Books › Musical Courier 1927-10-27: Vol 95 Iss 17, 1927 › scan 31
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Musical Courier 1927-10-27: Vol 95 Iss 17, 1927
102 lines. Read by computer on 27 September 2026, twice; the two readings disagreed in places. Printed page 32. See the scan on archive.org.
1NEW YORK CONCERTS
2(Continued from page 25)
3spect he has won in the metropolis. He is an interpreter of sincerity, understanding, and artistic authority. Arbitrary liberties and personal affectations play no part in his conceptions or performances. He lets the composer utter his message according to the printed page, but he interprets that message in terms of musical drama, formal dignity, and tonal beauty.
5The Beethoven symphony was a finely wrought orchestral presentation in the hands of Busch, and the Brahms work related its great story tunefully, tastefully, tellingly, and thrillingly.
7It is an elevating musical experience to meet a conductor these days who renounces sensationalism altogether, and puts aside artfulness, and gives himself wholly to art.
9OCTOBER 22
10Bruce Benjamin
11Bruce Benjamin, an American tenor who has scored genuine success abroad, returned to America and gave a recital at Town Hall on October 22. Mr. Benjamin has a large and jovial personality, a beautifully modulated voice, and an engaging stage personality. He undertook a lengthy program, arranged in conventional groups, with an especial leaning towards the lieder, and including early French chansons, and an English group. He made a selection within these limits which bespoke excellent taste and musicianship.
13He opened with a number from Haydn's The Seasons, The Traveler Stands Perplexed, and followed with a group of songs by Hugo Wolf and Richard Strauss. The French group included Debussy, De Breville, Faure and Paladilhe, whose Lamento Provencal is heard all too seldom on American stages. Another group included Felix Weingartner's musical setting of Heinrich Heine's Die Wallfahrt nach Kevlaar. In these groups Mr. Benjamin's diction was faultless; his French and German were smooth and fluent, leaving no room for criticism. His English numbers included songs by Roger Quilter and three songs by Charles T. Griffes.
15Mr. Benjamin's vocal methods made for the ideal, intimate recital. His voice for the most part was carefully restrained, but well rounded and melodious. However, its power was well demonstrated in the few dramatic passages of the Weingartner and Haydn recitatives.
17Philharmonic Students' Concert
18A packed evening house greeted the Philharmonic Orchestra and Willem Mengelberg for the second concert in the Students' series.
20Schelling's A Victory Ball, brilliantly performed, opened the program, and again proved its gripping "story" interest, and fine musical workmanship.
22Bloch's C sharp minor symphony, given by the orchestra at the previous Thursday and Friday concerts, repeated its success.
24The soloist of the evening was E. Robert Schmitz, the French pianist, who played a Bach concerto in F minor, and De Falla's Nights in the Gardens of Spain.
26Schmitz is an established favorite here, and at each new appearance in this city, he adds to his already large host of admirers. He has command over an admirably polished technic, and an unusually extensive equipment of nuances in interpretation. His knowledge of musical forms and styles yields to that of no other piano exponent.
28His listeners rewarded Schmitz with exuberant applause.
30OCTOBER 23
31Florentine Polyphonic Choir
32The Florentine choristers, under their able conductor, Sandro Benelli, gave another recital at Carnegie Hall on October 23 that confirmed the earlier impression of a highly trained and unusually musical body. Resplendent in their costumes of a bygone and almost forgotten age, they constituted a distinct innovation for staid old Carnegie Hall.
34Their program, as usual, consisted of sacred and Italian music, with a few popular Italian folk melodies interspersed. The varied nature of the songs gave an excellent opportunity for impartial judgment, which in the ultimate analysis was entirely favorable. The slow solemn measures of Palestrina's O Bone Jesu, and Pietro Platania's Ave Maria were traced in colorful chromatic figures. Maestro Benelli in his arrangement of these and other songs of the group remained true to tradition, giving prominence to the heavier voices, the bassos and baritones, with the tenors, contraltos and sopranos lifting a tenuous stream of melody above the heavy insistence of the chant.
36Several compositions of the conductor's were given, Salute, Canzone di Maggio, and Canzone del Tamburro, the last of which was encored in response to the insistent plaudits of the audience. There was in this a curiously interesting glissando effect using the full range of each choral group, a lively and well concerted selection.
38Several solos were given by various members of the choir—Signoras Augusta, and Roma, sopranos, and Signori Badi and Piliego, tenors. One of the solos was the undying O Sole Mio. It was well done but its conclusion left aching memories.
40Galli-Curci
41It was an expectant crowd that thronged into Carnegie Hall on Sunday night, October 23, and a crowd confident of having its expectations fulfilled. The occasion was the only New York concert to be given by Galli-Curci during the season of 1927-28. The thunderous applause that greeted the conclusion of each song, calling forth encore after encore, and insisting upon numerous reappearances before reluctant departures were made as the hall lights were extinguished, was tribute enough to testify to the esteem in which this singer is held by the New York public.
