MUSICAL COURIER
30
April 5, 1923
Hall, playing not only pieces for two pianos but also solo numbers as well. Mr. Maier was heard in numbers from Schubert and Weber, while Mr. Pattison confined his choice to a group out of Chopin. Together they played Moy Mell, by Arnold Bax; Three Little Pieces, by Stravinsky, and a fox-trot, by Pattison. It is some years since the local admirers of these artists have had an opportunity to appraise their merits as individual performers. Both demonstrated again a serviceable technic and a solid musicianship. Mr. Maier is most effective as an interpreter of brilliant, sparkling music, while his admirable colleague is at his best in music of a reflective nature. But what we started
RICHARD BÜRGIN
to say was that their contemplated termination of the two-piano team would be ill-advised and a source of keen regret to the large following which they have won with this type of music.	J. C.
Stransky Orchestra Plans
Fourteen subscription concerts will be given at Carnegie Hall next season by the State Symphony Orchestra of New. York, Inc., under the direction of Josef Stransky, as follows: four Wednesday afternoons, November 28, December 12, January 9, February 27; four Wednesday evenings, December 19, January 23, February 13, and March 12. Also six Sunday afternoon concerts at the Metropolitan Opera House, December 30, January 13, February 3, February 17, March 2 and March 9.
Hans Letz, the leader of the Letz Quartet, has accepted the position of concertmaster. This, however, will in no way interfere with the regular activities of the quartet. Maria Jeritza and John McCormack will head the list of prominent soloists. Programs of unusual interest will be presented at these concerts by Josef Stransky, who sailed for Europe March 24, to be away during the months of April, May, June and July, where he will conduct in Spain, France and England. While in Europe, Stransky will consult distinguished composers regarding new works he intends to present this coming season.
The State Symphony Orchestra of New York, Inc., has leased the premises, previously occupied by the Philharmonic Society in Carnegie Hall, where the executive offices of the new organization will be located.
ESTER FERRABINI AND RICHARD BÜRGIN WIN
SUCCESS WITH BOSTON SYMPHONY ORCHESTRA
Akimoif Pleases at Debut—Elly Ney and Maier and Pattison Give Programs
obviously designed to prove his merit as singer and interpreter. Gifted with a typically Russian bass voice of agreeable quality and liberal range, Mr. Akimoff’s singing disclosed adequate vocal skill and musical feeling. Although his interpretations are not invariably subtle, they are generally convincing and pleasurable—particularly in the music of Russian opera. Arthur Fiedler, who accompanied Mr. Akimoff, gave fresh evidence of those pianistic and musi-cianly qualities which are rapidly winning for him the recognition of well known singers as an accompanist of uncommon skill, taste and sympathy. A good sized audience was keenly appreciative, necessitating a material lengthening of Mr. Akimoff’s program.
Elly Ney Plays.
Elly Ney, pianist, gave her only Boston recital of the season Saturday afternoon, March 24, at Symphony Hall. Mme. Ney played Bach’s chromatic fantasie and fugue, Beethoven’s sonata in C minor, Schubert’s Wanderer Fantasie, Brahms’ waltzes, op. 39, and the ballade in A flat and polonaise in the same key out of Chopin. Although needlessly handicapped 1by such a severely exacting and relatively dull program (for the average audience outside of
Mme. Cahier Again with Mengelberg
Mme. Charles Cahier, at the special request of Mr. Mengelberg, will sing the alto part in the forthcoming performances of Beethoven’s ninth symphony under his direction at the Metropolitan and Carnegie Hall. This is but a continuation of an artistic co-operation between Mme. Cahier and Mr. Mengelberg which has lasted since 1910. Mme. Cahier having annually been soloist with Mr. Mengel-berg’s orchestra in its tournées in Holland.
Boston, Mass., April 1.—During the past ten days two resident artists of distinction have had an opportunity to demonstrate their abilities in a solo capacity with the Boston Symphony Orchestra, and both artists were rewarded with signal success. Monday evening, March 26, at Symphony Hall, and on the previous Thursday evening in Sanders Theater, Cambridge, the soloist with the orchestra was Ester Ferrabini (Jacchia), the well known operatic soprano. Mme. Ferrabini sang the same numbers on both occasions, viz., a sentimental air from Godard’s dramatic symphony, La Tasse, and the familiar aria, Ritorna Vincitor, from Verdi’s Aida, the latter in particular giving her ample opportunity to display those vocal and interpretative gifts which have given her high rank among contemporary singing-actresses. The singer was warmly applauded and recalled at 'both concerts.
Monday’s _ program at Symphony Hall was unlike the customary list of pieces for these extra concerts in that it omitted a symphony and included a novelty. The gorgeously colored and sensuously songful Scheherazade of Rimsky-Korsakoff was a welcome substitute for the usual symphony, while Respighi’s Ballad of the Gnomes was the novelty. The latter is written for full modern orchestra, of which Respighi is a master. It is a wildly dissonant music, appropriately grotesque, and yet altogether logical and effective. The audience received it coldly. The remaining piece was a delightful suite of Bach’s, arranged for strings 1by Sigismund Bachrich. At the Cambridge concert the purely orchestral numbers were Beethoven’s overture, Coriolanus; Handel’s Concerto Grosso in D major for string choir; Ravel’s Spanish Rhapsody and the relatively uninspired symphony in E flat of Glazounoff.
