61
MUSICAL COURIER
May 24, 192 3
EMPORIA (KANS.) HOLDS
ANNUAL MAY FESTIVAL
St. Louis Symphony Gives Two Concerts—Local Society Presents Victor Herbert Opera—Sacred Choral Music and Organ Recital Also Please
Emporia, Kans., May 14.—The chief musical event of the past few weeks was the ninth annual May Music Festival held at the College of Emporia under the direction of Daniel A. Hirschler, dean of the School of Music. The events that made a great impression were the two concerts r tt ?*־ J־'ou's Symphony Orchestra and the light opera of Herbert s, Sweethearts. The pair of orchestral concerts, given on the afternoon and evening of May 1, was the finest thing heard here since the New York Symphony-played for three successive years in this festival. The orchestra of fifty-six men under the inspired ■conducting of Rudolph Ganz played with a unanimity, sweep and con-viction that was superb. The Brahms symphony, No. 2, the Elegie for string orchestra by Tschaikowsky, the Over-ture Sakuntala by Goldmark, the overture to Rienzi by Wagner all were superb in tone, color, execution and orchestral balance. The singing of Carolina Lazzari made a fine 1mpression also, as did the excellent work of Michel Gusikojf as soloist in a concerto for violin by Saint-Saëns, ihis group of players will always receive a warm welcome m Emporia.
Victor Herbert s opera is tuneful music and was rendered with a spontaneity and verve by the College of Emporia Opera Society, May 2. It made a fine impression. The sing-ing of the solo parts as well as the choruses was of a high order, and the action, scenery and costumes were added attractions. About forty students took part and the orchestra supplied the accompaniments.
The Vesper Chorus of sixty-five singers sang the Easter Cantata, by Max Bruch, and the Lux Benigna, by Cyril Jenkins. This latter work, being entirely new, was particularly interesting and was exceedingly well sung.
On May 10, D. A. Hirschler presented a recital to the state convention of the Lions’ Clubs playing on the four-manual organ at the college chapel.	׳■• h.
Caroline Beeson Fry Pupils in Concert
Under the management of the White Plains Daily Reporter a series of concerts have been given, the fifth of which was given by Mildred Payne, soprano; Mrs. Guernsey R, Jewett, contralto; L. Alberto Sanchez, tenor, and Stanley P. Hunnewell, baritone, pupils of Caroline Beeson Fry The concert was given in the High School Auditorium on April 21.
Marie Miller to Teach in Erie
Marie Miller, concert harpist and member of the faculty of the Institute of Musical Art, New York, will again give a six weeks’ course of harp study this summer at Erie, Pa. Private lessons and ensemble classes will be included in the course, which will begin the first week of June
the first to be played by Elman when he made his American debut about fifteen years ago.”
Skilton Directs Compositions at Kansas City
At the concert of the Kansas City Little Symphony, at the Ivanhoe Temple in Kansas City, Mo., on April 8, Charles Sanford^ Skilton conducted three of his short compositions at the invitation of director N. DeRubertis. These were the prelude to Electra, The Sandman and a Shawnee Indian Hunting Dance. These compositions are being played in the regular repertory of the Little Symphony on
CARL BUSCH AND CHARLES S. SKILTON,
guest conductor of the Kansas City Little Symphony, photographed in front of the Busch home.
its concert tours. At this concert, Carl Busch, of Kansas City, also directed his Negro Carnival rhapsody. The orchestra was enlarged to fifty pieces for the occasion.
Frank H. Warren Married
Frank H. Warren, music critic of The Evening World, and Mrs. Esther Judson Morgan, formerly of Syracuse! N. Y., and Montreal, were married May 21 at the bride’s home, 471 Park avenue, the Rev. Malcolm James MacLeod of the Collegiate Dutch Church performing the ceremony.
The bride’s cousin, Dr. Walter Lester Carr of this city, gave her in marriage, and Mr. Warren’s best man was Dr! Earl P. Lothrup of Buffalo. Mr. and Mrs. Warren are sailing for a honeymoon abroad, returning in August to their summer home at Naples, N. Y., on Canandaigua Lake.
The Elman-Auer Recital
Mischa Elman attracted an audience to his recital on Sunday afternoon, May 20, at Carnegie Hall, which taxed the capacity of the large auditorium. This recital differed materially from those heretofore given by him in New York, as it served to introduce Prof. Leopold Auer, his former p uiV *°vi metroP°l'tan audience as orchestral conductor. Both Mr. Elman and Auer were greeted with thunderous applause upon entering the stage, which lasted several minutes.
Mr, Elman played with his accustomed artistry, arousing enthusiasm which beggars description. His broad, golden and luscious tone, as well as his impeccable intonation and unfailing technic were again the outstanding features of his artistic and highly finished performance.
His program contained three standard violin concertos: Viyaldi-Nachez in G minor, Beethoven in D major op. 61 (with cadenzas by -Mischa Elman), and Tschaikowsky’s D major op. 35. These three works were presented with orchestral accompaniment under the baton of Professor Auer.
That Mr. Elman played these concertos with perfection stands without saying. It would be impossible to determine which gained the greater applause. Despite the long and trying program, Mr. Elman was obliged to give two insistent encores, which were admirably accompanied on the piano by Josef Bomine.
A strange coincidence was the fact that last fall’s concert season opened with a recital by Mischa Elman, who also practically closed the concert season of 1922-23 with this recital.
The New York Tribune says : “Mr. Elman’s playing had its ups and downs, but he was in generally good form yesterday. His performance was vigorous and spirited but not affected, his tone held its clearness and smoothness through the slow, lyric passages, and the .bursts of fireworks, though there were a few slightly rough points. For the Beethoven concerto, Mr. Elman had three cadenzas of his own, one for each movement, in which the various themes were thoroughly handled and ornamented to give an effective exhibition of the well known Elman technic. Much of the effectiveness of the performance was due to the conducting of Professor Auer. The veteran teacher was thoroughly at home with the baton, keeping a well proportioned liaison between the solo and orchestral parts.” The New York Herald states: “Mr. Elman played on his fine Stradivarius instrument, which responded especially well to the touch of his bow in the classic composition of Vivaldi. . . . Mr. Elman’s performance of the Vivaldi work had admirable qualities. In addition to the tone there was repose of delivery, a restful and elegant manner not always associated with the playing of the artist of tense, eager temperament. There was less to admire in the playing of the Beethoven concerto, in which the violinist seemed to lose a considerable degree of dignity of thought and of the depth of tone displayed m the Vivaldi music.” The New York American comments : “Elman played the solo part of Vivaldi-Nachez concerto with fluency, luscious tone and accurate pitch. He interpolated three original cadenzas in the Beethoven D major concerto and ended the remarkable program with Tschaikowsky’s concerto, a work, by the way, that was
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