Books › Musical Courier 1926-02-04: Vol 92 Iss 5, 1926 › scan 13
Scan 13
Musical Courier 1926-02-04: Vol 92 Iss 5, 1926
68 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 14. See the scan on archive.org.
1ROCHESTER, N. Y.
3ROCHESTER, N. Y.—Musical activities in Rochester, which were suspended during the holidays, were resumed on January 7 with John McCormack returning to the Eastman Theater to be greeted by a characteristic audience, both in size and composition. Extra seats were placed on the stage and every inch of standing room was occupied, a condition that paralleled his concert of a year ago when attendance records for Rochester musical events were broken. He sang a program calculated to delight his hearers and won enthusiastic applause.
5An outstanding feature of the following week was the appearance of Willem Mengelberg, of the New York Philharmonic Orchestra, as guest conductor with the Rochester Philharmonic Orchestra at an afternoon concert in the Eastman Theater. Eugene Goossens, the regular conductor, was filling engagements in New York with the New York Symphony and in Boston with the Boston Symphony. It was the consensus of opinion that never had the Rochester orchestra played better than it did for Mr. Mengelberg. The large audience was thrilled and responded by calling back the conductor five times after each number. The program included the Der Freischutz overture, the seventh symphony of Beethoven, the Romeo and Juliet music of Tchaikowsky and the Les Preludes of Liszt.
7While in Rochester, Mr. Mengelberg was entertained at lunch at the Sagamore by officials of the Eastman Theater and newspapermen, and at a reception at the home of George Eastman.
9Mischa Elman was a visitor to the Eastman Theater on January 14, playing before a large audience of admirers. His program included the Handel sonata in E major, the Mendelssohn concerto and short pieces.
11The Rochester Little Symphony Orchestra, organized by Eugene Goossens from the first desk men of the Rochester Philharmonic, gave its first concert of the year in Kilbourn Hall on December 15 and repeated the success it won at its first concerts last year. Mr. Goossens is thoroughly happy in music of this sort and he conducted a program filled with delicate lights and details. It included Cherubini's The Water Carrier; suite for flute and strings by Bach, with Leonardo de Lorenzo playing the flute part; Goossens' own Phantasy for wind instruments, which had its first Rochester performance; Mozart's string suite, Eine Kleine, Nacht-music; a series of Conversations for wind instruments and strings by Arthur Bliss; Percy Grainger's Handel in the Strand and Schubert's Overture in the Italian Style.
13Howard Hanson, director of the Eastman School of Music, returning from a tour as guest conductor with the Los Angeles and San Francisco Orchestras, stopped off at the convention of the National Music Teachers' Association at Dayton, Ohio, on December 30 to address the teachers. He also presented an invitation for the teachers to meet next year in Rochester, which was unanimously accepted. Mr. Hanson promised to arrange a concert of new American works, like the two others that have been given here, while the convention is meeting in the city. This will constitute a music event of national importance. Mr. Hanson's successes as conductor on the coast were reported in news dispatches, which told of his popularity with the audiences and of the fine impression created by his Nordic Symphony.
15In the Tuesday Musicales series in Kilbourn Hall, January 5, two Rochester artists gave a program that was heartily applauded by the audience. They were Marjorie Truelove McKown, pianist, and Francis Jones, violinist, both of whom were warmly praised.
17A program by members of the Tuesday Musicales was given on December 16 in Kilbourn Hall, a feature of which was selections by the St. Cecilia Sextet, consisting of Mrs. Frank Gifford, Katherine Scott, Mrs. Charles Hooker, Mrs. Warren Parks, Josephine Andrews, and Martha Hathaway. Ora Chapin Bay played the piano accompaniments. A group of compositions arranged for two pianos were played by Sadye Levin and Elsie Walter, who had previously earned recognition from the Musicales.
19A series of five evening concerts in the assembly hall of No. 9 School has been arranged by the Parent-Teachers Association of the school and Harold Gleason, director of the David Hochstein Memorial Music School. This is a continuation of a plan started a year ago that won unusual success as a community enterprise.
21Pupils of the Resnikoff-Maas School of Music gave a recital on December 21 in the assembly hall of the Young Men's Christian Association. Those who took part were Ruth Yalowich, Georgia Rosenthal, M. E. Bryant, Esther Shure, Celia Wolberg, Wilton Clute, Helen March Rowe, Fred Broders and the Broglieri string quartet—consisting of Fred Broders, first violin; Abe Broshy, second violin; Albert Gerstel, viola; James Guli, cello. The Resnikoff-Maas Choir, of which Leo Sorochinsky is conductor and which has in its membership several former members of the Ukrainian National Chorus, also sang.
23The Chamber of Commerce Glee Club gave its eleventh concert, January 11, at the chamber rooms. Soloists were Dorothea Smith, violinist; Kathleen Barkley, cellist; Edna McLaughlin, pianist, and Dorothy Steinbaugh, soprano. The accompanist was Ruth Northrup.
25Stewart B. Sabin, dramatic editor of the Democrat and Chronicle, gave an address on The Appreciation of Music at the forum of the Jewish Young Men's Association.
27The Cornell Music Clubs played and sang before a large audience in the Hotel Seneca, December 26.
29Faculty Recital at Curtis Institute Attracts Attention
31What is probably the first performance in Philadelphia of John Ireland's sonata in A minor for violin and piano was given on January 20 at the Curtis Institute of Music, by Frank Gittelson and George Boyle. The occasion was the fifth faculty concert, given in the hall of the school by members of the teaching staff before an audience composed exclusively of students and a few specially invited guests. Mr. Gittelson, who is associated with Carl Flesch in the violin department, played the Saint Saens concerto, No. 3, in B minor and three short numbers by Kreisler, Pierre and Wieniawski. In the Ireland sonata the piano part was played in an artistic manner by George Boyle, who is associated with Josef Hofmann in the piano department. Harry Kaufman provided sympathetic accompaniments for the other numbers.