The second artist referred to above as a winner of uncommon success with the Boston Symphony was Richard Burgin, the thrice admirable concertmaster of that orchestra. Mr. Burgin appeared as soloist at the concerts of Friday afternoon and Saturday evening, March 23 and 24, in Symphony Hall, playing Beethoven’s exacting concerto. His performance was deserving of the highest praise, revealing again those qualities that have won him the respect and esteem of the press and public of this and other cities. A masterful technician, Mr. Burgin does not make technic an end in itself, using it rather as a means with which to disclose the composer’s message. This he accomplishes with rare musicianship and taste—let alone a sincerity and a distinctively virile quality that contribute to the success which invariably attends his efforts. The modest young concertmaster was applauded with enthusiasm and repeatedly recalled.
Pierre Monteux produced two compositions new to America at this concert: three chorales by the French composer. Koechlin, and a scherzo by Goossens, the young British composer, inspired by Burns’ tale of Tam o’ Shanter. The chorales are impressive, with a simplicity appropriate to their liturgical character. Goossens’ piece is effective and commendably brief program music, besides being quite amusing. The balance of the program consisted of Beethoven’s
Music Students’ League Officers Reelected
At its annual business meeting, held at Steinway Hall on Easter Sunday, the Music Students’ League re-elected its entire board of officers, with J. Fletcher Shera as president and Dr. Eugene A. Noble as vice-president. It also was decided to augment the League’s board of directors from five to fifteen, the additional ten to be made up of active and associate members, and the board to hold monthly meetings.
Germany), the pianist exhibited anew the technical security, breadth of style and glowing temperament that contributed to the splendid success which she had at her debut in this city a year ago. To be sure, her excessive zeal tempts her to frequent climaxes, thus marring her interpretations occasionally; but^ this same dramatic instinct serves often to breathe life into measures that are otherwise uninteresting —indeed; it was this quality in Mme. Ney’s playing more than any other that made her program enjoyable. She was warmly applauded and recalled.
Maier and Pattison.
Guy Maier and Lee Pattison returned to Boston for a second concert Saturday afternoon, March 24, in Jordan
BRUNO WALTER SCORES TRIUMPH
AS CONDUCTOR OF BOSTON SYMPHONY
Gifted Leader Has Notable Success with Press and Public—Mentioned as Possible Successor to Monteux
the audience recalled Mr. Walter again and again—a response which he shared in a generous manner with the orchestra.
After the intermission Arthur Schnabel played Beethoven’s fourth concerto with technical ease, lovely tone and fine musicianship—if not with an over-abundance of emotional display—to a splendid accompaniment from the conductor. For a closing number Mr. Walter presented Strauss’ ever-welcome Till Eulenspiegel, making us acquainted with a Till who was not cynical and vulgar, but rather a charming and romantic rascal—and ever lyrical. It was an original and altogether delightful interpretation, and the audience responded again very warmly, recalling the guest-conductor many times. Mr. Walter’s success with the Boston public was very real—as a man of cultivation, a sensitive musician, a great conductor.	J. C.
Boston, Mass., April 1.—Bruno Walter, the German conductor, emulated the worthy example of Caesar in Boston last Friday afternoon and Saturday evening in Symphony Hall, for he came, saw and conquered as a guest conductor at the Symphony concerts. The reception given him was not merely cordial; it was enthusiastic from first to last. His program was conservative, but interesting and well varied. Opening with Weber’s stirring overture to Eury-anthe, Mr. Walter gave it a poignantly romantic performance, virtually recreating it. He then proceeded to Mozart’s relatively unfamiliar symphony in D major, No. 35, with an orchestra reduced to forty-eight players, in accordance with the Mozartean _ period and writing. The effect was extraordinary, the_ wistfully charming music being revealed . with uncanny clarity, yet warmly flowing and beautiful and ever songful. It was a truly memorable performance, and
ESTER FERRABINI
stirring overture to Collin’s tragedy, Coriolanus, and two movements from Debussy’s orchestral suite, Printemps— early Debussy, to 'be sure, but already abounding in the imaginative insight and delicate beauty which were destined to give him a place apart with the greatest composers of all time.
Akimoff Pleases in Debut.
Alexander Akimoff, Russian bass, formerly of the Petro-grad Opera, gave his first Boston recital Thursday evening, March 29, in Jordan Hall. He sang pieces by Handel, Beethoven, Schubert, Tschaikowsky, Moussorgsky, Grqt-chaninoff, Rubinstein, Dvorak, Gomes, Levenson, Engel, Wilson, Alness and Russian folk songs—an exacting list,
Eminent Teacher of Singing
170 West 72nd Street New YorkTity
M. E. FLORIO
Will Conduct a Special Master Course in Singing all Summer