April 12, 19 2 3
MUSICAL COURIER
56
SUCCESSFUL BARTÓK AND WEINER
WORKS HEARD IN BUDAPEST AT LAST
Coolidge Prize Quartet Reaches Home—Guests Conduct in Dohnanyi's Absence—George Antheil and Other Foreigners
Rouse Interest
old Italian masters, practically unknown here, have constituted the majority of the works offered thus far.
George Antheil, the American Futurist.
The young American, George Antheil, who styles himself pianist-futurist, apparently did not realize that here these titles are already common, passe and not a flattering recommendation for a newcomer in Budapest who wishes to be taken seriously. His hall was filled with those who wished and anticipated amusement, and with those who, having noted the peculiar titles of his compositions, wished to have something to talk about. They seemed to be satisfied: he had a jolly success. To make caricatures of other composer’s works is only sport, but nevertheless it requires a certain technic, which Antheil does not have enough of to do this sort of thjng in a superior manner. On the other hand, his own compositions—unintentionally of course—seem like caricatures. In such cases one sees new forms of expressions only when they are products of strong feeling and emotion. He understands how to give his music a modern garb without, however, having anything beneath it. Lacking the very nerve of life his works become inanimate. Antheil gives us a glimpse of what modern music should be, but as to the music itself—he still owes us everything.
Plenty of Pianists.
Of other pianists, Budapest has had a surplus. Even when Dohnanyi is absent and we do not hear his masterly playing, the memory of it alone makes it difficult for other pianists who appear here. Of especial interest, however, were the appearances of D’Albert, as soloist with orchestra and in recitals. He seems to take pleasure in practicing these days, since, even while the orchestra plays the tutti, he employs his spare moments in practicing passages. Those who never heard him in his prime can get an idea of his greatness even today.	ZoltAn Kodaly.
Budapest, March 12.—Aside from a very few musical happenings having some features differing from the ordinary, musical life in Budapest has been progressing about as usual. Two events of importance were the concerts at which Bartok’s sonatas were performed with the composer at the piano, assisted by Emerich Waldbauer. Both these sonatas, as well as other Bartók works, have already been reviewed in the Musical Courier on the occasion of the Melos Society’s “Bartók Week” in Berlin. Suffice it to say that the antagonistic attitude of the press towards Bartok’s music in the past is gradually disappearing and that his works now are either greeted enthusiastically or at least with due respect.
Not only in our country—whose musical life is at present enduring great misfortune—does this music point like a finger towards a future of promise: it stands like pillars amidst the mass of imperfect music throughout the whole of _ Europe. Apostles of atonality will no doubt be disappointed in these sonatas, the first one in C sharp major being just as clear as the second in the old-fashioned key of C.
Weiner Quartet Heard at Home.
The quartet of Leo Weiner, which also had its. first performance outside its native land—namely in Pittsfield, where it was awarded the Coolidge prize—likewise had its first hearing in Budapest recently. The Lehner Quartet gave a brilliant performance of the work and earned noisy applause for the composer, who can now refute the old saying about the prophet in his own land.
Madrigals.
Hans Hammerschlag, who has inaugurated a series of “little concerts,” deserves the gratitude of Budapest music lovers. He has a small a capella choir interpret the madrigals of the sixteenth and seventeenth century with a precision and artistrv that are indeed noteworthy. Works of
ever any artist came up to the expectation of advance reports regarding her ability and gift as one of the world’s most distinguished sopranos, it was the charming and pleasing personality on the concert stage here last night. She did this and then some. Every number was vociferously applauded —the outburst following each number being tantamount to an encore. Miss Peterson revealed a voice of exceptional beauty, pure, limpid, expressive and admirably equalized throughout its range; artistic taste and intelligence were demonstrated. She is not onlv a singer of wonderful talents, but also a finished artist.”	J. H.
