Books › Musical Courier 1927-01-06: Vol 94 Iss 1, 1927 › scan 24
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Musical Courier 1927-01-06: Vol 94 Iss 1, 1927
92 lines. Read by computer on 29 September 2026. Printed page 25. See the scan on archive.org.
1January 6, 1927
3Leonid Kreutzer Talks of Shifting Art Values
4Leonid Kreutzer, as is already now well known to American audiences, is a pianist of a force, directness and sincerity that have brought him well-deserved international fame. That he is also a thinker of rare ability, with a clear vision and a logical mind, is less known. The present writer had an opportunity to find that out during a conversation with him at his hotel soon after his arrival in America on December 27. What he may think about New York, its skyscrapers, its traffic problems, its people and so on and so forth, this writer has no idea. Mr. Kreutzer being among this decade's most prominent musicians, it seemed worth while to talk to him about music, to get his views on things musical, past, present and future.
6Probably one wonders, always, what a great virtuoso plays and why he plays it. Mr. Kreutzer had some pertinent things to say on that subject. "Certainly," he said, "I play music because I like it, because I believe in it. But I cannot say that I am always convinced of its beauty and worth when I take up the study of it. Sometimes at first, it seems uninteresting, ugly, of small value. If this feeling lasts I naturally would not include the music in my programs. But very often I feel that, with study, I put something of myself into the music. It becomes a part of me. I am not only an interpreter but also a creator.
8"Modernism? O, it has its value, of course. I have made too much and played too much modern music to decry its importance. But in such matters one must always consider the audience. If ninety-eight percent of the audience is bored by modern selections and the other two percent only listens as a sort of affectation, it would seem unfair to the public to play the moderns.
10"But there are moderns and moderns. They might be fitted into two distinct and very widely separated classes—and for myself I can speak only with admiration of the one class and only with distaste and disgust of the other. The two classes are, first, those who are sincerely striving to put on paper what is in their souls, those who create because of an irresistible demand for creation; second, those who figure their music out mathematically, whose only object is to astonish, whose music is cerebral rather than soulful.
12"The one method is that which has made all of the real compositions since the world began. For the other it is impossible to conceive any lasting success or any real value. Sincerity is the very basis of all art. Without it no art is worth anything, nor can one respect artists who allow insincerity to enter into their work.
14"Modern music has been compared with modern painting and modern poetry, but the comparison is difficult. Modern painting has striven to escape from the material, forgetting, it seems to me, that decoration has always been free from the material. What I mean is that the modern painter would like to express the sentiment of trees without painting trees, the sentiment of personal beauty without painting any person. The result is a curious mixture of curves and angles with, sometimes, recognizable features thrown in, for what purpose one cannot imagine. For if one is to escape entirely from the material one must of necessity leave out any suggestion of the material. But then one arrives at simple decoration.
16"It is the same with poetry, though how one is to escape from the significance of words is not easy to perceive. Still it has always seemed to me that poetry should be universal in its references. To sing the beauty of the River Rhine is not so good as to sing the beauty of rivers—all rivers. The Rhine suggests a geographical position, while rivers, a river, any river, must appeal to all people equally.
18"No doubt, in the graphic arts it would be interesting to devise a method by which all evidence of the material could be escaped from, but in music there is neither need nor possibility of such escape, for the simple reason that music is, by its very nature non-material. If material objects are brought into music they are external to the music. Music itself is never material and can never say or convey anything material. Where one hearer feels that certain music represents the wind blowing through the trees, another hearer will conceive that the same music is the flowing of water.
20"Even in the expression of the emotions scarcely two people will agree upon what emotions any piece of music expresses or is intended to express unless it is explained through program notes or through words or by means of a dramatic situation. At the same time, music, like painting and poetry, must have a frame. It must in some way be limited in size. A design that goes on indefinitely, as in architecture, becomes a decoration, a frieze; a book or poem must have beginning and end. A painting must have a frame, must be a part of a landscape, a limited number of figures; and so with music, which must have a beginning and an end.
22"But music does not have to be about anything but itself. Its subject is its themes. Those themes may be inspired by some poem or drama or other external thought, but the music itself must be built upon the themes, and the number of themes must be limited. The harmony must also be dependent upon the themes.
24"But there is some modern music that seems to lack both themes and harmonies, and perhaps also form. It is rather difficult to comment upon it. As I have already said, I measure modern music—indeed, all music—by its sincerity. But in making up programs I must also consider my audiences. I would play some modern music for a small select audience that I would not think of playing for the general public."
26"And in America?"
28"In America? Well, you know, I began with Beethoven at the Philharmonic Orchestra concert last Saturday, and at my recital I will play selections from the standard repertory. I hope America likes the standard works?"
30"Of course, America does like the standard works. Some of us also like the moderns. And we all like good playing—so you ought to make many friends here."
32And it is quite obvious that he will.
