Scan 5
Musical Courier 1927-06-16: Vol 94 Iss 24, 1927
74 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 6. See the scan on archive.org.
1PARIS APPLAUDS OSKAR FRIED'S PERFORMANCE OF NINTH SYMPHONY
3Koussevitzky and Ganz Have Big Success—Ganna Walska, Lucille Chalfant and Judith Litante Heard—de Falla Gives Concert
5PARIS.—To discuss the value of Beethoven's Ninth Symphony at this late date would be a waste of time. Those who say that it is the composer's biggest work, and those who say that it is his greatest work, will continue to quarrel. In the meantime the old score survives. It was sufficient attraction to fill the Paris Grand Opera House with a most enthusiastic audience at the end of May, when Oskar Fried came from Berlin and conducted a French orchestra and chorus through the awkward mazes of the diversified work. There was prolonged applause at the end of each movement, which broke up the continuity of the performance, much to the dislike of certain purists who take their musical pleasures very seriously. Oskar Fried was called to the platform many times at the end. The vocal soloists were Nina Kochitz, Lina Falk, Messrs. Thill and Mozjoukine. The second part of the program consisted of Stravinsky's Sacre du Printemps.
7A few evenings previously the same Grand Opera House had been packed to overflowing by the lovers of Mozart's music. Rinaldo Hahn conducted an excellent performance of the G minor symphony and the Requiem Mass. Mlle. Tagliaferro played exquisitely the solo part of the piano concerto in D major, and the vocal soloists were Mme. Ritter-Ciampi, Mysz-Gmeiner, Messrs. Jouatte and Mulder. I stayed to the bitter end in spite of the inordinate length of the program which terminated at twenty minutes past midnight. The Rosé Quartet of Vienna, with the help of an assisting artist, played all the nine quintettes of Mozart at three concerts in the Erard Hall, said to be the first time the complete series was played in Paris. The conditions in the small hall were perfect for this chamber music work and the concerts were evidently very much to the liking of the hearers. Some of this early Mozart music is too childish to stand much repetition, however, which is probably why it is not repeated.
9During the same week the Straram concert provided music of another sort. Florent Schmitt's 47th Psalm and Debussy's Martyre de Saint Sébastien, in no possible way recall the Mozart festivals which have followed the Beethoven centenary concerts. But these composers have their followers. They filled the Gaveau Hall and gave the conductor and the soloists, Marie Bunlet and Ganna Walska, unstinted applause.
11BRILLIANT VIRTUOSO
13Leo Sirota gave a piano recital in the Pleyel Hall, and played nothing but Liszt, a feast of desserts and fizzy drinks without much meat. The performance, however, was brilliant and dashing. At his second recital in the same hall he added some Chopin, Schubert, and Johannes Strauss to his Liszt selections. He certainly made the most of the kind of music he played, which was almost entirely of the virtuoso nature.
15The Spanish composer and pianist, Manuel de Falla, gave a concert of his compositions in the Pleyel Hall in the middle of May, which was well attended. He played his Concerto for harpsichord and small orchestra, as well as a fantasia, Baetica, for piano. My only objection to this music is that it is not Spanish enough to be recognizable as Spanish, as the music of Albeniz and Granados is. It seems to be in that uniform and international style which the composers of very country mostly write today. A group of popular Spanish songs, either composed or arranged by de Falla, was sung by Magdeleine Greslé with moderate success.
17Lucille Chalfant, American colatura soprano, sang a number of songs of various schools, notwithstanding a very bad cold which injured several of her lower notes. No excuses need be made for her art, which captivated her hearers and made them insist on several extra numbers. The artist could hardly talk in the artists' room after the recital. How she sang at all is the wonder of all who heard her recital in the Salle des Agriculteurs, for her heavy cold was enough to daunt the most courageous singer. Nevertheless she sang the high F in the Magic Flute aria by Mozart with the greatest ease, and the Bell song from Lakmé was perfection itself.
19Judith Litante, who has been studying French diction and repertory during the past year, gave a vocal recital in the Comedia Hall last week with marked success. Her voice has warmth and great range, and her management of it is excellent. She was heartily applauded and obliged to add an unusual number of extra songs to the printed program, which, by the way, was too uniformly ultra modern and devoid of sentiment for my tastes. But I do not see how the singer could have been more successful.
