Books › Musical Courier 1926-02-04: Vol 92 Iss 5, 1926 › scan 47
Scan 47
Musical Courier 1926-02-04: Vol 92 Iss 5, 1926
125 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 48. See the scan on archive.org.
1MUSIC ON THE PACIFIC SLOPE
3SAN FRANCISCO, CAL.
4San Francisco, Cal.—Benno Moiseiwitsch, pianist, appeared at the Civic Auditorium, January 14, as the fifth attraction of the Elwyn Artist Series and again impressed his large audience as being an artist whose technic is infallible and a musician whose mind is of the highest order. Mr. Moiseiwitsch enjoyed a genuine success and played a number of encores.
6John Philip Sousa and his Band came to town and, beginning on January 15, gave five superb concerts under the management of Selby C. Oppenheimer. At each of these events the Civic Auditorium was filled to its capacity by the March King's many admirers, who accorded him a personal ovation. The programs held much interest and enjoyment, containing the best American popular compositions, among them several of Sousa's earlier marches as well as his later ones. Adhering to his custom of many years, Sousa brought with him a number of splendid solo artists who contributed their share to the artistic success of these concerts.
8The seventh pair of symphony concerts by the San Francisco Symphony Orchestra, Alfred Hertz conducting, took place in the Curran Theater, January 15 and 17. The orchestra was heard in Haydn's The Clock symphony, Delius' A Dance Rhapsody and Strauss' Death and Transfiguration. The production of these three compositions, under the splendid leadership of Mr. Hertz, was a performance of unusual fine playing. The Strauss number sounded more than ever rich in color. The whole tone of the orchestra, while capable of tremendous climaxes, never went beyond the point of being lovely. It was read with imagination, dynamic contrast and vividness. The entire concert, in fact, was one of fine quality. Mr. Hertz is an interesting personality, always the dominant force with his orchestra. He has molded it to his interpretative instincts so that instantaneously his men express his artistic conceptions which are at all times worth listening to.
10Because of her increasing popularity, and in recognition of her artistic talents, Eva Gruninger Atkinson, contralto, has been appearing with success before several of the foremost music clubs and similar organizations in the State. On January 19, Mrs. Atkinson was acclaimed by an enthusiastic audience at the Hour of Music concert which Alice Seckels arranged for The Emporium. Sharing honors upon this occasion with the contralto was the Arion Trio, composed of Josephine Holub, violin; Margaret Avery, cello, and Joyce Holloway Barthelson, piano. In a well chosen program, Mrs. Atkinson disclosed herself as an artist of gifts in voice and interpretative ability. She is also the possessor of a charming personality. The trio gave a fine example of ensemble playing interpreting various numbers with sympathetic understanding.
12Esther Dale, American soprano, made her first San Francisco appearance on the Ida Gregory Scott Fortnightly's in a program of modern songs. She was capably assisted by Mrs. Margo Hughes, pianist. one of two readings
13Esther Dale, American soprano, made her first San Francisco appearance on the Ida Gregory Scott Fortnightly in a program of modern songs. She was capably assisted by Mrs. Margo Hughes, pianist. one of two readings
15Henry Eichheim lectured on Oriental music for the members of the San Francisco Musical Club when that organization held its meeting at the Fairmont Hotel, January 7.
17An interesting program was interpreted for the members of the Pacific Musical Society, January 14, by Mary Pasmore Burrell, violinist, with Olga Block Barrett at the piano; Elwin Calberg, pianist, and Pearl H. Whitcomb, dramatic soprano, with Lincoln S. Batchelder at the piano.
19A reception and musicale by pupils of H. Bickford Pasmore was given recently at the Pasmore Studio in Berkeley. A program of classic and modern songs was beautifully rendered.
21Joseph George Jacobson's piano class gave the fourth of their monthly concerts for this season at the Sequoia Club Hall.
23Mary Newsom, soprano, assisted by Lincoln S. Batchelder, pianist, gave a successful recital on January 15.
25Marion Nicholson, young California violinist, has returned from three years study in New York and will give a recital under Alice Seckels' management on January 27. Her work in New York was under the guidance of Leopold Auer and Sam Franko; while in San Francisco she was a pupil of Louis Persinger.
27C. H. A.
29An Hour of Music with Dudley Buck Pupils
30An audience of over 150 people enjoyed an Hour of Music with the Pupils of Dudley Buck on January 27 at the spacious New York studios of that well known teacher of singing. The program presented was interesting and varied, and each of the four soloists was enthusiastically received. Leslie Arnold, baritone, was the first artist heard, singing a group of numbers by Franz, Grieg and Schumann. Later he sang Handel's Hear Me! Ye Winds and Waves and did especially fine work in Hamblen's I Am Fate. Alma Milstead, soprano, deserves special mention for the splendid manner in which she sang Mendelssohn's Hear Ye Israel. Miss Milstead also sang numbers by Paulin, Hess and Bachelet. E. Boardman Sanchez, the possessor of a splendid tenor voice, displayed fine art in his rendition of two groups of numbers, all of which were especially well received by the audience. Owing to the illness of Mrs. Georgia Grates Service, Adelaide De Loca, contralto, sang five selections in her stead, and as usual gave an excellent account of herself. Miss Milstead and Mr. Sanchez also gave pleasure in a duet, A Summer Night, by Goring Thomas. Elsie T. Cowen furnished excellent accompaniments.
