dynamics. Here was variety, ranging from the contemplative Chopin nocturne to the brilliant Don Juan Fantasy of Liszt. The latter number, a tremendous work, was tossed off with a technical facility and brilliancy that called forth a spontaneous burst of enthusiasm from the audience. Although Lamond’s fame rests particularly on his authoritative interpretations of Beethoven and Brahms, it is not limited to them. In his larger numbers he again demonstrated his rare ability to build steadily to big climaxes, with no lagging of interest or sign of strain. His sound balance and his sincerity are outstanding features of his performance. The audience demonstrated heartily its appreciation of his art and was rewarded with several encores.
Of the Beethoven number, the Globe critic wrote: “Few sonatas are played so often in public as the Waldstein,
LONDON AND BERLIN AGREE
In Their Criticisms of
USE NIEMACK
Following a successful London recital in June, this young artist heaped up one success after another on the Continent.
Appearances as soloist with the Berlin Philharmonic and the Hamburg Orches-tra. Recitals in Berlin, Munich, Dresden, Hamburg, Hannover, Stuttgart, Osna-briicker and other cities.
Soloist at Braunschweig Festival, Feb. 21 and 22, 1923
The London Press said:
“She has the stuff that fiddlers are made of.”—London Daily Telegraph.
“She was born to be a violinist.”—London Morning Post.
“Her tone is pleasant, her technic irreproachable.”—London Arts Gazette.
The Berlin Press said:
“A well founded, technically versatile player and musical individuality.”—Signale fur die Musikalische Welt.
“With her big, satisfying tone and well balanced technic she looms high above her
fellows.״—H0rl.iw.0r IFpc/p«
-Glasgow Herald. a sympathetic temperament.—
A delightful quality of tone.-Solid technical finish and Deutsche Zeitung, Berlin.
.„•An artist with real feeling.—Signale fir die Musikalische IVelt (Berlin).
A mellow, sympathetic violin tone, supported by fluent technic.—Berliner Tageblatt.
Clean-cut execution and a beautiful, big tone. — Nieder-deutsche Zeitung (,Hannover).
These opinions were substantiated as follows:
— Д. fluent technic is joined to a refined interpretation.— Berliner Boer sen Zeitung.
Use Niemack brought home her real success in Mendelssohn’s concerto, by whose rendition she created a conception equally remarkable technically and musicianly. Her tone, distinguished by beauty and power and a technic of virtuoso assurance and bright polish .... were just as fine a recommendation for her as the sound objectiveness of her musical conception. The success of the talented violinist was great.—Hamburger Nach-nchten.
SEASON FOR 1923-1924 NOW BOOKING
. Possesses considerable technical facility, good tone and musical feeling.—London Lady.
(Ho»»oncr°menal violin talent. — Niederdeutsche Zeitung
She played Paganini's concerto with virtuoso technic and dash.—Berliner Bo er sen Courier.
A remarkable violin talent.—Dresdener Nachrichten.
A claim to a place in the front ranks.—Internationale Musik Reform Zeitschrift
MUSIC LEAGUE OF AMERICA, Inc., FISK BUILDING, BROADWAY and 7th AVENUE, NEW YORK CITY
For Terms and Dates, Address