Books › Musical Courier 1928-12-13: Vol 97 Iss 24, 1928 › scan 36
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Musical Courier 1928-12-13: Vol 97 Iss 24, 1928
95 lines. Read by computer on 29 September 2026. Printed page 37. See the scan on archive.org.
1Gabrilowitsch Again Stirs Philadelphians
3Second Pair of Symphony Concerts Under His Direction Leave Lasting Impression—Grand Opera Company Offers Excellent Performance of Samson and Dalila—Mozart's Requiem Mass Beautifully Rendered
5PHILADELPHIA, PA.—The second pair of concerts of the Philadelphia Orchestra, conducted by Ossip Gabrilowitsch, December 7 and 8, offered a very enjoyable program. Mendelssohn's Ruy Blas Overture was the opening number and received a spirited reading. It is a jolly, melodious composition, although lacking in any great depth.
7Immediately following was the Haydn Symphony No. 2, in D major, popularly entitled the "London." In listening to this master's work it is interesting to note how accustomed our ears have become to the more complicated harmonies of later composers and even clashing discords of the modernists, as one senses the simplicity and clarity of this beautiful symphony. In spite of the fact that it seems "mild" compared to what audiences must listen to most of the time, these days, it is truly delightful to follow the perfection of form, dainty melodies and lucid harmonies. The opening Adagio and succeeding Allegro of the first movement were played with a fine attention to detail, while the Andante was beautifully read. The orchestra stepped through the stately Minuetto with becoming mien, also the Allegro and Trio of the same movement, and the Allegro spirituoso was indeed lively.
9After the intermission came a charming Suite from Incidental Music to Shakespeare's Much Ado About Nothing, for small orchestra, by Korngold. The orchestra was extremely small, as the Suite is scored for flute, piccolo, clarinet, oboe, bassoon, two horns, trombone, percussion, harmonium, piano, and a few strings without basses. The stage looked quite deserted, but this small body of men gave a splendid performance of the five parts. The Overture is sprightly and abounds in a variety of tonal effects, the Brides is dainty and mischievous, while March of the Watch (Dogberry and Verges) was characteristically humorous. The Intermezzo (Garden Scene) is beautiful, with the melody presented by the solo cello and viola with harp, piano and harmonium used for accompaniment. The last section Hornpipe, is surely a "rolling dance" and forms a bright close to this pleasing Suite.
11As a closing number Mr. Gabrilowitsch had selected Roumanian Rhapsody No. 1 in A major, op. 11, by Georges Enesco. Based on several of the jolliest folk-songs of Roumania, it has been cleverly constructed by the composer into a brilliant and entirely likable composition. Mr. Enesco has used his well-known skill to fine advantage and has made an orchestrally colorful whole.
13Mr. Gabrilowitsch's interpretations are characterized by the same delicately minute thoughtfulness which is always evident in his exquisite piano performances, and the audience showed enthusiastic response to all the numbers.
15PHILADELPHIA GRAND OPERA COMPANY
17The Philadelphia Grand Opera Company scored success on December 6 when Saint-Saens opera, Samson et Dalila, was given in the Academy of Music with Mme. Cahier and John Dwight Sample in the leading roles, and Artur Rodzinski conducting. The performance was perhaps one of the best the company has given, with the entire cast well balanced, the large chorus much improved and true to pitch even when unaccompanied and doing good work save in one or two attacks. All was admirably conducted and with quite adequate stage setting.
19Mr. Sample's work was of the highest order, both musically and dramatically. His clear and beautiful tone, with a projective power in which no effort was evident, and with the same bright trumpetlike quality, carried to every corner of the auditorium. His renditions were uniformly excellent, and his acting quite equal to the demands required to portray the dignified Hebrew, who, struggling with religious ardor and succumbing to his passionate nature, finally regains his strength only in a spiritual exaltation. The other roles were satisfactorily taken by Enrico Giorgi as the High Priest, Ivan Steshenko (always a favorite with the company and the audience) as the Old Hebrew, Nicholas Karlash as Abimelech, with Allessandro Angelucci as the Messenger and Nino Mazzeo and Robert MacDougal Jr. as the two Philistines.
21The ballets, occurring in the first and last acts, were given by Catherine Littlefield and her corps de ballet, in which originality and art of Miss Littlefield's conception, beautifully blended with the character of the opera.
23MOZART'S REQUIEM MASS AT ST. JAMES' CHURCH
25The augmented Choir of St. James' Protestant Episcopal Church gave an excellent rendition of Mozart's Requiem Mass on December 2, under the leadership of its organist and choirmaster, S. Wesley Sears, with Alexander McCurdy Jr. at the organ. Mr. Sears is indefatigable in his efforts to present from time to time the great church compositions, many of them among the finest in musical literature, in which the old masters expressed the deep religious thought of worship, adoration, praise and, sometimes, fear.
