MUSICAL COURIER
26
April 19, 1923
Mozart Society Sixth Musicale, Luncheon, Picture and Dance
The sixth and last morning musicale, luncheon, motion pictures (Grumpy and The Glimpses of the Moon) of the New York Mozart Society, Mrs. Noble McConnell, founder and president, took place April 7, grand ballroom, Hotel Astor. Michael Mischakoff, violinist, opened the program with a movement from the Saint-Saëns concerto in B minor, being appreciated in this, and winning yet greater applause for his beautiful playing of pieces by Scott, Cui, and the Mozart-Kreisler rondo. Playing the well-known Dvorak Humoresque with muted strings and sweet tone, he made a special hit with this. Editha Fleisher, coloratura soprano, won rounds of applause for her brilliant singing of the Laughing Song from Die Fledermaus, in which her high C’s, staccato and general spontaneous facility were notable. Songs by Reger and Strauss, sung in German (notably distinct was her enunciation), with encores, followed her appearances. Greek Evans, baritone of stage routine, sang Vision Fugitive from Herodiade, with fine cantilena, and was later heard in a song by Lohr and Damrosch’s Danny Deever; he closed with The Two Grenadiers, and in all this sang with manly style and sonority. Mr. Spross played accompaniments of highest artistic finish.
Announcement of importance by President McConnell included her statement that 433 members had paid in full for next season, thirty-six choral members included; her reading of all of these names, constituting what is known as the president’s summer happiness committee; welcoming of the return of Mesdames Owen J. McWilliams and Matthew J. O’Neill; mention of the religious service of the society at the West End Presbyterian Church, April 8, and special attention called to the annual springtime festival and breakfast in pastels, Saturday, May S.
William Simmons Has Busy Good Friday
William Simmons, well known baritone, was heard in Stainer’s Crucifixion, on Good Friday, as soloist at four prominent churches in New York. He sang at the Brick-Church, Clarence Dickinson, organist; at All Angels’ Church, Harry Woodstock, organist; at the Park Avenue Baptist Church (known as John D. Rockefeller’s Church), Harold Milligan, organist, and the West End Collegiate Church, Henry Hall Duncklee, organist.
On April 10 Mr. Simmons was scheduled to give a recital at Columbia University and the following day to appear at the Brooklyn Academy of Music.
Gasella’s a Most Musical Performance
Following Alfredo Casella’s recital in Jordan Hall, Boston, Mass., on March 17, H. T. Parker in the Transcript ■stated “From end to end of his program more felicitous playing than Mr. Casella s was hard to imagine.” “A more musical performance,” was one of the phrases in Philip Hale’s review in the Herald, and the critic of the Globe is of the opinion that “He is one of the most'scholarly and unpretentious of musicians.” The^ critic of the Christian Science Monitor said: “Mr. Casella is one of the most striking and
outstanding fifnirps in tV)P» nrpepnf Anir	of
and. color they might yield. Miss St. Denis and Mr. Shawn are admirably supported by their company of Denishawn dancers.
Sorority Benefit Enjoyed.
Mu Epsilon chapter of Mu Phi Epsilon, national honorary musical sorority, presented the Chicago pianist and pedagogue, Glenn Dillard Gunn, in recital, March 22. An excellent program, consisting in its first part of two Bach-Busoni Choral Preludes and the Beethoven sonata, op. 27, No. 2; in its second part of the prelude, fugue and variations by Franck-Bauer and works 'by Debussy, Carpenter and Liszt; and in its third part of a finely proportioned Chopin group, was played in Mr. Gunn’s searching and scholarly manner and greatly enjoyed by the large audience. The recital was a Mu Phi Epsilon scholarship benefit, and the chapter deserves great credit for its initiative and altruism.
Child Pianists’ Sixth Annual Concert.
