April 19, 1923
MUSICAL COURIER
44
I SEE THAT
1 he Wagnerian Opera Company has been incorporated in Delaware for $500,000.
John Warren Erb will again teach at the New York University Summer School this season.
Josephine Lucchesé is wholly the product of American training.
Emilio A. Roxas will conduct a performance of Rigoletto at the Lexington Opera House on May 5.
Cecil Arden will be guest of honor at the annual breakfast of the League of American Penwomen.
Frederick Gunster, tenor, has completed a successful tour of the South.
A book of Caruso Caricatures has just been published by Marziale Sisea.
Two musical instruments have been found in the tomb of T ut-ankh-Amen.
The Chicago North Shore Festival will take place this year from May 24 to 30.
Marya Freund, Polish soprano, will make her first American tour next season.
Plans are being laid for a Municipal Auditorium in San Francisco which will seat at least 5,000 people.
Galli-Curci’s mother died in her Milan home on April 13 at the age of eighty-two.
Father Finn will conduct a course on choral art at the Glenn Dillard Gunn School, Chicago, this summer.
Roderick White, violinist, was exceedingly well received in Berlin recitals.
Ernesto Bérúmen will teach all summer at the La Forge-Berumen studios in New York.
Bruno Huhn will leave New York, early in June for a stay of several weeks in the West.
The Society of the Friends of Music is now under the management of the Universal Concert Bureau.
Mary Garden is booked for a concert tour of forty concerts, beginning September 30.
Elsa Alsen will be in America next season for operatic and concert appearances.
Marguerite D’Alvarez will not sing with the San Carlo Opera in Havana during its season there.
Arthur Alexander sailed for Europe last Saturday and will remain away for several months.
The reorganized Wagnerian Opera Festival will next season be known as the Wagnerian Opera Company.
Estelle Gray-Lhevinne will give a recital in Pittsburgh, Pa., October 12.
Scores for the Stadium prize contest will be received until June 1.
Loisa Patterson, soprano, was married recently to Frederick F. Downs.
The South Atlantic District of the National Federation of Music has issued a directory of Federation activities in the district.
Maria Kousnezowa, the Russian soprano, has been engaged for the San Carlo Opera season in Havana.
Frank Waller, conductor, has returned to America after a year spent in Europe.
Elizabeth Lennox will sing in three Michigan cities in May.
Daniel Mayer and Ted Shawn will sail for England on the Berengaria on April 24.
The National Association of Organists has nearly $1,600 in the treasury (lacking seventy cents).
Four singers from the Regneas studios appeared in concerts and recitals on April 12.
Mary Davis, contralto, is to marry Ralf Lee Hartwell.
John Bland, tenor and teacher, has pupils who are endorsed by Calvé.
Three singers from the Gescheidt studios will appear at the Oberlin May Festival.
Dusolina Giannini, the latest sensation among sopranos, already has several dates for next season.
The Denishawn Dancers’ engagement in New York was so successful that it was extended for three days.
Sevcik will teach in New York, beginning September 1, and will offer one free scholarship.
Charles Hackett captured London on his first appearance there.
The Forsyth Club of Toronto has just been formed.
A reception was tendered to Dr. William C. Carl and the choir of the First Presbyterian Church.
Four hundred and thirty-three members of the Mozart Club have already paid their dues for next season.
Hans Hess, cellist, will teach two days each week during the summer in Chicago.
April 29 officially opens New York’s Music Week.
Mischa Elman is filling 107 concert engagements this season.
The Russian Opera Company will begin a New York season on April 30, at the Jolson Theater.
Inez Barbour sang in Bridgeport on April 17.
Seats for the San Carlo Opera season in Havana will range from $2 to $15 each.
Anton Bennewitz was ninety years old on March 26.
Ida Sylvania has been appearing with success in opera in Italy.	G. N.
day evening, in the concert hall of the David Mannes Music School. The program was made up of three sonatas, comprising Bach’s E major, Beethoven’s G major, op. 96, and Brahms’ G major, op. 78, No. 1, in all of which the well known artist couple revealed excellent balance, deep insight and extraordinary musicianship, their highly finished and artistic work winning much admiration.