27The work under consideration is one in which the master reached his greatest height in all his church music, most of which is rarely, if ever heard, and by the thoughtful should not be altogether relegated to the past, as it must offer a means of inspiration to the most progressive. It opens with a chorus, and barring two or three quartets, is choral throughout, save for incidental soprano solos in the opening and closing chorus. Though abounding in difficult fugue and contrapuntal passages, the choral work was very good indeed, the second chorus, Day of Vengeance, the Offertorium and the ninth Chorus being of outstanding excellence. The soloists, without doubt chosen for the adaptability of the timbre and range of voice to its part, did some very fine
29(Continued on page 42)
31News Flashes
33Another Bilotti Success
34(By special cable to the Musical Courier)
35Paris.—An overwhelming success greeted Bilotti on December 4 and a packed house cheered and applauded him. There were twelve recalls and many encores.
36D.
38W. Grant Egbert Dead
39(By special telegram to the Musical Courier)
40Ithaca, N. Y.—W. Grant Egbert died in this city on December 9 after a long illness. He was one of the founders of the Ithaca Conservatory of Music thirty-six years ago.
41A. E. B.
43Giacomo Rimini Scores Triumph As Iago
44(By special cable to the Musical Courier)
45Bologna, Italy, December 5.—Giacomo Rimini triumphed as Iago in Otello at the Comunale Theater. It marked a happy farewell for the distinguished baritone before his departure from Italy on December 12 to rejoin the Chicago Opera. He is expected to give several guest performances here next season.
46V. P.
48The Lyric Season in Rome
49Rome, Italy.—The lyric season, under the direction of Ottavio Scotto, has been officially announced, to be given at the Royal Opera House. The inauguration will take place on December 26 with Norma, Claudia Muzio in the title role and Pedro Mirasso and Nazzareno de Angelis in the other leading roles, Marinuzzi conducting.
51The season's repertory includes: Resurrection, Alfano; Giuditta, Honegger; Fra Gherardo, Pizzetti; Il Gobbo del Califfo, Casavola; Sette Canzoni, Malipiero; L'Amore dei Tre Re, Montemezzi; Norma, Bellini; Loreley, Catalani; Iris, Mascagni; Andrea Chenier, Giordano; Tristan and Isolde, Wagner; Fidelio, Beethoven; Gianni-Schicchi, Puccini; Amico Fritz, Mascagni; Boris, Moussorgsky; Lohengrin, Wagner; Forza del Destino, Verdi; and others.
53The personnel includes, among others: Fanny Anitua, Luisa Bertana, Florica Cristoforeanu, Giuseppina Cobelli, Toti dal Monte, Claudia Muzio, Rosetta Pamparini, Laura Pasini, Elisabeth Rethberg, Bidu Sayao, Bianca Scacciati, Ebe Stignani, Dino Borgloli, Feodor Chaliapin, Giulio Cirino, Nazzareno de Angelis, Enzo de Muro Lomanto, Isidoro Fagoga, Benvenuto Franci, Emilio Gherardini, Giovanni Martinelli, Francesco Merli, Angelo Minghetti, Pedro Mirasso, Aureliano Pertile, Riccardo Straccari, Franco Tafuro, Gaetano Viviani and Renato Zanelli. The conductors will be Gaetano Bavagnoli, Gino Marinuzzi, Pietro Mascagni and Franco Paoloantonio.
54B.
56Piastro Wins Success in San Francisco
58Marked Enthusiasm Greets Him as Soloist With Symphony—Conductor Hertz Offers Delightful Program
60SAN FRANCISCO, CAL.—Seldom has a symphony audience manifested such enthusiasm for a violinist as was displayed at the third program of the season when Mishel Piastro played the Beethoven concerto in D major with the San Francisco Symphony Orchestra under the baton of Alfred Hertz. Mr. Piastro presented this score with the kind of eloquence that gives its strict loveliness a glorious show. The poetic imaginativeness, which is probably its chief attribute, was delicately proclaimed. In precision, in spirit and in beauty of tone, Piastro's interpretation was magnificent. Here indeed is ideal musicianship and artistry, that hold the audience breathless until the last bar, whereupon follow storms of applause.
62Schumann's Symphony No. 4, in D minor, sounded beautiful, as does everything under Hertz' direction. It is certain that no one ever heard it played with greater virtuosity, technical finish, rhythmic energy and clearness of melodic outline. It was a reading of the music from a man who is not only a masterful conductor but also a musician imbued with the spirit of the work. The audience accorded Mr. Hertz and his men the demonstration they deserved.
64Jurgen, a symphonic poem by Deems Taylor, the novelty of the program, aroused in one the desire to become more familiar with this composer's music. Because of its marked originality, force of expression not derived from others, surety and tone color that create an effective atmosphere, Jurgen has both intellectual and emotional appeal. Among its characteristics are dignity, taste, lyric fluency of ideas and great beauty of instrumentation.
65C. H. A.
