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baritone FANNINCJ BER.TR.AND - BROWN PERSONAL REPRESENTATIVE AEOLIAN HALL ■ N’W YORK sibly transform Mr. Gershwin into a significant American musical tempera- ment. At present, his work is only interesting lor the flashes of promise that at intervals illuminate it. In- trinsically, this Rhapsody is un- important. Mr. Gershwin played the solo piano part with that peculiar and dazzling technical skill which seems to be inborn in certain celebrities of Tin- Pan Alley. He was given a tremendous ovation. One should not neglect to mention the astonishing performances of Ross Gor- man, who in a symphony orchestra would be called the concertmaster. This young virtuoso does things with reed in- struments of every size, shape and color which are positively breathtaking. The concert proved, if it proved any- thing, that jazz is definitely out of the jungle stage; that it can make, and has made, a signally important contribution to the art of scoring for small en- sembles; that it is easy and even fasci- nating to listen to—in homeopathic doses; that its attraction resides in qualities almost exclusively external, i'or there is nothing noble, moving, or dignified about this particular form of music. It is simply immensely clever, effervescent, and for the moment stimu- lating. Back of it all, so far as the present writer is able to discern, lies nothing of significance, nothing eloquent and fine, nothing that nourishes the imagination. In a sense this concert was a disappointment, for it showed that, even technically, jazz is a feebler growth than some of us had believed. Its much-touted counterpoint falls to shreds alongside the pages of a genius— a Bach, a Strauss, a Stravinsky. Wheth- er it is “American," is a matter of opin- ion. Certainly it represents very faith- fully the tiny segment of America which lies between Forty-second and Fiftieth Streets, Broadway. Yet that is not pre- cisely the whole of America, or its better part. The great popular success of this con- cert has, it was announced, impelled Mr. Whiteman to repeat his experiment on the afternoon of March 7. B. R. nous T^V'ERYBODY was there. Obviously -*-* it would have taken more than a mere snowstorm to keep the army of curious and faithful souls away from Paul Whiteman and his Palais Royal Orchestra’s “first recital of typical American music” (to use the leader’s own words), on the afternoon of Lin- coln's Birthday at Aeolian Hall. The program and an elaborate program-book described the event as “an experiment in modern music,” and to judge by the thunders of applause which met the brilliant efforts of the bandsmen and their master, the experiment can be counted a complete success in the popu- lar sense. Quiet Aeolian Hall was all dressed up for the occasion. Across the back of the stage, and partly obscuring the rows of organ pipes, stretched a large screen, stippled in gold and conceived in the most advanced Longacre Square manner; while on either side toward the front, pasteboard pillars from the same exotic atelier shielded lanterns which threw beams of soft red and green lights upon the players. An upright piano brazenly flaunted its “innards,” and horizontal members of the same family added the sheen of their polished sur- faces to the ensemble. At the back re- posed a whole armory of traps—tubes, celesta, drums, tam-tam, timpani, and smaller articles of refined noise. In this curiously furnished laboratory the experiment was held, while a breath- less audience which crowded the hall to its walls applauded each and every de- velopment with unconcealed joy. Mr. Whiteman’s plan was in a manner of speaking historical. It began with an example of jap as it was in its wild, bad days. This was the “Livery Stable Blues.” A group of uninhibited young men armed with sundry instruments went through a number of contortions, made saxophones and trombones sob and shriek, told unmentionable secrets in accents of acid vehemence. It was ex- citing, and very stupid. Followed a demonstration of jazz in a more sophisti- cated stage, the number showing the thematic relationship between the “Banana” ditty and Handel’s “Halle- lujah” Chorus. There is not sufficient space to trace the whole course of this unique program. It is hardly necessary to state that it exploited all the famous devices of jazz in triumphal fashion. All the subtle forms of syncopation, all the tricks of portamento, all the rare and often tinents. Before going on to the original contributions on the program, one may mention a semi-symphonic presentation of three tunes by Irving Berlin and of some standard pieces, among them Mac- Dowell’s “To a Wild Rose.” A warmly applauded contributor to the program was the popular composer, Zez Confrey, who played a few of his own rhythmic conceptions and gave an amusing remi- niscence of a player-piano grinding out its dismal message in an ice cream parlor. Two Original Contributions Two composers wrote scores especially for the occasion—Victor Herbert, who contributed four brief and characteristic “Serenades," and George Gershwin, well- known in the field of musical comedy, whose offering was an original “Rhap- sody in Blue” for piano and jazz orches- tra. The Herbert pieces are richly melodious and are scored with that un- canny art for which this composer is celebrated. They are entitled, respec- tively, “Spanish,” “Chinese,” “Cuban” and “Oriental.” Played with superb finish and elan, they were uproariously applauded, and Mr. Herbert, who was seated in a box, was obliged to bow several times before quiet could be re- stored. Mr. Gershwin’s work is along different lines. It purports to be a serious and quasi-symphonic treatment of ragtime themes, an application of the jazz Idiom to the principles of musical art. Mr. Gershwin is partly successful in this novel and ambitious task. His thematic material has a certain vitality, a verve and an occasional freshness which show its creator to be possessed of a genuine latent