43Clad in a bouffant gown of green and silver, wearing the familiar stately headdress, accentuated with an immense emerald comb, she made a piquant, one might say doll-like, figure as she stood before the footlights, smiling her greetings to her immense audience. Needless to say, every available seat in the auditorium was taken, and the stage was filled as well. Galli-Curci did not forget her stage audience, either. More than one encore was sung to them. Irresistible charms of the soprano are her ever-present vivaciousness and wholeheartedness, qualities that permeate the entire atmosphere of her concerts.
45The program opened in conventional style with works by Purcell and Arne-Crist, followed by Ah, lo, so, from Mozart's Flauto Magico. But perhaps two of her best loved songs were The Nightingale by Alabieff, sung with flute obligato, and later, Lo, Here the Gentle Lark, by Bishop, also sung with flute, the flutist being Manuel Berenguer.
47The last number on the program, Theme and variations by Mozart-Adam, was an ensemble of voice, flute and piano as well. In addition to other programmed songs by Billi, Leoncavallo, Schubert, Watts, Wohlfarth-Grille and Loth, and numerous encores, Mme. Galli-Curci sang the time-honored American traditional songs, Sweet and Low, Love's Old Sweet Song, and Home Sweet Home.
49The accompaniments by Homer Samuels were, as always, of the best. His group of piano solos by Debussy, Brahms and Reinaldi were met with enthusiastic response on the part of the audience.
51Geza and Norah Drewett de Kresz
52Ensemble playing of a high order attracted a fair sized audience to the Guild Theater on October 23. Geza de Kresz, first violin of the Hart House Quartet of Toronto, and Mrs. Norah Drewett de Kresz, pianist, gave proof of a musical accord which doubtless is equalled by their matrimonial accord, making them a very happy couple indeed.
54Throughout their performance of Sonatas by Mozart, Busoni and Franck there was a thorough understanding of the composers and of each other, which, resting on a groundwork of solid technical equipment, produced sonata playing as it should be. The variations in the Mozart Sonata (G major, Koechel 379) were delightful, in their crystalline clearness, grace and vivacity. Busoni's sterling and soul-stirring work, founded on a majestic choral by Bach received an exposition that the composer would have loved to hear.
56The irresistible canonic finale of the Cesar Franck Sonata sent home an audience conscious of having fed on musical lethe, the potion of forgetfulness of things mundane and commonplace.
58The English Singers
59Sabbath concertgoers who elected to attend the afternoon concert of The English Singers, at Town Hall, experienced an unequivocal musical treat.
61These six vocalists established themselves last season in America, as practically supreme in the concerted singing of old English music. Their flawless intonation, tonal balance, exquisite phrasing and diction, and keen musical instinct, constitute a benison for those who are sensitive to such rare and refined delights.
63The sextet seats itself about a table, as last year, and performs without a conductor to beat time, or a tuning fork or piano chord, to give them the pitch.
65The program presented music by Byrd, Wilbye, Gibbons, Bateson, Weekes, Edwards, and also included folksong arrangements by Percy Grainger and Vaughan Williams, as well as The Cryes of London (arranged by Gordon Jacob) and Spanish Street Cry, and Cucu, by Juan del Elzina, and The Mendicant Friar, by Juan Navarro.
67If the audience could have had its way last Sunday, practically every number on the program would have been repeated. The concert was a glowing, rousing triumph.
69The Fokines
70Fokine wants to establish an institution here for the American ballet. He already has made some progress towards that end, but he wants to have an organization to do the detail work that he is called upon to attend to himself at the present time. After seeing Fokine and Fokina and their American ballet at the Century Theater on Sunday night last we were only one of many who declared that this master dancer should have every encouragement in his undertaking. The large audience was an indication of his following in this city and their applause a second indication of warm approval of his work. Ballets come and go, but only one or two are comprised of American girls and boys. These young Fokine pupils did exquisite work—work that was spontaneous. There was a freedom of movement always and a joyousness of youth and grace that filled the audience with wonder.
72The opening ballet, Elves, created by Fokine to music by Mendelssohn, won the audience from the first. This was followed by Phenix, another Fokine conception, to music by Rimsky-Korsakoff, danced by Fokina, the essence of grace and an artist to her finger tips . . . which, in this case, is not just a stock phrase.
74The big feature of the evening was the ballet-drama, Cleopatra, the entire work of Fokine, which he and his wife did for the first time here. Such a gorgeous spectacle, at its height, we have rarely seen. There was an orgy of flaming color, a grandeur of effect, a general exultation that will long be a memory. In the lobby we encountered an artist who has seen ballets in London, Paris, Vienna and other centers, and he, too, commented enthusiastically and declared he had never seen anything anywhere as stupendous and as realistic (the pantomime almost spoke) as Cleopatra. Fokine and Miss Landstreet essayed the parts of Amoun and Cleopatra and Fokina was most impressive as the forsaken priestess.
