Books › Musical Courier 1927-04-28: Vol 94 Iss 17, 1927 › scan 33
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Musical Courier 1927-04-28: Vol 94 Iss 17, 1927
48 lines. Read by computer on 27 September 2026, twice; the two readings disagreed in places. Printed page 34. See the scan on archive.org.
1NEW YORK CONCERTS
2(Continued from page 17)
3Whiting, sung exquisitely by Martha Atwood; violin pieces by Burliegh, Gussen, Macmillen and Guion, finely executed by Francis Macmillen; and Schelling's Fantastic Suite, with the composer playing the piano solo.
4This is an honorable list of American works—if Loeffler is American—and the performance of them certainly should serve to prove to doubters that programs can be made up with American artists and an American orchestra which need fear no comparison with the best of the imports. Just why an American program should be made up of works already well known by composers already well known and performed by artists already well known, does not appear. If new works by new composers were given a chance and new artists along with them, it might be more to the point. However, it was a splendid concert and greatly enjoyed by a fair sized audience.
6Jeanne Sorocca
7Jeanne Sorocca, soprano, gave a well chosen program of Russian, German, and Jewish songs at Town Hall on April 22 that brought sincere plaudits from a large audience. Miss Sorocca is an engaging young person, of no mean ability as an interpretative artist. Her voice is a well modulated, spontaneous outpouring that she employs to considerable effect. It was a scintillating performance from the tender strains of Rimsky-Korsakoff's Romance which opened her program, to Golub's At the River, which marked the end. Her interpretations of the aria from Tchaikovsky's Pique Dame, Schumann's Widmung and Low's Elegie were particularly fine. Her outstanding talent for vivid portrayal should make her a popular concert figure. Her accompanist was Michael Feveisky, unobtrusive, meticulous, and always in beautiful accord with the singer.
8Collaborating with Miss Sorocca on the program was Mischa Goodman, violinist, who played Vivaldi's concerto in A minor, and a group comprising compositions by Chopin-Kreisler, Boris Levenson, and Tirindelli, in addition to the obligato to the Low number in the final vocal group. Mr. Goodman is generously endowed with many violinistic virtues. His technic is beyond criticism, his tone warm and well rounded, and his interpretation highly poetic. At the piano during his groups was Harry Anik, who offered excellent support throughout.
10Charles M. Courboin
11Charles M. Courboin, well known organist, gave his only New York recital of the season at Wanamaker's auditorium, on April 22. The reputation of this artist is such as to bring him a full house wherever and whenever he performs, and this occasion was no exception. Furthermore it was an audience which warmly attested its enjoyment of his interesting program. Mr. Courboin well deserves the artistic following which is now his, for he is an organist of high order, as his concert proved. His program was well chosen and balanced, offering selections by Bach, Saint-Saens, De Boeck, Franck, Taylor, Schumann, Russell and Widow. one of two readings
12Charles M. Courboin, well known organist, gave his only New York recital of the season at Wanamaker's auditorium, on April 22. The reputation of this artist is such as to bring him a full house wherever and whenever he performs, and this occasion was no exception. Furthermore it was an audience which warmly attested its enjoyment of his interesting program. Mr. Courboin well deserves the artistic following which is now his, for he is an organist of high order, as his concert proved. His program was well chosen and balanced, offering selections by Bach, Saint-Saens, De Boeck, Franck, Taylor, Schumann, Russell and Widor. one of two readings
13The outstanding characteristic of Mr. Courboin's playing is the refinement and ease of his style. Whether he attempts the lofty grandiose effects of the Franck and Widow numbers, or the exquisite nuances of the Taylor, Schumann and Russell works, the organist is a master of an instrument which to the layman seems a feat in its mastery. To this reviewer the three last named numbers were the choice of the program, for there was sheer delight in the enjoyment of the Deems Taylor music, which carries with it the irresponsible whimsicality and humor of that ever youthful Lewis Carroll. In his Dedication from the Looking Glass Suite, which Mr. Courboin has arranged for organ, there also hovers the tenderness of a labor of love. Mr. Courboin is able to infuse his playing with minute details of the ideas he wishes to convey, which makes for an art which is ensonced in a frame of lyric beauty as well as a highly dramatic but repressed tension. The Song of the Basket Weaver was as finely wrought as some delicate lace with its undercurrent of weaving and the melancholy song of the old woman while at work. The climax of the popular Widow Toccata from the Fifth symphony was a fitting close of an artistic afternoon. The interesting descriptions were supplied by Dr. Alexander Russell. one of two readings
14The outstanding characteristic of Mr. Courboin's playing is the refinement and ease of his style. Whether he attempts the lofty grandiose effects of the Franck and Widor numbers, or the exquisite nuances of the Taylor, Schumann and Russell works, the organist is a master of an instrument which to the layman seems a feat in its mastery. To this reviewer the three last named numbers were the choice of the program, for there was sheer delight in the enjoyment of the Deems Taylor music, which carries with it the irresponsible whimsicality and humor of that ever youthful Lewis Carroll. In his Dedication from the Looking Glass Suite, which Mr. Courboin has arranged for organ, there also hovers the tenderness of a labor of love. Mr. Courboin is able to infuse his playing with minute details of the ideas he wishes to convey, which makes for an art which is ensonced in a frame of lyric beauty as well as a highly dramatic but repressed tension. The Song of the Basket Weaver was as finely wrought as some delicate lace with its undercurrent of weaving and the melancholy song of the old woman while at work. The climax of the popular Widor Toccata from the Fifth symphony was a fitting close of an artistic afternoon. The interesting descriptions were supplied by Dr. Alexander Russell. one of two readings
16Beethoven Maennerchor
17The Beethoven Maennerchor, for seventy-seven years expounding the great musician's tradition and exploring his work, gave a concert in commemoration of him at Aeolian Hall on the evening of April 23. Paul Engelskirchen directed the chorus and Editha Fleischer and Max Bloch were soloists.