talent. But he has essayed, one fears, what is a well-nigh impossible undertaking. Even supposing that his technical equipment were e^-ial to the developing in a true and gen ne fashion of thematic material, which means the ability to extract the last drop of signifi- cance from a musical subject, it is more than questionable whether jazz-themes are susceptible of such treatment. He has undoubtedly an unusual rhythmic sense, and the orchestration of this score had moments of high originality, humor, and brilliance; but his wings are scarcely sturdy enough for such extended flights. Five years or so of serious study and absorption of genuine music might pos- New York Concerts and Recitals [Continued from page 27] The resonant tone and facile technic of Horace Britt, ’cellist, and his grace in expression, found free scope in an Intermezzo by Lalo, a Spanish Dance by Granados, Henry Hadley’s “Autumn Twilight,” and other numbers. Mr. Britt played fluently, and with a fine legato style, and had to give a number of encore-pieces. The accompaniments were tastefully played by Imogen Peay and Ruth Muzzy Conniston. P. J. N. Sara Sokolsky-Freid Plays Sara Sokolsky-Freid, who on several occasions in the past has given proof of her artistic prowess, gave a piano recital in the Town Hall on the evening of Lin- coln’s Birthday. With technical fluency and admirable spirit and expressive power, Mme. Sokolsky-Freid played a taxing program which began with the Bach-Tausig Toccata and Fugue in D Minor and included the great Fantasie in C Major, Op. 17, of Schumann, a Chopin group and contrasted pieces by Haydn, Gluck-Friedman. Paradies, Kiese- wetter, Albeniz, Granados, Rozycki and Liszt. The artist was greeted with much enthusiasm. W. S. E. Robert Naylor-in Recital Robert Naylor, American tenor, was heard in the Town Hall on the evening of Feb. 13, in a program the major part of which was in English, though it in- cluded “Una Furtiva Lagrima” from “L’Elisir d’Amore" and “M’Appari" from “Martha" as well as two very lovely songs in Spanish by Alvarez. The program itself was unconventional and not all of it of the highest interest, but it was effectively sung. Mr. Naylor’s voice is a pleasant one in quality and is well handled into the bargain. Mrs. Beach's “The Year’s at the Spring" in the first group was particu- larly well sung, and the Donizetti aria which came next proved Mr. Naylor’s ability in pure cantabile. The Alvarez songs, “Cantares” and “Pesares,” were both excellent, their characteristic rhythms being well brought out and the songs as a whole given in true Spanish style. The penultimate group of Irish songs were good if somewhat light, and Mr. Naylor’s clean diction made them clearly understood. The “Martha” aria closed the program and there were num- erous recalls both here and between the groups. The audience, which was one of good size, was very appreciative throughout the recital. Gordon Laid- law played excellent accompaniments. J. D. Rosa Low’s Debut Rosa Low, soprano, gave her first re- cital in Aeolian Hall on the afternoon of Feb. 14, with Coenraad Bos at the piano. Miss Low began with Caccini’s "Amarilli” and Durante’s “Danza, Danza," both of which songs are being overworked this season, and then sang an aria by Lully, ending her first group with a charming Gavotte, “Viens Aurore” arranged by “A. L.” (who. by the way, was the mother of Liza Leh- mann of “Persian Garden” fame). Some songs by Schumann and Brahms' fol- lowed. and then a well-chosen group in French by Szulc, Grovlez and Sibella. The final group included Hungarian folk-songs bv Arnad. “Thistledown” hv Miss Low’s singing has much charm. The voice is light in texture, and she has the good sense not to attempt to force it beyond its capabilities. This, together with the fact that it is exceedingly well placed, makes the result most agreeable. Though the singer lacks as yet the in- terpretative finesse that only long experi- ence can bring, she has the feeling ot differentiation of mood which is a neces- sity for the concert artist. Experience will do the rest. The audience demanded a repetition of Grovlez’ “Guitares et Mandolines” and after Sibella’s “O Bimba, Bimbetta” an encore had to be given. J. A. H. Miss Palesti Makes Bow A first American recital by Marica Palesti, Greek soprano, who is said to have sung at the Moscow Opera in pre- war days, was given at the Town Hall on Thursday evening of last week. Michael Feveysky, pianist, who was heard as conductor in New York with the Russian Opera Company several years ago, appeared as co-artist, playing a “Royal Elegy” for piano by Rachmani- noff and acting as accompanist. Miss Palesti is a singer of operatic methods, who achieves pleasing effects by a powerful and expressively managed voice and a personality of considerable magnetism. She began her program with arias from “Ernani,” “Madama Butterfly” and “Herodiade.” Her tones were of considerable fullness and warmth, despite a slight tendency to vi- brato. A second group brought a some- what oddly assorted trio embracing Arthur Penn’s “Just to Hear You Whis- per”—the only English work of the eve- ning!—Gounod’s “Au Printemps” and Tcherepnin’s “San Angelo di Aspro.” The last brought much applause, and the singer gave as encore Puccini’s “Vissi d’Arte," sung in Greek. Of great- (Contlnusd on page 35] SOPRANO Formerly Member ,/ METROPOLITAN CHICAGO OPERA ASS'N BOSTON OPERA CO. CHICAGO ENGLISH OPERA CO. Tb« •indue ol Mins DoriUi simple terries the eodleoce bj storm" Sepiefer—Wheeling. Wnl Vlrdola. SSdrfM c/o Moelesl America. SO E. Jtckeon Bird.. Cblc«*o. SOPRANO Management ERNEST HENKEL, 1451 Broadway, New York Telephone—Brysst 33S2 Knaba Plano CHRISTIAN ASHLEY PETTIS SCHIOTT Tee dm: THE TkuE PRIN- CIPLE •( VOICE ud PIANO Concert! — Recitals Studies: IM E. Ilth SL.Nn Yert.N.Y. 460 14th 8L. Breeklye. N Y. Tel: Shore Rned 3451 J. . Pianist Featuring American Compositions CONCERT MANAGEMENT AS THUS JCDSON PunuylraoU Bids.. Due Alt Seed REX TILLSON Now Booking Second World Tour