Books › Musical Courier 1925-12-17: Vol 91 Iss 25, 1925 › scan 46
Scan 46
Musical Courier 1925-12-17: Vol 91 Iss 25, 1925
42 lines. Read by computer on 27 September 2026. Printed page 47. See the scan on archive.org.
1December 17, 1925
3PHILADELPHIA, PA.
5PHILADELPHIA, PA.—Two soloists were presented at the Philadelphia Orchestra concerts of November 20 and 21—Thaddeus Rich, concertmaster of the orchestra, and Carlos Salzedo, harpist. Dr. Rich was heard in the Brahms concerto for violin and orchestra. Although a masterpiece in itself, its beauty was enhanced by the excellence of its performance. Dr. Rich gave a fine interpretation, in addition to exhibiting great ease in all technical difficulties and his usual beautiful quality of tone. Mr. Salzedo played one of his own compositions, The Enchanted Isle, a symphonic poem for harp and orchestra. It is decidedly modern in character and gives a wide scope to the possibilities of the harp. His performance of it was all that could be desired and showed him to be a master of his instrument. The two orchestral numbers of the program were acknowledged favorites—the prelude to Act III of Lohengrin, played with delicacy and beauty, and the Stravinsky Fire Bird Suite, which has much real melody and pleasing harmony. Perhaps the two most popular parts were the Dance of the Princesses and the Berceuse. It was a delightful program, well read and executed, as always.
7CIVIC OPERA COMPANY
9The Civic Opera Company achieved another triumph, on November 19, when the Jewels of the Madonna, by Wolf-Ferrari, was given at the Metropolitan Opera House before a capacity audience. Helen Stanley, in the leading role of Mariella, was superb, both vocally and dramatically, in spite of the difficulty of the part. Edoardo Ferrari-Fontane, as Gennaro, proved himself a true artist, doing some specially fine work in the second and last acts. Alfredo Gandolfi as Rafele gave a convincing interpretation of the part. Ruth Montague made the most of the role of Carmela and sang with ease and trueness to pitch. The other principal parts were well taken by Elsa Meisley, Tillie Barmach, Bernard Poland, Albert Mahler, Nina Mazzeo, Theodore Bayer and Veronica Sweigart, who sang the title role in Gluck's Orphée with the Philadelphia Operatic Society, last year, under the auspices of the Philadelphia Music Club. The lesser roles were sung by Sara Murphy, Helen Botwright, Pierino Salvucci, Francis Desmond, Louis Metzinger and Alexander Angelucci. The ballet was again a charming feature, with Catherine Littlefield so fine in the role of Grazia. The work of the chorus was excellent, for not only did it sing splendidly but its action was appropriate.
11CHAMBER MUSIC ASSOCIATION
13The Chamber Music Society of San Francisco (composed of Louis Persinger, first violinist; Louis Ford, second violinist; Nathan Firestone, violist; Walter Ferner, cellist, and Elias Hecht, flutist), gave the program for the second meeting of the Philadelphia Chamber Music Association, on November 22, in the ballroom of the Bellevue-Stratford. The Brahms string quartet in A minor was the opening number, followed by Three Medallions for Flute and Strings (a) Spanish, (b) Italian, (c) American. These were characteristic of their names and afforded Mr. Hecht an excellent opportunity to exhibit his skill on the flute. The Ravel quartet for strings in F major was the closing number, splendidly performed and beautifully interpreted.
