Books › Musical Courier 1928-03-01: Vol 96 Iss 9, 1928 › scan 21
Scan 21
Musical Courier 1928-03-01: Vol 96 Iss 9, 1928
76 lines. Read by computer on 29 September 2026. Printed page 22. See the scan on archive.org.
1New York Concerts
2(Continued from page 12)
4FEBRUARY 22
5Emanu-El Choir
6The Emanu-El Choir made its yearly appearance at Town Hall on February 22 under the direction of Lazare Saminsky in a program of music ancient and modern and assisted by Ruth Rodgers, soprano, Henry Clancy, tenor, Carl Schlegel, baritone, and Gottfried Federlein, organist. There was also an instrumental ensemble. With this large force of vocalists and instrumentalists Saminsky gave interesting church music collected from various sources, some of it collected in the Near East by himself and arranged for this occasion. There was Russian, English, French, Italian music, several of Saminsky's own works, one of them arranged from a Spanish Hebrew melody and music by the Prince of Venosa, Mauduit, Purcell, Buxtehude, etc.
7The program was not only unique, and obviously the result of much erudition and research, but was interesting as well, and the performances were all that could be desired. The choir is excellent and put itself to its task seriously and with obvious joy. The balance of tone, dynamic control, sonority, precision of attack and release and ability to follow intelligently the directions of the conductor, were far above the average; and these characteristics set this choir forth as a body of singers forming a real addition to the art of choral singing. There was a large and enthusiastic audience.
9Institute of Musical Art
10At the McMillin Theatre, on February 22, the Institute of Musical Art of the Juilliard Foundation gave its Fifteenth Annual Public Concert. The program, performed by students of the Institute, was as follows: Oberon Overture, Grieg Piano Concerto, the Unfinished Symphony, Boellmann's Variations for Cello, Tchaikowsky's Sixth Symphony, third movement. The piano concerto was played by Jeanette Epstein and the cello variations by Carl Stern. Throughout the evening the performances were such as did great credit to the Institute, its teachers and students.
12Le Concert-Spectacle
13The idea of Le Concert-Spectacle took actual form when on February 22, in Carnegie Hall, six artists were presented. The big attraction was Titta Ruffo, who, in spite of a cold, sang most beautifully. Around him were gathered Mario Corti, eminent Italian violinist; Boris Rosenfield, pianist; Evelyn Hagara, contralto; Lucia Carlin, soprano, and Sandra Ratti, ballerina. The idea of these concerts is still in embryo, but it is a good one and can be very profitably worked out with time and experience.
14It was not only to his credit, vocally, that Mr. Ruffo should have sung for the affair, but also because he evidently believes in the venture. His opening number, the aria from Dinorah, was given with lusciousness of vocal flow and great dramatic sentiment. It is the natural possession of these qualities which have made Ruffo famous the world over.
15Mr. Corti, the violinist, is a distinguished and aristocratic personality and his playing very clearly portrays this fact. There is a suavity of delivery which is most admirable and a deep, sonorous quality to his playing. He played two groups, the first being edited by himself and including works by Rossi, Veracini and Tartini. The last two named literally filled the hall with the richness of the artist's tone.
16Miss Hagara and Miss Carlin each gave a solo and then joined in the delightful duet from Rossini's Semiramide. Mr. Rosenfield displayed his well developed technic in numbers by Liszt, de Falla, Debussy and Paderewski. The little dancer, Miss Ratti, gracefully tripped her way through two sketches. She is tiny and most ingratiating. The accompaniments of Vito Carnevali must be mentioned as a decided asset of artistic worth.
18FEBRUARY 23
19Marjorie Candee
20At Town Hall last Thursday evening Marjorie Candee, soprano, gave an artistic hour of song before an appreciative audience. Her program consisted of Italian Arias, a German group, a French group, and concluded with five English numbers. In her singing Miss Candee revealed a fine soprano voice full of warmth, and brilliant in color, which she used with much skill and intelligence at all times. Her enunciation was distinct and her interpretations artistic. In addition to her many valuable assets Miss Candee has a charming personality and stage presence, which won her a hearty reception by her enthusiastic listeners. The veteran Isadore Luckstone presided at the piano.
22New York Philharmonic
23Arturo Toscanini worked wonders with the dainty Midsummer Night's Dream overture at the Carnegie Hall concert of February 23, partially through the unusually rapid tempo, again through the prominence of "inner voices," one heard violas, bassoons and other instruments as seldom before; gnomes, fairies, sprites of all sorts flitted through the lovely tonal picture. Borodin's second symphony, now sixty years old, sounds invigoratingly spontaneous, though often expressed in strange language; particularly was the prestissimo most effective, and the percussion instruments certainly held forth mightily in the finale. Pizzetti's La Pisanelia (Woman of Pisa) contains some wild music, particularly the Love Dance, appropriate to the d'Annunzio play, for which it was originally written as accompanying music.
24The symphonic sketches, The Sea, by Debussy, gave that composer's admirers full chance to show enthusiasm; there is no question that the Toscanini working-out of detail, the tremendous climaxes, full of vitality, constitute half their effect. The Dialog of Wind and Sea might perhaps be better called Dialog of Thunder and Lightning, so intense was everything in this closing number.
25Both during and following the program the conductor received the applause due his extraordinary interpretations.
27New York Symphony: Tristan and Isolde
28A Tristan and Isolde matinee at Carnegie Hall!! In concert form, of course. Walter Damrosch was to have conducted. He fell ill, and therefore Eugene Goossens was impressed into service to wield the baton. He knows the score from memory and his leading of it further demonstrated his unusual mastery with the baton. He was successful in conveying the full message of the music, and obtained lovely tonal results from his orchestra, and also some altogether exciting climaxes in emotion and dynamics. The audience gave him a rousing reception.
