Books › Musical Courier 1927-01-06: Vol 94 Iss 1, 1927 › scan 17
Scan 17
Musical Courier 1927-01-06: Vol 94 Iss 1, 1927
94 lines. Read by computer on 27 September 2026, twice; the two readings disagreed in places. Printed page 18. 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.
1RICHARD BUHLIG
2PIANIST
4ANOTHER BUHLIG TRIUMPH
6Preceding Richard Buhlig's appearances in America this season, reports were cabled to the American newspapers from their European correspondents of his sensational successes in Berlin as an interpreter of Beethoven. This success Mr. Buhlig repeated on December third and fourth in his appearances with the Los Angeles Philharmonic Orchestra, in the "Emperor" Concerto of Beethoven. Printed below are brief excerpts from the long and favorable criticisms received.
8His style of playing is strongly individual. It is impersonalized to the point of being the essence of personality. The music seems to develop into sound of its own accord. Structural form is magnificently revealed without hardness of outline. The concerto becomes a great musical thought, with piano and orchestra blended into perfect homogeneity. At times one was scarcely aware of the entrance of the piano part, because it emerged so inevitably from the musical development. Buhlig's tone is always idiomatic of the instrument, with no attempt at coloration which is not germane. His technique has reached the ultimate goal of spontaneity. His performance is a revelation of Beethoven and, consequently, of his own consummate artistry.—Los Angeles Examiner.
10Richard Buhlig, American pianist, rendered the intricate "Emperor" Concerto with consummate ease and impeccable phrasing. Buhlig, a student of musical history as well as of the score itself, brought to the intriguing composition an intellectual comprehension which made each passage vitally significant. His execution is meticulous and brilliant, and the rich tone of later passages gave him full opportunity for the expression of his superb ability.—Los Angeles Record.
12His brilliant interpretation of the great masterpiece for pianists was well received and his very evident deep feeling for the work made his performance impressive to a high degree.—Los Angeles Daily Times.
14Richard Buhlig presented the Beethoven E flat Concerto with almost sacred and devotional mood. His was a meditative performance, rich with the understanding of the great master whose patterns he was expressing. His piano conception was not as brilliant as it was noble. It was with the emphasis of a poet that he touched the colorful phrases, and he received an ovation which must have pleased him greatly.—Los Angeles Evening Herald.
16EXCLUSIVE MANAGEMENT
17CONCERT GUILD
18113 West 57th Street
19NEW YORK
21Chickering Piano Ampico Records
23MUSICAL COURIER
25the Rodman Wanamaker collection. The assisting artists were Marcel Grandjany, harpist, and E. Mortimer Wilson, flutist. Three of the works on the program, two of them dedicated to the quartet, were given their first New York hearing. These included a string quartet by Rieti, a quintet for strings by Joseph Jongen, and a quartet by Darius Milhaud. The other numbers on the program included a quartet by Verdi and dances for harp and strings by Debussy.
27The work of the quartet can only be spoken of in superlatives. Special interest centered in the numbers with harp, as Mr. Grandjany is not only a master of his instrument but also a musician of distinct culture. He was the first to present to America Jongen's characteristic work in Boston last season, and his playing on this particular afternoon both in this number and in the Debussy had all the earmarks of virtuosity. The ensemble was never marred, yet Mr. Grandjany's playing helped materially in giving to the Debussy work the elusive, sublimated beauty which characterizes this composer's music.
29Plaza Artistic Morning
31The artists for the December 30 Artistic Morning were Cobina Wright, soprano; John Charles Thomas, baritone, and Fernand Francell, tenor of the Opera Comique, Paris. Interest centered principally in Mr. Thomas because it marked his first appearance in the city since his return from Europe where he has been singing in opera for the last two years with much success. He was accorded a gratifying welcome and sang excellently throughout the program. His first number was Eri Tu, from Ballo in Maschera, rendered with tonal richness and volume, and notable for polished style. And in a later group he revealed his versatile interpretative powers, singing such songs as Ah, Love But a Day (Mrs. Beach), The Table and the Chair (Harris), Nocturne (Curran), and Nichavo, a gem of Mana-Zucca's. There were, of course, several encores.
