MUSICA L C O URI ER
50
YEATMAN
J u ìi e 14, 192 3 GODOWSKY WRITES OF HIS TRIP TO THE ORIENT
polyphony fascinated me like no other sounds. I heard the best gamelangs in Solo and Jokia, where the only two remaining sultans hold their court. The Sultan of Solo has a retinue of 15,000 people in his residential inclosure, while the Sultan of Jokia, or Jokiakarta as its full name should be, has 180,000 souls on his premises. They have a very ceremonial court and one is envious of the other, their capitals being separated only one hour by rail. Both cities (over 150,000 people in each place) are in the heart of Java and have a very ancient civilization and history. They are real Java. In Solo we saw a real Javanese theater which is supported by the Sultan. It was most interesting. In both cities we heard the gamelangs of the court and in Solo we saw royal Javanese princes dance in their native costumes. The three largest towns on the island, Batavia, Sverabaia and Semarang, are not exceptionally beautiful nor particularly interesting. Bandoeng is the finest city in Java—location, climate, buildings, inhabitants all contribute to make it the most pleasant and charming town there. At Breitenzorg we saw the finest botanical gardens in the world. This is the Governor General’s residence and is a clean, pleasing place.
“We saw some marvelous ruins near Jokia, called Boro Budur. They are amazing temples of huge size. We also visited some other remarkable temples. We went to the most famous health resort in Java, called Tosari. It was cool and refreshing there, being close to 6,000 feet above sea level. From there we went to Bromo, the second largest active volcano on the island. It was an overwhelming sight. Java is full of volcanos, active and extinct. It was a real ordeal to play and travel so much in such a hot country; the heat is constant and great. We left Java on March 7 and reached Hong Kong seven days later. I played one recital in Macao, a Portuguese colony, most charming and quaint, four hours by boat from Hong Kong, and revisited Canton. We arrived in Shanghai on March 24 and I played my fourth recital there on March 27.
“We have engaged passage on the S. S. Siberia Maru from Yokohama and will stop at Honolulu a week or ten days and then proceed to San Francisco. We will spend several weeks in Los Angeles before going to New York.”
A letter has just been received from Leopold Godowsky, who has been having a sensationally successful concert tour in China, Japan, Java, Manila, and other Far Eastern countries. Mr. Godowsky is accompanied by Mrs. Godowsky and they are now returning to the United States after having been in the Orient since last October. Mr. Godowsky writes:
“I shall now give you a concise review of what I have done since we left Shanghai some three months ago. We found Manila most charming and interesting. We went to some inland places—one was particularly beautiful and unique, the river and rapids of Pagsanyan. In Manila I played one recital and we went from there to Hong Kong, where I played two. Hong Kong is the most beautiful place we have seen in the Orient. The harbor is only second to Rio de Janeiro in its supreme magnificence, while the city is most wonderful, equal to the finest cities in Europe. 1 made a side trip to Canton and of all the unusual sights I have seen, the southern capital of China takes the leading place. I avoid going into details about Canton as it would take me pages and would tax my descriptive faculties even to touch faintly upon its wonders of picturesqueness, characteristics and originality. It must be seen. While Peking is undoubtedly the architectural and historic gem of China, Canton_is the most unique place of gathering on this earth. From Hong Kong we sailed for Java via Singapore. The last named town did not impress us so much. I gave three recitals in Batavia, also three recitals in Sverabaia and Bandoeng respectively, one recital in Semarang, one in Jokia Solo, Melang and Tegal, making a total of fourteen appearances in twenty-four days. I played twelve times in thirteen successive days, traveling each day a considerable distance. I could have given twenty or more recitals in Java if I had had the time. As it was, I had to return westward to reach Japan in time for my contracted tour. I played ten recitals in the City of Tokyo.
“Java is a most amazing tropical country. The luxuriance of the flora and fauna is beyond description. The people are very interesting, the scenery most beautiful, the Javanese music enchanting. Their orchestra of Gamelangs, most peculiar instruments, together with their complicated and bewildering rhythms and riotous decorative
as well as compelling it to serve his greatest forceful aims. Schneevoigt’s most distinguished accomplishment is his irresistible rhythm. At the same time his appreciation for the mysticism in music is instinctive and this combination makes possible an interpretation which glitters with sheer beauty. One wishing to gauge the limits of a conductor’s success should not be only influenced by the demonstrations of an audience or by the comment of a press, but should seek an opinion from members of the orchestra itself on how the conductor’s art and manner impressed them. There are conductors of only average ability who enjoy the good will of the musicians; on the other hand there are excellent conductors who are not so fortunate. Schneevoigt was not only able to win the plaudits of the Philharmonic, but also took it by storm as no other director since Nikisch has been able to accomplish. The orchestra was inclined to rebellion, when, in the beginning, it felt that Schneevoigt meant to have his own way, but how happy the members were later on, when they realized that here was a master forcing them to give of their art with their utmost earnestness and one not satisfied until he felt that he had drawn out of them every drop hidden in them.
