Books › Musical Courier 1926-02-04: Vol 92 Iss 5, 1926 › scan 23
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Musical Courier 1926-02-04: Vol 92 Iss 5, 1926
78 lines. Read by computer on 27 September 2026. Printed page 24. See the scan on archive.org.
1NEW YORK CONCERTS
2(Continued from page 22)
3a preludiation in his interpretation of the spirit and themes of the composers. His preeminent forte was a delightful light and shade—bewitching pianissimos with thrilling crescendos and fortissimos.
4His platform manners were graceful and impressive—almost characteristic. Tall, erect, poised in his approach, he bent over the keys as if he were almost putting into the beautiful-toned instrument his whole body and soul. There was no swaying nor raging, but an intent gazing into the combination of hands and keys, as with deft faultless fingering, he held his audience with rapt attention, and merited vociferous applause resulting in repeated recalls.
5Beethoven's thirty-two variations in C minor, his second number, was new to most listeners. This was followed by a Brahms group of six numbers, lengthened to eight by the repetition of the intermezzo in C major, op. 119, No. 3, and by an encore, Schlummerlied, op. 117, No. 1. In three preludes by Delius was heard an attractive expression in modern whole toned scale compositions. Equinox, by John Ireland, in his third group, was full of variety and clever interpretation. A climax was reached with his rendition of Chopin's fantasia in F minor to close the program. But the audience would not be satisfied until it had forced him to give three encores.
7Tito Schipa
8Tenors may come and go but the name of Tito Schipa will unquestionably go down in the annals of musical chronicles as one of the greatest lyric tenors of this age, and who packs Carnegie hall (stage included) on his every appearance. His concert on January 31 was one of those artistic treats for which one often longs and so seldom gets. The tenor was in just about as fine a voice as could have been demanded, in spite of the climatic handicap, and the twelve numbers of his program plus his fourteen encores were all rendered with that exquisite ability, fine shading, phenomenal control, and artistic interpretation which have won for Schipa a place dear to all those of discriminating and fastidious taste. His scheduled program comprised two old Italian classics, the Meistersinger Priessl, two Dvorak Gypsy songs, French songs by Massenet, Fourdrain and D'Ambrosio, a group of Spanish character songs and the Mignon aria (second act). Of the encores added, the Du bist die Ruh and Manon Dream were gems of the lyric legato which is the secret of the bel canto, and of which Schipa seems to have no limit. The ease, grace, and pleasure with which this artist performs are insidious, and the listener unconsciously relaxes and willingly lets the singer take him into emotional flights, for whether he renders an aria or a song, a ballad or a folk song, the tenor makes it something delicately beautiful and elegant. When Schipa throws back his head and begins to sing, art in its highest form is brought to life. Needless to say, the huge audience vociferously echoed its delight long after concert closing time.
9The tenor was assisted by Jose Echaniz in the role of accompanist and soloist. As soloist he is very capable and his accompaniments were worthy backgrounds to the individual artistry of Schipa.
11Richards-Barrère
12The interesting series of concerts at Steinway Hall presented by Lewis Richards, harpsichord, and George Barrère, flute, came to an end on January 31. As at the preceding concerts, sonatas by Bach for harpsichord and flute opened and closed the program. Regarding the presentation of these works by such well-known artists, only the best can be said. Albert Roussel was represented by his four short pieces for flute and piano (first time in New York), played by Messrs. Richards and Barrère. Mr. Richards played exquisitely three piano solos—Air, Varie, Mozart; Arabesque, Schumann; and Gossip at the Spinning Wheel, by Frederic Schlieder. This last number is dedicated to Mr. Richards and received its first presentation at this concert.
13Sonatine in Canon form for two flutes, by Paul Hindemith, was played by Messrs. Barrère and Posselle with marked musicianship. Despite the terrific downpour a good sized audience attended.
15Charlotte Lund
16On January 31, the last of this season's opera recitals by Charlotte Lund, soprano, and N. Val Pavey, baritone and pianist, which have been drawing large audiences to the Princess Theater, was given before an audience that manifested due interest and responded to the charm and humor of Miss Lund as well as the combined artistic efforts of both artists.
