Books › Musical Courier 1911-03-22: Vol 62 Iss 12, 1911 › scan 50
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Musical Courier 1911-03-22: Vol 62 Iss 12, 1911
80 lines. Read by computer on 26 September 2026. Printed page 51. See the scan on archive.org.
1MARY CRACROFT'S RECITAL.
3Mary Cracroft, the English pianist, gave a recital at Mendelssohn Hall last Monday afternoon, March 20, which revealed her as an accomplished player and a most unconventional program constructor. These were the numbers on her list:
5† Prelude and fugue in B flat major, ………….Bach-Cracroft
6(Originally for organ.)
7Three Choralvorspiele ………………………………………Bach-Cracroft
8(Originally for organ.)
9† 1 Aus der Tiefen rufe ich.
10† 2 Allein Gott, in der Höh sei Ehr.
11† 3 Es ist der heiligen zehn gebot.
12Three Harpsichord Pieces ……………………………Domenico Scarlatti
13Two Legends …………………………………………………Liszt
14(St. Francis Walking on the Waves.)
15(St. Francis Preaching to the Birds.)
16Nocturne in F major, op. 15, No. 1 …………………Chopin
17Impromptu in A flat, op. 29 …………………………..Chopin
18II.
19* Barcarolle in G minor, op. 10, No. 1 ………………Rachmaninoff
20* Prelude in G minor, op. 23, No. 5 …………………Rachmaninoff
21† Prelude in B flat, op. 23, No. 2 …………………….Rachmaninoff
22Ballade ………………………………………………………..Debussy
23"Jardins dans la pluie" ………………………………………Debussy
24† Coucou ………………………………………………………..Arensky-Siloti
25(Originally for four hands.)
26† Marche Miniature ………………………………………Tschaikowsky-Siloti
27(Originally for Orchestra.)
28† Valse ………………………………………………………..Arensky-Siloti
29* Esquisse in A flat, op. 32, No. 2 …………………Arensky
30Polonaise in A flat, op. 53 …………………………..Chopin
31* Brought to first hearing in London by Miss Cracroft.
32† First time in public in New York.
34It was a positive relief to make the acquaintance of a keyboard artist brave enough to break away from the traditional Bach to Liszt order of piano program, and when the courageous one has personality and art sufficient to make the unfamiliar pieces interesting in performance (aside from their intrinsic merit) then the change becomes a boon for which the tired critics and the patient public cannot be too grateful.
36It is not possible to doubt the Cracroft brand of musicianship, for it was revealed in the quartet of numbers which opened her recital. The Bach arrangements of this truly talented woman display deep knowledge of the great classical master's style and characteristics, and the transcriptions were devoid of all attempt at mere technical ornamentation or any desire to sacrifice sincerity and literalness for mere virtuosity. The woman transcriber is a novelty in the piano world, but Miss Cracroft's successful pioneer achievement opens the way to great possibilities in that direction. Her playing of the works had exquisite technical cleverness, continence of tonal employment, and firm rhythmic foundation.
38The harpsichord trios were a delight in the crispness, delicacy, and chasteness of their presentation.
40Beautiful tone coloring, accurate technics, and sympathetic appreciation of their poetical meaning and content were the leading factors in Miss Cracroft's Liszt versions. The same may be said of her Chopin readings, with the additional remark that in them she gave an impressive demonstration also of her mastery in the department of pedal expression.
42Rachmaninoff fared especially well at the performer's hands and sounded all his passion and his pessimism in her searching interpretation. Debussy's shimmering tonal cascades were a source of auricular delight in the "Jardins dans la pluie."
44Salon pianism is a rare art when heard in such perfection as Miss Cracroft offers, and the Siloti arrangements made an overwhelming success on that account, for they are not of striking significance as compositions.
46Chopin's A flat polonaise ended the program with a veritable shower of virtuoso pyrotechnics and showed that Miss Cracroft's handling of her instrument includes also mastery of its resonant and dramatic resources.
48The audience recalled the recital giver again and again and stamped New York's warm approval on everything she did.
50Communicated.
52To The Musical Courier:
53Arthur Friedheim had the distinguished honor of playing at the White House in Washington on Friday, March 10, 1911, having received a special invitation from Mrs. Taft. He used the famous art case concert grand which Steinway & Sons presented to the nation some time ago.
55J. Burr Tiffany was as usual in charge of the White House musical function, a privilege which he has enjoyed for the last six or seven years.
57Henry Junge, of Steinway & Sons, was the fortunate recipient of an invitation to this reception at the White House and he is enthusiastic about its complete success, artistically as well as socially. The Kneisel Quartet was one of the features of this musicale.
59It was a diplomatic night and largely attended by one of the most select audiences of Washington.
61The program was an exceedingly classical one and particularly adapted to such a critical audience.
63Isabel Hauser's Concert.
65Isabel Hauser, the pianist, and one of the string quartets of New York, will give a concert in the Hotel Plaza on Tuesday evening, April 11. Miss Hauser is to play the piano parts in the Saint-Saëns piano quartet; in the Dvorák sonata for violin and piano, and in the Dvorák quintet, op. 81.
67Miss Hauser has filled a number of fine engagements since the early part of February. She is in demand for private musicales both in town and in the fashionable suburbs. In addition to a beautiful touch and intelligence, Miss Hauser's personality brings her numerous offers to play, but she reserves her art only for what is noble. Both by her solo playing and her ensemble work, Miss Hauser must be ranked among the few successful players of her sex in this country.
69Marcus Kellerman in Concert and Recital.
71Marcus Kellerman, the baritone, has appeared at several orchestral concerts this season and at numerous club concerts in different parts of the country. He has been especially engaged for a concert at the Hotel Plaza, for the benefit of St. Mark's Hospital. He also sang recently in New York at a private musicale and won great success with the New York Symphony Orchestra at the concert for young people given at the Brooklyn Academy of Music some weeks ago.
73Mr. Kellerman gave a recital in Chicago, March 16, for which his program included lieder by the German classics and songs in several languages by modern composers.
75Emma Hoffman in Italy.
77Emma Hoffman, the American dramatic soprano, has just achieved a great success in Palermo, Italy, singing the role of Norma at the Teatro Massimo, the conductor of which is Signor Mugnone.
79"Kansas City," says a paper printed there, "is known as a musician's graveyard. Why the musician's?"—New York Morning Telegraph.
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