Books › Musical Courier 1927-01-13: Vol 94 Iss 2, 1927 › scan 11
Scan 11
Musical Courier 1927-01-13: Vol 94 Iss 2, 1927
49 lines. Read by computer on 29 September 2026. No printed page number was found. See the scan on archive.org.
1NEW YORK CONCERTS
3JANUARY 2
4Pearl Weiss
5Pearl Weiss, talented and youthful pianist, gave a recital at Town Hall on January 2, before a well-filled house. That this young artist has already gained considerable popularity was apparent in the warm reception accorded her. A distinguishing feature of her performance was her finished technic and the brilliancy of her playing, unusual in a pianist of her years. Her program consisted of a Bach-Busoni Chaconne, Chopin's Funeral March sonata, Schumann's Kreisleriana, and arrangements by Liapounoff and Liszt. Despite their difficulty she rendered these selections with the great skill and feeling so characteristic of the pupils of David Zalish.
7Albert Spalding
8Carnegie Hall was the scene of another triumph for Albert Spalding last Sunday, when he gave a violin recital before a large and highly enthusiastic audience.
9This American artist's place in musical esteem is a singularly high one in our community—and in fact, everywhere—because New York looks upon him as peculiarly its own.
10Spalding was in the best of form last Sunday, which means that his finely proportioned art shone in impressive brilliance. Aside from technical mastery and a tone of noble quality, Spalding wins his hearers also through his deeply musical nature which grasps all styles and renders him impeccable in taste.
11The Spalding program consisted of a lento and chorale by Bach, Frescobaldi's Pastorale Gentile (arranged by Samuel Gaines), Tartini's A major concerto, Brahms' D minor Sonata, and a group of smaller numbers.
12Andre Benoist was the accompanist, and a more competent and finished one it would be difficult to find. In the Brahms Sonata he gave a notable performance at the piano.
14JANUARY 3
15Leonora Cortez
16A most unusual pianistic apparition is Leonora Cortez, whose recital at Aeolian Hall confirmed her right to be placed with the best of the younger pianists of the present moment.
17Miss Cortez is of slight physical proportions but possesses amazing strength and endurance, in addition to a technic of really overpowering brilliance. Yet she seems never to be displaying the mechanics of her art, and her demeanor at the instrument is one of extreme reserve, modesty, and dignity.
18The Cortez tone has body, richness, and color. Her interpretations have been sieved through an uncommon degree of intelligence and emotional sympathy.
20JANUARY 4
21Philadelphia Orchestra
22The Philadelphia Orchestra, heard at Carnegie Hall on January 4, continued the series of Bach's Brandenburg Concertos started in Philadelphia some months back on this occasion playing No. 4 in G for solo violin, two solo flutes, and string orchestra; No. 5 in D for solo violin, solo flute and piano; and No. 6 for two solo violas, violoncellos and basses. The performance also marked the first New York hearing, in orchestrated form, of the choralvorspiel Ich ruf' su dir, Herr Jesus Christ, and the Fantasia and Fugue in G minor.
23The great G minor fugue, so familiar as a standard organ piece, became even more impressive and significant in its orchestrated form. The program notes did not state who performed the task of transcription, but this someone accomplished a notable work. The polyphonic utterance of the orchestra seemed a truer exposition, more colorful, more astounding in its ingenuity, and even more cohesive, than the organ score. The tender lyric, "I call to thee," which apparently was included as an afterthought, was Bach at his melodious best and afforded a welcome interlude between the "significant" music of the concertos.
24The No. 4 concerto presented Michel Gusikoff, violin, and W. M. Kincaid and Joseph La Monaca as first and second flute respectively, and was a clear and masterly exposition, distinguished chiefly by a homogeneity of expression and fluidity of tone that left little to be desired. The various solo parts were beautifully balanced, and the orchestra under Stokowski's masterly guidance was justly subordinated. The No. 5 Concerto touched the highest spot in the solo work of the evening. The principals were M. Gusikoff, violin; W. M. Kincaid, flute, and H. Kaufman, piano. In this there were several opportunities to judge the work of the individual artists. Mr. Kaufman revealed himself as an exceptionally talented pianist, with a smooth technic and an exquisite sense of sympathy for the mood of the opus, especially in the long cadenza for piano which marks the end of the allegro movement. In the affectuoso movement, Mr. Stokowski had opportunity for a no doubt welcomed rest, turning the movement entirely over to the solo ensemble. They played together in faultless style in a warm and spirited performance.
25Following the intermission came the No. 6 concerto, with Louis Bailly as first and Samuel Lifshey as second viola. This composition seemed on the whole much more compact than either of its predecessors, livelier in treatment. The soloists played in fine style, with Mr. Bailly especially distinguishing himself by loveliness of tone and masterly technic.