17This final program was devoted to Wagner's Ring, which will be revived at the Metropolitan shortly, and which is rather an undertaking in itself to try and grasp in its entirety in a single afternoon. One of the greatest works in all the operatic repertory, which took over twenty years in the writing, there is much to be covered within such a short period, but this Miss Lund did, in her own clever and interest compelling manner. She began with the Rhinegold, giving concisely, and yet very vividly picturing the dramatic action of each character, the story of the opera. Lust for Gold and Desire for Power, the themes, were skilfully brought out as well as the principal motives—the Rhine, Gold, Renunciation, Ring, Valhalla, Spear, Nibelungen, The Curse.
18At the close of this part of the Ring, there could not have been a single person, no matter how little they knew about opera, who did not have a clear and intelligent idea about the action of the opera, its characters and the gems, so to speak, of the score. Miss Lund sang her excerpts with an authority of style and impressiveness that, coupled with the fine quality of her voice, made one remember that she had had actual operatic experience. She was at all times thoroughly at ease, and her naturalness of manner, with an occasional flash of wit, put everyone in a good humor, particularly the large percentage of husbands who had come with their wives. Mr. Pavey rendered his part, at the piano, and vocally, admirably. As one listened to Miss Lund and Mr. Pavey, he must have thought: "What a really well balanced combination these two are!" There was no over-shadowing; each did his part and did it well, the result being quite perfect.
19This also goes for their discussion of Valkyrie, which was charmingly given, a high light being Miss Lund's effective rendition of Brünnhilde's famous aria. The themes were—Order, Morality, Submission to Fate, and Penalty for Disobedience, while the motives were: Siegmund, Sieglinde, Love, Slumber, Hunding, Valhalla, Flight, Fire.
20Siegfried and The Twilight of the Gods were also interestingly portrayed, the principal themes and motives again being noted. The principal vocal and instrumental selections heard were: Prelude to the Four Operas, Magic Fire Music, Song of the Rhine Maidens, Cry of the Valkyries, Wotan's Curse, Erda's Warning, Bird Music, Death of Siegfried and Renunciation of Brünnhilde.
21Miss Lund has given five recitals this season at the Princess Theater on the various novelties and revivals at the Metropolitan. The fact that she has drawn capacity houses to all, proves that this special phase of her art is not only a much needed one but also a much appreciated one. This is due to the singer's particular skill for description and her ability to make, what might very easily become a bore to the lay musician, a clever visualizing of great works by a woman who is doubtless a past mistress in the art of opera recitals.
22The fourth series, for 1926-27 has already been announced.
24Rhoda Mintz
25Despite the inclement weather, a large audience greeted Rhoda Mintz, dramatic soprano, at her recital in Chickering Hall, January 31. Mme. Mintz, though recuperating from a sore throat, was in excellent form and pleased her hearers with the quality of voice and program. Her tones are powerful, yet they display a certain sweetness that lends charm to her offerings. She opened her program with the La Reine de Saba aria of Gounod and sang the taxing music creditably. In her group of German and Italian numbers she was warmly applauded, particularly for her beautiful rendition of Becker's Frühlingszeit, which she sang by request. Mme. Mintz is a splendid dictionary, and every word of her text is clear and understandable. Two old Italian numbers by Pergolesi and Caldara received the tributes that their loveliness deserved. In conclusion came five English numbers, including Howdy Do, Mis' Springtime, also by request, which the artist gave interestingly, in character with its negro content. The final selection, Denza's Had You But Known, was given with cello accompaniment in which Mme. Mintz had the assistance of Vladimir Dubinsky, whose splendid musicianship was an outstanding feature of the afternoon. Mr. Dubinsky also gave two solo groups, including the lovely At the Fountain, by Davidoff; Popper's Dance of the Gnomes and Glazounoff's Chant du Menestrel. Smooth, flowing tone and technical proficiency were characteristic of his performance. Mme. Mintz received several floral tributes and much applause from the audience. Dr. Mark Gunsburg provided accompaniments for both artists.
