Books › Musical Courier 1926-03-11: Vol 92 Iss 10, 1926 › scan 21
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Musical Courier 1926-03-11: Vol 92 Iss 10, 1926
43 lines. Read by computer on 29 September 2026. Printed page 22. See the scan on archive.org.
1NEW YORK CONCERTS
3FEBRUARY 27
5New York Symphony and Marmein Dancers
6On February 27, the last of the season's concerts for young people was given by the New York Symphony Orchestra at Carnegie Hall. Rene Pollain, assistant conductor, had charge of the orchestra. The Marmein Dancers—three sisters, Miriam, Irene and Phyllis—were the special attraction. Carnegie Hall was filled to capacity and twenty minutes before the program began it was impossible even to find standing room. This was a particularly unique feature of the closing performance. The Young People's Concerts had proven a tremendous asset to local musical happenings but no doubt it was due to the unusual art of these young dancers that caused the overflow audience. Their program was about fifty minutes long, the various moods being depicted in their drama dances, accompanied by innumerable changes of costume. These young girls were strikingly effective in their ensemble numbers, and no less so in their individual solos. It was the consensus of opinion that they represent the finest in the classic ballet, combined with refreshing originality in the more modern interpretive work. The Herald Tribune wrote that "it was a refreshing experience." The Times said that "the highly artistic quality of the music enhanced the varied and pleasing dive-tissments." The World stated: "that the Marmein Dancers were the dominant feature." The Evening Post, in discussing the general program, referred to "the artistic setting which enhanced the effect of these highly original drama dancers." The Sun: "These American trained dancers were in fine form and delighted the large audience with a list of their original drama dances."
8FEBRUARY 28
10Christian Holtum
11Christian Holtum, bass-baritone, presented an interesting program, assisted by Elsa Nordstrom, violinist, at the Engineering Societies' Auditorium on February 28. Mr. Holtum, unheralded, created a sensation with his beautiful, easy flowing voice and finely thought-out interpretations. The critics of the New York Times, Tribune and other newspapers were unanimous in their praise and predictions of Mr. Holtum's classification with the foremost bass-baritones, one critic stating that "he is the possessor of a voice of unusual power and profundity. He phrased and articulated well and sang the low notes in One Sdegno with real sonority. His range and the solid timbre of his voice were the most noticeable qualities."
12His first group included Handel's Hear Me Ye Winds and Waves, Mozart's One Sdegno Non S'accede from the Magic Flute, and Il Lacerato Sprito, by Verdi. In the latter one Mr. Holtum displayed an even and facile scale, reaching high F sharp, which he sustains with clarity and ease. The remaining groups embraced German and modern English. Special mention must be made of his German lieder, which he sang with individual style and true musicianship.
14MARCH 1
16Mayo Wadler
17Mayo Wadler, violinist, appeared at Carnegie Hall on March 1 in an unusual recital, having as colleagues both Clarence Adler and Joseph Adler. Mr. Wadler and Clarence Adler appeared first, playing the Sonata in G minor for violin and piano, by Leonide Nicolaiw, and the rest of the program proceeded with Joseph Adler in the role of an unusually talented and able accompanist.
18The Nicolaiw sonata is written in three movements—Allegro animato, Andante con moto, and Vivace. It had all the charm of novelty and in addition to that was given a really brilliant rendition by the Messrs. Wadler and Adler. The Vivace is possibly the most glittering portion of this opus, presenting difficulties of technic to no slight degree. It was vigorously applauded by the audience.
19Mr. Wadler demonstrated throughout this and the rest of the program an excellent technic, combined with a fine precision of attack. He resisted the tendency to slur his notes, proceeding with brisk determination and with a just appreciation of color values. This was especially demonstrated in the beautiful passage for violin alone in the Concerto in one movement by Jules Conus, and in the curious tonal and rhythmic effects utilized in the negro dance tune which forms the theme of the third movement of the Tallahassee Suite, composed by Cyril Scott. He concluded his program with a curious combination of selections quite in keeping with the novelty of the foregoing numbers. The final group was composed of Bloch's Ningun, the Serenade Espagnole by Chaminade-Kreisler, and two compositions of George Gershwin's, A Short Story and the Rhapsody in Blue. At the conclusion of his program Mr. Wadler played two encores, one, by special request, an arrangement of the spiritual, Nobody Knows the Trouble I've Seen.
21Arcadie Birkenholz
22Arcadie Birkenholz gave a violin recital in Town Hall on March 1, playing a program of standard violin works by Vitali-Auer, Paganini, Dvorak-Kreisler, Brahms, Chopin-Auer, Wieniawski, Veracini, and Sarasate. His work was sincerely applauded by the interested audience. Encores were demanded and liberally given. He was ably accompanied by Milton Suskind.
