Books › Musical Courier 1925-12-17: Vol 91 Iss 25, 1925 › scan 47
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Musical Courier 1925-12-17: Vol 91 Iss 25, 1925
73 lines. Read by computer on 29 September 2026. No printed page number was found. See the scan on archive.org.
1MUSICAL COMEDY, DRAMA AND MOTION PICTURES
3THE RIVOLI
4The program at the Rivoli last week began with several divertissements. In Chaplinesque the Rivolettes went through some characteristic Charlie Chaplin antics, following which Charlotte Woodruff sang, and displayed poise and a coloratura soprano voice under excellent control. Fowler and Tamara were well received in their dance numbers. August Werner, baritone, singing with his accustomed skill, and the Rivolette Dancers, costumed in brilliant Spanish shawls, concluded the divertissements in a blaze of color.
6Another one of the famous music master series was shown last week, M. W. Balfe being the composer under consideration. There was some excellent dancing in this picture, and in portraying some of the important events in the life of the composer such notables as Rossini, Cherubini and Jenny Lind were brought to life on the screen.
8There would be many to agree that the best number on the program was the playing of Kharum, the Persian pianist, who made a striking picture garbed in a beautiful native costume. He was heard in several selections, one of them for the left hand alone; his technic was excellent and his interpretations those of an artist.
10The feature picture was Cobra, with Rudolph Valentino, and it proved by no means one of this film star's best pictures.
12THE RIALTO
13The musical offering at the Rialto last week was supplied by Ben Bernie and the Rialto Gang. The program featured several compositions by members of the orchestra; Albert and Adele Gloria, novelty dances; George Lyons, jazz harpist; and Suzanne Clough, mezzo soprano, and was accompanied by a running fire of typical Bernie witcisms. Miss Clough, one of the favorites at the Rialto for the past two years, had just returned from Europe, after further study in Berlin with her teacher, Mme. Schoen-Rene. She sang Moya's ever popular Song of Songs, much to the delight of the audience.
15The picture was His People, featuring Rudolph Schildkraut. The older Schildkraut, as he has been named to distinguish him from his equally famous son, is one of the finest contributions Europe has given to dramatic art in America for some time. His success in the field of legitimate drama has caused considerable interest in his advent into the world of Kleig lights and close-ups. He gives a fine performance in this picture. The plot of His People is rather scanty, and faintly reminiscent of Abie's Irish Rose, the love interest in this instance being supplied by George Lewis and Blanche Mahaffey. The play is redeemed however, by some extraordinarily good character acting in which connection Rudolph Schildkraut and Rosa Rosanova deserve special mention.
17THE CAPITOL
18Tchaikowsky again contributed the introductory offering of the Capitol program last week, this time, in lighter vein, presenting the Capriccio Italian. The selection was given a splendid interpretation by the Capitol Grand Orchestra, under the inspiring baton of its leader, David Mendoza. At the conclusion, Mr. Mendoza was forced to bow repeatedly, and to call upon his men to rise and share the enthusiastic applause. There is no doubt but that the excellent musical offerings that precede each week's performances at this theater are meeting with the utmost approval of the audiences. Another musical attraction was the appearance of Tandy Mackenzie, tenor, whose beautiful voice was heard to advantage in a Hawaiian melody, Malanal Anu Ka Makani. Mlle. Desha and Alice Wyne appeared in a ballet, Voices of Spring (Strauss). The unit that served as prologue to the picture was particularly attractive, including a solo, Persianne from Lakme, given by Filippo Ghignatti, first oboe of the orchestra; an oriental dance by Doris Niles; the duet from Lakme, sung excellently by Caroline Andrews and Celia Turrill; the Capitol Ballet in a colorful number, and finally an interpretive dance by Renoff and Renova. The feature picture was Sally, Irene and Mary, introducing two newcomers to the silver screen and Constance Bennett, whose loveliness completely dominated the picture. Other screen offerings were a nature film, the usual Capitol Magazine and an educational attraction.
20THE MARK STRAND
21The Strand Symphony Orchestra offered Dvorak's Carneval overture as the opening feature of last week's program, giving it a splendid reading. Later came the Chantel Sisters presenting piano duets, technically well done but altogether too mechanically played; the numbers were Celebre Tarenelle (Gottschalk), Valse (Moszkowski) and Kitten on the Keys (Contrey). "The Farmerettes," with Mlle. Klevoma, Ray Bolger and the ballet corps, gave an enjoyable performance, and well worthy of mention was the organ solo at the conclusion of the program. In the Barracks with the "Royal Hussars" brought forth some twenty or more male singers in several numbers, the soloists being Hector Carlton and Anatole Bourman. The feature picture was We Moderns, starring Colleen Moore, who is always fine. The Shrine of the Faithful an Oriental picture, was also enjoyed, and the Topical Review was an added attraction.