18There was a touch of reverence and a hearty sincerity in the performance, and the choir sang with even tone, clear color, and with spirit. Change of mood, deft modulation necessary in Calm at Sea and Prosperous Voyage, and the intricate tonal combinations of it were effectively adhered to, and proved the skill of the choir.
19Editha Fleischer, sang with well calculated abandon, and invested her work with characteristic feeling and imagination. Max Bloch, too, sang the not too facile songs of Beethoven with certain charm and with understanding.
20Songs came not so easily from Beethoven's "heart's great sadness," and such a program as this, made up of his chorals, orchestral work, and songs, tells easily enough that the mathematical precision and masterly interweaving of tone came from the master's head, prompted by his heart. But surely he was the builder: a builder whose mind made him a king among men; whose building has remained unshaken even in the past one hundred years, which have seen the unshaking of an entire continent.
22Dusolina Giannini
23The Italy America Society presented Dusolina Giannini in a concert of all-Italian compositions for the benefit of the Eleonora Duse Memorial. The program was given in Carnegie Hall on April 24 drawing the usual crowd of the soprano's admirers. Miss Giannini, who is one of the finest artists before the public today, was in excellent voice. It is a voice which, in its original timbre and quality plus the superb bel canto mastery of the artist, delights to the ear. Too, Miss Giannini has a classic way of delivery; there is much dignity, poise and reserve in her work and an unusual symmetry in her vocal line, her interpretations, her graceful gestures, her taste in dress and coiffure, and the fine lines of her profile.
24The remarkable ability of the soprano lies in her power to be able to give a dramatic interpretation with gorgeousness of voice to the arias Ritorna Vincitor and Vissi d'arte, and then to diminish with clarity and sonority to an exquisite rendition of Mozart's Non so piu. This is art which has no limits as far as technic is concerned, and Miss Giannini's wisdom in her restraint affords one the constant feeling that she has never exhausted the ability of her temperament. The intensity of this temperament is all the greater because of the control it is under—so much so, in fact, that after the singer had finished the Tosca aria, it took her a few seconds to regain her composure. This perhaps was not noticeable to those not sitting near, for there was no great outward demonstration of the fact. However, it would be difficult to say, which of the four groups of her songs were done the best, as one never has the impression that the artist begins or finishes. She gives a complete artistic offering from start to finish. One also wonders if there is any limit to her breath mastery, her phrasing, and her range. Her offerings by Handel, Mozart, Donaudy, Verdi, Giannini, Guarnieri, Respighi, Mascagni, Benvenuti, Pieraccini, and Puccini were a truly fitting tribute to the great art of Duse. Frank La Forge supplied the artistic accompaniments.
26Jacob Gegna
27At Aeolian Hall, on April 24, Jacob Gegna, Russian violinist, gave a successful recital. A well selected program was presented, which included the Sonata No. 1, in F, by Grieg, concerto No. 1 in D major by Paganini, and two groups of other well-known composers. His playing revealed a big tone, of brilliant and fine quality, combined with much technical facility. The entire concert was indeed an exhibition of genuine talent. Vera Giles at the piano proved to be an excellent accompanist.