Agnes Louise and Elmer Gustav Schoettle gave their sixth annual recital, March 20, at MacPhail opera recital hall. As these two pianists are only ten and twelve years old, respectively, the record of a sixth annual recital is somewhat unique. The annual appearances of these children have become an integral part of the music life of Minneapolis and are looked forward to from year to year by many friends. On this last program each played a sonata by Beethoven, while Louise Schoettle added a group consisting of the Solfeggietto and Allegro di Molto, by Ph. Em. Bach; Etude Melodique, by Raff; Valse in E minor, by Chppin, and Grieg’s Butterfly. Elmer Schoettle added a group consisting of Bach’s prelude and fugue in C sharp major; Raindrop prelude, Chopin; Rondo Capriccioso and Spinning Song, Mendelssohn. They united in two numbers for two pianos: Gigue in D minor, by Haessler-Riemann, and rondo in E minor, by Gurlitt. The ensemble was unusually good. One of the most interested spectators in the audience was Bruno Walter. He, like Walter Damrosch, who had heard the children at a previous occasion, was deeply impressed with their talent, and promised active co-operation.
G. S.
Estelle A. Sparks Studio Notes
Estelle A. Sparks, dramatic soprano, was a guest artist at a recent Sunday afternoon musicale at the home of Frank Seymour Hastings, Brooklyn, N. Y., where she will again be heard in the near future. Harold J. Bray, lyric tenor, an artist-pupil of Miss Sparks, has left the Flushing Congregational Church to accept a position as soloist at the Twelfth Street Reformed Church, Brooklyn. Lilian Hallock, soprano, was the assisting soloist at the high school concert in Ridgefield, Conn., recently, given under the direction of Charles Wade Walker, when she scored a distinct success, as attested by the Danbury, Conn., papers. Rose Accurso, soprano, was the soloist at the March meeting of the Vandervere Park Mothers’ Association, Brooklyn, singing five numbers with brilliancy and charm; she sang in Spanish, Italian and English with impeccable diction, and was received with enthusiasm.
Most of Miss Sparks’ pupils are doing professional work, °r studying toward that end. Her new studio, at 156 West 11th Street (Greenwich Village), is a beehive of activity.
MINNEAPOLIS NEWS
Excellent Concerts Under Walter’s Baton.
Minneapolis, Minn., April 10,—Bruno Walter, the distinguished guest conductor of the thirteenth and fourteenth symphony concerts and the twentieth and twenty-second .“Pop” concerts, not only confirmed the fine impression which he made on his first appearance but elicited greater demonstrations of approval and enthusiasm with each succeeding appearance. For the thirteenth symphony concert he presented Haydn’s symphony No. 12, in B flat major; Mendelssohn’s Midsummer Night’s Dream overture and the overture Fantasia, Romeo and Juliet, by Tschai-kowsky. Ignaz Friedman was the soloist, and performed Chopin’s Andante Spianato and Polonaise and Liszt’s concerto No. 1 in E flat major.
The twentieth popular concert consisted of one of Mozart’s less known but nevertheless most delightful symphonies, No. 35, in D major. The rendition brought spontaneous response from the audience. Two Wagner numbers, the Faust overture, the Siegfried Idyl and Strauss’ symphonic poem, Will Eulenspiegel, completed the program.
The fourteenth symphony concert had as its principal number Beethoven’s symphony, No. 8, the other orchestral numbers being the Strauss Don Juan poem and Wagner’s Rienzi overture. Helen Stanley added to the enjoyment of the evening with a fine rendition of Beethoven’s scene and aria Ah, Perfido, and two songs by Wagner, Traiime und Schmerzen. To these latter Bruno Walter played fine piano accompaniments.
The twenty-second “Pop” concert included Haydn’s symphony No. 9, in C minor; entr’acte and ballet music, from Schubert’s Rosamunde, and Beethoven’s Leonore overture, No. 3. Raymond Havens played the Schumann piano concerto in a highly finished and poetical manner. A strongly contributing factor to the enjoyment of the concerto was Mr. Walter’s accompaniment. He־ has certainly won the admiration and gratitude of all who were privileged to be among the audience during his short visit in Minneapolis.
