Books › Musical Courier 1928-05-10: Vol 96 Iss 19, 1928 › scan 13
Scan 13
Musical Courier 1928-05-10: Vol 96 Iss 19, 1928
95 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 14. See the scan on archive.org.
1Jeritza's Trousered Salome
2Latest Vienna Sensation
3Strauss a "Non-Paying" Guest—New Symphonies by Szymanowski and Binkau Heard—Szigeti Plays Ravel Sonata—Keyboard Lions
5VIENNA.—The Easter lull this season was not quite as noticeable as in former years, for a certain lameness has been evident in the musical activity of the city for some time past. It is the calm before the storm of the much heralded Vienna Festival Weeks, of which the trump card is to be Strauss' Egyptian Helena. Rehearsals have already begun, and with the first note Master Richard shook the dust of the town from his feet for a few weeks. Carl Alwin, meantime, is carrying the burden of responsibility for the musical end, while the free-lancers of the daily press have joined forces with the publicity apparatus of the Staatsoper, to keep Vienna's appetite whetted for the great event. The vital question, "to Jeritza or not to Jeritza," has finally been settled and the adored Maria will sing the title role, at least at the première. As for the rest: Qui vivra, verra.
7The diva's presence at the Staatsoper has not yet disturbed the peaceful calm of the city's musical surface. Averse to new ventures, she rests on old laurels, which, while they will not easily wilt, have at least lost some of their crispness. As before, her entrance was made on horseback, so to say—bringing a whiff of American air along with The Girl of the Golden West. Now curiosity is rife regarding her Carmen. As usual, most reviewers agree that her voice is, if anything, more youthful and her acting more emotional than ever. Complete unanimity of opinion prevailed as to the smartness of her new Salome costume, when she presented herself to her astonished admirers in trousers. A bow to historical truth—or the trend of the time?
9Even more peaceful was the Volksoper's recent novelty, Vittorio Gneechi's opera, La Rosiera (The Rose Queen). Just why, of all novelties, this twenty-year-old aftermath was selected for production is a matter of conjecture. Signor Gneechi, according to rumors, commands a bank account larger than his resources of musical genius. one of two readings
10Even more peaceful was the Volksoper's recent novelty, Vittorio Gnechi's opera, La Rosiera (The Rose Queen). Just why, of all novelties, this twenty-year-old aftermath was selected for production is a matter of conjecture. Signor Gnechi, according to rumors, commands a bank account larger than his resources of musical genius. one of two readings
12HONORIS CAUSA
13The Strauss season at the Staatsoper has, alas, rallied more praising critics than paying visitors. There is a strange discrepancy between the delin honors which Vienna bestows upon the composer of Salome and Rosenkavalier on every occasion, and the small support that they lend to his appearances in other operas and in concert. It is a humiliating spectacle to see Strauss conduct two or three times a week before an audience composed two-thirds of dead-heads. Only the Rosenkavalier really retains its old drawing power, with or without Strauss; Salome derives its attractions chiefly from the presence of Maria Jeritza. Ariadne, Elektra, Intermezzo and Die Frau ohne Schatten generally reach the lowest box office records of the house. For the most recent performance of the last-named opera no less than three guests were required (not counting Strauss himself), of whom one at least was an interesting acquaintance, namely Moje Forbach from Stuttgart (shortly to join the Berlin Opera). She is an emotional actress, an explosively temperamental singer, and an interesting figure.
15While the plan of a Gustav Mahler monument at Vienna was being greeted by the local public with more enthusiasm than readiness to contribute financially, the Staatsoper assisted the noble cause with a concert of the composer's music. Franz Schalk presided over a performance of The Plaintive Song and the Second Symphony, which acquired an added emotional appeal from the fact that Mahler, the once ridiculed composer, was now enthroned triumphantly in the house from which he retired as director just twenty-one years ago, in bitterness and disgust. A few of his old press-adversaries are now shedding tears over the loss of the great man and preaching in favor of his monument. Death is often the safest road to fame.
17FITELBERG REDIVIVUS
18Gregor Fitelberg, too, was once a neglected local figure at the Vienna Opera. Now this temperamental conductor, safely installed as leader of the Warsaw Philharmonic, has come back with honors on an official mission in the interests of Polish composers. The concert, given under his authoritative baton, evidently represented Poland's present musical status. Ludomir Rozycki's symphonic poem, Anhelli (program music akin to Liszt) and Mieczyslaw Karlowicz's violin concerto (brilliantly played by Irene Dubiska) were well constructed, well-tempered music—though not the sort which is here considered an adequate expression of contemporary tendencies. To us, Karol Szymanowski remains the great representative composer of Poland. His third symphony, hitherto unheard here and on this occasion bereft of its choral portion, is a great composition, enthralling in its Oriental visions. The last portion, to which Stanisława Szymanowska, the composer's sister, lent her vocal artistry, has great depth and atmosphere. Thus dreams a noble tone-poet of an ideal and unreal world. The wealth of colors on Szymanowski's palette is infinite and he splashes them with the frenzy of a poet carried away by his visions; yet never at the cost of clarity and coherence.
