New-York tribune., 1922-11-29
Five Artists
Are Heard ON
Concert Stage
Arthur and BeryI Rubinstein
Play Witla Talent. But
Neither Aaiains Highest
Distinction as Pianist
Hiss Hempel at Her Best
Minerva komenarski Ap-
pearsNocalis, of Promise:
MIR. Madden Makes Bow
By RI. E. Krehbiel

There arc three Rubinsteins in the
sta to-day where there was only one,
4 far as New York was concerned,
ss.g years ago. One of the three.
grrs, is young woman and violin
ID and does not cali for consideration
4 connection with yesterdays con-
sssss. The others are men and play
shtpianoforte, in which respect they re-
sable their uamesake. Fond memory
dees not permit us to carry the Ike
sess further, though both Beryl. who
asse q recital in Aeolian Hall in the
sstcrnoon, and Arthur. who played at
concert OF the Philharmonic Society
d the Metropolitan Opera House in
lie evening, arc young virtaosi whose
sstainnlents and abilities have won
hem many admirers in the musical
circles of the city.
Shere were other concerts which
nast be mentioned to give complete
aess TO the record. Frieda Hempe}.
ahom, it may be said in pardonable
Arperbole, every musical New Yorker
snows in her professional CAPACITY,
gye q song recital i'll Carnegie Hail
ii the evening, as did George S. Mad
den. barytone, whom few know
though ne was heard here last scason.
. Town Hall, and Minerva komenarski.
contrslto and newcomer from Bos-
ion, in Aeolian Hall in the evening.
III, Madden sang all his songs in Eng
lab and divided his program into three
rgoups devoted 10 American COMPOSERS,
European and Old Folksongs {as the
rogram described them) and Old
Masters Songs, the masters being Schu-
aann, Schubert, pergolesi, Mozart.
Beethoven and Handel. OF his recital
1 is enough TO say that the language
sed did not make up for the want Of
ut and interest in his singing.
Arthur Rubinssein Plays Lucidly
At the Philharmonic concert the
Arshurian Rubinstein played Bee
thoyen's Concerto in G; played it deft-
ig lucidiy but without particular bril-
fancy or charm. To what extent the
Esnt Of good acoustlcal properties in
The theater initiated against the
general effect we do not choose TO dis
euss. The Metropolitan is better
lyric theater than it is a concert
room The concert, conducted by Mr.
Ssransky, offered also Beethoyens
overture "Leonore, No. 81 and Tschai-
koifsky's Symphony in E minor.
The other Rubinstein of the day,
Beryl, seems to be one of those plan
ists who cultivate brilliance and force
rather than fine shades of coioring,
While far from the ranks of those who
asrely pound the keys. In his open
e number, this Liszt version of
aeh' A minor organ prelude and
3ue, he combined high speed with an
sbhty to bring out each note with
Gwp, rather staccato touch. Staccato
vss the main impression in Schu-
aann's Etudes Symphoniques with
phrases clipped, it seemed, not sus-
aimed; but this manner gave add
.ionai life and sparkle to Ravel's
Ihythmic, Hispanic "Cancion del
Gracioso," while Mr.. Rubinstein was
smoother, if not particularly express
sive, in Chopin and List numbers,
With the latter's "Mazeppa' as a sonor-
Gus climax.
Nine. Hempei in Fine Voice
Everybody present seemed to be hav-
ing good time at Nine. Hempel's
recital, especially Nine. Hempel, who
bore out youthful appearance and
animated manner by being in excellent
yocsl trim. She poured out notes with
ASA PAOihosSh anu cDpGttilL idth
of effort, and, barring one or two
rougher moments, her usual smooth,
sustained and strong tones in a pro
gram beginning with Mozart aria
followed by Schubert and Brahms
songs. The French and American num-
asfs in the latter part of the concert
we're taken with light touch, while
Nine. Hempel seemed nowhere happier
{aan IN passages of vocal fligree, such
as the Gretry aria, 'La fauvette avec
ses petits," where her voice competed
y gymnastics with the flute of Louis
Erltze. In the last number on the pro-
gram, the gavotte from "Manon," Nine.
nempel turned from the lyric singer
70 the prima donna, and scaled the
heights unscathed and triumphant En-
cores seemed unlimited, but the supply
nowhere exceeded the demand.
Inc third singer of the day, Minerva
Aomenarski, had, it seemed, a promis-
ing voice. but one that could profit
rom further training. 1t was true
'eontralto, but not particularly full or
even in quality. Her higher notes were
good, with clear. fluent quality of
0ns noticeable in the Gluck aria 80
milo dolce ardor" and German songs