33Bachaus Fills Hurry Call
35Hardly had Bachaus returned from a holiday in Havana (a holiday interspersed with several successful recitals) when he was called on at a few hours' notice to appear with the New York String Quartet in Bloomfield, N. J. Bachaus prepared a program of solos, rehearsed the Schumann quintet and played the concert, all within five hours.
37DETROIT, MICH.
39DETROIT, MICH.—The first of the seventh pair of subscription concerts of the Detroit Symphony Orchestra was given at Orchestra Hall, December 31. In spite of the holiday season there was a capacity house. Richard Crooks, tenor, was the soloist. Mr. Gabrilowitsch opened the program with the overture to Coriolanus, Beethoven, followed by the Beethoven symphony No. 2 in D minor. Euphoria by Paolo Gallico, was given its first hearing in Detroit. It is ultra modern, full of color, with some clearly defined melody. Mr. Gallico was in the Gabrilowitsch box and acknowledged the applause from there. Richard Crooks sang Una furtiva lagrima from Elisir d'Amore, Donizetti; and Sound an Alarm from Handel's Judas Maccabeus. He closed the program with Lohengrin's Narrative. Suave beauty of tone was evident throughout and he was obliged to add two numbers to the scheduled ones. The work of the orchestra was excellent and sympathetic support was given Mr. Crooks in his accompaniments. For his two encores Margaret Mannebach was at the piano.
41January 3, the orchestra resumed its series of popular afternoon concerts. Mr. Kolar's program included Rossini's overture to Semiramide; Waldheimen from Wagner's Siegfried; Air de Ballet and Forget-Me-Not for strings; Victor Herbert, and La Valse, Ravel. Frank Sheridan, pianist, was the assisting soloist. He played Tchaikowsky's first concerto in B flat minor with good technic and artistic interpretation and was recalled several times. one of two readings
42January 3, the orchestra resumed its series of popular afternoon concerts. Mr. Kolar's program included Rossini's overture to Semiramide; Waldheim from Wagner's Siegfried; Air de Ballet and Forget-Me-Not for strings; Victor Herbert, and La Valse, Ravel. Frank Sheridan, pianist, was the assisting soloist. He played Tchaikowsky's first concerto in B flat minor with good technic and artistic interpretation and was recalled several times. one of two readings
44The concert, January 10, presented Georges Miquelle, cellist, and Felix Fox, pianist, as soloists. For the orchestral part of the program, Mr. Kolar chose Mozart's overture to The Marriage of Figaro; Gliere's symphonic poem, The Sirens, and Homneger's Pacific 231. The last named composition was given a dynamic interpretation under the fervent baton of Mr. Kolar and the audience thrilled to it. It was Mr. Miquelle's first appearance as soloist. He played Saint-Saens' concerto in A minor with distinction, his tone being warm and resonant, and his interpretation excellent. He was enthusiastically acclaimed. Mr. Fox also scored in his rendition of Liszt's concerto in A major and was recalled several times.
46Handel's Messiah was given by the Detroit Symphony Choir, December 27, at Orchestra Hall, with the following quartet: Muriel Kyle, soprano; Jeanne Laval, contralto; Arthur Kraft, tenor, and Fred Patton, basso. Under the careful drilling of Victor Kolar the choir has attained an admirable ensemble, singing with precision of attack and nuance. It received a liberal share of applause. The soloists were always adequate, giving their various numbers with authority. The work of the orchestra was all that could be desired. Mr. Gabrilowitsch conducted skilfully.
48The beautiful new Players Theater was opened to the general public, January 10, when a program was given by the New York String Quartet and Clara Clemens, contralto, who was accompanied by the quartet and Frank Bishop on the piano.
50January 11, the announcement of a recital by Paderewski filled the huge auditorium of Arcadia to capacity with an audience that sat enthralled during an all Chopin program. It was given with vigor, poetic charm.
52The morning of January 11, Ursula Greville, soprano and editor of The Sackbut, gave an unhackneyed program at the Book-Cadillac Hotel. For the most part both songs and composers were unfamiliar and they were made interesting by the singer's diction and interpretation. Prefaced with enlightening remarks, Owen Mase, Gerrard Williams, Edgar Bainton, Christable Marillier and Felix White were among the composers represented. Charles Frederic Morse, under whose management these concerts are being given, played Miss Greville's accompaniments in his usual satisfying manner.
54Denver Symphony Engages Iliff Garrison
56Iliff Garrison, American pianist, will play the Saint-Saens C minor concerto with the Denver Symphony Orchestra, Horace Tureman, conductor, on February 12 and 14. This is the first time this concerto will be played with this orchestra.
58MYRA HESS
59English Pianist
60Only New York Recital of the Season
61Last Appearance for Two Years at
62Aeolian Hall, Thursday Afternoon, February 18, at Four o'Clock
63Miss Hess' tour will include the following cities:
64New York, Boston, Chicago, Philadelphia, Rochester, Buffalo, Louisville, St. Louis, Detroit, Toledo, Hartford, New Haven, Albany, Northampton, Oberlin, and extend to California.
65Steinway Piano
66Exclusive Management: Annie Friedberg, Metropolitan Opera House Bldg., New York City
67Duo-Art Records
The computer misreads some letters and numbers. Where a name matters to you, read the scan.