21UNUSUAL PROGRAMS
23Yves Tinayre is a singer who chooses unusual programs. His last recital in the hall of the Majestic Hotel consisted of works by Binchois, du Fay, Paumann, Schultz, Hammerschmidt, Albert—almost unknown composers—as well as of better known works by Bach, Schumann, Schubert, and Purcell, of whom an aria was sung "for the first time," according to the program. Tinayre is a serious artist who is making a path for himself outside of the beaten track.
25Koussevitzky is giving his series of orchestral concerts in the Theatre des Champs Elysées this year instead of in the Opera. The theater is packed and the enthusiasm is generous. As usual, he gives his Paris audiences plenty of the latest new music—Milhaud, Prokofieff, Tansman, Tailleferre, Roussel. His friendly hearers appear to enjoy everything he plays, however. He is certainly a favorite in Paris.
27Albert Spalding filled Gaveau Hall again as on all former occasions, when he gave his recital there a week ago. His technical finish and distinction of manner give much pleasure to his many admirers. He is always sure of a warm welcome in Paris.
29The pianists are always with us. Edith Walton came over from London and played Beethoven's G major concerto with the Pasdeloup orchestra, and then gave a recital later in the Salle Gaveau. Her program of three sonatas was designed more for the critics and the serious musicians than for the general public. I found her Schumann G minor and her Beethoven Waldstein more true to accepted tradition than her Chopin in B minor. There is an emotional tragedy in the Chopin work which many pianists fail to make the most of. Let me hasten to add that Edith Walton is an artist. All her playing was excellent.
31Rudolph Ganz conducted an orchestral concert in the hall of the old Conservatoire to a very small audience—not through any fault of his own, however, for the concert was badly advertised, and Ganz is hardly known here as a conductor. His recitals in the Salle Erard, however, were well attended. He was rapturously applauded by his hearers for his Liszt interpretations, and was obliged to add to his already long program. Yves Nat was much disturbed by the state of his nerves when he began his recital in the Grand Opera House. He is a good pianist, undoubtedly, but surely a less roomy concert hall would suffice to hold the public which is anxious to hear him play. The rule today appears to be: When in Paris do as the Russians do. In other words, engage the Opera House for an ordinary concert. Yves Nat is not a Russian artist. He is a good pianist who always gives pleasure. But I have heard him under much more favorable conditions in a smaller hall.
33ORLOFF AND SALZEDO
35Orloff is a Russian pianist who gives his recitals, very many of them, in the Salle des Agriculteurs. He is well known here and highly esteemed, both for his solid musicianship and the great variety of his programs. He plays everything from Bach to Prokofieff, including the works of the two contrasted composers themselves. Two or three sonatas and a dozen or two of etudes give him no concern. Orloff omnia vincit.
37Carlos Salzedo plays the harp to the rapturous satisfaction of many Parisians who like to hear the harp. The Salle Gaveau was crowded to its utmost capacity when he gave a recital there a few days ago. Herbert Spencer says in a short essay that the free tone of the harp is finer than the oppressed tone of the violin string, which cannot escape the control of the bow. Still, I can hardly believe that the harp enthusiasts who flock to the Salzedo recitals have taken their cue from Herbert Spencer. They evidently find a joy in the art of the modern Ezekiel who can clothe with flesh and blood the dry bones of a harpstring tone. All honor to him.
39CLARENCE LUCAS.
41A POLISH MUSIC FESTIVAL IN PRAGUE
43No National Orchestral Music—Szymanowski the Foremost Composer
45PRAGUE.—The Polish music festival held at Prague from May 3 to 8, was a step forward in the political rapprochement between Poland and Czecho-Slovakia. Conceived as a form of peaceful propaganda, the program was planned on broad, representative lines. It included an evening of symphonic music, a chamber and vocal music evening, a historical evening, and a ballet and dance matinee.
47Looking back upon these performances, one cannot but be impressed by the amount of dependence on German and French art that is revealed in Polish music. Nearly all the musicians who took part in this festival are more or less closely identified with German development. For example Szymanowski, who is the leader of the modern school in Poland, was under the spell of Richard Strauss during the years that determined his artistic inclinations. Marek studied with Weigl in Vienna and Pfitzner in Germany; Rozycki was a pupil of Humperdinck in Berlin; Gregor Fitelberg was at one time conductor of the Vienna Court Opera, the violinist, Ilona Dubiska, attended the Academy in Berlin and Dr. Melanie Graficzinska, who merits special mention for her co-operation in organizing the festival, studied with Guido Adler, in Vienna.