27Rosa Raisa and Giacomo Rimini
28The annual New York recital of two of the popular Chicago Civic Opera artists, Rosa Raisa and Giacomo Rimini, was held at Mecca Temple on January 31. The usual throng of admirers filled the big auditorium, and they were not disappointed, for the concert attained the same artistic heights as has always marked the efforts of these two celebrities. There were characteristic solos for both, with many duets to lend variety.
29Mme. Raisa once more demonstrated her surprising versatility, singing first an aria, for lyric soprano, then one for dramatic soprano, and finally a coloratura aria, all with perfect command of style and impeccable vocalism. But it was when she sang an aria from Traviata that she completely carried her hearers to tumultuous applause. In fact it was little short of a great demonstration, which forced the singer to return to the stage many times before the program could be continued. Both Mr. Rimini and Mme. Raisa responded with encores after each group. Their New York concert is always looked forward to with interest by New York musicians, for of late years it has only been under such circumstances that this great soprano is heard here.
31David Mannes' School Musicale
32On January 25, friends and pupils of the David Mannes School attended a violin and piano recital by Wolfe Wolfsohn and Leopold Mannes in the recital hall of the school. The program, heard by an enthusiastic audience, consisted of the Bach A major sonata for violin and piano, a Tartini-Kreisler Fugue, Introduction and Allegro by Leopold Mannes, Vieuxtemps' Rondino and the Brahms A major violin and piano sonata.
33Mr. Mannes, a son of the director, is a graduate of the school and now teaches classes in theory and composition. He was the winner of the 1925 Pulitzer prize for composition, and has several piano pieces to his credit. As a pianist he displayed a tone that was firm, rich and mellow, and as a composer he shows modern style, originality and a richly colored imagination. His Introduction and Allegro was a fine bit of thematic development, with the use of some unusual intervals and cadences. At the close of the program the composition had to be repeated by request. Mr. Wolfsohn is also a member of the school's faculty as teacher of violin and ensemble, and in this violinist one heard an artist of fine sensibilities, good execution, sincerity in his emotional depth and vibrant wholesome tone, particularly noticeable in the louder passages. The softer phrasings could at times have been a little clearer, but the beautiful interpretations at these times made up for this detail. The artists succeeded in gaining the appreciation and confidence of their audience.
35Mittell Pupils in Recital
36Philipp Mittell, New York violin pedagogue, presented two of his artist-pupils—Oscar Wasserberger and Joseph Chassman—in a violin recital on January 22 in the Mittell Studios, 939 Eighth Avenue, New York. The two artists were heard in Bach's double concerto in D minor. Their playing revealed thorough training and reflected much credit upon Mr. Mittell's work.
37Mr. Chassman, who played the first movement of Brahms' concerto with Joachim's cadenza, made an excellent impression, showing clear conception, and rendering the difficult movement in a masterly manner. Mr. Wasserberger's luscious tone showed particularly well in the second and third movements; his reliable technic and rhythmic assurance were strongly in evidence in the closing movement of this concerto. At close, Mr. Wasserberger gave a brilliant performance rendition of Brünnhilde's famous aria. The themes were—Order, Morality, Submission to Fate, and Penalty for Disobedience, while the motives were: Siegmund, Sieglinde, Love, Slumber, Hunding, Valhalla, Flight, Fire.
38Siegfried and The Twilight of the Gods were also interestingly portrayed, the principal themes and motives again being noted. The principal vocal and instrumental selections heard were: Prelude to the Four Operas, Magic Fire Music, Song of the Rhine Maidens, Cry of the Valkyries, Wotan's Curse, Erda's Warning, Bird Music, Death of Siegfried and Renunciation of Brünnhilde.
39Miss Lund has given five recitals this season at the Princess Theater on the various novelties and revivals at the Metropolitan. The fact that she has drawn capacity houses to all, proves that this special phase of her art is not only a much needed one but also a much appreciated one. This is due to the singer's particular skill for description and her ability to make, what might very easily become a bore to the lay musician, a clever visualizing of great works by a woman who is doubtless a past mistress in the art of opera recitals.
40The fourth series, for 1926-27 has already been announced.
