Books › Musical Courier 1913-11-12: Vol 67 Iss 20, 1913 › scan 14
Scan 14
Musical Courier 1913-11-12: Vol 67 Iss 20, 1913
77 lines. Read by computer on 26 September 2026. Printed page 15. See the scan on archive.org.
1Florence Hinkle's New York Encomiums.
3In a comparatively short time Florence Hinkle has become one of this country's leading concert sopranos. A naturally beautiful voice, excellent judgment, exceptional musicianship and a winning personality have been the happy combination which has brought success to this soprano.
5Some of Miss Hinkle's press tributes in reference to her recent New York Aeolian Hall recital are herewith appended. These bear eloquent testimony to the fine achievements attained by this artist, who also won a pronounced success at the 1913 Worcester Festival:
7Miss Hinkle's voice and method have before now won and deserved admiration, and they deserved it anew in their application to the music of this program. Her enunciation was especially good in her German and English songs.—New York Times.
9Most of her work in this city has been in oratorios, and her program last evening proved her familiarity with other styles of musical composition and her ability at interpretation.—New York American.
11Miss Hinkle disclosed freedom in vocal skill in a manner that imparted to her delivery the dignity of style so significant in the rendering of classic models of song.—Brooklyn (N. Y.) Citizen.
13Miss Hinkle has a voice of unusual purity, warmth and beauty, with high tones of extraordinary quality, a well nigh perfect scale and one of the smoothest methods of singing before the public today. Her diction in English, French, German and Italian was clear and absolutely unaffected by tone, range or anything else. Her selections were those of a musician and an artist devoted more to the art than to effects.—Evening Mail (New York).
15The evening audience welcomed Florence Hinkle, who has stepped to the front among the number, never large, of this country's favorite concert sopranos. Miss Hinkle's smooth, even voice was exhibited in classical airs of Handel, Haydn and Purcell. There were modern French songs of Massenet, Paulin and Fourdrain, and English by Walter Rummel and Sidney Homer. A vein of humor was shown in old Irish ballads at the close. The accompanist was Hans Morgenstern, of the opera.—Evening Sun (New York).
17She was in lovely voice and she showed her art at its best, her phrasing being especially worthy. Her best numbers were Schubert's "Frühlingsgluthe," Liszt's "O Komm im Traum," Massenet's "Mireille," and the old Irish air, "The Falling Star." By turns Miss Hinkle was brilliant, poetic and dramatic, and always she was interesting.—Evening World (New York).
19With a splendid selection of songs and a soprano voice that justifies the most favorable comment, Florence Hinkle gave at Aeolian Hall last night a four part program of old classical airs, classical German songs, modern French songs and songs in English, and a good sized audience generously indicated its delight. Miss Hinkle at all times sang with a wealth of tone, clearness of enunciation and the best of judgment.—Evening Telegram (New York).
21Miss Hinkle has one of the most beautiful voices heard in concert or opera. Her tones last night, even in the intensive ensembles of a loud chorus and orchestra, retained their edgeless mellowness and purity. Her musicianship ranks with the tonal beauty of her voice, and her contribution to the evening's pleasure was a generous one.—Worcester Daily Telegram. (Advertisement.)
23Cadman Trio for New York.
25Charles Wakefield Cadman will be in New York from December 5 to December 9, on which occasion he is to appear with the Mozart Society (December 6) and the Manuscript Society (December 8). Mr. Cadman will play his new trio in D major for violin, cello, and piano. It was heard not long ago in Minneapolis and the public applauded it, while the critics gave the work enthusiastic notices.
27In New York Mr. Cadman has been known almost entirely as a writer of songs and ballads, and it will be interesting to hear him as a creator of a composition in the larger form.
29NEW HAVEN SYMPHONY ORCHESTRA BRINGS OUT NEW DELIUS NOVELTY.
31"In a Summer Garden" Heard for First Time in This Country—Sousa Pays Welcome Visit—Other Concerts.
33New Haven, Conn., November 4, 1913.
35The first of the series of five concerts by the New Haven Symphony Orchestra at Woolsey Hall yesterday afternoon met with marked success. Apparently the subscribers' list is larger than ever before and the excellence of the program and its performance augurs well for the coming season. The Saint-Saëns, a minor symphony, showed that much attention had been given to detail, and "The Flying Dutchman" overture with its dashing climaxes was never better done locally. A novelty was "In a Summer Garden." Perhaps I should say an oddity. It is a sort of symphonic poem written by Frederick Delius, who was born in England, studied much in Germany, and now resides in France. Professor Parker brought the work back with him and its first public rendition in America occurred yesterday. Its oddity lies in its peculiar construction and instrumentation and almost indescribable intermingling and overlapping of melodies. That Delius is a master in orchestral coloring and peculiar effects there is no doubt. As played yesterday there is much in it to commend. Herbert Witherspoon was the soloist. He sang with dramatic eloquence Chadwick's "Lochinvar," also "In Questa Tomba" (Beethoven), and a madrigal by P. Floridia. He was warmly received and answered several recalls.
37Two concerts were recently given at the armory by the United States Marine Band of Washington.
39The De Koven Opera Company, with Bessie Abbott and Jefferson de Angelis, then visited us, two performances of the old time favorite, "Rob Roy," being sung and staged satisfactorily. The organization is above the average.
41The famous Sousa and His Band found two very large audiences to greet them at Woolsey Hall, Saturday. The programs are now of a serious character. Each number was received with evident approval, and encore after encore, including a number of the Yale songs, etc., were willingly given. The popular soloists were Virginia Root, soprano; Margel Gluck, violinist, and Herbert L. Clark, cornetist.
43The first of the season's expositions by Arthur Whiting was given under the auspices of Yale University, Monday evening. He played the harpsichord and was assisted by George Barrere, flute; Samuel Gardner, first violin; Robert Thedt, second violin; Otto K. Schill, viola, and Horace Britt, cello. The selections were entirely from Johann Sebastian Bach. E. A. LEOPOLD.
45Those Prizes.
47CHICAGO, November 5, 1913.
49To the Musical Courier:
51I note with pleasure in the North American Review (November, 1913) Lawrence Gilman's praise of the efforts of the Century Opera Company in New York. He deplores the poor translation and writes it meant nothing to him being given in English. That the translation is poor, is pitiful, for our language can furnish an adequate translation of anything worth this effort. If Mr. Gilman knows German, he must not, however, forget the audience—at large, in America—does not, and until we have our vocal music in all branches in the vernacular we continue to stifle our musical art as well as being unjust to our composers and public. The National Federation of Musical Clubs makes a wise statement, in reference to the large prize offered for an American opera, namely: "The prize will not be given if a worthy opera is not presented."
53How much wiser (and kinder to the American composer) the Metropolitan prize would have been, if "Mona" did not prove worthy of the prize, not to have given it, thus sparing its damnation and the composer's feelings.
55Throwing prizes around is not going to stimulate anything if the works do not deserve the reward. The Nobel Prize is admirable, in not being offered for a given object, but being there, at hand, to give, after work of distinction has been produced. E. E. F.
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76Subway Express Station at the Door
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