MUSICAL COURIER
44
April 5, 1923
melody, a definiteness of form which reflects the studious musician, and clever orchestration. As played by Mr. Du Bois, the concerto won instant success at the hands of the large gathering.
Another Contest Announced by S. O. A. M.
So successful has been the first contest for young American artists, conducted by the Society of American Musicians on March 12, that the Orchestral Association and Frederick Stock have authorized the society to conduct another contest next season. Violoncello will be added to the list, thus giving young artists in cello, violin, piano and voice, opportunity to compete for appearances as soloists with the Chicago Symphony Orchestra in the series of “popular” concerts at Orchestra Hall. Conditions for entrance to the contest will be made public early in August. The contest will take place in January, 1924.
Chickering Commemoration.
To commemorate the hundredth anniversary of the founding of the house of Chickering, the Chicago branch got together the Chicago Symphony Orchestra, Frederick Stock and Erno Dohnanyi, pianist, for a concert in Orchestra Hall on Monday evening, March 26. Dohnanyi participated 'both as conductor and piano soloist, presenting on both occasions his own compositions. His suite for orchestra, known to the patrons of the Chicago Symphony Orchestra, received a stirring reading under his energetic baton and once more proved a most attractive number. In his piano concerto he was perhaps less happy, for, though it was remarkably well set forth, it contains snatches of other composers’ works and has not the stamp of originality. However it is well written and contains much that is of interest and served for an excellent vehicle for the pianist. He was acclaimed to the echo on both occasions and had to bow acknowledgment many times. The second movement of the concerto was performed by the Ampico, reenacting the playing of Mr. Dohnanyi, which proved highly interesting, even though it ׳balked in the middle of the movement, 'but was quickly adjusted so that much was not lost. Under Conductor Stock’s splendid leadership, the orchestra presented beautiful readings of the Beethoven Coriolanus overture and the Schubert Unfinished Symphony. Just before the intermission a short, clever address was made by Karleton Hackett, the erudite critic of the Chicago Evening Post.
The Arimondis Return From French Lick.
After spending two weeks at the French Lick Hotel at French Lick Springs (Ind.), Aurelia and Vittorio Ari-mondi have reopened their studios in the Fine Arts Building.
Sevcik Attracts Large Class.
Prof. Otakar Sevcik, famous as the teacher of Kubelik and other artists now before the public, has a very busy teaching schedule at his Bush Conservatory studio. The world-renowned reputation of the famous teacher has attracted pupils from all parts of the United States and Europe as well. On his arrival in Chicago he ׳brought with him seven pupils who had followed him to Europe and ■back again, and since then so many have applied for lessons that he is constantly busy.
That Americans have been eager to study with the great maestro is evidenced by the wide-spread localities which they represent. Pennsylvania, Michigan, Mexico, Kansas, Connecticut, Wisconsin, Texas and Oregon are but a few, and of course there are a large number of fine talents from Chicago and vicinity.
Professor Sevcik is a wonderfully skillful teacher and takes the greatest interest in his pupils, both personal and artistic. So rare is it that a great man of his attainments
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CHICAGO SEASON CONTINUES UNABATED
Paderewski, Kreisler and Novaes Attract Large Houses—Sixth Concert of Civic Orchestra Gives Pleasure—Faculty Members of Columbia School in Recital—Beethoven Trio Concludes Series—Chickering Commemoration—
Sevcik Attracts Large Class—Esther Dale Reveals Beautiful Voice—Notes
of the genuineness and sincerity of her art, the exquisite loveliness of her tone, the remarkableness of her technic and the originality and refinement of her poetical and intelligent interpretations. She gave her listeners much cause to rejoice in her playing of the Chopin F sharp impromptu and the B flat minor sonata of the same composer, and doubtless in the balance of her interesting program, which, however, could not ׳be heard ‘by ye scribe. She had listed a Scriabin prelude and etude, Blanchet’s Au Jardin du vieuse Serail, Moszkowski’s La Jongleuse, Albeniz’ Triana and a closing Chopin group—three etudes, a mazurka and the C sharp minor scherzo. Especially interesting was the originality with which she charmingly touched up the Chopin numbers heard, which won the immediate approval of the large audience on hand. This recital, too, was under the direction of F. Wight Neumann.
Civic Orchestra’s Sixth Concert.