42Rhoda Mintz
43Despite the inclement weather, a large audience greeted Rhoda Mintz, dramatic soprano, at her recital in Chickering Hall, January 31. Mme. Mintz, though recuperating from a sore throat, was in excellent form and pleased her hearers with the quality of voice and program. Her tones are powerful, yet they display a certain sweetness that lends charm to her offerings. She opened her program with the La Reine de Saba aria of Gounod and sang the taxing music creditably. In her group of German and Italian numbers she was warmly applauded, particularly for her beautiful rendition of Becker's Frühlingszeit, which she sang by request. Mme. Mintz is a splendid dictionary, and every word of her text is clear and understandable. Two old Italian numbers by Pergolesi and Caldara received the tributes that their loveliness deserved. In conclusion came five English numbers, including Howdy Do, Mis' Springtime, also by request, which the artist gave interestingly, in character with its negro content. The final selection, Denza's Had You But Known, was given with cello accompaniment in which Mme. Mintz had the assistance of Vladimir Dubinsky, whose splendid musicianship was an outstanding feature of the afternoon. Mr. Dubinsky also gave two solo groups, including the lovely At the Fountain, by Davidoff; Popper's Dance of the Gnomes and Glazounoff's Chant du Menestrel. Smooth, flowing tone and technical proficiency were characteristic of his performance. Mme. Mintz received several floral tributes and much applause from the audience. Dr. Mark Gunsburg provided accompaniments for both artists.
45Rosa Raisa and Giacomo Rimini
46The annual New York recital of two of the popular Chicago Civic Opera artists, Rosa Raisa and Giacomo Rimini, was held at Mecca Temple on January 31. The usual throng of admirers filled the big auditorium, and they were not disappointed, for the concert attained the same artistic heights as has always marked the efforts of these two celebrities. There were characteristic solos for both, with many duets to lend variety.
47Mme. Raisa once more demonstrated her surprising versatility, singing first an aria, for lyric soprano, then one for dramatic soprano, and finally a coloratura aria, all with perfect command of style and impeccable vocalism. But it was when she sang an aria from Traviata that she completely carried her hearers to tumultuous applause. In fact it was little short of a great demonstration, which forced the singer to return to the stage many times before the program could be continued. Both Mr. Rimini and Mme. Raisa responded with encores after each group. Their New York concert is always looked forward to with interest by New York musicians, for of late years it has only been under such circumstances that this great soprano is heard here.
49David Mannes' School Musicale
50On January 25, friends and pupils of the David Mannes School attended a violin and piano recital by Wolfe Wolfsohn and Leopold Mannes in the recital hall of the school. The program, heard by an enthusiastic audience, consisted of the Bach A major sonata for violin and piano, a Tartini-Kreisler Fugue, Introduction and Allegro by Leopold Mannes, Vieuxtemps' Rondino and the Brahms A major violin and piano sonata.
51Mr. Mannes, a son of the director, is a graduate of the school and now teaches classes in theory and composition. He was the winner of the 1925 Pulitzer prize for composition, and has several piano pieces to his credit. As a pianist he displayed a tone that was firm, rich and mellow, and as a composer he shows modern style, originality and a richly colored imagination. His Introduction and Allegro was a fine bit of thematic development, with the use of some unusual intervals and cadences. At the close of the program the composition had to be repeated by request. Mr. Wolfsohn is also a member of the school's faculty as teacher of violin and ensemble, and in this violinist one heard an artist of fine sensibilities, good execution, sincerity in his emotional depth and vibrant wholesome tone, particularly noticeable in the louder passages. The softer phrasings could at times have been a little clearer, but the beautiful interpretations at these times made up for this detail. The artists succeeded in gaining the appreciation and confidence of their audience.
53Mittell Pupils in Recital
54Philipp Mittell, New York violin pedagogue, presented two of his artist-pupils—Oscar Wasserberger and Joseph Chassman—in a violin recital on January 22 in the Mittell Studios, 939 Eighth Avenue, New York. The two artists were heard in Bach's double concerto in D minor. Their playing revealed thorough training and reflected much credit upon Mr. Mittell's work.