33Mme. Wright charmed her listeners in the Depuis le Jour aria from Louise and in three songs by Sibella, De Falla and Wintter Watts. She is the possessor of a voice of pleasingly clear quality, of considerable resonance, and she is also a skillful interpreter. Mme. Wright looked lovely, and, all in all, made a very favorably impression. The accompanists were Gordon Hampson, Francis de Bourguignon, and Mme. Francell. one of two readings
34Mme. Wright charmed her listeners in the Depuis le Jour aria from Louise and in three songs by Sibella, De Falla and Wintter Watts. She is the possessor of a voice of pleasingly clear quality, of considerable resonance, and she is also a skilful interpreter. Mme. Wright looked lovely, and, all in all, made a very favorably impression. The accompanists were Gordon Hampson, Francis de Bourguignon, and Mme. Francell. one of two readings
36JANUARY 1
38New York Philharmonic: Kreutzer, Soloist
40The sixth concert in the series of twelve for students was given on January 1, by the Philharmonic Society under the direction of Mengelberg, at Carnegie Hall. These student concerts differ from the regular concerts of the Philharmonic only in the price of seats. The orchestra is as large as it is on other occasions, the playing as fine, and the soloists as eminent. On this occasion the soloist was Leonid Kreutzer, pianist, recently arrived from Berlin. This was his first American appearance. He played the Beethoven concerto, No. 3, in C minor, op. 37, and made a profound impression on his audience. He has a solidity of style that is admirable and gives confidence in his musicianship. His tone is splendid—pure, sonorous, very powerful but never overforced, and admirably sustained. He has interpretative perception of a high order, and played Beethoven with much sentiment, but without sentimentality. Naturally he has what is commonly called technic in the sense of being able to strike all of the required notes at the time indicated. But all concert pianists have that in this day of gigantic technics, and there was nothing in what Mr. Kreutzer played which could have taxed his abilities. He has another kind of technic that is far more important as well as far more rare: the ability to strike notes with exactly the degree of force needed for the particular passage to which they belong. That, added to guiding taste, renders Mr. Kreutzer's performance delightful. He was listened to with attention and applauded loudly and at length.
42The orchestral part of the program consisted of the Leonore overture, No. 2, op. 72, and the C minor symphony, No. 5, op. 67, both by Beethoven, opening the commemorative year (of his death) in a fitting manner on the first day of it. The playing was magnificent in the overture, and no doubt also in the symphony, for which this writer was unable to remain.
44JANUARY 2
46New York Symphony: Giannini, Soloist
48The New York Symphony and its distinguished conductor, Walter Damrosch, were given a rousing ovation on January 2, at Mecca Auditorium. The program was slightly changed from the Thursday concert, the Sibelius and Strauss numbers being replaced by Siegfried's Rhine Journey and excerpts from the third act of Tristan and Isolde, arranged by Mr. Damrosch. Dusolina Giannini again was the soloist, contributing the same selections as on the previous afternoon. Her voice was glorious in its opulence and was especially beautiful in her rendition of the Adieu Forets. The Wagner numbers brought a burst of applause for the conductor, for Mr. Damrosch knows his Wagner and is able to impart to it not only a deep understanding but also a vitality and effectiveness which are electrifying.
50Hugo Kortschak
52Hugo Kortschak, violinist, who in addition to his superb musicianship also possesses a fine violin, gave his annual recital in Aeolian Hall on January 2. Mr. Kortschak's recital was interesting not only from the point of performance but also because he presented the rarely heard sonata of Brahms in A and the Nardini sonata in D. His work is remarkable from the viewpoint that he works out the minute detailed effects, technical perfections, and finely spun nuances. This was particularly of value in the unfolding of the Brahms work, which is filled with intricacies. The violinist's ability to take hold of the emotional element in his music was revealed in his warm and glowing rendition of the Noren Nocturne, which was followed by a Caprice by Ysaye. Mr. Kortschak gained in effect as the program progressed; his tone became warmer, and he clearly fell more readily into the mood of his compositions. All this was distinctly felt by his audience, which seemed fully to appreciate the sterling qualities of Mr. Kortschak's work.
54Mme. Marica Palesti Active
56Mme. Marica Palesti has been quite active in America during the last year or two. She sang at over fifteen concerts including an appearance before President and Mrs. Coolidge at the White House. On January 11 she is sailing for Europe to fulfill an extensive engagement which will present her both in opera and in concert. Her first appearance will be in Athens, where she will appear in the title role of Aida and also sing in concert. The tour then goes on to Salonica, to Alexandria in Egypt, and she returns then to Milan where she will sing in the annual season at the Dal Verme. From Milan she goes to Paris, and then returns to America, where she will arrive to resume her work late in the spring.
58MARICA PALESTI,
59who is going abroad for an extensive tour in opera and in concert.
61Annual New York Concert
62THE CLEVELAND ORCHESTRA
63NIKOLAI SOKOLOFF, Conductor
64CARNEGIE HALL,
65Tuesday Evening, January 18,
66at 8:30 P. M.
68PROGRAM
69Symphony, G Minor (Kochel 550) ………….Mozart
70Pageant of P. T. Barnum …………………Douglas Moore
71Boyhood at Bethel
72Joice Heth—161-year-old Negress
73General and Mrs. Tom Thumb
74Jenny Lind
75Circus Parade
76(First time in New York)
78INTERMISSION
79Elegiac Poem ……………………………….Frederick Converse one of two readings
80Elegiac Poem …………………………….Frederick Converse one of two readings
81(First time in New York)
82The Aeroplane, Op. 38, No. 2 ………….Emerson Whithorne one of two readings
83The Aeroplane, Op. 38, No. 2 …………Emerson Whithorne one of two readings
84(First time in New York)
85Suite from the ballet The Fire Bird ……….Stravinsky
87The Steinway is the official piano of the Cleveland Orchestra. The Cleveland Orchestra records exclusively for the Brunswick
89ADELLA PRENTISS HUGHES, Manager
90Tickets $1.00, $1.50, $2.00, $2.50 (no tax)
91Now on Sale at Carnegie Hall Box Office
92Concert Management:
93WOLFSOHN MUSICAL BUREAU, INC.
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