8
May 17, 1923
of this festival as compared with those given during the previous years he has been here. He complimented the Syracuse talent highly and asserted that a new artistic triumph had been achieved.
The final report of the financial results has not been made as yet, but indications are that receipts will equal, if not surpass, those obtained in previous years.	S. B. E.
Greater Cleveland Lutheran Chorus Gives Fine Concert
The Greater Cleveland Lutheran Chorus, F. W. Strieter director, held its third concert of the season at Masonic Auditorium, Cleveland, Ohio, on Sunday, April 29, before a sold out house, quite a number of people being turned away. The chorus was assisted by Albert Riemenschneider, organist;. Florence Wasson, soprano, and the Lutheran Chorus Orchestra. According to the Cleveland Press, "The program arranged by the director portrayed the life of Christ, taking for its different incidents His birth, suffering, death, resurrection and glorification. These episodes were illustrated by Bach chorals from the Christmas oratorio, St. Matthew Passion, and St. John Passion; excerpts from Handel’s Messiah, Christus of Liszt, and a chorus by Christiansen so selected and arranged that the story of Our Lord was adequately told in song.”
In commenting upon the rendition of these numbers, the same critic said: "The singing of the chorus—some 200 strong—indicated careful and intelligent preparation. The voices were well balanced, the attacks made with unanimity, the tonal shading unusually good. In fact it was about as fine choral singing as has been heard in the city in recent years, for the tonal ensemble realized a fine blend of voices and vocal quality. There was no predominance of individual or sectional voices to mar the ensemble effect. In brief, it was of exceptional quality and reflects great credit upon Director Strieter, for at no time did he sacrifice quality for quantity, a failing of many directors.”
Equally favorable was the comment of James H. Rogers of the Cleveland Plain Dealer: “The chorus is well balanced and sings with precision and flexibility of tone. It was most successful in the Bach chorals. These were models of well proportioned and expressive part singing. But Mr. Strieter can also on occasions win impressive volume from his choristers. As an instance of this, the Messiah chorus, And the Glory of the Lord rang out with fine power, supported by the orchestra, organ and piano.”
Estella Gockel furnished sympathetic accompaniments at the piano, and the other soloists—Miss Wasson and Mr Riemenschneider—also came in for their share of the artistic honors. In a word the concert was a complete success.
M. H. Hanson, the New York manager, who was present, was called upon to address the choir.	J. p.
Escobar and Buketoff in Joint Recital
Consuelo Escobar, coloratura soprano, and Constantin Buketoff, baritone, united in a joint recital under the auspices of the American Music Optimists and Bel Canto Society, at Aeolian Hall, April 30. The affair engaged the attention of many people, who were amply rewarded by hearing some altogether unusual and beautiful singing.
Mr. Buketoff started the program with a group of’ five songs, sung in Russian, by the composers Glinka, Gretchan-moff, Gliere, Samoiloff and Tschaikowsky, showing a voice of power and beauty, with a splendid high G in The Doubt (Glinka), ease of voice emission, simplicity of interpreta-t>11״ j11 the pretty Romance (Samoiloff), and closing with the cheerful Iolanthe, which sounded like an impetuous love song later on he sang two songs by Mana-Zucca, Whet־ the Day Has Flown, and Behold, ׳Tis Dawn; a song by Polak, A I bought, the composer at the piano, as he was all the evening; sonorous tones and flowing cantilena in a Rubinstein aria.
Mme Escobar opened with the aria from La Traviata in which her high C in the recitative, long sustained, was’ of especial beauty; the fireworks occurring later were sur-mounted by her with ease, a facile technic giving her entire and brilliant control over everything. Her later numbers included Charmant Oiseau, The Wren, with flute obligato \	and songs by Mana-Zucca (The Little Butterfly)
Ahnelt, Ponce and Doire.
Together the two artists sang Mana-Zucca’s Tendres Aveux (sweetly beautiful music in A flat), and the well known Crucifix, finishing with the Rigoletto duet. All these numbers were received with appreciative applause, and Mr. Polak was a reliable and sympathetic accompanist.
A. V. Broadhurst Arrives
A V. Broadhurst general manager of Enoch & Sons, the London publishing house, arrived in New York last week on a short business trip to his local branch. If time will permit Mr. Broadhurst will go to Chicago the first week in June to attend the Music Industries’ Chamber of Commerce which will hold its annual convention at that time.
Jessie Fenner Hill Pupil Sings for Mozart Society
Josephine Martino, soprano, an artist pupil of Jessie henner Hill was engaged to sing for the Mozart Society (Members^ Day). Her beautiful voice was heard to great advantage in Tes Yeux, Rabey; In Quelle Morbide, Puccini • Come into the Garden Love, Slater, and Sonny Boy, Curran’ Her reception was very flattering.
