Books › Musical Courier 1927-11-10: Vol 95 Iss 19, 1927 › scan 23
Scan 23
Musical Courier 1927-11-10: Vol 95 Iss 19, 1927
60 lines. Read by computer on 29 September 2026. Printed page 24. See the scan on archive.org.
1NEW YORK CONCERTS
2(Continued from page 20)
3a little more mellow, although it has developed to a great extent since her former appearances. Her interpretation of Liszt's Die Lorelei had a decided dramatic tendency most unusual in singers of her type.
5Mr. Graveure is an artist par excellence. His work is always imbued with a sense of refinement and keen feeling. It is highly emotional and intelligent singing, no matter if the voice is not always the most resonant baritone. There was particular charm in the old English numbers he gave; Three Fishers Went Sailing, The Bird's Courting Song, Myrra and Flow Thou Regal Purple Stream.
7Mr. Weisbord has been most cordially received by New Yorkers. He is a violinist with fire and depth of emotion and possesses that delight to all musical ears—a singing tone quality. Despite his youth and his great success Mr. Weisbord presents a picture of modesty coupled with a dignity and poise that are a distinct feature of his playing. Of his four numbers, the Bach Siciliano and Ernst's Hungarian Melodies were excellent vehicles to show his varied artistic qualities.
9Corinne Mar
10A noteworthy American debut was made at Carnegie Hall on November 4 by Corinne Mar, soprano, reports of whose European successes preceded her appearance in this country. A beautifully modulated voice of crystalline purity, effortless ease of delivery and a well calculated sense of color and climax. These were the chief outstanding qualities employed in her first American recital. Her interpretation was along pure classic lines, clear, sympathetic and lucid.
12Her program was unusual, showing broad musical understanding. There were the usual concert favorites, songs of Pergolesi, Scarlatti, Mozart, Haydn, Arne, and some less familiar offerings of Emile Vuillermoz, Hue and Grovez. The outstanding favorites were five little melodies of Ravel, written in the classic Greek mode, and grouped under the general title, Cinq Melodies Populaires Greques. These delightful inspirations were: Chanson de la Mariee, a wedding song reminiscent of the Provençal love chansons, at once wistful and gay; La Bus Ver L'Eglise, a peasant song of devotion; Quel Galant M'Est Comparable, a song that might have been made for a d'Artagnan; Chanson Des Cueillennes des Lentisques, a haunting wisp of melody; a song of the Lentisk Gatherers, and Tout Gai. The last two were so well received that Mme. Mar gave an encore.
14In the formal cadences that are typical of this school the talented soprano displayed a high degree of artistry as well as excellent vocal effects. The perfect poise and a lovely golden tone of Mme. Mar set a true valuation on these musical cameos as well as on the soloist herself. If her first hearing is to set a criterion upon Mme. Mar's future on American concert stages, this fine soprano's American triumphs should fully equal those she has already won abroad.
16Frank Bibb, at the piano, displayed his usual fine artistry. His faultless technic and unobtrusive support provided just the proper foil to round out an altogether satisfactory recital.
18November 5
19Charles Anthony and William Heyl
20Charles Anthony and William Heyl gave a recital for two pianos at Town Hall on November 5, each also playing solo numbers. Mr. Anthony appears to have a large number of friends, for the good sized audience gave him a hearty reception, followed by four recalls after the Haydn theme and variations; his later playing of Debussy excerpts had character, for he has an easy technic, with much expression. Mr. Heyl's playing of Scriabin's seventh sonata was loudly applauded; it is a novelty containing tuneless cacophony. As an encore he played an extremely short number. The two pianists were at their best in Rachmaninoff's beautiful suite, the introduction receiving great applause, its distinct military swing; and the beauty of the waltz which followed creating special interest; Mr. Heyl was at the first piano in this work, and Mr. Anthony at the first piano in a somewhat tiresome set of variations, with a fugue, by Reger; "too long, too complex" thought the listeners, for they became restless. The recital was a distinct success, being well managed and largely attended.
22Anna Meitschik, Marta Muehlhausen and Arnold Gabor
23A program that was interesting, enjoyable, and a bit unusual in content was given in Town Hall on November 5 by Anna Meitschik, a contralto formerly with the Metropolitan Opera Company; Martha Muehlhausen, a soprano of the Berlin Opera, and Arnold Gabor, a baritone of the Metropolitan Opera. The program comprised German lieder, sung in German by these singers schooled in the traditions of that country. Schubert and Brahms were the programmed composers, interpreted in such a manner as to win much enthusiastic response from an appreciative audience. Isaiah Seligman was the able accompanist of the occasion. This concert was presented by the New York Music Bureau.
25November 6
26Albert Spalding
27After renewed triumphs abroad this past summer, and with orchestra appearances here in America early this season, Albert Spalding, as soloist on November 6, once more delighted a Carnegie Hall audience with a program which listed a Suite on Pergolesi themes by Stravinsky and a new work by Ernst Von Dohnanyi, Ruralk Ungarica; also the Schubert Phantasy for violin and piano in C major, and selections by Corelli, Martini, Debussy, Kramer, Burleigh and Sarasate. The violinist was in excellent form. In his playing were a vitality and enthusiasm which were catching; his tone was of a deep, rich quality throughout the entire program, and there was a warmth of emotion which seems to have ripened and mellowed even since the artist was last heard. The fire of his interpretations which seemed to predominate the entire concert was especially noticeable in the two movement, Andante Rubato and Molto Vivace, of the Dohnanyi number, and in these as well as in the Schubert number the quality of the lower strings was sensuous. The two Debussy numbers and the Serenade of the Stravinsky arrangement afforded the necessary contrast to a program which almost bordered on similarity. The last named was of special interest as the question naturally arises as to why a composer attempts such a thing when the modernist is so far removed from the ancients. After hearing it, one had the distinct impression that it was the melody of Pergolesi that lingered and not the clever attempts of Stravinsky. Mr. Spalding proved a technician par excellence in this work and was most ably assisted throughout the concert by Andre Benoist.
