Books › Musical Courier 1927-04-07: Vol 94 Iss 14, 1927 › scan 12
Scan 12
Musical Courier 1927-04-07: Vol 94 Iss 14, 1927
55 lines. Read by computer on 29 September 2026. Printed page 13. See the scan on archive.org.
1April 7, 1927
3Love is a Muleteer also caught the fancy of the audience, and the persistent applause which followed its rendition left no doubt that a repetition would have been welcomed. Several encores were demanded and given at the conclusion of the printed program. It is evident that Miss Le Vinus has been well schooled, and that with further study she undoubtedly will develop an operatic voice. Her attacks were not always accurate at this recital, but that may have been due to the exigencies of a New York debut. Excellent breath control, however, and clear diction are two valuable assets possessed by the singer.
5Sympathetic accompaniments were played at the piano by Margaret Notz.
7Hans Lange Quartet
9The first public recital of the Hans Lange Quartet took place at the Roerich Museum on March 29. The name of Lange is well known in musical circles through the association of the violinist as assistant to Mengelberg and from his earlier reputation, as an authority and talent in the field of chamber music. This quartet which Mr. Lange has founded within the last year has as additional members, Arthur Schuller, second violin; Zoltan Kurthy, viola, and Percy Such, cello. It is understood that the new organization is devoting its efforts chiefly to programs of modern works, and on this occasion launched on its mission with the choice of Vitezlav Novak's Trio Quasi una Ballata, op. 27; Zoltan Kodaly's Serenade, op. 12, for two violins and viola, and Casella's concerto for string quartet.
11The tone quality of the ensemble was magnificent in the Novak work, in which Katherine Bacon, pianist, collaborated. The composition, in spite of its modernism, flows in a melodic line, to which the artists were keenly sensitive and in which they made the most of their opportunity. The Serenade is a rather chaotic affair, and to those who still associate the idea of romanticism with serenades there must have seemed lacking the basic element of romance. Nevertheless, the artists found enough in the theme which dominates and is often repeated to make with it some interesting contrasts and effective interweaving of instruments. Mr. Casella's concerto, given its first hearing last season by the Hartmann Quartet at a concert of the International Composers' League, proved again the ingenious ability of the composer at modern idioms. The artists performed it with a colorful and brilliant ensemble, bringing out its unexpected rhythms and modulations to a marked degree and gave the closing Canzone an elan and charm of spirit. The concert was held under the auspices of the Master Institute of United Arts.
13MARCH 30
15Lillian Fuchs
17At Aeolian Hall, on March 30, Lillian Fuchs, violinist, winner of the Morris Loeb prize, and for three consecutive seasons winner of the Seligman prize for composition, gave a highly successful recital in which she fulfilled the promise implied in her work of two years ago. Miss Fuchs' playing is in every way artistic, her technic being exceptionally good and her temperament sympathetic and vivid. Beginning her program with a group by Bach-Nachez, she continued with the E flat concerto by Mozart, and this was followed by compositions of Brahms-Joachim, Franz Kneisel, Friedrich Smetana, and The Caprice Fantastique which she composed herself and which met with an enthusiastic reception. The young violinist gave a charming and well-selected program, which was warmly applauded by her audience. Exceptionally favorable press notices attested to the success of Miss Fuchs' recital. Carroll Hollister furnished excellent support at the piano.
19New York Trio
21The New York Trio, which is composed of Clarence Adler, pianist; Louis Edlin, violinist, and Cornelius Van Vliet, cellist, gave its final concert of the season at Town Hall, March 30. Only two numbers were offered, the B minor trio of Beethoven and Smetana's trio in G minor. The magnificent sonorities of the Beethoven work probably were never heard to better advantage than as given by this highly sympathetic ensemble. The exquisite tonality which marks all of the offerings of this body, together with the fine accuracy of phrasing and subtlety of interpretation were all present in abundance. The Smetana number was gratefully received as more or less of a novelty in this season where the Beethoven festival has rather crowded other composers off the standard programs. Incidentally, one wonders at hearing the Smetana opus why this is not heard more often. The only explanation seems that there are few trios which are capable of giving it authoritative renditions. It has real virility, which requires expert handling such as the New York Trio is so well equipped to give.
23Schola Cantorum
25John Charles Thomas's suave and mellifluent baritone was the outstanding feature of the program of the Schola Cantorum, of New York, in a concert given at Carnegie Hall on March 30. Mr. Thomas appeared in two solo groups, one of numbers by Legrenzi, Giordani, and Carissimi, and another of Wolf, Grieg, and Brahms, and Vaughan Williams's The Turtle Dove with the chorus. Mr. Thomas possesses a rare charm of authority in addition to his most pleasing voice, and as usual he was lionized by his audience for his fine work. The well trained chorus of the Schola Cantorum showed as usual to excellent advantage. Hugh Ross, a young Englishman who has appeared in this country before, was the guest conductor, and showed a fine technical command of the subject, in addition to a vivid and highly imaginative sense of interpretation.