Althouse to Be Minneapolis Symphony Soloist
Paul Althouse will appear as soloist with the Minneapolis Symphony Orchestra next season during the fall in St. 1 aul and Minneapolis, singing Beethoven arias to be chosen by the distinguished conductor of that organization. The dates will be November 29 and 30, respectively.
Harriet MacDonald and Mrs. Wesley Mason in New York
Harnet Bacon MacDonald and Mrs. Wesley Porter Mason ot Dallas, Tex, were visitors to New York last week Before returning home they will go to Boston and Chicago’
MUSICAL COURIER
SYRACUSE FESTIVAL ACCLAIMED AS BEST EVER
Cleveland Orchestra and Sokoloff Score—Splendid List of Soloists Includes Alda, Morini, De Luca, Vreeland, Gunster,
Cuthbert
much style and vivacity. An instrumental novelty was a trio for two flutes and a harpist, the artists including Wey-ert A. Moor and Florence Brewer, flutists, and Laura Newell Veissi, harpist, who played Berlioz’ Childhood of Christ. As a compliment to Dr. William H. Berwald, the conductor of the Syracuse Symphony Orchestra, the directors of the festival arranged with Conductor Sokoloff to have Dr. Berwald lead the orchestra in the performance of two of his own compositions—Fantasy and On the Trail. These numbers both proved of much artistic merit and were admirably conducted.
Third Concert.
The third concert of the festival on Tuesday evening, was given up largely to a performance of Haydn’s oratorio, The Seasons, by the Festival Chorus under the direction of Prof. Lyman. The chorus of some three hundred voices probably sang this offering the best of any large number given during the week. The soloists were Jeannette Vreeland, soprano; Frederick Gunster, tenor, and Frank Cuthbert, bass-baritone. Miss Vreeland has a beautiful lyric soprano voice and her tones were clear and sparkling throughout the entire range. Her enunciation of the spritely solos was a rare treat. Frederick Gunster sings with excellent tone-quality, fine diction and much dramatic ability. Frank Cuthbert has a bass voice of excellent quality and wide compass and of special richness and resonance in the lower register. He sang the most florid passages of the Haydn arias with a smoothness and agility. The singers and orchestra responded to Prof. Lyman’s direction in admirable fashion. The difficulties and complexities of the work were met without hesitancy and with a vigor and finish that was very noticeable.
An interesting feature was staged after the performance of The Seasons, and while the audience was beginning to throng out of the auditorium. Prof. Lyman gave the signal to the chorus and they swung into the Alma Mater of Syracuse University. Perhaps greater perfection and harmony, purity of vocal tone and shading from fortissimo down to the most delicate pianissimo has never been heard from a great chorus in this city. Director Sokoloff, of the Cleveland Orchestra, was greatly delighted by the singing of this number, and the audience stood while the stanzas were being sung.
The orchestral numbers included the Richard Strauss tone-poem, Don Juan. This was־ played in stirring manner.
Fourth Concert.
The fourth concert of the festival was given Wednesday afternoon, when the annual Children’s Concert was offered. John J. Raleigh, who for many years has been supervisor of music in the grade schools, conducted the children’s chorus in an afternoon of song, which was greatly enjoyed by a large audience. Among the selections given by the children were La Palma, The Bedouin Love Song and the Brahms’ Lullaby. Another selection which was greatly enjoyed was Wilbur’s Away to the Woods. The soloist of the afternoon was Jeannette Vreeland, soprano, whose offerings included two arias, Vissi d’Arte from Puccini’s La Tosca, and the Waltz Song from Romeo and Juliet by Gounod. She also gave a group of four lighter songs, including among them the song Baby Dear, the words of which were written by Mrs. Howard Lyman, and the music by Charles Huerter, both of Syracuse.
The orchestral numbers were offered under the leadership of Arthur Shephard, the assistant conductor, and included the overture to Rienzi (Wagner) and the bacchanalo from Saint-Saëns’ Samson and Delilah. There were several other numbers, the entire program being encored again and again by the large audience.
Fifth Concert.
The closing concert given on Wednesday evening brought out the largest audience of the entire festival. Practically every seat in the auditorium was taken. The soloist of the evening was Giuseppe de Luca, of the Metropolitan Opera Company, and he scored a success from the very first number. His voice proved resonant, clear and true, his diction was notable for its clarity and he won the approval of his audience from the start by his attractive personality. He opened with the stirring aria from Benvenuto Cellini, by Diaz, and other numbers included an aria from Meyerbeer’s Dinorah and one from Verdi’s Don Carlos. He was encored again and again and offered a number of ballads, finally singing the Toreador Song from Carmen, and reappearing from his encore with hat and coat in hand, showing that it was time for him to take his train. The encores presented were given in almost faultless style.