“They were convinced that he was demanding that they should uphold the standard of musical culture, which, by reason of Nikisch’s influence, they had already achieved. They forthwith decided to give five grand concerts and selected Schneevoigt to conduct these performances.
“Now, at the age of fifty, Schneevoigt is experiencing his ascent to fame in Germany. The concert season will give us opportunity to estimate the value of his art and the wizardry of his personality in the fullest sense of the word, and unless present signs fail, Schneevoigt’s name will shine out while others fade in obscurity.”
A Real Show at Institute of Musical Art
On the evening of May 31, in the concert hall of the Institute of Musical Art, 120 Claremont Avenue, New York, A Danish Yankee in King Tut’s Court was presented by graduates and alumni of the Institute of Musical Art.
The book and lyrics are by Dorothy Crowthers, Herbert Fields, and Richard C. Rogers. The music written and compiled for the occasion is by Richard C. Rogers.
The production of this revue, burlesque, or whatever one wishes to call it, caused untold merriment to all the teachers and pupils of the institute, as almost everyone of the factors were targets, so to speak, in being mentioned in as ridiculous a manner as possible, not even forgetting the dearly beloved director, Dr. Frank Damrosch. Of course, all those burlesqued ones looked at the situations in the most pleasant way possible.
Regarding the performance and performers, it must be said that the delightful dancing damsels, fascinating costumes, catchy tunes and orchestra of great size and power, was not to be outclassed by many a similar production given in the metropolis at the regular burlesque houses.
Among the principals in the cast who particularly distinguished themselves mention must be made of David But-tolph, Theodore Rautenberg, Ruth Bugbee, Alice Chester, Arthur Allie, Helen Kuck, Charles McBride, Henri Bove, Jacqueline De Moore, Frank Hunter and Dorothy Crowthers.
The dance numbers, which were unusually well executed, were under the direction of Herbert Fields. The entire production was under the capable management of Dorothy Crowthers. Richard C. Rodgers conducted.
Many New York Dates for Salvi Next Year
Alberto Salvi, whose tour next season will be limited to four months, is three-quarters booked at present with three engagements in New York. He will appear at Town Hall for the House of Rest for Consumptives; at the Biltmore Hotel, at R. E. Johnston’s Morning Musicales, and for the Haarlem Philharmonic Society. Other important engagements for Salvi in the fall will be in Columbus, Ohio, where he opens the course of the Woman’s Music Club; New Orleans, where he appears for the Philharmonic Society, and in Washington, where he is booked on Mrs. Wilson-Greene’s series of famous artists.
A German Opinion of Georg Schneevoigt
Max Marschalk, music critic of the Vossische Zeitung, Berlin, wrote the following estimate of Georg Schneevoigt, the conductor, published in the Stockholm Dagblad: “Today the art of conducting is in fullest bloom and no matter where one looks one sees conductors belonging to the elite of Germany’s music life—prominent composers and
SCHNEEVOIGT IN CHRISTIANIA
The distinguished Finnish conductor, Georg Schneevoigt (left) has made a name for himself in the Scandinavian capitals, Germany and Holland.
conductors, who combine with their musical knowledge a general education and culture of broadest scope.
“Among them was the unforgettable master, Arthur Nik-isch. Another one scarcely less important, although talented in a different way, was Gustav Mahler. They also see in Richard Strauss a pinnacle of musical achievement, not to mention Felix Weingartner and Bruno Walter—space will not permit a further survey—all men, who have made a name for themselves not only in Germany, but also throughout the world. Surely we should feel rich with such a collection of masters, but on the contrary we feel quite poor since death has called our beloved Nikisch, and Strauss has left us for Vienna. The former position is now occupied by Furtwängler and the less known Abendroth has succeeded Strauss.
“About the time when possible successors for these important positions were being discussed, Georg Schneevoigt appeared in Berlin. He gave two concerts with the Philharmonic Orchestra, achieving an unparalleled success. Already well known to us, he revealed himself as a new man, his development during his absence showing that, among the many called, he belongs to the few chosen. One had to marvel at the verve, precision, sonority and shades of expression, which at the close of the season he was able to achieve with the sorely overworked Philharmonic Orchestra.
“In Schneevoigt we learned to know a conductor of great possibilities, one who, thanks to his expert knowledge of the modern orchestra and his iron will, succeeds in drawing from the orchestra his most delicate artistic intentions,
Teacher of FLORENCE MACBETH, Prima Donna Coloratura; LENORA SPARKES, Lyric Soprano, and other prominent Artist«. Studios: 318 West 82d St., NEW YORK CITY. Tel. Schuyler 8537
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