GERTRUDE LANG
F״RIIVfA DONNA SOPRANO at present starring in Blossom Time
Management: Betty Payne.	56 Weit 68 St.. New York
James HINCHLIFF Baritone F
Artist-pupil of HAROLD HURLBUT (de Reszke Disciple)
317 West 95th St., N. Y.	Riverside 4650 1
¡“™Si MARTIN
Dramatic Soprano
״A Voice of Freshness and Beauty ”—Morning Telegraph. Personal Address: 18 Claremont Ave., Mt. Vernon, N. Y. Telephone Hlllcrest 5149 W
© Underwood & Underwood
YVONNE D'ARLE
Lyric Soprano, Metropolitan Opera Co.
Transcontinental Concert Tour with TITTA RUFFO
By special permission of SI*. Gattl-Oasazza
Mme. Genova and Pupils Give Recital
Mme. Stella Genova and her artist-pupils contributed to the program for The Annual Confirmation Concert, which was held under the auspices of The Renovation Committee,
STELLA GENOVA
in the Bethlehem Swedish Lutheran Church, Brooklyn, on March 24. Alfred Boyce furnished excellent accompaniments, and Mme. Genova and her pupils were assisted by the orchestra of the Warren Street M. E. Church, branch of the National Society for Musical Advancement, also the Bethlehem Church Choir, assisted by Conrad Forsberg. Mme. Genova sang as her first number a group of Swedish folk songs. Mile. Lucienne Pambrun sang a group ending with Openshaw’s famous ballad, Love Sends a Little Gift of Roses. Mme. Genova and Eric Envall, tenor, accompanied by the orchestra, sang the Miserere. Margaret Hobbs sang two Arthur A. Penn songs—Smilin’ Through, and Sunrise and You. Mr. Forsberg then contributed three piano solos.
Part two of the program began with a duet arrangement of Lohr’s beautiful ballad, Where My Caravan Has Rested, sung by Mme. Genova and Emma Lincoln-Jones. Two orchestra selections, under the leadership of S. Cascio, followed. Sonia Malmquist contributed the Air de Beatrix (Saint-Saëns), Mr. Envall contributed a group of solos, and Miss Lincoln Jones, contralto, sang as a solo Del Riego’s ballad, Homing.
The program closed with a group of request numbers sung by Mme. Genova, which included the Cuckoo Song, by Roger Quilter; Omaha, Nichols, and Ecstasy, Rummel.
The Brooklyn Standard-Union, the following morning, gave considerable space in commenting on the splendid singing of Mme. Genova and her pupils:	“They showed splen-
did training and excellent technic last evening. . . . The program arranged and furnished by Mme. Genova was a well selected one. . . . Mme. Genova sang in a beautiful, clear tone and with good expression. . . . Homing, beautifully and artistically sung by Miss Jones, her full, rich, contralto tones filling every part of the hall and calling forth a storm of applause, to which she graciously responded with an encore. Mile. Pambrun sang with a clear, sweet, soprano voice, Love Sends a Little Gift of Roses. . . . Miss Hobbs delighted. . . . Miss Malmquist sang in a charming manner. . . . Eric Envall sang in a clear lyric voice.”
Peterson’s Singing Delights Willows, Cal.
Willows, Cal., March 1.—With the assistance of Charles Touchette at the piano, May Peterson, Metropolitan Opera soprano, was heard here in a recital of varied songs on February 8. The impression the singer made may best be gauged from a glance at the following from the Daily Journal of that City: “May Peterson entranced a fair-sized audience at the grammar school auditorium last evening. If
THE HIGHER TECHNIQUE OF SINGING w. fTp M W r Author of the Unique Book
HENRI /j/%! “The Practical* Psychology _	,	of Voice,” pub. G. Schirmer
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A Management: James Guider	1947 Broadway, New York
EDGAR
STILLMAN KELLEY
STEINWAY HALL - NEW YORK, N. V.
SOUSA AND HIS BAND
JOHN PHILIP SOUSA, Conductor
Now Booking Season 1923-1924
HARRY ASKIN, Mgr.
1451 Broadway	New York
MAY LEITHOLD
SOPRANO
For Engagements 1923-24
Address 420 Knabe Building	New York
NYI RECYHAZI
(Pronounced NEAR-EDGE- HARZI)
“One of the most remarkable pianistic geniuses of all time.”—New York Evening Mail.
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