55Mr. Chassman, who played the first movement of Brahms' concerto with Joachim's cadenza, made an excellent impression, showing clear conception, and rendering the difficult movement in a masterly manner. Mr. Wasserberger's luscious tone showed particularly well in the second and third movements; his reliable technic and rhythmic assurance were strongly in evidence in the closing movement of this concerto. At close, Mr. Wasserberger gave a brilliant performance
57EMMA ROBERTS,
58whose lovely contralto voice was much admired at the musicale given in New York recently by Mrs. Frederick Vanderbilt in honor of Prince Paul of Greece. Miss Roberts also sang at a musicale-tea given by Mrs. Fountain Ward at the Hotel Roosevelt. (Strauss Peyton photo.)
60Richard Crooks' Popularity Grows
61Richard Crooks sang again recently as soloist with the New York Symphony Orchestra in Philadelphia, and on December 31 and January 1 he appeared with the Detroit Symphony Orchestra (this being one of his reengagements with the organization). The reviewer in the Detroit News observed: "The scope of Mr. Crooks' art has widened since he first sang here. His style is more certain, his tone have matured and all his original virtues—including an extraordinary freshness and spontaneity—he has retained. He is unquestionably a great tenor. A remarkable thing is that his voice is both lyric and dramatic, becoming one or the other at the intelligent will of the singer."
62It is interesting to note that all the reviews speak in commendation of Mr. Crooks' art, which embodies both his vocal structure and his deeply felt interpretations, reflected in his delivery and quality of voice. In reviewing his Philadelphia appearance, that city's Record said that "the work of Crooks was so fine the audience threatened to stampede the conductor into permitting the rarely admitted encore. The artist bowed his appreciation of a reception fully deserved for the beautifully sung arias and the quality of a voice as rare as it is well used."
64Rudolph Reuter Busy During January
65Following his recent appearances with the Chicago Symphony Orchestra, Rudolph Reuter has given two more of his popular lecture-recitals in Indianapolis (Ind.), talking and profusely illustrating Schubert, Schumann and several modern composers. On January 10, he played for the third time at the Lakeview Musical Society; 11, for the second time before the Lakeview Musical Society; 18, his seventh lecture-recital at Indianapolis; 22, Mr. Reuter played for the first time before a radio audience, giving forty minutes of modern works for one of the large Chicago stations. This last date marks a departure in the attitude of Mr. Reuter toward the radio, and is occasioned by the fact that Chicago radio stations are now beginning to pay their artists adequate fees.
67Pupils of Harold Bryson Active
68Many pupils from the studio of Harold Bryson are successfully filling professional engagements this season. Among them are Jack Barker, baritone, who is leading man in The Cocoanuts at the Lyric Theater, New York; Louis Scheerer, mezzo-soprano, who sings the prologue to Stella Dallas at the Apollo; George Owen, lyric tenor, touring Keith vaudeville circuit; Harold and Tom Diamond, touring the Orpheum circuit; Raymond Green, tenor, on tour with leading role in Blossom Time, and Jack Oakley, bass, a member of Roxy's Gang. Lorraine Sherwood and Gladys Burgette have been engaged for minor parts in Suzanne, now in rehearsal.
70Many Return Dates for Birdice Blye
71Birdice Blye is noted for the large number of return engagements she fills in the principal cities. She will begin her next extended tour with two recitals in San Antonio (Tex.), February 23 and 25, the first date being before the Tuesday Musical Club. Miss Blye has given eighteen recitals in the past eight years before the leading music clubs and colleges of San Antonio.
73The Marmeins in New York February 27
74The Marmeins—Miriam, Irene and Phyllis—will make their second appearance with the New York Symphony Orchestra on February 27 and not on February 22 as inadvertently stated in the Musical Courier of January 28.
76Shepherd Lectures at Cleveland Institute
77The fifth lecture in the series of ten on world masterpieces, which are being offered at the Cleveland Institute of Music by Arthur Shepherd, was given on January 27. Mr. Shepherd discussed, analyzed and illustrated the Faust Symphony by Liszt.
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