24Pro-Musica
25Pro-Musica, formerly the Franco-American Musical Society, founded in 1920, gave a concert at Chickering Hall on March 1. On the program was a quartet by Wellesz, a "symphony" and some songs by Milhaud, vocal quartets by Herscher, antiquities by Purcell and Gibbons, songs by Lilien and a serenade by Roussel. One wonders what in the world Purcell and Gibbons had to do with these proceedings? Gibbons died in 1625, Purcell died seventy years later! Perhaps the International Advisory Board which selects programs for these Pro-Musica concerts, which are, therefore, called International Referendum Concerts, says to itself: "Those poor Americans have suffered enough with our modernism, let us give them a respite!" Certainly after hearing the succession of discords that Egon Wellesz calls a string quartet, op. 28, No. 4—faithfully played by the Russian String Quartet—and the Sixth Symphony (which takes about two minutes to play) by Darius Milhaud, for vocal mixed quartet (wordless), oboe and cello, and the two choruses by J. Herscher, it was a relief to get something upon which the wearied mind could pleasurably dwell in Purcell and Gibbons. Compared with these particular compositions of Wellesz, Milhaud and Herscher, the two little pieces by Purcell and Gibbons seem works by mighty geniuses indeed!
26Next on the program was a set of four shockers by a Polish composer named Lilien, a man of manifest talent and ability, and just the sort of diseased morbidity that has been coming out of Northern Europe for the past decade or two—nice, agreeable matter for an evening's social entertainment, all about blind beggars, lepers and paralytics. Faugh! Let us disinfect!
27After this there was more Milhaud. Milhaud was the gentleman who, in his review of a concert of Wagnerian music in Paris, disposed of it with a single line: A bas Wagner! The phrase fits the Milhaud muse more aptly, at least as that muse was exhibited on this occasion.
28The final number on the program was a serenade for harp, string trio and flute by Albert Roussel. It was interesting, at times and moments beautiful. Lilien and Roussel stood out on this program as men of immense talent compared with the others, but the others may also have moments of inspiration not visible in the works selected for production at this concert. It remains to be said that the music was excellently rendered. The string players are masters of their art. Marya Freund sings with extraordinary expression, especially of pathos. She sang in German and French. Granjany is one of the world's leading harpists. Labate and Willson are virtuosi on oboe and flute. And the vocal quartet had individually sonorous voices and carried through a successful balance.
30Alexander Brachocki
31Alexander Brachocki, in piano recital at Aeolian Hall, March 1, opened his program with Beethoven's Andante, followed by Haydn's and Chopin's fantasies. These numbers were comprehensively translated, showing the artist's capability for interpretation of the most intricate compositions. Chopin came next, the artist's magic fingers making this number scintillate brilliantly. "Debussy's Reflets dans l'eau was never more gratifyingly lucid in its portrayal," states the New York Times.
32Stojowski was a guest of honor and an interested listener to the program which included his compositions Legende and Valse. Much interest centers in Mr. Brachocki's next recital.
34Eduard Erhard
35Schubert, Löwe and Brahms were the composers from whose works Eduard Erhard, German baritone, chose a program for his debut recital at Aeolian Hall on March 1. He displayed a thorough understanding of all of the selections given. Admirably rendered were the difficult Löwe songs, for in addition to singing them well Mr. Erhard's interpretations were excellent. His diction also is to be highly commended. Sympathetic accompaniments were furnished by Kurt Ruhreitz. Mr. Erhard will give another recital at Aeolian Hall on Tuesday afternoon, March 9.
37MARCH 2
39Hotel Roosevelt Recitals
40For the matinee recital of March 2 at the Hotel Roosevelt the attractions were Louis Graveure, baritone, and Joseph Szigeti, violinist. Both artists were cordially received and justly so, for they gave great pleasure through their contributions of a high standard.
41Mr. Szigeti opened the program with the Tartini sonata in G major, which was beautifully played and revealed the qualifications that have won for him such a fine reputation both abroad and in this country. Later he was heard in the Schubert sonatina and a group of three short pieces. Szigeti is an artist in every sense of the word. Kurt Ruhreitz was at the piano for Mr. Szigeti.
42Mr. Graveure, in fine voice and spirits, charmed anew with his admirable voice and polished style of singing, his clean diction adding to the delight of his renditions. He sang exquisitely a German group by Schubert, Schumann, and Brahms, later increasing the excellent impression made with well chosen French songs and a varied English group. Needless to add, both artists gave encores. Arpad Sandor
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