29Friends of Music
30Gluck's Orpheus was the second offering of the Society of the Friends of Music, at Town Hall, on November 6, with Margaret Matzenauer, contralto, and Editha Fleischer and Dreda Aver, sopranos, as principals. Artur Bodanzky, the Metropolitan Opera Orchestra, and the chorus of the Society of the Friends of Music formed the indispensable adjunct. The performance throughout was one of those soul-satisfying ones, so often desired and so seldom attained. Orfeo ed Euridice has been assumed as somewhat too formal for popular taste, but a re-hearing of Gluck's early operatic masterpiece showed this to be a myth bred of lack of performance and genuine musical appreciation. The sheer beauty of melodic line and the occasional flight into the high realm of poetic fancy of this precursor to the modern opera, more than compensate for the occasional lapse into the formal and commonplace. An excellent balance was struck. The soloists were thoroughly fine. Mme. Matzenauer, essaying the Orpheus role, gave a clearcut performance. Her full, opulent voice carried the tragic conception of his love and tragedy to a passionate climax. The che faro senza Euridice, the ever popular program number, made a tremendous impression, the applause of the audience continuing for several minutes. Mmes. Aver and Fleischer were both in excellent voice, able in interpretation, and fully measured up to the high standard set by this performance. The chorus, as always, was well trained, beautifully balanced and responsive as a finely tuned instrument to the direction of the conductor. The choruses were fine, swinging interpretations. Bodanzky, meticulous workman, by sheer nervous energy welded the whole to a fine consistency.
32Max Kaplick
33One of the real treats of the season thus far was the recital by Max Kaplick, baritone, on November 6, at the Guild Theater, the program being heard by a capacity audience. Mr. Kaplick was assisted by Margaret Lichty, harpist, and Walter Golde, accompanist. The program opened with an aria by Donizetti, and continued with groups in several languages by well-known composers. His offerings were finely selected and gave the vocalist an opportunity to display his musical endowments and attainments. Mr. Kaplick possesses a rich, baritone voice of splendid quality, and uses it with so much skill and intelligence that he is able to sing extremely difficult numbers with much ease and grace. Miss Lichty played her several accompaniments for the singer with fine musicianship, proving herself a capable assistant. Mr. Golde also furnished excellent support in his
35BEATRICE HARRISON
36ENGLISH CELLIST
38New York Recital
39October 16
40"Beatrice Harrison, the English cellist, returned to the New York concert stage at the Guild Theater last night and played as only a very few cellists can play. . . . Her recital was a revelation of what a cello can express when technical power is combined with understanding and depth of feeling. Through a long and exacting program her technical mastery seemed absolute. Her intonation, from the first number to the last, was impeccable. And she gave such expressiveness to her playing that her instrument of wood and strings became alive and eloquent."—New York Times, October 17.
42"Miss Harrison, accompanied by her sister, Miss Margaret Harrison, showed excellent technique and her bow was a caress across the mellow strings of the old cello she uses."—New York World, October 17.
44"The noted English cellist . . . . impressed last night as a thorough master of her instrument."—New York Herald-Tribune, October 17.
46"Miss Harrison has created a field peculiarly her own, her work having been the inspiration for several famous compositions. Three such compositions appeared on last night's program. A sonata for cello and piano, by Delius; a Hungarian sonata for cello alone, by Kodaly, and a group of old Irish tunes by Herbert Hughes. The closing group contained numbers by Nardini and Senecle. Miss Harrison's command of her chosen instrument is a joy to hear and especially in the Hungarian sonata, which is incidentally played with the two lower strings tuned down a half-tone, where the composer has given her opportunity for execution of the more intricate details of her finished technic.—New York Evening Sun, October 17.
48Boston Recital
49October 10
50"Beatrice Harrison has found the way to make a concert of cello pieces both an interesting and a musical occasion. . . . In these days full-ripened, she plays the violoncello with unfaltering and impeccable skill. To skill she joins sympathy for the instrument and susceptibility to it—a loving kindness that will never force it to excesses or humiliate it with tricks. Her tone is the voice of its grave sweetness, its dignity and depth, the stately graces, the cool brightness, the darkling mystery, the sudden fires when Hungary calls. Her sensibility to music as music lends her playing poise, intuition, felicity."—H. T. P., Boston Evening Transcript, October 10.
52Soloist
53Philadelphia Orchestra Oct. 28-29
54"After the intermission came the soloist, Beatrice Harrison, British violoncellist. . . . Her command of the instrument is excellent, her tone of great beauty . . . and her artistry are unquestionably great. . . . The concerto makes great technical and artistic demands upon the soloist; all of which were met with apparent ease by Miss Harrison."—Samuel L. Laciar, Philadelphia Public Ledger, October 29.
56"Miss Harrison is a masterly artist and she was cordially received after a performance displaying her assured technique and command of the exquisite tones of her chosen instrument."—H. T. Craven, Philadelphia Record, October 29.
58Returning to United States 1928-1929
59113 West 57th Street, New York
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