The chorus did remarkably fine work in the a capella numbers, the tone and pitch being preserved with great exactness. The orchestral numbers included the Berceuse of Jarne-felt, the Hungarian Dance in G minor by Brahms, the Gwendolyn overture by Chabrier, and as a final number, Rimsky-Korsakoff’s Russian Easter overture. At the close of the program Mr. Sokoloff spoke for several minutes on the marked improvement which he noticed in the productions
Syracuse, May 8.—The concerts of the 1923 Central New York Music Festival were given on Monday, Tuesday and Wednesday, April 30, May 1 and 2, in the Keith Theater in this city. There was some talk this year of holding the festival in the State Armory, but arrangements were finally made to use again the Keith Theater. The people of the city responded to the programs offered by attending each concert in-large numbers. Syracuse had a most successful musical season, both the Recital Commission of the First Baptist Church and the Morning Musicals having put on elaborate programs. The music festival brought the concert season to a dramatic close.
First Concert.
The visiting orchestra this year was, as for the past several years, the Cleveland Orchestra, under the direction of Nikolai Sokoloff. In previous years Mr. Sokoloff had not brought over fifty players, but this year there were seventy in the orchestra, and the added instruments did much to increase the effectiveness of the orchestral offerings. The first number presented on Monday evening by the orchestra was Rachmaninoff’s second symphony in E minor, which had never been played before in this city. The audience perceived from the first that they were to hear a masterful interpretation of a great work, and upon the conclusion of the final movement, the long continued applause showed the appreciation felt by music lovers of the orchestra’s work. While the Cleveland Orchestra has always been very favorably received in this city, its work this year showed a marked improvement over that in preceding years. Remarkable control of tone color, powerful climaxes, accurate phrasing and delicate shading were proofs of the remarkable advancement which has been made by this orchestra in the past few years. The directing of Sokoloff was a pleasure to his audiences. While there was ample virility and power in his leadership, there were no obtrusive mannerisms, and a firm and vigorous control over his men, and a general friendliness and good nature toward his audience helped very materially in the favorable impression which his conducting made upon the people of Syracuse.
In addition to the Rachmaninoff symphony the orchestra also gave a delightful interpretation of the Tannhäuser overture. It was played with a smoothness and clarity that was unusual. The soloist on Monday evening was Frances Alda, whose last appearance here was ten years ago. Her numbers included the L’altra Notte from Boito’s Mefistofele, with orchestral accompaniment; the Jewel Song from Gounod’s Faust, also with orchestra, and a group of songs which included The Soldier’s Bride and Oh, What Happiness, by Rachmaninoff; The Singer, by Maxwell, and Song of the Open, by La Forge. The last two were written for and dedicated to Mme. Alda, and she sang them so well that she was recalled for several encores giving Brack’s I Pass By Your Window, and Woodman’s The Open Secret. Her voice proved mellow and she showed the same mastery of coloratura and the same dramatic fervor that have always distinguished her.
The Festival Chorus, under the direction of Prof. Howard Lyman, sang The Challenge of Thor from Elgar’s King Olaf. The chorus has always been one of the most successful features of the music festivals, and this year was no exception to the rule. The singers seemed more than ever on their metal, perhaps because of the high standards set in the orchestral and solo numbers, and sang with promptness of attack, fine tone quality and good enunciation. They were received with hearty applause, which was well deserved.
Second Concert.
The second concert of the festival occurred on Tuesday afternoon and was distinguished by the playing of Erika Morini, the young violinist. Miss Morini had never been heard in Syracuse before, but her reputation as an artist of splendid technic and wonderful artistry had preceded her and the house was well filled with musical people who were anxious to hear her. Her first number, the Wieniawski concerto No. 2, D minor, op. 22, was played with brilliance and dash worthy of a much older player. She was accompanied by the orchestra under the leadership of Arthur Shephard, assistant conductor, and her rendition captivated the audience and resulted in her recall for several encores. Later Miss Morini played Tschaikowsky’s Barcarolle, Brahms’ Waltz in A major and Zarcyki’s Mazurka. She was accompanied at the piano by Harry Kauffman, who played artistic accompaniments. Morini’s playing of these numbers resulted in a real ovation and she was compelled to give three encores, these including Sarasate’s Faust waltz transcription, Chaminade’s Spanish Serenade and Kreisler’s Ros-marien. It is to be hoped that Miss Morini will appear again in Syracuse, following her most delightful introduction to our musical people.
The orchestra offered the Marche Joyeuse by Chabrier, the Allegretto from Beethoven’s Seventh Symphony, and the suite from Bizet’s Carmen, concluding with the stirring Los Toreadors, encored heartily. Schubert’s Military Marche, and Percy Grainger’s Shepherd’s Hey were played with
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