The last concert this season by the Civic Orchestra was given Sunday afternoon, March 25, at Orchestra Hall and it served to impress stronger than ׳before its ever increasing worth and the brevity of the time when its members may be called upon to take their places in the leading orchestral bodies of the country. The program was such as to convey pleasure and profit because of its interesting interpretation by the players through its conductors—Frederick Stock and Eric Delamarter, his assistant director, who certainly deserved the spontaneously hearty recognition given their work by the large audience present, for in bringing this body to its present state of perfection in tone, color, technic and adherence to pitch, a !great achievement stands to their credit. Hilda Edwards, pianist, was the soloist, who acquitted herself well in the rendition of a concerto by Old-berg, meeting the approval of her auditors.
Columbia School Faculty Members in Recital.
Two members of the Columbia School of Music faculty joined forces in a recital at the Playhouse on Sunday afternoon—Parthenia Vogelback, pianist, and Sybil Comer, soprano. Both gave an excellent account of themselves to the great delight of the very large audience present, whose ardent applause punctuated each group and necessitated the adding of encores.
Beethoven Trio Concludes Series.
To close its most successful series of three chamber music programs the Beethoven Trio presented a most fitting and unusually interesting concert last Sunday at 5 o’clock in the charming drawing room of the Cordon Club. The secret of the success of this excellent organization lies in the spontaneity and enthusiasm with which it goes about its task and which puts chamber music in a most interesting light. Few chamber music bodies there are which can make entire programs of trio music more enjoyable than the Beethoven Trio. There is also in its playing that unity of thought and aim, excellent musicianship and youthful vigor which make for illuminating renditions. The trio played the noble Beethoven trio, No. 7, with inspiring excellence, and the difficult Ireland Phantasie in A minor with complete mastery. The members—M. Jennette Loudon, pianist; Ralph Michaelis, violinist, and Theodore Du Moulin, cellist—were heartily applauded by the large and delighted audience. Long may this splendid organization live and continue to give these charming series in their home city.
Edwin Grasse’s Violin Concerto Heard.
On the program of last Sunday morning’s regular noon concert at the Chicago Theater a new and most interesting violin concerto was given its first performance in the Windy City by Eugene Du Bois, concertmaster of the Chicago Theater Orchestra. Its composer, Edwin Grasse, a blind musician of New York, has written a concerto of worth, which has to recommend it a wealth of flowing
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Chicago, March 31.—Who said Chicago was indifferent to music? Is it a sign of being unmusical if the vast Auditorium is pack-jammed on two successive days—Saturday afternoon and Sunday afternoon—the Playhouse, the Stude-baker Theater and Orchestra Hall all crowded to capacity on the same Sunday afternoon for musical programs? Let it also be stated that both the Saturday afternoon and Sunday recitals at the Auditorium were second appearances this season of masters of the keyboard and the bow—■ Ignace Paderewski and Fritz Kreisler, respectively.
Paderewski.
Paderewski swept all before him with his superior playing of a program, which in the hands of a lesser master might become tedious. The numbers included were the Bach chromatic fantasia and fugue; Beethoven’s significant sonata, op. 3; Schumann’s lengthy F sharp minor sonata, a Chopin group—F major ballade, B major nocturne, three etudes, mazurka, No. 3 and valse op. 42—the pianist’s own nocturne and the Liszt Hungarian rhapsody. A tremendous program, marvelously rendered by the great Paderewski, whose transcendant art will live on forever! An ovation, the like of which is seldom witnessed, was accorded by the army of worshippers at Paderewski’s shrine. Wessels & Voegeli were responsible for the concert.
Kreisler at the Auditorium.
In a recital of romantic music, Fritz Kreisler bade his Chicago admirers farewell for the season. The Kreisler mastery and perfection were ever present in everything he played, and thus, his listeners were afforded a great treat. There was the Brahms G minor sonata opening the program, followed by the Mendelssohn E minor concerto, the Wagner-Wilhelmj Siegfried Paraphrase, the Cha'brier-Loef-fler waltz caprice and Kreisler’s arrangement of Dvorak’s Slavonic dance in G major and Slavonic fantasy. Demonstrations of approval were, as usual, abundant and 'brought many extra numbers. This was under F. Wight Neumann’s direction.
Guiomar Novaes’ Recital.
One of the most satisfying pianists now before the public, Guiomar Novaes, has a host of followers in the Windy City whose sincere admiration she holds always. Last Sunday’s recital at the Studebaker was another demonstration
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