67Conductor Krueger Offers Interesting Works
69Under His Leadership the Seattle Symphony Orchestra Is at Its Best—Plays Piano Part Himself in Brandenburg Concerto—Ravel Work Enjoyed—Mozart Symphony Given for First Time Here—Other Numbers Well Received
71SEATTLE, WASH.—Continuing to offer unusual, but fascinating programs, the Seattle Symphony Orchestra was heard in the Metropolitan Theater on November 26. At this concert Conductor Krueger chose to open with the Brandenburg Concerto No. 5, in D major, for piano, flute and violin, with string accompaniment. This is indeed a worth while work, seldom heard, yet greater interest was evinced than would ordinarily have been the case, because Conductor Krueger himself took the piano part, with the able assistance of Glaucio Merrigoli, flute, and John Weicher, violin. The second movement of this work, given entirely by the trio, was an opportunity for some particularly fine ensemble work, which is what one is concerned with, and yet gave each artist moments to display his own musicianship and technical ability. The last Allegro was the most delightful and brought forth the warmest response from the enthusiastic audience.
73Ravel's Alborado del Grazioso was given an interpretation which was gratifying, while most interesting of the shorter selections of the evening were two selections from the Moussourgsky Suite Tableaux une Exposition: The Chicks and Rich and Poor. The suite as a whole is decidedly descriptive and it is hoped will be presented in its entirety at one of the future concerts.
75The Mozart Symphony No. 25, otherwise known as the Little G Minor, was the principal offering of the evening, and was given its first presentation in Seattle. It was in the charming minuetto that the Mozart spirit was most truly approached, for throughout the two allegro movements and the andante there was a weightiness that seemed more like Beethoven. The ever attractive and rhythmically buoyant Strauss waltz, Wine, Woman and Song, concluded the evening, and sent everyone away happy, delighted and satisfied—the dessert, as it were, and truly delectably served.
76J. H.
78German Opera Company Artists Announced
80Presenting Richard Wagner's Ring des Nibelungen with all the Bayreuth traditions attached to it, the German Grand Opera Company will open its American tour at the Manhattan Opera House on January 14. The matinee and evening cycles should be the event of New York's opera season. The four music dramas will be given without the slightest mutilation, note by note, not a single bar omitted from the score.
82A partial list of the leading artists who were selected from the foremost opera houses of Germany, is as follows: Mary Diecks, soprano, Magdeburg Opera; Ottilie Metzger-Lattemann, contralto, Hamburg Opera; Willy Zilken, tenor, Leipsic Opera; Hans Taenzler, tenor, Braunschweig Opera; Waldemar Hanke, tenor, Berlin Opera; Walter Elschner, tenor, Hamburg Opera; Richard Gross, baritone, Breslau Opera; Werner Kius, baritone, Aachen Opera; Franz Egeni-eff, baritone, Charlottenburg Opera; Guido Schuetzendorf, basso, Bremen Opera; Karl Braun, basso, Berlin Opera.
84Negotiations for several additional leading artists will be completed shortly. Mr. Blumenthal, while abroad, engaged Mr. Walter Rabl, one of the most authoritative Wagnerian conductors in Germany today, to conduct several of the performances at the Manhattan Opera House. Dr. Rabl is general music director at the Magdeburg Opera and conducted the Wagnerian Festival recently held in Barcelona, Spain. Das Rheingold, the prologue of the Ring, will be given for the first time in America without any intermission.
86The bookings embrace the following cities after the New York season: Philadelphia, Baltimore, Washington, Pittsburgh, Cleveland, Chicago, Milwaukee, Indianapolis, St. Louis, Kansas City, Omaha, Denver, and then California follows.
88Martinelli's Worthy Philanthropy
90The Greenwich House Music School Settlement is doing an important work under the constructive leadership of Giovanni Martinelli of the Metropolitan Opera. The school is bringing music to children who otherwise could not have it. Mr. Martinelli says with truth that New York children are musically hungry, and that the only way to give them what they need is to bring it to them through wise and carefully directed philanthropy. The Greenwich House has for years been struggling to carry forward its high ideals in an old three-story and basement residence at 44 Barrow Street, and has always been hampered by poor quarters and inadequate space. It is now making an effort to raise a fund of $150,000 to increase its utility. The tuition fees from pupils meet about one third of the expense of operation. The school maintains a staff of twenty-five expert musicians who are at present training 225 children on fifteen instruments. Being sponsored by Martinelli, it is obvious that this is a worthy work and should receive generous support from everyone interested in music.
92Three Debuts at the N. B. C.
94On Monday afternoon, December 17, the first three artists to be chosen by the National Music League and National Broadcasting Company for sponsoring, will give a recital in the large auditorium of the National Broadcasting Building. Jean Palmer-Soudeikine, soprano; Eugenia Wellerson, violinist, and Giuseppe Martino-Rossi, baritone, will appear on the program.
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