29Edna Thomas
30Two years is a long time for an artist of Edna Thomas' standing to be away from New York, even though she has been touring the world and achieving new successes. On Sunday evening last at the Lyric Theater, Miss Thomas made her re-appearance in a recital of favorite Negro Spirituals of the States and in Plantation and Creole Songs. Imagine a black velvet drop, a piano concealed with old paisley shawls, a charming figure in pale pink crinoline, with hair dressed in the style of that period, and you have some idea of how closely the singer resembled an old daguerrotype. From her entrance to her final exit, the audience fell quite under the charm of her spell. Before singing each song, Miss Thomas explained it in a delightful manner, her accent having its wonted appeal. Now and then her sense of humor penetrated a remark, much to the amusement of her listeners.
31The sort of entertainment that Edna Thomas gives is unique, but it might have a tendency to become monotonous were not this singer so gifted and versatile. She has a voice of agreeable quality, warm and mellow, and uses it with taste. She is highly intelligent and this is marked in her interpretations. One would add that in her absence, Miss Thomas has grown considerably in her art. She is an artist well worth hearing.
32The program opened with Spirituals of the States, including, one from Kentucky, Standin' in de Need of Prayer; a second from Alabama, Rock-a-mah soul in de Bosum of Abraham; a third from South Carolina, O doan yer go down Dat Lonesome Road, and, from Georgia, Steal Away, while Run, Mary, Run, a lovely and less frequently heard spiritual, represented Texas.
33The spirituals followed, a beautiful version of Swing Low Sweet Chariot opening the group, with I Got Shoes, always popular (repeated), Sometimes Ah Feel Lak Uh Mudderless Child, by way of contrast of the one preceding, and Hurry Angel, particularly lovely, with Go Down Death, being so exquisitely done that she was recalled and gave, for an encore, Go Down Moses.
34The Street Cries and Secular Songs of the Southland comprising the third part of the program proved unusually interesting. Among the street cries, the little melodies of the Oyster Man, the Chimney Sweeper, the Watermelon Man, as well as several others, were delightful. Who'll Steal Your Chickens When I'm Gone, was a gem, Lonesome Road, particularly full of melody, and My Regular Dram proved very amusing. An encore followed this group too.
35Creole Negro Songs, given in the peculiar French patois, were fascinatingly done and for her final encore Miss Thomas sang Way Down Upon the Swanee River, making a plea for the flood sufferers of the Delta Belt.
36William Reddick, who has arranged many Spirituals himself, provided the singer with excellent accompaniments at the piano, adding to the pleasure of the recital. It is hoped that Edna Thomas will remain with us for a while.
38Marguerite Potter Gives Recital
39Marguerite Potter, well known as singer, teacher, lecture recitalist, and founder and president of the New York Madrigal Club, gave a recital in Chickering Hall on April 18 assisted by Phyllis Eileen Barry, cellist. The proceeds from the recital will go to benefit the Part Scholarship Fund of the New York Madrigal Club, an organization whose main object is the furtherance of the careers of young musical artists. At this recital Miss Barry, as assisting artist, was given the opportunity of a New York appearance. It is not the object of the club to present amateurs, but artists of the calibre of Miss Barry (who has studied here and abroad, has appeared extensively through New England and the West Coast and has given a recital in Chicago) who are unknown in New York. This young cellist was heard in three old classics by Vivaldi, and in numbers by Godard, Bach, Goossens, Glazounoff and Hahn, and made an excellent impression, drawing a beautiful rich tone from her instrument. She also played the cello obligatos to several of the vocal selections.
40Miss Potter's explanatory remarks preceding her groups of Spanish, German and French songs were heard with interest by the audience. Her final group was sung in English and included three songs by American composers, one by Weaver and two by Walter Kramer. Miss Potter has a voice of beautiful quality, sings with style, possesses fine interpretative ability and an attractive stage presence. Esther Dickie played sympathetic accompaniments for Miss Potter and fluency marked those of Nils Nelson for Miss Barry.
42Anna Duncan Dances
43The Guild Theater, April 24, was crowded to the doors for the dance recital of Anna Duncan. Many persons distinguished in musical and theatrical circles were among those present and the young artist aroused their full approval with her varied offerings. One of the best things she did was Dance of Salome.
44Richard Wilems, pianist, and Anthony Stefan, violinist, both contributed solos in addition to furnishing the accompaniments for the dancer.
46Irma Dubova Makes Debut
47At Aeolian Hall on April 19, Irma Dubova, a Russian soprano, made her debut in a recital of German lieder, English songs, and Russian numbers sung in her native tongue. Up to this time, Mme. Dubova had not appeared on the concert stage. However, the music critics predict for her a successful career.
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