Books › Musical Courier 1926-04-22: Vol 92 Iss 16, 1926 › scan 11
Scan 11
Musical Courier 1926-04-22: Vol 92 Iss 16, 1926
40 lines. Read by computer on 29 September 2026. Printed page 12. See the scan on archive.org.
1NEW YORK CONCERTS
3APRIL 7
4The Marianne Kneisel Quartet
5On April 7, Steinway Salon was filled to capacity with a distinguished audience, including many prominent musicians, gathered to greet the Marianne Kneisel Quartet. The program consisted of the Beethoven quartet in A major, op. 18, No. 5, and the Dvorak F major, op. 96. This fine quartet—consisting of Marianne Kneisel, first violin; Elizabeth Worth, second violin; Lillian Fuchs, viola, and Phyllis Kraeuter, cello—ought to have much success in the concert field should the organization tour extensively, for the members play extremely well together. There is admirable tonal balance, and they showed a commendable rhythm and a seriousness of purpose that were at once felt by the audience. After the Beethoven quartet the applause was most enthusiastic, certainly testifying to the pleasure derived.
7APRIL 9
8Elsie Kirchgessner
9In the salons of the Gunther Music School on April 9, Elsie Kirchgessner gave a recital of Brahms music. The young lady, a student of the school, has pianistic abilities of a high order. She has intelligence, poise, and a genuine musical temperament. Her playing reflects great credit on the school that fostered her. A large audience attended.
11APRIL 11
12Isa Kremer
13Isa Kremer added another to her list of successes in the metropolis when she appeared in recital, April 11, at the Manhattan Opera House, for the profit of the Russian Reconstruction Farms. An unwritten law frowns on critical analysis of concerts for charity. Let it suffice then to say that in a program drawn from Russian, Yiddish, Italian, French, Spanish, German and English sources, Miss Kremer again gave a delightful exhibition of her rare gifts as singer and interpreter. Her sympathetic imagination, characterizing genius and striking command of facial expression, together with uncommonly clear diction, enable her to divine and transmit the emotional power of poetry and music in a manner that is invariably subtle and convincing. A large audience responded to the appealing quality of her art, and Miss Kremer lengthened her program generously.
15APRIL 12
16Beethoven Association
17The Beethoven Association, for its final concert, given at Town Hall, April 12, began with the beautiful piano quintet of César Franck, played by Harold Bauer and a string quartet made up of Albert Spalding, Edwin Bachmann, William Schubert and Willem Willeke. It was a fine performance. Mr. Bauer is an unusually fine musician himself and the quartet played exceedingly well, considering it was only organized for the occasion. Anna Case, in excellent voice, contributed the middle section of the program, singing with much intelligence and expression a group of five numbers, which included compositions by Handel, Bach, Mozart and an arrangement by Weckerlin. The Bach aria, Patron das Macht der Wind, was particularly effective.
19To end with there was the Bach concerto for three pianos, played by Irene Scharer, Harold Bauer and Joseph Lhevinnie, supported by an orchestra of nine, which included the men already mentioned and the Marianne Kneisel Quartet; Willem Willeke conducted. It was interesting to hear this cheery old work. The performance of the pianists was excellent from the individual standpoint, but matters would have benefited much more had there been more rehearsals.
21N. Y. Philharmonic: Zaslawsky, Conductor
22A concert of artistic merit was presented by the New York Philharmonic Orchestra, with Georges Zaslawsky as conductor, in Carnegie Hall, April 12. It was an additional concert to the regular series and served to introduce Mr. Zaslawsky to a New York audience for the first time. Mr. Zaslawsky, besides being a conductor of energy, skill and wide vision, is also known as a fine violinist. He was born in Russia and began his career as a conductor in that country some eighteen years ago. He also gained an enviable reputation in European and South American music centers for the splendid work he has done there. At this concert he proved himself a worthy musician, leading his men through the contrasting requisites of Beethoven's fifth symphony and Tchaikowsky's fourth, as well as the former master's overture to Egmont. It was a familiar program—one calculated to give the audience an opportunity to appraise the leader. And judging from the warm, spontaneous applause with which his efforts were met, Mr. Zaslawsky was in no way found wanting. His reading of Beethoven was brilliant, clear-cut and forceful; Tchaikowsky was rendered with intensity of expression, artistic appreciation, and displayed his vivid conception of the music. Mr. Zaslawsky is the possessor of a forceful personality that dominates those whom he leads, resulting in a response from his men which is highly gratifying musically. The orchestra, as usual, was in fine form and played with a smooth, flowing ease and harmonious blending of tone that brought forth the beauties of both symphonies. The musicians were forced to rise and share the enthusiasm that was accorded Mr. Zaslawsky. The New York critics praised the new conductor highly, the World stating "Mr. Zaslawsky, judging by his performance of the Beethoven symphony, is an experienced musician who knows his business." The Times critic is of the opinion that "His coming adds another able conductor to New York's lists."
24APRIL 13
25Hugh Porter and Alexander McCurdy
26Hugh Porter, organist of Calvary P. E. Church, New York, and Alexander McCurdy, Jr., organist of the Church of the Redeemer, Morristown, with their teacher, Lynnwood Farnam, collaborated in an organ recital at Town Hall, April 13, which proved an interesting event. Clear cut and musical to the last F was Mr. Porter's playing of the Cantabile, by Widor; later, the solo pedal stunt in Bach's Toccata, and his original registration in a Vierne Scherzetto brought him applause, followed by an encore piece. Youthful Mr. McCurdy, known through his radio playing, was liked in his clever pedal and manual work in pieces by Stebbins and Vierne; he further contributed works by Bach and Karg-Elert, adding a song without words by Bonnet. Frequent discriminating applause from the audience, with recalls, showed the musical appreciation of all. At the close Mr. Farnam played A Gigue (Byrd) and a short Vierne piece; needless to say his good taste and unfailing accuracy made instant impression. There followed an imposing staccato chord-piece, done in superb style. All three organists bowed their thanks several times on the conclusion of the program.
28Carolyn Le Fevre
29The first New York recital given by Carolyn Le Fevre, violinist, took place on April 13 at Aeolian Hall. This young artist hails from the West, and has been heard there many times in recitals, also in Europe where she studied for several years, but New York audiences had their first opportunity the other evening, and it must be stated that she made an excellent impression and this was voiced unanimously in the local press.
31With Walter Golde at the piano, Miss Le Fevre gave a very interesting program for a debutante. She began with the G minor concerto, by Bruch, and followed with the Sonata No. I, for the violin alone, by Bach. It was here that her audience and critics were best able to judge her skill and talent. Not only does she possess all the qualities of an excellent stage presence and personal charm, but there is an unusual tonal quality as well and her technical skill—both in bow arm and fingers—was such as to win her hearers. The occasion was one of the interesting debuts of the present season. Without doubt Miss Le Fevre has a great future before her. Her training has been of the very best, for she shows a keen intelligence and appreciation which can only come from an excellent musical background. The last half of her program contained two Kreisler arrangements, a Glazounow and an Elman arrangement, and closed with Saint-Saëns' Rondo Capriccioso.
33Philadelphia Orchestra
34(See story on page 5)
36APRIL 14
37Edward Rechlin
38Amazing was the size of the audience, notable its listening attitude, and increasingly demonstrative was the applause as the affair progressed—all this at the Edward Rechlin organ recital, Aeolian Hall, April 14. Lutheran circles were especially interested, as is the case in the Rechlin recitals throughout the country, and these audiences show sincere appreciation of the classics played by this organist. Walther,
39(Continued on page 22)
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