Books › Musical Courier 1926-03-11: Vol 92 Iss 10, 1926 › scan 39
Scan 39
Musical Courier 1926-03-11: Vol 92 Iss 10, 1926
98 lines. Read by computer on 29 September 2026. Printed page 40. See the scan on archive.org.
1NEW YORK CONCERTS
2(Continued from page 18)
3and is the thing perhaps more than any other that entitles Braislowsky to recognition as one of the great living masters of the piano. It is a poise and musicianship often found in those who are cold and uninspired, rarely found in combination with such emotionalism as stirs Braislowsky's audiences. Braislowsky is, in fact, a genius. That he held his audience until the lights were turned out need cause no surprise.
5MARCH 3
6Kudisch String Quartet
7Alexis Kudisch, ripe first violinist; Edwin Goorno, able second violinist; Joachim Chaseman, viola, and Rudolph Simonowitz, youthful but excellent cellist, make up the ensemble comprising the Kudisch String Quartet, which gave a well attended concert at Aeolian Hall, March 3. Their playing of a Beethoven opus showed uniform musicianship, and they were enthusiastically applauded after the scherzo. Dvorak's Terzetto, opus 74, for two violins and viola, was an interesting novelty, as was Kudisch's own manuscript trio for violin, viola and cello; this is built on Russian themes, has a learned fugue in it, and a cadenza for leading violin, all showing melody gift combined with thorough musicianship. Borodine's quartet in D closed the concert, and frequent strong applause led the players to bow acknowledgments.
9MARCH 4
10Irene Scharrer
11Irene Scharrer's piano recital in Aeolian Hall, March 4, duplicated the warm reception accorded her in Mecca Auditorium the previous Sunday when she appeared as soloist with the New York Symphony. Miss Scharrer offered a taxing program, of varied content and mood, that was calculated to test the capabilities of the pianist to the utmost. She met the technical difficulties of the scores with ease, and gracefully overpowered artistic obstacles, bringing her program to its ultimate conclusion with colors flying.
13Constance WARDLE
14Soprano
15“Aida”
16Philadelphia Public Ledger
17Oct. 10/25
18“within five minutes Miss Wardle’s voice warmed up and ‘Ritorno Vincitor’ was beautifully given; she scored a great success in the second act and from thereon throughout the opera.”
20Springfield Daily News
21Dec. 2/25
22“she has a charming voice with plenty of power and range and proved a favorite with the audience at once.”
24Philadelphia Public Ledger
25Feb. 18/26
26“has a beautiful voice of excellent range and moderate power, which she uses with great skill.”
28Excl. dir.
29WALTER ANDERSON Inc
305 Columbus Circle
31New York N. Y.
33MUSICAL COURIER
34March 11, 1926
35Miss Scharrer proved herself a musician of insight and emotional expression, technically excellent, displaying good taste, a pleasing touch and a distinct knowledge of tone coloring. That she is an artist temperamentally as well as technically was proven in her rendition of Schumann's Phantasie which she played with intense feeling and expressive beauty. Her interpretation of the Bach prelude and fugue in C sharp was comprehensive and sincere, and she performed it with a smooth, velvet loveliness of tone quality that brought warm acknowledgment from her auditors. Purcell's Toccata, Sarabande and Minuet, with which the program was introduced, and Scarlatti's sonatas in D minor, C minor and C major were received equally as well. Debussy and Ravel were treated with artistic ease and complete understanding, while six Chopin etudes, delightfully rendered, concluded the evening's presentations. Miss Scharrer's audience lacked nothing in appreciation of her artistic merits and she was the recipient of many beautiful flowers.
37New York Philharmonic
38The novelty of the Philharmonic concert at Carnegie Hall on March 4 consisted of two excerpts from Richard Strauss' opera, Intermezzo, an Interlude and Waltz Scene. Here is the cue to the Interlude, from the libretto:
39"Here I sit, alone. My dear husband! He is so good, so true! 'This long, lonely evening—how sad it makes one!' (she becomes more absorbed in meditation as the curtain falls).
40The interlude is, says Lawrence Gilman in his program notes "an impassioned reverie." What it sounded like was warmed up Strauss of the Rosenkavalier period, pretty but not important.