76The second half of the program was devoted to short numbers, including Le Reve de la Marquise, participated in by Fokine and Fokina, with cunning little Louise Winter as the page. Voices of Spring to Strauss' famous composition was lovely, and Paul Haakon and Tania Koshkina in Carnival won quite an ovation for their delightful dance as Halequin and Columbine. A more fitting climax to the evening could not have been chosen than the Mazurka, to Delibes music, done by both these celebrated artists, who were tendered an ovation. This report may sound overenthusiastic, but it is fully justified in the case of Fokine—the master mind of the entire production.
78Beniamino Gigli
79The Century Theater hardly could accommodate the Sunday throngs who flocked to hear the matinee recital of Beniamino Gigli, one of the most popular of all the operatic tenors who have appeared in New York at any time.
81Gigli was in his best voice, and gave forth a full and limpid flow of beautiful tone, controlled and colored expertly, and made to express song moods as artistically as arias from the operas. Gigli's growing concert experience now has made him a vocal recitalist of appreciable skill and effect. In Pergolesi and Gluck numbers he revealed a decided musical understanding, as also in a group of modern compositions.
83The tenor's operatic contributions, from Andrea Chenier, Pique Dame, La Favorita, and Mignon, created a furore, of course, and he was applauded, cheered, recalled, and encored, in almost unending plenty.
85John Charles Thomas at the Capitol
86A large audience went to the Capitol Theater last Sunday morning to hear the third of the Sunday morning symphonic concerts, starting at eleven-thirty, at which John Charles Thomas was the soloist. The program opened with the introduction and wedding march of Rimsky-Korsakov from Le Coq d'Or played as one would expect of the Capitol Grand Orchestra, under the skilled guidance of David Mendoza.
88Then came Mr. Thomas, who was warmly applauded, in Eri Tu, from Verdi's Masked Ball, a familiar vehicle for baritones. Mr. Thomas also offered the prologue from Pagliacci.
90Wagner's prelude and Love Death from Tristan and Isolde was finely done by the orchestra, other selections being Three Dances by Smetana from The Bartered Bride and the prelude from Die Meistersingers. The program was highly enjoyable and the Capitol Theater is to be congratulated on this series, which will present Albert Spalding next Sunday morning.
92Sunday Concert at Roxy Theater
93The first Sunday morning concert at the Roxy Theater took place on October 23, and, judging from the large and appreciative audience, these matinees promise to become a fixture. Admission to the concerts carries with it the privilege of remaining for the regular performance which follows.
95The orchestra, 110 strong, under the guidance of Erno Rapee, was precise, sonorous and sympathetic in the second and third movements of Tchaikowsky's Pathetic Symphony. The Magic Fire Scene and Ride of the Valkyries from the Walkure, the Blue Danube Waltz and Liszt's Second Hungarian Rhapsody. The vigorous discipline and exacting service which are the portion of an orchestra engaged in the work done daily and nightly by the Roxy aggregation have resulted in unanimity of attack and an ensemble which are frequently not so noticeable in the work of accredited symphony orchestras. The tonal balance between strings and wind was admirably controlled by Mr. Rapee; each choir had its say, unmolested by the others; a rare and much to be desired feature. In the more serious numbers occasional "movie" touches were not particularly moving.
97Soloistic relief was furnished by Mme. Matzenauer, noted operatic contralto, and Maximilian Pilzer, former concertmaster of the Philharmonic and at present one of the conductors at the Roxy. Mme. Matzenauer, in the Ali Mon Fils aria from the Prophet, was in good but not superlative voice. The luscious lower tones and the rich middle voice of dark-hued timbre to which this admirable artist has accustomed us were not always in evidence. Emotionally and musically, however, she was the real Matzenauer. Mr. Pilzer played the solo part in Bruch's G minor concerto for violin, with his accustomed musicianship, voluminous tone and contagious dash. The beautiful andante was real heart balm, the intonation in the purely technical episodes, however, was not flawless. one of two readings
98Soloistic relief was furnished by Mme. Matzenauer, noted operatic contralto, and Maximilian Pilzer, former concertmaster of the Philharmonic and at present one of the conductors at the Roxy. Mme. Matzenauer, in the Ah Mon Fils aria from the Prophet, was in good but not superlative voice. The luscious lower tones and the rich middle voice of dark-hued timbre to which this admirable artist has accustomed us were not always in evidence. Emotionally and musically, however, she was the real Matzenauer. Mr. Pilzer played the solo part in Bruch's G minor concerto for violin, with his accustomed musicianship, voluminous tone and contagious dash. The beautiful andante was real heart balm, the intonation in the purely technical episodes, however, was not flawless. one of two readings
100Levitzki Ovations
101According to an Associated Press cable, Mischa Levitzki, pianist, "scored a triumph at his Berlin debut in Beethoven Hall on October 14." According to cable advices to the Daniel Mayer office, he repeated this triumph at his London debut with the London Symphony, under Sir Thomas Beecham on October 17. Mr. Levitzki's immediate schedule called for London recitals in Queen's Hall, October 20, November 2 and 9, and for a return recital in Berlin on October 28. After that he will begin a tour of Central and Northern Europe.
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