26Mr. Stokowski, with his right arm still in a sling conducted with his left hand alone, a handicap that did not seem to affect either the gracefulness or the fire of his leadership. He had his orchestra under complete control throughout, and proved that he could conduct better with his left hand alone than many other conductors can with both.
28Nadia Reisenberg
29Nadia Reisenberg, pianist, appeared in recital at Aeolian Hall on January 4, achieving notable success. As always, Mme. Reisenberg's playing was characterized by technical skill as well as thorough understanding of the classics rendered. She began with a Bach Fugue, and several Bach compositions appeared on her program which she played masterfully and "quite in the Bach manner," to quote the New York Times. Etude de Concert, by Liszt, was given a light sparkling interpretation, as was also a Chopin etude in A flat. The concluding number was Balakirev's Islamay, in which she gave full play to all the fire, temperament, and
31MUSICAL COURIER
32January 13, 1927
34The variations by Handel-Brahms, a true test of virtuosity as well as of musicianship, opened the program, and after the extraordinary performance of that piece, it did not much matter what else Miss Cortez played, for she had won her audience completely. The variations and the big fugue were done with glow of imagination, exuberance, and broad artistic lines and periods. One does not remember to have heard this work done better by any woman pianist.
35Astonishing digital speed, inspiriting rhythm, and a wealth of nuances in tone and accenting, marked the delivery of a number of small pieces, by Kodaly, Bartok, Rhene-Baton, Albeniz, Reger, and Liszt.
36The Polonaise-Fantastique by Chopin marked another resounding triumph for Miss Cortez, who gave the warm blooded pages with a passion and abandon that were surprising.
37Throughout the concert, the enthusiasm of the hearers never waned, and they made Miss Cortez add many numbers to her scheduled list.
39JANUARY 4
40Philadelphia Orchestra
41The Philadelphia Orchestra, heard at Carnegie Hall on January 4, continued the series of Bach's Brandenburg Concertos started in Philadelphia some months back on this occasion playing No. 4 in G for solo violin, two solo flutes, and string orchestra; No. 5 in D for solo violin, solo flute and piano; and No. 6 for two solo violas, violoncellos and basses. The performance also marked the first New York hearing, in orchestrated form, of the choralvorspiel Ich ruf' su dir, Herr Jesus Christ, and the Fantasia and Fugue in G minor.
42The great G minor fugue, so familiar as a standard organ piece, became even more impressive and significant in its orchestrated form. The program notes did not state who performed the task of transcription, but this someone accomplished a notable work. The polyphonic utterance of the orchestra seemed a truer exposition, more colorful, more astounding in its ingenuity, and even more cohesive, than the organ score. The tender lyric, "I call to thee," which apparently was included as an afterthought, was Bach at his melodious best and afforded a welcome interlude between the "significant" music of the concertos.
43The No. 4 concerto presented Michel Gusikoff, violin, and W. M. Kincaid and Joseph La Monaca as first and second flute respectively, and was a clear and masterly exposition, distinguished chiefly by a homogeneity of expression and fluidity of tone that left little to be desired. The various solo parts were beautifully balanced, and the orchestra under Stokowski's masterly guidance was justly subordinated. The No. 5 Concerto touched the highest spot in the solo work of the evening. The principals were M. Gusikoff, violin; W. M. Kincaid, flute, and H. Kaufman, piano. In this there were several opportunities to judge the work of the individual artists. Mr. Kaufman revealed himself as an exceptionally talented pianist, with a smooth technic and an exquisite sense of sympathy for the mood of the opus, especially in the long cadenza for piano which marks the end of the allegro movement. In the affectuoso movement, Mr. Stokowski had opportunity for a no doubt welcomed rest, turning the movement entirely over to the solo ensemble. They played together in faultless style in a warm and spirited performance.
44Following the intermission came the No. 6 concerto, with Louis Bailly as first and Samuel Lifshey as second viola. This composition seemed on the whole much more compact than either of its predecessors, livelier in treatment. The soloists played in fine style, with Mr. Bailly especially distinguishing himself by loveliness of tone and masterly technic.
45Mr. Stokowski, with his right arm still in a sling conducted with his left hand alone, a handicap that did not seem to affect either the gracefulness or the fire of his leadership. He had his orchestra under complete control throughout, and proved that he could conduct better with his left hand alone than many other conductors can with both.
47Nadia Reisenberg
48Nadia Reisenberg, pianist, appeared in recital at Aeolian Hall on January 4, achieving notable success. As always, Mme. Reisenberg's playing was characterized by technical skill as well as thorough understanding of the classics rendered. She began with a Bach Fugue, and several Bach compositions appeared on her program which she played masterfully and "quite in the Bach manner," to quote the New York Times. Etude de Concert, by Liszt, was given a light sparkling interpretation, as was also a Chopin etude in A flat. The concluding number was Balakirev's Islamay, in which she gave full play to all the fire, temperament, and
The computer misreads some letters and numbers. Where a name matters to you, read the scan.