41The waltz scene, which is laid in a Bavarian Inn, has some good Bayerisches Hochland 3/4 time, and is pleasant to listen to. Themes from other parts of the opera are interwoven. It is all made by the adroit and practiced hand of a master. The rest of the program was conventional—The overture to The Marriage of Figaro, Schumann's First Symphony, which was given a performance that ennobled it, and three Hungarian Dances of Brahms. The more familiar one becomes with Mr. Furtwangler's conducting, the stronger grows the impression that he is a very big musician.
43MARCH 5
44Elshuco Trio
45The Elshuco Trio—composed of William Kroll, violin; Willem Willeke, cello, and Aurelio Giorni, piano—continued its series of Schubert recitals at Aeolian Hall, on March 5, with the Fantasie in C major, violin and piano, and the quartet in E major and the quintet in A major. For the latter two numbers the Elshuco ensemble added to its ranks three assisting artist in the persons of Karl Kraeuter, violin, Herbert Borodkin, viola, and Harry Sacher, double bass. The opening number was rendered by Messrs. Kroll and Giorni, who clearly showed the effects of their long association together in the presentation of a finely balanced and sympathetic offering. The opus was played without intermissions between the five movements of which it is comprised. There were few arid spots in the Kroll-Giorni rendition and many that were exceptionally touching.
46The ensemble numbers, which incorporated the newcomers listed above were played with an astonishing precision of attack and balance, considering their lack of experience in playing together. A fine example of this was shown in the quintet, in the Tema con variazioni movement. The theme on which this is based is best known as a folk song. It is a lively and invigorating tune which was spiritedly treated by the ensemble.
47This Schubert series by the Elshuco organization has proven exceptionally popular among New York concert-goers. The recitals, of which Friday night's performance was the fifth, have embraced a considerable portion of the better known compositions of that master, and have all been of a highly artistic and musically nature. One concert still remains of the present series.
49Efrem Zimbalist
50The particular interest in the recital given by Efrem Zimbalist, in Carnegie Hall, on March 5, was in the first performance anywhere of his own new Sonata for violin and piano. Those who expected anything startlingly modern were doomed to disappointment. Zimbalist evidently did not care to épater le bourgeois. He devoted himself to writing fine music, including real tunes. His harmonic scheme was always fresh, interesting and appropriate, though only in the final movement was there an occasional touch of modern dissonance. It was in three movements, a slow introduction on broad lines, preceding the opening allegro. The second movement, marked amoroso, employs two themes, one of them the folk song used in the final movement from Tchaikovsky's Fourth Symphony. It was evident the work made a deep impression on the hearers, who applauded it to the echo. There was indeed plenty of well deserved applause throughout the evening. The program began with the familiar Préludium and allegro Pugnani-Kreisler. Then came Mozart's Concerto in A major, and after the Sonata there was a group made up of Nocturne of Chopin-Wilhelmj, Valse of Chopin-Spalding, Persian Song of Glinka-Zimbalist, and Ronde des Lutins of Bazzini; and of course there were many extra numbers demanded by an audience that filled the hall. Zimbalist played, as ever, in the mood of a master musician and violinist.
52MARCH 6
53London String Quartet
54The London String Quartet, long a favorite here, made its only New York appearance of the winter on March 6, at Carnegie Hall. How highly it is regarded here was shown by the fact that the great hall was nearly full. It is, however no place to listen to chamber music. Delicacies are lost and the fortés are apt to sound weak and thin, even with as fine and sonorous a quartet as the London men. However, if one sat far enough forward it is apparent that they had lost none of their original ability as players and that the ensemble has kept up to the same high standard as ever.
55The program began with the Beethoven Sonata in E minor, op. 59, No. 2, and concluded with a Haydn Quartet in C, op. 76 No. 3, the one known as the Emperor. Between, there were two shorter pieces—a quiet sketch by J. B. McEwen called Les Dunes and Scherzo by Fritz Kreisler, presumably from his quartet. The performance was of the highest excellence from first to last. It is to be regretted only that conditions for hearing the splendid quartet were not better.