29Laubenthal, of the Metropolitan, sang Tristan with accustomed fervor and interpretative finesse. Rachel Morton, making a New York debut, sang the Isolde music capably. She has a voice of agreeable quality and good carrying power and showed effective knowledge of the Wagnerian style.
30Viola Silva made a hit with her short contribution as Brangane, sung broadly and warmly. Frederic Baer's baritone sounded particularly resonant and yet mellow in the measures of Kurwenal, delivered with noble declamation and deep feeling.
31The excerpts which the concert presented were the prelude to Act I, the love duet and Brangane's Call from Act II, and Tristan's Vision and Death, and the Liebestod, from Act III.
32Wagner in concert form is excellent, but Wagner in opera form is superlative.
34FEBRUARY 24
35Oratorio Society of New York
36When the last note of Elijah resounded through Carnegie Hall, Conductor Albert Stoessel could well rest his baton with the assuring knowledge of having masterfully conducted this beautiful Mendelssohn oratorio.
37With the orchestra of the Philharmonic Society as instrumental background and with the combined 400 voices of the New York Oratorio Society and the White Plains and Mt. Vernon Choral Units of the Westchester Choral Society, Mr. Stoessel produced such perfect balance and precision, together with colorful tonal quality, that the attentive audience received the impression of listening to a vast organ.
38Of the soloists, the abbe-like Dan Beddoe, tenor, called forth, and deservedly, prolonged and enthusiastic applause, particularly for his comprehensive rendition of the air, Then Shall The Righteous Shine. George Fleming Hous ton, baritone of the American Opera Company, though a newcomer in the oratorio field, lent dignity and feeling to the role of Elijah. Harriet Van Emden and Marjorie S. Nash, sopranos, and Doris Doe, contralto, acquitted themselves with credit in their various solos.
40Esther Dale
41Esther Dale, soprano, gave a recital at the Hotel Roosevelt on February 24. The program consisted of songs by Bach, Schubert, Schumann, Brahms, Wolf and Richard Strauss.
42Miss Dale's singing was most commendable. As before, her voice was flexible, of a lovely quality and well able to cope with the vocal difficulties of the many and varied lieder she presented. Particularly convincing were her interpretations of Brahms' Verzagen and O liebliche Wangen, and Hugo Wolf's Dank des Paria.
43John Doane played satisfactory accompaniments.
45Virginia LaBett
46Carnegie Chamber Music Hall was well filled February 24 when Virginia LaBett, violinist, artist-pupil of Christiaan Kriens, gave a recital of five varied numbers, including her teacher's melodious second sonata, and his Souvenir, Serenade and La Gracieuse. In these she had opportunity to show grace and expression, the composer, an expert pianist as well as violinist, playing all the accompaniments. The Bruch G minor concerto was well handled by Miss LaBett, who is a charming young girl of vivacious personality and decided violin talent: smaller pieces by Bach, Gardner, Gluck, Kreisler, and Sarasate's Gypsy Melodies, completed her program.
48FEBRUARY 25
49Katherine Bacon
50Katherine Bacon, eminent woman pianist, was heard in a program of rare charm at Town Hall on Saturday afternoon, by a large and appreciative audience.
51Beethoven's Sonata in G major, with which Miss Bacon opened her program, moved with a singular grace and dignity, products of a rich imagination and a scholarly approach which characterize all of Miss Bacon's playing.
52Schumann's Carneval was admirably performed, the player entering freely into the vein in which each member of this collection was conceived.
53The Fairy Tale (Ride of the Knights), by Medtner, was vividly portrayed, in tones nearly as definite as the spoken word, and the two preludes of Rachmaninoff together with Scriabine's Sonata in F sharp were revealed as gems of rare and fascinating hue beneath the deft hands of the artist.
54The program was concluded with a group of Chopin, including the Impromptu in A flat, two mazurkas, Berceuse, and the Polonaise in A flat, in which Miss Bacon proved herself an understanding disciple of Chopin as well as of Beethoven.
55Miss Bacon's work, as a whole, is characterized by a fugitive and intangible charm, and she is capable of arousing
57EMILY ROOSEVELT
58Dramatic Soprano
59Engaged to Sing
60Aida in Aida Productions of
61FESTIVAL OPERA COMPANY OF CHICAGO
62Miss Roosevelt is a product of the
63FLORENCE WESSELL STUDIOS
64Chickering Hall, 27 West 57th St.
65New York City
66Telephone: 4984 Plaza
68Announcement
69MAESTRO ARTURO PAPALARDO
70Vocal and Operatic Coach and Conductor
71WHO WILL SAIL FOR EUROPE IN JUNE, WITH A SMALL GROUP OF STUDENTS, TAKES THIS OPPORTUNITY TO ANNOUNCE THAT HE WILL EXTEND THE GROUP TO INCLUDE SIX OR EIGHT YOUNG SINGERS.
72The requirements for applicants include, beside vocal and other gifts, a definite ambition for Professional and Operatic work. Maestro Papalardo will reject all applicants who do not meet with his approval. Those accepted will find themselves in the right artistic atmosphere for the study and preparation of their Operatic roles and will be assured of securing valuable connections while abroad, not discounting the actual possibility of a debut in Opera. This opportunity will be an inspiration to serious and ambitious students and singers with Operatic possibilities.
73Appointments for audition and interview by mail only.
74All arrangements must be completed before April 21st.
75Studio 616, Steinway Hall, 109 West 57th St., New York City
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