Books › Musical Courier 1926-03-11: Vol 92 Iss 10, 1926 › scan 23
Scan 23
Musical Courier 1926-03-11: Vol 92 Iss 10, 1926
68 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 24. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1BOSTON
3CLAUDINE LEEVE SCORES AS SOLOIST WITH PEOPLE'S CONCERT
5Boston.—Claudine Levee, mezzo-soprano, was the soloist at the seventeenth concert of the People's Symphony Orchestra, February 28, at the Hollis St. Theater. She chose Strauss' lovely song, Zueignung and the popular air, Mon Coeur s'Ouvre à ta Voix, from Saint-Saens opera, Samson et Dalila, as a vehicle for the display of her admirable vocal and interpretative gifts. Mme. Levee renewed and deepened the favorable impression that she made her in recital a year or so ago. Her voice, to be sure, may be light; but it is fresh in quality, generous in range, agreeable throughout its compass. A neat attack, pure intonation and a smooth legato characterize her singing. To these virtues she adds clear diction, a marked ability to color her tones and the imagination to sense the emotional import of text and music. Her rhythm is not always incisive or flexible, yet her phrasing generally reflects a true musical nature, sensitive and expressive. The singer was vigorously applauded, and responded with a vivid rendition of the familiar Habanera from Carmen, to which Stuart Mason and the orchestra contributed more effective support than had been vouchsafed in the earlier pieces.
7Mr. Mason opened his program with a fine performance of Beethoven's second symphony, which again induced reflections as to the mighty stride taken by the master symphonist from this work to the Eroica that followed. The other purely orchestral numbers were the first suite from Bizet's charming music for L'Arlesienne and Weber's dramatic overture to Der Freischutz. Mr. Mason's strings have made significant progress under his direction. The woodwind, too, are adequate. But an errant horn can raise havoc with an otherwise pleasurable performance, and the brasses of the People's Symphony have seldom been so ill-behaved.
9NEW GILBERT WORK CONDUCTED BY KOUSSEVITZKY
11Rarely indeed does new music of American origin prove a feature at a symphony concert. Such was the case, however, when Serge Koussevitzky brought out a new symphonic piece by Henry F. Gilbert at the Boston Symphony Concerts of February 26 and 27, at Symphony Hall. In this work Mr. Gilbert attempts to portray the American scene—its boisterous bustle, unpolished vigor and unaffected sentiment—and has succeeded admirably in creating a sharply rhythmed, effectively constructed and altogether exhilarating music. He has contrived his bit to help make jazz a decent woman, utilizing its rhythm and color, and has also introduced naive sentiment of the kind fostered by such folk tunes as Suwanee River, as well as old dance tunes like The Arkansas Traveler. Mr. Gilbert has provided this material with a modern orchestral dress, free from academic restraint and quite innocent of any European influence. All in all, his Symphonic Piece, as he modestly labels it, really suggests the spirit of American life—its amazing energy, defiant pride, genuine feeling and underlying strength. Mr. Koussevitzky may not be as charitably disposed towards all kinds of American music as was his predecessor, for he is more discriminating and less politic; but when he does select a composition for performance, he spares neither the orchestra nor himself. The result, as in Mr. Gilbert's music, was eminently successful, and the audience was quick to pay tribute to the conductor and his wonderful orchestra, as well as to Mr. Gilbert, who bowed his acknowledgments from the platform. Here is music that merits repetition, and it is to be hoped that we may hear it again before the season is over.
13The Russian conductor opened his program with a delightful performance of Haydn's Surprise Symphony, bringing to it his impeccable taste for music of this character. Mr. Koussevitzky also led the orchestra in an eloquent performance of Strauss' ever-welcome tone poem, Don Juan and, for brilliant closing number, the masterfully written second suite from Ravel's ballet, Daphnis and Chloé.
15On the preceding Monday evening, the orchestra gave the third concert of this Monday series with Irene Scharrer, English pianist, making an auspicious entry into American concert halls as soloist. Her medium was that most beautiful of piano concertos, the Schumann, and Miss Scharrer won a brilliant success, thanks to her lovely tone, fluent technic, beautiful phrasing and emotional understanding. She was repeatedly recalled by a warmly appreciative audience.
17For purely orchestral numbers Mr. Koussevitzky conducted with his customary skill Vivaldi's concerto for string orchestra in E minor, Debussy's prelude to The Afternoon of a Faun and Respighi's latest symphonic poem, Pines of Rome.