34London Critics Enthusiastic Over Myra Hess
35Myra Hess played recently in London with the Royal Philharmonic Society, Bruno Walter conducting, and at one of the Henry Wood Promenade concerts, on both occasions scoring her usual success with public and critics. The London Referee stated that she played the Mozart piano concerto No. 8 with fascinating purity, and the Westminster Gazette declared that she gave a delicately sympathetic performance of Mozart's D minor concerto. According to the London Observer "Her performance was an example of what can be done by a pianist who has appreciative and intuitive knowledge of these qualities of thought and feeling that are far beyond printed notes." The Morning Post critic was equally enthusiastic, stating that she played the Mozart concerto with extraordinary delicacy and accuracy, and the London Times noted that she rendered this work intensely enjoyable by her clean and decisive playing of the solo part. In commenting on Miss Hess' performance of the Beethoven concerto in G, op. 58, the London Referee noted that it was played with keen intellectuality and womanly perception. It is the opinion of the London Observer that Miss Hess has a great command over her instrument, that there is something thrilling in watching this fine English mistress of the piano, and that she is one of the few who give the impression of having depth of thought behind her performance. "Myra Hess Again Stirs London Audience by Her Superb Playing" was the manner in which the London Musical Standard headlined the report of the pianist's appearance with the Philharmonic Orchestra. The critic of that paper then declared that the performance was a sheer pleasure from start to finish, and another example of the supreme art of this great pianist.
37Lambert Murphy a Significant Success
38Lambert Murphy has sung the Bach St. Mathew's Passion so often that he has become a recognized authority in singing this music. His latest success in this work was with the New York Philharmonic Orchestra in New York.
40An inspiring record of Mr. Murphy's achievements is in his list of reengagements. He has sung nine times with the Boston Handel and Haydn Society, eight with the New York Oratorio, five times each at the Worcester and Springfield (Mass.) festivals, four each at the Cincinnati (consecutive seasons), Ann Arbor and Syracuse festivals, and three times with the Toronto Mendelssohn Choir.
42In personality, Mr. Murphy is a real, red-blooded man singer, with a glorious voice and complete mastery of the art of song. He sings everything with a beautiful emission of tone that is a constant joy to the ear. His diction is one of his most notable characteristics. Mr. Murphy, born in Springfield, Mass., is American trained. He was for three years a member of the Metropolitan Opera Company, but declined an offer from that organization in order to devote himself exclusively to concert and oratorio. In these branches of his art he has attained significant success.
44Zuro Symphonic Series Soon
45Josiah Zuro, founder and conductor of the Sunday Symphonic Society, will inaugurate the fourth season of his organization on January 9 at the Walter Hampden Theater, Broadway and 62nd St. The theater is again being donated for these free concerts through the generosity of Walter Hampden.
47The orchestra personnel will see few changes. Leon Trebacz will remain as concertmaster; Lajos Shuk, brilliant young cellist, will begin his second season as solo cello of the Sunday Symphonic Society, while Emil Wille will be at his former place as second violin principal; a new solo viola player in the person of Morris Veder will make his bow. The programs will be given every second Sunday at 12.30 noon, as has been the custom for the past three seasons, and all concerts of course are free to the public.
49Some of the compositions to be played during the season include: Brahms' fourth symphony, Tschaikowsky's fifth symphony, Mozart's symphony in E flat, New World symphony by Dvorak, Beethoven's fifth symphony, The Unfinished Symphony by Schubert, Dvorak's Carneval Overture, and Die Entführung aus dem Serail by Mozart. Several American compositions are under consideration for acceptance. Any compositions submitted will receive attention, getting a private rehearsal and public performance if possible. As in the past, young American soloists will also be given opportunities to appear with orchestra.
51Joseph Bonnet Marries
52Joseph Bonnet, French concert organist, as well known here as in his native country, was married on Tuesday of this week, January 4, at Paris, to Mlle. Genevieve Turenne.
54NEW YORK HERALD
56"May Barron is the fortunate possessor of an enormous & velvety Contralto voice of natural richness and beauty. She has an engaging stage presence and a manner that is intelligent and sincere."
58Decr. 6, 1926.
60Excl. Dir.
61Walter Anderson, Inc.
625 Col. Circle, N. Y. City
64HACKETT
65TENOR
66Chicago Opera
67Management: WOLFSON MUSICAL BUREAU, 250 West 57th St., New York
69MASTER INSTITUTE OF UNITED ARTS
70Music—Painting—Sculpture—Architecture—Opera Class—Ballet—Drama—Lectures
71310 Riverside Drive, New York City
72Phone Academy 3860
74"At last an American opera that is an unqualified success."—Herman Devries, in the "Chicago American."
76A WITCH OF SALEM
77Grand Opera in Two Acts by CHARLES WAKEFIELD CADMAN
78Produced for the first time on any stage by the Chicago Civic Opera Company
79At the Auditorium, December 8, 1926
81"The public found it good because of its never ending stream of melody. There are as many good tunes as can be found in 'Tosca' or 'Butterfly,' more than the 'Girl of the Golden West' can boast, and not so many as 'La Boheme.'—Glenn Dillard Gunn, in the 'Chicago Herald and Examiner.'"
83"The love duet between Arnold and Claris is probably the best example of its kind that has been heard in American opera on the Chicago stage."—Felix Borowski, in the "Christian Science Monitor."
85"Gave the friends of native opera something to cheer about at the time and talk about afterwards."—Edward Moore, in the "Chicago Tribune."
87Vocal Score – $2.50 net
88Libretto – – – $.50 net
89OLIVER DITSON COMPANY 179 Tremont St., Boston
90Order of your local dealer
91CHAS. H. DITSON & CO. 10 East 34th St., New York
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