23Cincinnati Symphony Orchestra Notes
24Cincinnati, Ohio.—At its second pair of concerts, on October 30 and 31, the Cincinnati Symphony Orchestra won a brilliant success. The first number was the first symphony of Schumann in B flat major. Mr. Reiner's interpretation brought out delightfully the joy and melodic sweetness of this composition. The soloist at the concert was Maria Carreras, who played the Burleske in D minor by Strauss. Mme. Carreras' technic was adequate to the very considerable difficulties of the piano part. The second half of the program began with three dances from The Three-cornered Hat, by Manuel de Falla. The score is one of no mean intricacy and the orchestra played it with a dash and elan, which showed how much both conductor and men enjoyed the work themselves. Last on the program was Rimsky-Korsakoff's Scheherazade. This is always a great favorite with symphony audiences, but this was a truly unusual performance of it. Especially the last movement, the Festival at Bagdad, which is full of instrumental stumbling-blocks, was played as though it were all a game for children. The rapid double and triple-tonguing on flutes and trumpets came out without a falter. Amazingly rapid tempo was combined with amazing accuracy of rendition. Altogether, the orchestra brought out to the full the instrumental beauties of the composition.
26SYMPHONY'S THIRD PAIR
27On November 6 and 7, the Cincinnati Symphony Orchestra gave the third pair of concerts of the season. The program was an unusual one—really covering in three steps the progress of music from the seventeenth to the twentieth century. First was the Concerto Grosso in D major, Op. 6, No. 5, by Handel. The suave dignity and restrained sprightliness of this suite, for strings "ripieni" and "concertino" seemed to please the audience hugely. It was interesting to listen to this work, for some of these older masters with all their simplicity offer a rather severe test for the modern orchestra, with its larger choir of strings. But the orchestra stood the test admirably. The tone was broad and sustained and full; the bowing was accurate and precise, and the nuances delicate and rightly placed. The second number was the first symphony of Brahms in C minor, op. 68. The second movement was played with broad singing tone; it had the ballad-like quality that should pervade it. The third was full of Brahms quiet, singular humor. And the fourth resolved the spiritual problem in its prophetic horn-solo, and its march-like section. Altogether a notable interpretation of a giant work! The second half of the program was devoted to the Variations and Fugue on a Merry Theme by J. Adam Hiller, by Max Reger, op. 160. Our audiences look somewhat askance at the name of Reger, as he has made a name for rather d'y pedantry. It was therefore rather difficult to secure a fair-minded hearing for this work. Variations 6, 8, and 10 were omitted, in order not to prolong the concert too much. It was surprising what a wealth of beauty and meaning there was in the work. The theme itself was charming, simple and gay. And out of it the composer reared an imposing structure. What was especially to be remarked was the richness and interest of the orchestration.
29NASHVILLE, TENN.
31NASHVILLE, TENN.—The season was opened auspiciously recently by the Nashville Symphony Orchestra. There was, to be sure, one precursory musical event, Paul Whitman and his snappy jazz band, a group which interested a large audience in the Ryman Auditorium. There was also an appearance of the DeReszke Male Quartet and Will Rogers, at that same theater, under the local management of Mrs. L. C. Naff. The first concert of the Nashville Symphony, under the baton of F. Arthur Henkel, its conductor since its founding nearly six years ago, was a noteworthy event. The playing forces have this year been augmented to sixty-five musicians, and the different sections have a balance, in numbers and efficiency, which is remarkable among organizations of its class where the players are drawn from the theater orchestras and from non-professional circles. The program of the Nashville Symphony's first concert consisted of the Phedre overture (Massenet); the Andante Cantabile from the E minor Tchaikowsky symphony, No. 5; a selection from Rimil's The Firefly; The Goblins' Minuet; the Dance of the Sylphs from Berlioz's Damnation of Faust, and the Bridal March from Rubinstein's Feramors. Mrs. R. E. Baber, harpist, provided the solo feature of the bill, rendering two Hasselmans numbers, Minuet and Ballade, and the Aeolian Harp by Godfroid. The orchestra played with an authenticity which was gratifying to those who look for steady improvement year by year. Mrs. Baber's harp work was excellent and well received by the audience of 2,000 which greeted her and the symphony. This accomplished musician and Frances Helen Jackson, harpist, are two of this year's additions to the playing ranks of the symphony.
33Dr. George Pullen Jackson, the leading spirit in the founding of the orchestra and its present manager, reports that the public subscription to season tickets for the symphony course has been better this fall than heretofore and that that subscription is sufficient to cover the budget expenses of the orchestra.
35A novel project in local instrumental circles is the organization of the Nashville Little Symphony. This group is composed of twenty-five players from the larger ensemble. Plans are on foot to make the Little Symphony a permanent adjunct to the older band, functioning in such ways as are impractical for the latter.
37The Pavley-Oukrainsky ballet appeared November 21 in the Ryman Auditorium in a program of dance interpretations. Their work was enthusiastically received by a large audience.