27MARCH 31
29N. Y. Philharmonic: Brahms' Requiem
31The New York Philharmonic Society, with the notable assistance of Elisabeth Rethberg, soprano; Fraser Gange, baritone, and the Choral Symphony Society of New York, presented Johannes Brahms' German Requiem, at Carnegie Hall, on March 31. Of all the religious chorales there is none lovelier nor more deeply solemn than this creation of the great Brahms. The work is free from those musical platitudes which so often weaken the tonal structure of works of this character. Wilhelm Furtwaengler conducted with that passionate sincerity which has been his special mark of distinction this season. The most vivid spot in the somber program was the soprano solo of Miss Rethberg, whose pure tones made a really glorious message of the Your Heart Shall Be Joyful. Fraser Gange gave his usual polished performance, his powerful voice sounding clearly against the variegated choral background. The Choral Symphony Society is a well-balanced unit. Mr. Furtwaengler employed it with the same skill as the orchestral unit of the Philharmonic Society which supplied the incidental music.
33Margaret Northrup
35Margaret Northrup gave a recital at Aeolian Hall on March 31 displaying a soprano voice of wide range and good quality, as well as a refinement of style and an ability to express with decided conviction. Her program was an interesting one, being made up of five groups, including Italian, French, German and English songs and the aria from Il Re Pastore by Mozart, with violin obbligato excellently rendered by Mitya Stillman. The singer was most successful in the songs of lighter vein. Her voice is adapted to these and her natural brightness of spirit enables her to achieve effects in this field with remarkable ease and individuality. But she has also the advantage of having warmth in both her higher and lower registers which affords her opportunity of contrast. This fact she ably disclosed in her German group, which called in some instances for breadth and sustained legato. Her enunciation is fine, thus enabling the listener to follow with ease her every nuance and varied ideas which stood her in good stead in her French group. It was furthermore particularly noticeable for its delicacy and sensiveness. Miss Northrup was enthusiastically received, the audience recalling her for encores and showing obvious delight both over the songs and also accompaniments of Walter Golde.
37The Singers Club of New York
39The second private concert of the Singers Club of New York, under the efficient leadership of A. Y. Cornell, took place on the evening of March 31 in Aeolian Hall. The organization displayed good tone quality, excellently blended harmonies and an alert response to the conductor's wishes that bespoke careful and thorough training. The program was varied in content and pleased the huge audience so well that encores were demanded and given at the conclusion of each group. Among the outstanding selections were Lotti's Crucifixus; Leisring's O Filii et Filiae; The Song of the Golden Calf from Faust; and the Handel-Davidson Let Their Celestial Concerts (Samson) A Song of Steel by Charles Gilbert Spross, who provided interesting and musically accompaniments for the evening, also received an enthusiastic reception. The assisting artists were Mildred Dilling, harpist, and Fred Patton, baritone. Miss Dilling played Allegro Risoluto by H. Renié (first movement from concerto in C minor), and a group of numbers by Bach, Debussy, Grandjany and Godefroid. She displayed her usual fine artistry and musical proficiency. Mr. Patton sang Three Cavaliers' Songs by C. Villiers Stanford in conjunction with the club; Spross' Song of the Sword, a selection from Lehmann's Persian Garden, and Daniel by Enders. He was in fine fettle and his rich baritone voice, as usual, gave great pleasure. The artist's genial personality also enhanced his renditions. It was an eve-
41(Continued on page 20)
43Now Appearing With Success in Opera in Italy
45KATHRYNE ROSS
46SOPRANO
48Comments on her recent appearance as Aida at Catanzaro
50Last evening the opera season opened at the Comunale Theater with Aida. The performance was a success, although some deficiencies were evident, not all of the artists being in full possession of their voices, physically and some not quite up to the mark in any respect. The preparation was evidently too hasty. Let us hurry to say, however, that there was an exception, the soprano, Kathryne Ross, an Aida with a powerful and well-trained voice, of fresh and lovely quality. . . . the duet in the third act between soprano and baritone was perfectly rendered and the public burst out in uproarious applause for the two splendid artists. (Giornale d'Italia of Rome.)
52The interpreters all sustained their parts in a laudable manner, but the most outstanding of all, Kathryne Ross is an artiste with a superlatively fine voice who sang with convincing expression. Our public hung on her every note and she aroused the the greatest enthusiasm. (Il Mattino of Naples.)
54Kathryne Ross was a wonderful Aida with a voice full and perfectly trained, luscious and magnificent, she was most expressive. Our public which knows how to appreciate great art, applauded her many times in the open scene, always paying her tribute for her deserved honors. (La Giovine Calabria of Catanzaro.)
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