19FLORIZEL VON REUTER HEARD
21Florizel von Reuter, violinist, gave a recital, February 23, in Symphony Hall, this being his Boston début. Strictly speaking, it was not his first appearance in this vicinity for he was heard as a boy prodigy when he appeared as soloist with the Boston Symphony Orchestra in Cambridge in 1901, then exciting no little admiration by his technical powers. He had needlessly handicapped himself with an uncommonly dull program. Certainly, with Paganini's concerto in D major, Bach's third sonata for violin alone and Wieniawski's Russian Carnival as major numbers there was hardly a great deal of opportunity to display any wide range of interpretative powers. His technic is adequate, his tone of good quality and his musicianship sound.
23Arthur Fiedler provided musically and altogether artistic accompaniments.
25GEBHARD AND KELLER PLAY IN ENSEMBLE CONCERT
27Henrich Gebhard, pianist, and Harrison Keller, violinist, gave their second ensemble concert of the season, February 23, in Jordan Hall. Their program proved a pleasant departure from routine. D'Indy's sonata, op. 59, with which the program opened, is one of that erudite composer's most interesting works, for it merits more than the usual characterization of cerebral as applied to D'Indy's music. Of course, it is soundly made. But in this sonata the French composer has also given freer reign to his fancy than usual and the music, moreover, has a considerable degree of melodic originality. Messrs. Gebhard and Keller gave the sonata an excellent performance, playing throughout with warmth of tone, subtle shading, and incisive rhythm. The remarkable ensemble which they have achieved was further disclosed in their fine performance of Beethoven's early sonata, op. 12, No. 1, in D major. Equally enjoyable was their playing of the songful Improvisation of Richard Strauss from his sonata, op. 18, and the Virginia Reel from John Powell's colorful and well-made sonata Virginianesque. A very large audience recalled Messrs. Gebhard and Keller many times.
29INTERNATIONAL FESTIVAL
31The third international music festival of the Community Service of Boston and the Women's Municipal League, took place February 22, in Symphony Hall. Prizes were awarded as follows: the Polish chorus won the prize of $250 in the contest for mixed choruses, a second prize of $100 going to the German chorus and a third prize of $50 to the Finnish chorus. The Male Chorus Contest was won by the Swedish chorus, which received the first prize of $250. The judges were Charles Bennett, William Hailman and Thomas W. Surette. Governor Fuller presented the prizes. A Night Song, by William C. Heilman, of the department of music at Harvard, was the contest song for the mixed choruses, each chorus singing, in addition, two native songs of their own choice. There was dancing by Russian and Swedish groups as well as by a representation from the local Denishawn School of Berthe and Francesco Braggiotti.
33EDWARD JOHNSON AND JOAN RUTH IN RECITAL
35Edward Johnson, tenor, and Joan Ruth, soprano, of the Metropolitan Opera, gave a highly enjoyable concert, February 25, in Symphony Hall. Mr. Johnson was heard in old Italian, French and English airs; operatic arias from Andrea Chernier and Pagliacci and in songs from Rubenstein, Tschaikowsky, German, Shaw, Campbell-Tipton and J. L. Hatton. Miss Ruth sang German lieder by Schumann and Schubert, French songs by Saint-Saëns, the operatic airs Caro Nome from Rigoletto and Musetta's Waltz from La Bohème, together with a group of Folk Songs from Italian, French, Irish and Russian sources. Together Mr. Johnson and Miss Ruth introduced quite an operatic atmosphere into Symphony Hall by their delightful performance of the solos and duets for Mimi and Rodolfo from the first act of La Bohème. In his singing Mr. Johnson indicated why he is held in such high regard by the appraisers of music in New York. Gifted with an agreeable voice of very liberal range he uses it with the skill of an expert vocalist and has, moreover, mastered the art of coloring his tones to suit the mood of whatever he interprets. His dramatizing imagination and delightfully clear diction contributed materially to the enjoyment afforded by his singing.
37Miss Ruth proved a revelation. Her voice is uncommonly free and pure, its range generous, and she employs it to serve a sensitive musical nature. To be sure, there are evidences now and then of immaturity—not of method, but of that experience with earthly joys and sorrows which would add emotional conviction to her interpretations. Be that as it may, her natural talents give her a flying start to fame as a singer. Incidentally, Miss Ruth's charming stage presence and freedom from affectation contributed greatly to her success on this occasion. Ellmer Zoller was a helpful accompanist.