39G. P. J.
41Peterson Pleases Bowling Green, Ohio
42May Peterson certainly won a great success in Bowling Green, Ohio, on October 14, not alone with her audience, as a glance at excerpts from the review of her concert that appeared in the Daily Sentinel-Tribune, would indicate: "The appearance of May Peterson at the State College Auditorium last night seemed more like a home-coming reception for one of our girls who had won fame abroad than a mere recital by a stranger. . . . The audience which almost filled the auditorium fell under the spell of her wonderful personality at once. Her poise, her interesting talks regarding the songs she was about to sing, her personal beauty enhanced by a handsome gown, which was itself a work of art, her graciousness and her pure lyric notes wove a web about her auditors so delightful that they were unwilling to be released from it despite the fact that she had supplemented her splendid program with eight encores. And Miss Peterson, too, impressed one as enjoying every minute of the evening. . . . Her register is very wide, and as tone followed tone, their quality reminded one of that of a priceless Cremona violin—the pitch varied but the quality remained the same. There was fullness, richness, warmth where the interpretation sanctioned it, ringing challenge where that was desired. Her ease of breath control, her power of dynamics, her artistry are remarkable. Never was there a hint that the reserve power was near exhaustion."
44Gilbert Ross Captures Audience
45Gilbert Ross played on December 1 at the Shattuck School, Faribault, Minn.; December 3 at Downers Grove, Ill., and December 8 at Waterloo, Ia. Following the violinist's appearance with the Duluth Symphony Orchestra on November 22 the critic of the Duluth News stated: "Mr. Ross has a pure and sympathetic tone, a supple bow, good phrasing, and above all, a poetic temperament. He chose his numbers with the realization some violinists lack that the violin is essentially a singing instrument. There was a pleasing degree of novelty in his group. After enthusiastic applause the artist accorded an encore." "Gilbert Ross," said the Duluth Herald, "completely captured the audience with his combination of extreme youth and poise and freedom from self-consciousness. Mr. Ross draws a lovely singing tone from the violin which, combined with the technical facility and real temperament, made his group of numbers most enjoyable. The Mozart Rondo was especially well done, while the quality of tone in the Logan-Kreisler Pale Moon was exceptionally fine."
47Chotzinoff-Hefetz Wedding
48Samuel Chotzinoff, music critic of the New York World, was married last Thursday at Porchester, New York, before Justice of the Peace Merritt, to Pauline Heifetz sister of Jascha Heifetz.
50NEW YORK CONCERT ANNOUNCEMENTS
52DECEMBER 17—New York Symphony Orchestra, afternoon, Carnegie Hall; Philharmonic Orchestra, evening, Carnegie Hall; Andres De Segurola's Artistic Mornings, Plaza; Haarlem Philharmonic, morning, Waldorf-Astoria.
54DECEMBER 18—Philharmonic Orchestra, afternoon, Carnegie Hall; New York Symphony Orchestra, evening, Carnegie Hall; Tollesen Trio, evening, Town Hall; Friday Morning Musicales, Biltmore; Joseph Szietgi, violin recital, evening, Aeolian Hall.
56DECEMBER 19—Philharmonic Orchestra, evening, Carnegie Hall; Irwin Schenckman, piano recital, afternoon, Aeolian Hall; Mme. Charles Cahier, song recital, evening, Aeolian Hall; Mount Holyoke College Choral Group, Town Hall.
58DECEMBER 20—Paul Weise, piano recital, evening, Aeolian Hall; New York Symphony Orchestra, afternoon, Mecca Auditorium; Philharmonic Orchestra, afternoon, Metropolitan Opera House; Music Festival, evening, Madison Square Garden; Society of the Friends of Music, afternoon, Town Hall.
60DECEMBER 22—Anna Carbone, organ recital, evening, Aeolian Hall; American Orchestral Society, evening, Town Hall.
62DECEMBER 23—Benefit concert for Adele Aus der Ohe, evening, Town Hall.
64DECEMBER 26—New York Symphony Orchestra, afternoon, Carnegie Hall; Oratorio Society, evening, Carnegie Hall; La Forge Berumen Noonday Musicales, Aeolian Hall.
66DECEMBER 27—Philharmonic Orchestra, afternoon, Carnegie Hall; International Composers' Guild, evening, Aeolian Hall; New York Symphony Orchestra, afternoon, Mecca Auditorium.
68DECEMBER 28—William Murdoch, piano recital, afternoon, Aeolian Hall; Beethoven Association, evening, Town Hall.
70DECEMBER 29—Paul Whitman and Greater Concert Orchestra, evening, Carnegie Hall; Winifred Macbride, piano recital, afternoon, Aeolian Hall; Orchestral concert by Percy Grainger, League of Composers, evening, Town Hall.
72DECEMBER 30—John Coates, song recital, evening, Town Hall.
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