20A NEW SYMPHONIST
21No less effusive, though less disciplined, was a symphony by Guido Binkau, a young Viennese composer who personally conducted his maiden work. He still suffers from a superabundance of visions and the inability to arrange them within his given musical scheme. His "dash" is Straussian, his themes Wagnerian; but his clear sense of orchestral color effects is distinctly his own. He is young and his temperament still gets the better of him at times. His first movement succumbs to the pitfalls of Mahlerian metaphysics plus a certain "operatic fallacy," but his second movement, Spanish in color, discloses his capacity for a lighter touch, and before the end of his big symphony one was aware that his is a talent of no mean order and not of the radical kind.
23PACIFIC MUSIC
24A talent, too, but extremely radical still, is Hanns Eisler. This young Schonberg pupil, of whom much was expected after his first piano pieces and his Duo for violin and cello, has been strangely silent of late. Written out? By no means. Only not the disciplined, well-tempered sort of creator. Erratic, if you will, impulsive. He will start a piece, carry it on for weeks and drop it just before the last few bars are penned.
26There is a bit of a rebel in this Viennese boy; he writes music that is a manifesto for humanity, for communism. There is a cycle for soprano and piano named Newspaper Clippings—ads from the daily press, scraps from the "local column." Eisler's parody, in these songs, is far-fetched, often labored and aimless. Where he drops the mask of the satirical jester and shows his true face, however, the conceptions of his poems are irresistible as a revelation of humanity. The Song of a War Orphan, that heart-rending, bitter, pathetic manifesto, that "wee small voice" of a suffering child, will do more to stop wars than a dozen Locarno Conferences.
28Margot Hinneberg-Lefèvre sang these strange specimens with a supreme command of their musical intricacies and interpretative difficulties. The occasion was a concert in the subscription cycle of the Kolisch Quartet (Vienna String Quartet). They give mixed programs, cleverly balancing modernism with classical works and instrumental music with vocal compositions. In the same concerts, Ruzena Herlinger gave Debussy's Proses Lyriques cycle with finished vocalism and excellent style, Eduard Steuermann, the pianistic apostle of modernism, providing an accompaniment that was "chamber music" in the highest sense.
30THE AMERICAN WOMEN'S CLUB PRESENTS
31Club life does not play the important social role in Vienna that it does in the Anglo-Saxon countries, and the American Women's Club, particularly, dwells in comparative reserve owing to the relatively small number of American colonists in the Austrian capital. When the club decides to take a hand in the musical life of the city, it is a compliment to the artist presented. Dr. Bruno Veneziani—not an American, but an Austrianized Italian—was the piano soloist of a recent concert given by the Women's Club, and he merited the honor. His Chopin, which I heard, was admirable, and spoke eloquently for the abilities of his Viennese master, Paul Pichler. Mrs. W. H. Koenig, president of the club, and Mrs. Groves, its vice-president, reaped artistic as well as social honors that afternoon: music, society and diplomacy were well represented in the appreciative audience.
33An Anglophile—if not strictly an English speaking—society with occasional ambitions, is Vienna's Welcome Club. Its latest recital enlisted the services of Margherita Bria (Miss Boyd), an American singer of notable accomplishments.
35SZIGETI PLAYS RAVEL SONATA
36Huberman's annual Viennese recital series now stands at number four and he might well continue it indefinitely without fear of slackening enthusiasm and attendance. Szigeti, high priest of violinistic art, has also now come into his own in Vienna. At his last appearance he had a full hall and storms of applause. Ravel's new violin sonata shocked a few conservatives: they were hushed down and ejected from the hall; the incident resulted in redoubled ovations for Szigeti.
38Florizel von Reuter, coming back after a long pause, conquered in spite of his program. The twenty-four Paganini caprices played in succession are really a little too much of a good thing. The young American showed more courage and technical resource than wisdom of judgment by commemorating the centenary of Paganini's first Viennese concert in this way. A new violinistic figure on our concert platform, Alexander Moskowsky, introduced himself in grand style. Fine tone, excellent musicianship and a splendid technique characterized this artist.