49One can therefore understand why, with such god-parents, there are elements in the works of these artists that are not national but that must rank as links in the chain of universal music. Although the orchestral concert included nothing that could be recognized by the foreigner as purely Polish characteristics, the same cannot be said of the chamber music and songs.
51MUSICAL GARRULOUSNESS
53These types of music are in a direct line of descent from Chopin, the father of Polish music. Moreover, they are imbued with the spirit of the race and country. This has its disadvantages as well as advantages, however, for while the music expresses all the nation's fantasy, yearning, love and enthusiasm, it also reveals their loquacity. Hence this music that begins so beautifully, finally exhausts itself and, like exploded fireworks, leaves nothing behind, but an astonished "Oh!" Thus Rozycki's piano quintet and Jan Kaminski's violin sonata; they begin by fascinating the listener and end by tiring him.
55The most important of the Polish composers is Karol Szymanowski, director of the Warsaw Conservatory, and he was given pride of place at all the concerts. His third symphony, violin concerto—played with fascinating verve by Huberman—a string quartet and numerous songs, provided ample opportunity for a closer acquaintance with his work. His music is distinguishable from that of his compatriots by an extraordinary intensity of feeling and concentrated energy. There are moments in the symphony when his directness and power reach heights of elemental grandeur. The string quartet and songs, on the other hand, show him from a different side. They reveal a fantasy and sense of humor that are almost childlike in their naiveté. one of two readings
56The most important of the Polish composers is Karol Szymanowski, director of the Warsaw Conservatory, and he was given pride of place at all the concerts. His third symphony, violin concerto—played with fascinating verve by Huberman—a string quartet and numerous songs, provided ample opportunity for a closer acquaintance with his work. His music is distinguishable from that of his compatriots by an extraordinary intensity of feeling and concentrated energy. There are moments in the symphony when his directness and power reach heights of elemental grandeur. The string quartet and songs, on the other hand, show him from a different side. They reveal a fantasy and sense of humor that are almost childlike in their naivete. one of two readings
58As for the performance, the composer himself could not have wished for better interpreters. Huberman played the concerto which, by the way, was heard here before on the occasion of the International Festival. This time it caused a veritable sensation. The songs were rendered by the composer's sister, Madame Szymanowska-Korim, a wonderful singer with an extraordinarily broad range of emotional expression, his quartet by the deservedly famous Bohemian String Quartet, the piano quintet by the Lhotsky-Sevcik Quartet and Madame Kurz-Stepan, while Professor Stepan accompanied the songs.
60GERMAN-ITALIAN POLYPHONY
62A lecture was given by Dr. Melanie Graficzinska, in the State Conservatory, on polyphony in Poland during the sixteenth and seventeenth centuries, a theme that embodies the lecturer's special field of activity. Practical illustrations proved that Gomolka, Leopolita, Pekiel and the rest, composed only as they had learned, seen and heard in Italy and Germany.
64Rozycki's ballet, Pan Twardowski, which was given in the National Theater (it is shortly to be produced at the Vienna State Opera) and the dance matinee of the charming prima ballerina, Szmolcowna in the Weinberg Town Theater, offered liberal enjoyment to those interested in the terpsichorean art.
66DR. E. RYCHNOVSKY.
68Graduate Recitals at Braun School
70Although the actual commencement exercises of the Braun School of Music, Pottsville, Pa., are always held in the fall at the Hippodrome, it is the custom for each graduate to give his own recital prior to that. The last two weeks in June are given over to these events. Those appearing are as follows: Piano, Ruth Grow of Shenandoah, Pa.; James Burns, Mahanoy City, Pa.; Lillian Murphy, Phoenix Park, Pa.; Ruth Kehler, Gordon, Pa.; violin, Robert Macdonald, Boston, Mass.; Samuel Gogotz, St. Clair, Pa.; voice, Elizabeth Meikrantz and Tom Doyle, Pottsville; Pa.; dramatic department, Hannah Morris, St. Clair, Pa. In addition to a miscellaneous program, including a sonata, each pianist plays a movement from a standard concerto. All of these recitals are being held in the Auditorium of the Braun School of Music.
72MUSICIANS WHO WERE PROMINENT IN THE POLISH MUSIC FESTIVAL HELD IN PRAGUE.
73Seated, from left to right: Bronislaw Hubermann, Stanisława Szymanowska, Gregor Fitelberg, Ilona Dubiska, Ludomir Rozycki; (standing), Czesław Marek, Melanie Graficzinska, Karol Szymanowski.
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