Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-01-15
AMUSEMENT
SECTION
Al BRACE OF CONCERTS
AND OTHER COMMENT
Musical Calendar Offers Retro
spects and Distant
Vistas

Detailed criticism of the recitals given
by Messrs. Herman Standby and John Nc
Cormack last Thursday night was de-
ferred to this time for n very simple
reason. The qualities and defects 0f any
are admitted) of the two artists are
familiar. but the implications Of their re-
citals, which occurred at the same time,
are more suited TO comment than to
criticism. Mr.. sandby, who is part Of the
organization which plays nearly every
week to the number OF auditors drawn to
each of Mr. McCormack's recitals. will
not resent being placed with him. Mr..
Mccormack will find nothing incongruous,
II is hoped, in being placed with one
whom Philadelphia holds a sincere and
worthy artist.
First, to Mr. Sandby's concerto which
was the principal interest OF his evening.
Seldom has the reporter heard work
for the cello in which the resources of the
Instrument we're so appreciated, seldom
one In which they were so sltilfully eX-
plotted. The first movement Is notably
a cellists concerto, interesting for the
difficult feats of bowlng, of double stops,
or a near approach to them, of difficult
positions, OF rapidity In flngering-in short,
OF technical skill. II has only the slightest
Interest to the uninitiated hearer. The
finale has much charm. is less OF
bravura piece, and brings out the lighter
graces of the cello. Between them is the
slow movement for which the concerto
must have been written. II Is both
thoughtful and sentimental, follows
long curving contour of theme. and Is
possessed of some of the sweet melan-
choly one expected to find in the work of
the composer of the Danish folk music
heard last year Its own finale Is COM
bination of the qualities Of the other
movements, giving the cello's last word
and the composers first.
piano transcription of the orchestral part
which, II may be assumed, will be heard
here when Mr.. Sandy plays the work
with the Philadelphia Orchestra. From
the limited hearing, which showed no de-
feet of execution. one judges that the
orchestra will be entirely interesting.
Mr.. Mccormack was in so much better
voice Thursday night than at any time
last season (that is 1914-15; the reviewer
did not hear Mr.. Mccormack at his
previous appearance this season.: that one
wondered why with all mis- endowment
OF voice, he should let himself run down.
1t Is still true that he sings too much and
too often. This year he has been lucky.
His voice is easier and more pleasant
to hear. Infrequently one detects n slight
readiness in his upper tones, but his
transitions are smooth and skilful where
they were faulty and broken last year.
His head tones and ralsetto are often
ravlshingly pure and beautiful, a rare
thing I'm any singer. His middle and lower
tones are still undarkcned by time. And
he always sings con amore. 1t would
be too easy to say that any one would
mt that price. Let be. Mr.. Mccormack
earns what he gets.
He is a superb singer of ballads. and
he has devoted himself for some years
to reminding his hearers of the most sim
pie of passions and the most graceful
of attitudes. Thursday evening when he
turned to the crowd behind him on the
platform and sang the entirely simple,
entirely unsophisticated ballad of mother
love the transforming effect of his ac-
tion was really indescribable. 1t is true
that many other singers have done much
the same thing. Alma Gluck sang here.
in her lovely voice, Dvorak's "Songs
My Mother Taught Me" with an approach
TO this effect. But with Mr.. Mccormack.
maugre all the purely national enthusiasm
and the Fictitious reputation he possesses,
the audience feels more immediate SYM
pathy. His heart Is the heart of his hear
ers. He Is a good boy, and they feel that
at once.
II he would only devote himself ire
vocably to the best! Not the singing OF
Unfamiliar songs by Rachmaninofr, nor
even the repetition of Schumann and
Schubert. Is intended. For all we care,
Mr.. Mccormack may. as is threatened,
sing II Hear You Calling Me" six times
in succession. What we earnestly wish
Is that he would husband his voice, would
cheaper himself no whit. would dominate
his audience by sheer beauty of voice and
sincerity OF art.
The fortuitous and undesirable coming
together of the two recitals here dis
cussed brought into high relief the ques-
tion OF all local recitals, which has been
considered in this place before. Mr.
Sandy certainly did not have all the au-
dience he deserved. although what he had
was intelligent and appreciative and. in
a sense. representative. Mr.. Mccormack
had an audience more representative of
his popularity than of his gifts, more at
tracted by his material than by the purity