15PHILADELPHIA MUSIC CLUB
17At its second meeting of the season, on November 24, in the ballroom of the Bellevue-Stratford, the Philadelphia Music Club presented the Women's Symphony Orchestra, under the direction of J. W. F. Leman, assisted by Helen Buchanan, Hitner, soprano; Eleanor Lois Fields, pianist, and Arthur Seymour, baritone. The orchestral numbers were the Athalia Overture by Mendelssohn; two movements from The Rustic Wedding Symphony, Goldmark; ballet, Sylvia, by Delibes; Love's Sorrow, Kreisler, and L'Ingenue Gavotte by Ardti. This organization is doing splendid work under Mr. Leman although greatly hampered by the lack of some instruments necessary for a complete symphony orchestra. There is an excellent spirit manifested by the members and their playing is very good for an amateur orchestra. Miss Fields gave an excellent performance of the first movement of the Grieg concerto, with orchestral accompaniment. Her playing showed facile technical ability as well as artistic interpretation. Mr. Seymour gave a dramatic rendering of songs by Pergolese, Salter and Gilberte, the latter (The Devil's Love Song) proving particularly popular. Mrs. Hitner, well-known to Philadelphia audiences sang Alleluia by Hummel, with her usual ease, and beauty of tone. It was a program, much enjoyed, doubtless, by thousands, as it was broadcasted.
19U. OF P. MUSICAL CLUB
21An excellent program was presented by the University of Pennsylvania Glee Club and Orchestra, assisted by Mildred Faas, soprano, at the Academy of Music, November 25. The orchestra is under the direction of Adolph Vogel and is doing fine work. The work of the Glee Club, under Dr. H. Alexander Matthews, is excellently done; the shading of tone, attacks and releases were masterly. M. M. C.
23Marcella Roeseler Scores as Elsa
25Marcella Roeseler was heard last week for the first time this season when she sang the role of Elsa with Curt Tascher's Lohengrin. One of the newspapers stated that "she sang the Elsa music admirably and her lyric passages, reaching into the upper register, were notable for their purity of intonation and fine spinning of tone." Another critic declared that "her performance on the whole stood under a good star. She looks good and noble, wears the magnificent costumes of the Princess of Brabant with dignity, and is equal to all the complicated soul-changes of the character. In a word, she gave full proof of a talent that will undoubtedly acquire additional interest with further performances."
27MUSICAL COURIER
29Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
31MANDOLIN QUARTETS
33"I am trying to organize a mandolin quartet but find it very difficult to obtain the required instruments. A mandolin quartet consists of a mandolin, mandola, mando-cello and mando-bass, does it not? When impossible to obtain the last two what can be done then? Would three mandolins and a mandola sound good? In a pinch how would four mandolins go? What other instrument would go with several mandolins? Would guitars and ukuleles?"
35A mandolin quartet ordinarily consists of first and second mandolins, mandola and mando-cello. The basso is not frequently used. Music is arranged also for the mandolin and mandola, and there are various other combinations. Of course, the guitar might be introduced provided music can be had with guitar accompaniment—which is unusual except in the most popular forms of music. The ukulele is hardly suitable to such a combination. On the other hand, in modern dance music, either ukulele or banjo might be introduced, but the majority of publications for mandolin orchestra are for mandolin alone.
37WHEN TO RETIRE
39"At what age do you think singers should retire from public life? None of them seem to have any idea of how they sing when they are growing old; they keep on in just the same way and sometimes it is painful to listen to them. How would it do to have an age limit as is done in the army? The other day at the opera I was impressed with the feeling particularly as to how the singers forced the voice so much it was evident that it was an effort to reach top notes. It was the only blemish upon an otherwise fine performance."
41Singers do not appear to hear themselves sing; having once made a career it is to go on indefinitely, no matter what the limitations. Any criticism as to voice or execution is met with scorn. There are exceptions, which prove the rule. Prima donnas have retired from public life early in the full possession of their vocal powers. Emma Eames was only thirty-three when she bade farewell to the stage, but it was not a loss of voice. It is not always that the way of weakening of vocal powers; screeching takes the place of singing, but as long as the high note is reached in any way, the singer seems satisfied. There is nothing that can be done in the matter unless the public makes an outcry. One exception is the lady retiring from the stage at an early age, that of Adelina Patti. Born in 1843, it was during the year 1914 that she appeared in concert at Albert Hall in London. Realizing that her voice was not up to top notes formerly sung, all the music was lowered to suit her, and the afternoon was one of failure. The critic of the Times, in an article that was in the half. There was no reaching after notes, every tone was in the compass of her voice as it was at the age of seventy-one, while the style, diction, execution, were object lessons for all.
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