FRIDAY, APRIL 13
EARLE LAROS
Earle Laros, a young American pianist from Pennsylvania, was heard in his first New York recital at Aeolian Hall, Friday afternoon. He had an interesting program and showed in its execution many commendable qualities. To Schumann’s F sharp minor sonata, op. 11, he gave an especially beautiful reading, infusing it with warmth and color, beauty of tone and variety of expression. Two Bach-Bu-soni preludes—Joy Is in Thee and Rejoice, Beloved Christians—were performed with clarity and finish of style. Scarlatti’s C major sonata had to be repeated. A group of Chopin included the C sharp minor sonata, op. 25; the A minor (Storm) etude, op. 25, and Andante Spianato and Polonaise, op. 22. Mr. Laros was perhaps at his best in his last group, which consisted of modern French numbers and two of his own compositions. His prelude in B minor was a thing of delicate beauty, with a lovely melody, and his graceful gavotte so pleased that it had to be repeated. Two Debussy preludes, the Dance of Puck and The West Wind, were rendered with admirable effect. Mr. Laros has excellent control of dynamics and poetic feeling. The West Wind had some splendid contrasts, and the Dance of Puck was delightfully humorous. The Bees, by Dubois, was exquisite for its delicate pianissimos in rapid passages. Cha-brier’s Bouree Fantasque, given with vigor and spirit, closed the program. Mr. Laros has excellent technical control and while he can give, when necessary, energy and power, his delicacy in lighter passages is very pleasing. He also satisfies with a sympathetic touch. His encores included Griffes' The Fountain, and Beethoven’s Country Dance. Mr. Laros is to be commended for his sincerity and modesty of manner. The audience was enthusiastic in its reception of the young artist.
OSSIP GABRILOWITSCH
A program devoted entirely to Chopin is not so monotonous as it sounds when played by such an artist as Ossip Gabrilowitsch. With a palette of many colors he paints tone pictures of varied moods with skill and sympathy. He interprets Chopin with a rare charm, and through his lucid presentation of all the numbers, his polish of technic and style, his golden tones and his vivid imagination he held the attention of an audience that packed Aeolian Hall. His first group consisted of the E major etude, No. 10; A minor valse and the A flat major waltz. The ,‘Funeral March” sonata, B flat minor, has been a favorite with pianists here for the past two seasons, but rarely has it been performed with such eloquence as it was on Saturday. The march rose to a throbbing climax and died away again gently; the “wind over the graves” was effective in its rise and fall and its swift rushing. Gabrilowitsch has poetic fancy, but good balance; emotion tempered with intellect; a fine sense of values. The twelve preludes were gems of varied colors. They were exquisitely, rendered with pleasing contrasts and his usual artistic instinct. His command of dynamics, delicate nuances and glow of color gave intense interest to the set. The last group contained the B minor mazurka, D flat major nocturne and the op. 20 scherzo, which was a welcome relief after the other more frequently played scherzos.
The audience clamored for encores until the lights were lowered and the piano closed.
The Herald wrote: “There is nothing new to say about Gabrilowitsch’s art. Its form is now settled, its style matured and fixed. His Chopin playing has always been interesting, is often compelling and generally charming.” The Times commented thus: “There was the same artistic (Continued on page 60)
NEW YORK CONCERTS
(Continued from page 39)
adaptations, transcriptions, and particularly the use of orchestral numbers which were never intended for the organ. Thus, one. who does appreciate the beautiful music feels grateful to Mr._ Rechlin for what he is doing in maintaining such high musical standards. There should be more such recitals, particularly in view of the fact that there are so many excellent organists in this country, serious minded musicians who strive to uphold the classical standard.
Mr. Rechlin’s program began with a fantasie and fugue in C minor by Carl Bach, followed by three choral preludes, two of them by the elder Bach. His third group consisted of improvisations, then the beautiful choral harmonization also by J. S. Bach. The sixth sonata, Our Father Thou Art in Heaven Above, by Mendelssohn, was one of the most beautiful numbers of the entire program. Frederick Reuter’s At Eveningtide was another selection that held the interest even of the layman. The classical sacred program closed with the elder Bach’s adagio and toccata.
Mr: Rechlin has a great deal of dramatic power, smooth, skillful pedaling and a technical development that made a deep impression on his audience. To those who do understand the great instrument, the recital was one of great beauty and solemnity, and there was a certain show of respect which is rarely experienced in a concert hall. Taken as a whole, Mr. Rechlin’s concert was a great success, and it is to be hoped that he will be heard again in the near future.
DAVID AND CLARA MANNES
David and Clara Mannes gave an interesting sonata recital before a large and representative audience on Thurs-
SEYMOUR SCHOOL OF MUSICAL RE-EDUCATION
57 West 48th St. New York
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Piano, rhythmic drill s, vo c a 1 sound - leading and conducting. HARRIET A. SEYMOUR,
Director
MARSHALL BARTHOLOMEW,
Assistant Director
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SUMMER NORMAL COURSE July 9 to August 18
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