32MUSICAL COMEDY, DRAMA AND MOTION PICTURES
34THE MARK STRAND
35In the great majority of cases the Mark Strand Theater can be counted upon for an excellent program, what with its splendid orchestra, under the direction of Carl Edouarde, and the brilliant song and dance attractions arranged by Joseph Plunkett. However, last week appeared to be one of the off-programs, for, to begin with the feature picture, The Reckless Lady, adapted—or rather mis-adapted—from the novel of that name by Sir Philip Gibbs, was a great disappointment to those familiar with the book. It is perhaps inevitable that liberties must be taken in adaptations from books, but it does seem at least that the author's plot should be recognizable. Then, too, the remainder of the program was not up to the high standard usually maintained by Mr. Plunkett. Perhaps the Mark Strand patrons have become a trifle spoiled by the fine programs usually presented, especially those given during the first few weeks of the New Year. The program last week also included Tchaikovsky's March Slav, played by the orchestra, and the Mark Strand Topical Review.
37THE RIALTO
38The Rialto featured on its program last week Tom Mix in the Yankee Senor, with Tony, the wonder horse. Tony is indeed a wonder and his feats are unquestionably the only reason for the being of the film. Preceding this showing the orchestra, under the direction of Willy Stahl, played Victor Herbert's overture to the Fortune Teller. It was a very fine bit of orchestral music. There was spirit, precision and good tone, and the men played as if they were really enjoying their work. Following, Frank Siegrest, trumpet virtuoso, gave several solos, much to the delight of the audience. The most interesting offering in the musical line was John Barclay's impersonations of some operatic characters. He opened with the prologue to Pagliacci, coming out to tell his audience that the following characterizations were of living people, and told of their sorrows and joys. Mephisto, of Faust, in his mocking Serenade song, was his first choice; then followed Boris Godounow, the American Indian, and the Torador. Mr. Barclay used his small but pleasing voice most effectively and added to this an excellent histrionic ability. The Mephisto was a sketch of reality in which one could not have asked for more "devility." Hy C. Geis again played an organ number. There was also The June Bride (Aesop Fable) and the usual Rialto cinevements.
40THE CAPITOL
41With David Mendoza conducting, the Capitol Grand Orchestra opened the program at this house last week with a stirring rendition of The March from Wagner's Tannhauser, all the effects being brilliantly brought out under this leader's baton. Following came Erik Bye, Norwegian baritone, who sang The Evening Star, from the same opera, so well that he, too, aroused the huge audience to enthusiastic applause. "Neapolitan Nights" was the title of the next offering and in this Celia Farrell and William Robyn both did splendidly; the numbers in this group were Neapolitan Nights (Zamecnik), Come to the Sea (Venetian Song), Mother Mine (Nutile) and Reprise Neapolitan Nights (Zamecnik).
43Other features included, best of all, Hilda Butsova, well known ballerina, and the Capitol Ballet, in an extraordinarily good number, Ballet of the Snow; Doris Niles, in Anita's Dance from the Grieg Peer Gynt Suite; and the usual organ features. The main picture was Dance
45PACIFIC NORTHWEST DIRECTORY
47A RMSTRONG, FRANCIS J.
48Concert Violinist
49Resident in Seattle, 1519 3rd Ave.
51C ORNISH SCHOOL OF MUSIC, INC.
52Dramatic Arts and Dancing
53Nellie C. Cornish, Director
54Roy Street, at Harvard, Seattle, Wash.
56J ACQUES JOU-JERVILLE of Paris
57Formerly Boston Opera
58and leading grand opera of France
59Head Voice Dept. Cornish School,
60Seattle. (Fifth Year).
62K ANTNER SCHOOL OF SINGING
63Clifford W. Kantner, Director
64306 Spring Street, Seattle, Washington
66M EREMBLUM, PETER
67Concert Violinist and Pedagogue
68Head of Violin Department.
69Cornish School, Seattle
71O ATMAN, JOHN R.
72Musical Courier Correspondent
73612-14 Journal Bldg., Portland, Ore.
75T OWNS, KIRK
76Baritone
77205 The McKelvey, Canadian Club
78Seattle New York
80PACIFIC COAST DIRECTORY
82B EHYMER, L. E.
83Manager of Distinguished Artists
84705 Auditorium Bldg., Los Angeles
86B OGART, ANDREW
87Teacher of Singing
88600 Kohler & Chase Bldg., San Francisco
90B OWES, MR. and MRS. CHARLES
91Voice—Mise en scene
92446 South Grand View, Los Angeles
94B RESCIA, DOMENICO
95Voice Specialist—Composition
96603-4 Kohler & Chase Bldg., San Francisco
98H ARCKE, HENRY
99Accompanist and Coach
100540 Stockton St., San Francisco
102L OTT, MR. and MRS. CLIFFORD
103Voice and Piano
104912 W. 20th St., Los Angeles
106P ERSINGER, LOUIS
107Management Selby Oppenheimer
10868 Post Street, San Francisco
109Complete Faculty of Artist Teachers
111T RONITZ, PHILLIP
112Norwegian Concert Pianist and Pedagogue
113Head of Piano Department of Hollywood Conservatory of Music Studio—California Music Co. Bldg., Los Angeles, Cal.
115W ARRINER VOCAL STUDIOS
116(Formerly of the Metropolitan Opera House, New York City)
117702 Kohler & Chase Bldg., San Francisco
118Marie Henrietta Warriner
119Teacher of Singing
120Charles William Warriner
121Pianist, Vocal Coach, Choral Conductor
123Z OELLNER CONSERVATORY OF MUSIC
1241250 Windsor Blvd., Los Angeles, Cal.
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