39BRUCE SIMONDS GIVES PLEASURE IN RECITAL
41Bruce Simonds, pianist, gave a recital, February 24, in Jordan Hall. He was heard in an uncommonly interesting program comprising ancient numbers by Scarlatti, Rameau, Bull and Bach; the second sonata of Arnold Bax—a virile, broad-gauged music of heroic mood; three pieces by Chopin and numbers from Ravel, De Severac and Albeniz. Mr. Simonds gives rare pleasure as an artist. To a splendid technical command of his instrument he adds a truly musical nature. His rhythm is finely tempered, his tone unusually pure, his taste unfailing. Add to these qualities a singularly poetic sensibility and there emerges an artist deserving of very high rank among the pianists of the younger generation. Mr. Simonds was cordially received and lengthened his program accordingly.
43HARRIET ELLS PLEASING IN DEBUT
45Harriet Eells, mezzo-soprano, gave her first Boston recital, February 27, at Jordan Hall. With the altogether admirable assistance of Walter Golde, accompanist, Miss Eells gave a pleasurable exhibition of her gifts in a well-chosen program comprising German songs from Brahms and Strauss; French numbers by Debussy and Chausson; two pieces by Respighi and songs in English by Bax, Griffes, Carpenter and Horsman. This recital yielded uncommon pleasure. Endowed with an agreeable voice of dark timbre and good range, Miss Eells sings with fine musical intelligence and a noteworthy command of styles. Indeed, seldom have we heard a young artist pass from one school of song to the other with such convincing results—the product, doubtless, of sound schooling combined with a responsive imagination and an inherently musical and emotional nature. Miss Eells' success was unqualified and should encourage her to make an early return to this city. one of two readings
46Harriet Eells, mezzo-soprano, gave her first Boston recital, February 27, at Jordan Hall. With the altogether admirable assistance of Walter Golde, accompanist, Miss Eells gave a pleasurable exhibition of her gifts in a well-chosen program comprising German songs from Brahms and Strauss; French numbers by Debussy and Chausson; two pieces by Respighi and songs in English by Bax, Griffes, Carpenter and Horner. This recital yielded uncommon pleasure. Endowed with an agreeable voice of dark timbre and good range, Miss Eells sings with fine musical intelligence and a noteworthy command of styles. Indeed, seldom have we heard a young artist pass from one school of song to the other with such convincing results—the product, doubtless, of sound schooling combined with a responsive imagination and an inherently musical and emotional nature. Miss Eells' success was unqualified and should encourage her to make an early return to this city. one of two readings
48SCHELLING'S CHILDREN'S SERIES
50The final concert of Ernest Schelling's Children's Series took place Saturday morning, February 27, in Jordan Hall. Mr. Schelling conducted his orchestra of Boston Symphony musicians in the two pieces that won the highest number of votes from those who have been attending this series—Tschaikowsky's 1812 overture and the Blue Danube Waltz of Strauss. Also included on the program was the highly diverting Animal Carnival of Saint-Saëns, with Wallace Goodrich conducting the orchestra and little Lee Palfrey playing the piano as associate of Mr. Schelling, with results that tickled the risibilities of the audience. Prizes for the best kept note-books for the four concerts were awarded. Mr. Schelling merits warm commendation for undertaking this enjoyable series of concerts and for his ability to make them so interesting. He should be urged to repeat the series next season.
52MAIER AND PATTISON AT SYMPHONY HALL
54Guy Maier and Lee Pattison gave fresh evidence of their mastery of the art of playing on two pianos, February 28, in Symphony Hall. Their genius in this field was eloquently demonstrated in a characteristically interesting and well-varied program which comprised a sonata by Clementi; a new transcription of Bach's fantasia and fugue in A minor; the original version of Brahms' Variations on a Theme of Haydn; an arrangement of Debussy's Fêtes from his exquisite set of Nocturnes, Mr. Pattison's transcription of the Arkansaw Traveler, Strauss' Blue Danube Waltz, and the coronation scene from Moussorgsky's Boris Godunoff, and Lord Berners' Chinoiserie. The audience made up in enthusiasm what it lacked in numbers, insisting on numerous additions to the program.
56LAURIE MERRILL
57CONCERT SOPRANO
58Song Recitals in Costume
59Spanish, French and American
60FOUR TOURS 1925-26
61MIDDLE SOUTH
62NEW ENGLAND
63FLORIDA
64(Third Consecutive Year)
65NEW YORK STATE AND CANADA
66in March and April
67BOGUE-LABERGE CONCERT MANAGEMENT 130 West 42nd St., New York
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