40LIONS
41Pachmann was with us, after many years—too late, I fear. The bewildered audience mistook for symptoms of old age what has always been the grand old man's personal note, namely the colloquial character of his recitals. An old lion—but still a lion. A young lion is Ignaz Friedman. He can fill any hall in Vienna now. Many had thought him a mere Chopin specialist; what a surprise to hear his Brahms-Handel Variations! All that is academic melts away under his magic fingers. Marie Tauszky, a splendid Viennese pianist though not an international figure, may well be mentioned beside such illustrious colleagues. She is fully initiated into the mysteries of pianism, and is an excellent musician besides. Godowski is one of her admirers; he is right and knows why.
43Paul Bechert.
45Want a Schubert Anniversary Pin?
46Gustave L. Becker, president of the Associated Music Teachers' League, has received from Prof. Franz Wedl, president of the Austrian Musiklehrer Verband in Vienna, an attractive Schubert lapel-pin, which is being sold for the benefit of destitute Austrian musicians. Professor Wedl's association has 2,000 members, about one-third of whom are impoverished in consequence of bad conditions existing since the world war.
48Mr. Becker will be the sole distributor of the pin for America, and is undertaking the task purely for charity. In this year of Schubert concerts, festivals and demonstrations of all sorts there will doubtless be many similar articles offered for sale by persons working for their own profit; if you belong to a society which contemplates giving a Schubert celebration of any kind the MUSICAL COURIER would respectfully ask you to bear this pin in mind and to recommend its adoption—let Schubert be of service to his poor compatriots.
50The pin, a facsimile of which is herewith presented, can be had at 25 cents apiece, in any quantity, from Gustave L. Becker, 610 Steinway Hall, New York City.
52LESLIE
53CONTRALTO
54SOLOIST WITH CENTENARY CHOIR
55(SECOND HAMILTON, ONT., APPEARANCE)
56"Possesses a voice which pleases from every standpoint. Her breath control evokes admiration, as does also her gracious phrasing. Her voice, deep, vibrant, rich and glowing with sympathy, wove through the spoken word, and her songs, familiar or otherwise, take on new beauty because she has sung them."
57HAMILTON SPECTATOR, Mar. 28, 1928.
59MENDELSSOHN CHOIR—ST. MATTHEW PASSION
60(Re-engagement)
61"Grace Leslie's contralto is a somber voice well adapted to the tragic strains of 'Golgotha.'"
62PITTSBURGH SUN-TELEGRAPH, Apr. 4, 1928.
64HALIFAX FESTIVAL—THIRD ENGAGEMENT
65"The audience was really transported by the flawless loveliness of the voice and art of Miss Leslie. When she appeared last evening in pale yellow, the audience acclaimed her. But behind all the charm of person was a voice gloriously rich, vibrant, and altogether lovely to which the audience simply surrendered. And what a marvellous voice it is—in which the taking of a high soprano note was as easy as a very low contralto note. She has a remarkably wide range and one note follows the other in true portamento style."
66THE HALIFAX HERALD, Apr. 18, 1928.
68Management: HAENSEL & JONES
69Steinway Hall, 113 West 57th St., New York
71Easy and Attractive
72VIOLIN MUSIC
73Recently Published
74TWO VIOLINS
75Five Violin Duets for Student and Master, with Student's Part in the First Position.
76By HELEN DALLAM……………………..Each .30
77VIOLIN and PIANO
78Little Violinist at the Circus.
79By GAIL RIDGWAY BROWN
80A set of six bright and clever little tone-pictures, vivid and unmistakable in their characterization. The violin parts are in the first position, and call upon all the fingers of the left hand as well as utilizing the open-strings. The piano accompaniments are also easy (Grade II)
81Six pieces, together .85
82Little Violinist at Home.
83By GAIL RIDGWAY BROWN
84The violin-part of these six numbers is confined wholly to the open-strings; but varied rhythms and tempos, and interesting piano-parts (which are, however, quite simple), serve to maintain the attention and pleasure of the student.
85Six pieces, together .75
86Seven First-Position Pieces.
87By HELEN DALLAM……………………..Each .50
88Colors, Tunes and Rhymes for First Violin Study.
89By REBECCA RICHARDS
90This clever work will be eagerly welcomed by violin teachers of little children from five to eight years of age. It is full of pictures of bees, frogs, birds and butterflies, which may be colored by the pupils or the teacher. Each color is associated with a violin-string, throughout. There are many bright jingles and games.
91net .75
92Send for Complete Detailed Descriptions
93G. SCHIRMER, Inc.
943 East 43rd St., New York
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