57N. Y. Philharmonic Children's Concert
58Trumpets and percussion instruments formed the object lesson of the fourth Children's Concert of the New York Philharmonic Orchestra, March 6, the pair of concerts being conducted as usual by Ernest Schelling. Illustrating them, the Tannhäuser March, with its fanfare of introduction; the Dvorak Largo (New World symphony), using the brass choir and kettledrums, and the Tchaikowsky overture, 1812, overpoweringly using all brass, percussion instruments and bells (the composer also had cannon in mind for the out-door performance), these were the principal works. As ever, Conductor Schelling's witty and instructive remarks brought down the house, and a far larger audience even than that listened in. Ravel's Laideronette, and singing by everyone of the Battle Hymn of the Republic formed the remaining items of the program.
60Metropolitan Museum of Art
61The first concert in the March series at the Metropolitan Museum of Art was given before an audience of enormous size on March 6, when David Mannes and his excellent orchestra of selected musicians presented a program containing Overture to Le Roy d'Ys, Lalo; two movements from Symphony No. 1 in C minor, Brahms; Invitation to the Dance, Weber; first movement from the Symphonic Suite, Scheherazade, Rimsky-Korsakoff; Nocturne from A Midsummer Night's Dream, Mendelssohn; Waltz of the Flowers from the Nutcracker Suite, Tchaikowsky; First movement from Concerto Grosso in G major, Bach, as well as Wagner's The Death and Funeral March of Siegfried, and Entrance of the Gods into Valhalla.
62This series is contributed by the Juilliard Musical Foundation and other friends of the Museum. Mr. Mannes artistic and idealistic work is gaining much praise from the genuine music lovers who frequent these concerts.
64Harry Anik
65Harry Anik, pupil of Clarence Adler, was heard in recital in Aeolian Hall on March 6. His program consisted of the Sonata, op. 53, Beethoven' and a group of five Chopin numbers as well as selections by Schubert-Godowsky, Moussorgsky-Rachmaninoff, Cyril Scott, Dohnanyi and Liszt.
66The young man has a well developed technic, and revealed in his performance good balance and musicianship. He gives every promise for a brilliant future.
68Intercollegiate Glee Clubs' Contest
69Saturday evening, March 6, at Carnegie Hall, glee clubs of fifteen colleges came together in competition. The colleges represented were Wesleyan, New York University, University of North Carolina, Penn State College, University of Wisconsin, Amherst, Syracuse, Princeton, University of Kansas, Columbia, Furman, Yale, Dartmouth, Fordham and Ohio Wesleyan. The winners were: first, Wesleyan; second, Princeton; third, University of Kansas.
70The trial consisted of three songs for each club: the first a song selected by the club, the second, The Lamp in the West, by Horatio Parker, sung by each club in succession; third, the official college song of each college. The judges were Harry O. Osgood, chairman; Mark Andrews and Stephen Townsend. Mr. Osgood made a short address before awarding the prizes. He said, in the first place, that college songs ought not to be included in the contest since their great divergences of character offered no point of comparison. He then remarked that the Parker contest song, so harshly criticized by Harvard, and the cause of Harvard's withdrawal from the competition, was, in the opinion of the judges, a perfectly acceptable song for the purpose. It had stood the fifteen repetitions as well as any song could.
71It was an exciting contest. All of the clubs sang well, and there was so much equality that everybody was kept guessing until the judges announced their decision. The program was long—too long—but the college songs were
73EMERSON WHITHORNE
74The Aeroplane
75For Piano
76The orchestral arrangement of this number is being performed by the Cleveland Symphony Orchestra, in Cleveland, on March 11th and 13th.
78OTHER WHITHORNE COMPOSITIONS
79For Voice and Piano
80TWO CHINESE POEMS………………………..1.00
81The King of Liang
82The Feast
83TWO CHINESE NOCTURNES……………………1.00
84Tears
85The Golden Nenuphar
86ON A LUTE OF JADE
87Hea Nan………………………………………40
88A Chinese Serenade………………………….35
89The Bride Cometh…………………………..40
90The City of Chow……………………………40
91INVOCATION………………………………….40
92PIERRETTE & I……………………………….40
94Composers' Music Corporation, Publishers
95Sole Selling Agent
96Carl Fischer, Inc.
97Cooper Square, New York
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