The twenty-first “Pop” concert, March 18, was conducted by Hugh C. M. Ross, who has won distinction as conductor of the Winnipeg Male Choir. The concert consisted of Elgar’s Pomp and Circumstance, the Borodin symphony No. 2, in B minor, and Butterworth’s rhapsody, A Shropshire Lad. The program closed with Enesco’s Roumanian Rhapsody No. 2, in D major.
Concert Courses Close.
Two of the principal concert courses were brought to a close during the same week. The last concert in the University concert course took place March 19, at the University armory. Guy Maier and Lee Pattison were hugely enjoyed in one of their unique programs. They had to respond to many encores. On March 21 Kreisler appeared as the final attraction in Richard Horgan’s Master Artists’ Course.
Denishawn Dancers Appear.
Charming entertainment was had from the Ruth St. Denis-Ted Shawn program of dances which opened at the Metropolitan Theater, March 22, for four nights. Ancient mythologies and religions, remote and barbaric countries and the music of the masters were utilized for what variety
“ELSA ALSEN’S ISOLDE
PROVES FINE IMPERSONATION.”
- Boston Globe, April 6, 1923
Comments of Boston Critics:
© Underwood & Underwood.
AS BRUENNHILDE IN “DIE WALKUERE'
ness. There were many felicitous details and almost no flaws in her singing of what is perhaps the most difficult of operatic roles. Her “Liebestod” recreated the familiar music by showing the necessity of the voice part that so many people regard as superfluous. Her acting was capable, but not as remarkable as her singing.
—Boston Globe, April 6, 1923.
In Miss Alsen, no mean Isolde stood upon a stage whereon a Lehmann, a Fremstad, even a Ternina had familiarly and memorably preceded her.
In her speech of song, the actress summons and defines her Isolde; through that speech flows Isolde’s thought and mood and deed and passion. Miss Alsen is singer of the new German generation. Her voice is large, rich, warm and lustrous, well conducted, well controlled, obedient to every impulse of the singer.
Ever Miss Alsen’s tones were as mirror to Wagner’s verse; since clarity, suppleness, color of diction is the universal possession of these German singers. Ever her speech of song seemed Isolde’s impulse of the instant into tones by Wagner conveyed. She projected, she sustained moods and passions until they poured from the stage into a flooded theater. Of such were Isolde’s farewelling to Brangaene; her darkling speeches to Tristan before the drinking of the potion; her erotic possession as she and Brangaene wait in the garden; while to the beauty for which words are not, rose her song beside Tristan in the garden, her speech of final transfiguration.—Boston Evening Transcript, April 6. 1923.
MME. ALSEN IS A SPLENDID ISOLDE
If Mme. Alsen suggested only faintly the heroic side of the elemental Irish princess, the woman of grace and majesty whose very rages that shook the earth were not without their grandeur, she set forth with power an angry woman who loved with violence; she had her tender moments, too. Possessed of a splendid voice which she uses well, she sang beautifully. Interesting she always was, and never dull.— Boston Herald, April 6, 1923.
Mme. Elsa Alsen’s Isolde of the first act was in many respects a memorable impersonation. She has- a voice fully adequate to the demands of the role, and she used this voice with rare discretion as well as dramatic fire in the scenes with Brangaene and Tristan. As comparatively few Wagnerian singers, particularly of the German school appear to realize, Wagner wrote passages of mysterious pianissimo as well as the fortissimo proclamation that must ride oyer and through the climaxes of the orchestra.
He wrote text of the most poetic quality in this first act of Tristan, and Mme. Alsen’s delivery of the passages in which Brangaene is finally bidden prepare the draught of death and summon Tristan to his doom had a rare and fateful beauty. This first act of Mme. Alsen’s was one to remember and learn from.—Boston Post, April 6, 1923.
ELSA ALSEN’S ISOLDE PROVES FINE IMPERSONATION
Elsa Alsen is vocally the most notable member of this company. She has a very fine dramatic soprano voice, powerful, yet not lacking in sweet-