Books › Musical Courier 1926-03-11: Vol 92 Iss 10, 1926 › scan 16
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Musical Courier 1926-03-11: Vol 92 Iss 10, 1926
96 lines. Read by computer on 27 September 2026, twice; the two readings disagreed in places. Printed page 17. See the scan on archive.org.
1March 11, 1926
3New Courses at Cincinnati Conservatory
4Cincinnati, Ohio.—Two new courses opened at the Cincinnati Conservatory of Music, February 9. The classes, in the teaching of music appreciation and in the theory of physical education, are to be continued through the second semester. The first course, for teachers beginning the study of the teaching of music appreciation to the first six grades of school, is being given by Bessie Calkins Shipman Dustman, during the temporary absence of Nelle I. Tallentire. Mrs. Dustman, who is a resident of Columbus, O., is well known as an authority on children's songs, having made records for a well known phonograph company which are extensively used in the public schools. The second course, that in physical education, is being given by Marna V. Brady, a graduate of the University of Cincinnati, and at present a member of the faculty of the College of Education at that institution. The instruction offered in the course, as outlined by Miss Brady, promises to be of special value to future teachers and supervisors of music, for it will include lectures and practical training in folk dances and the production of festivals, an essential part of the equipment of those who have charge of the musical instruction in the public schools. one of two readings
5Cincinnati, Ohio.—Two new courses opened at the Cincinnati Conservatory of Music, February 9. The classes, in the teaching of music appreciation and in the theory of physical education, are to be continued through the second semester. The first course, for teachers beginning the study of the teaching of music appreciation to the first six grades of school, is being given by Bessie Calkins Shipman Dustman, during the temporary absence of Nelle I. Tallentine. Mrs. Dustman, who is a resident of Columbus, O., is well known as an authority on children's songs, having made records for a well known phonograph company which are extensively used in the public schools. The second course, that in physical education, is being given by Marna V. Brady, a graduate of the University of Cincinnati, and at present a member of the faculty of the College of Education at that institution. The instruction offered in the course, as outlined by Miss Brady, promises to be of special value to future teachers and supervisors of music, for it will include lectures and practical training in folk dances and the production of festivals, an essential part of the equipment of those who have charge of the musical instruction in the public schools. one of two readings
7Amalie Bryan, pupil of Webster Taylor, Mary Elizabeth Griffin and Helen Board, pupils of Helen May Curtis; Alene Seward and Claudia Bray, who study with Leo Paalz; Frances Trusillo, pupil of Robert Perutz; Mary Ruhama Clem and Mildred Hall who study with Louis Saverne; Outram Hodgkinson and Katharine Poore, pupils of Berta Gardini Reiner, and Harriet Palmer and Saidee McAflister, pupils of Dr. Karol Lisznewski, appeared on the program of the student recital at the Cincinnati Conservatory of Music on February 13.
9Margaret Spaulding, of the department of dramatic art, presented her pupils in an evening of plays at the Cincinnati Conservatory of Music Concert Hall on March 9.
11The announcement that Texora Nash, head of the Texora Nash School of Expression, is bringing her class to the Cincinnati Conservatory of Music, where she is to be a member of the faculty, has just been made. Miss Nash is widely known as a teacher, having been vice-president of the National Association of Teachers of Speech. She is a college graduate, a graduate of the Curry method of expression, and a post-graduate of the University of Wisconsin, where she specialized in speech and psychology.
13Miss Nash will teach both private pupils and classes, making a special feature of the evening classes, for those who are employed during the day. Interpretation of literature, public speaking, class expression and dramatic technic will be the subjects taught by Miss Nash.
15Burnet C. Tuthill's activities in the cause of American music and chamber music have resulted in a number of appearances before Cincinnati organizations to lecture on these subjects. Mr. Tuthill spoke at the Clifton Music Club on February 16 on Chamber Music, his talk being followed by a program which included a trio by Charles Wakefield Cadman and a movement from the string quartet by Henry Holden Huss. Mr. Tuthill, who is an accomplished clarinetist, also discussed this instrument before a convocation of pupils at the Clifton School, Cincinnati, February 18.
17Mildred Dahlman and Rosemary Grote, who study with Ida Ulmer Jenner; Emily Frank and Margaret Roos, pupils of Alma Betscher; Martha Strauss and Lulu Odoms, pupils of Hugo Sederberg; Wilma Dearing, who studies with Ewald Haun; May Hall and Anne Roehm, pupils of Marcian Thalberg; Laura Trumpler, pupil of Robert Perutz, and Laura Diekman and Mary James, pupil of Dr. Karol Lisznewski, were heard at the Saturday afternoon student recital at the Cincinnati Conservatory of Music on February 20.
19Four students of the Cincinnati Conservatory of Music are in frequent demand as a string quartet on programs given in Cincinnati and neighboring cities. The students, Waldene Johnston and Beatrice Moser, violins; Christine Colley, viola, and Marjorie von Staden, cello, are members of Dr. Karol Lisznewski's class in ensemble. Recently they played for the Norwood Musical Club, illustrating a lecture by Burnet C. Tuthill, general manager of the conservatory, who spoke on American Music, and February 17 they were asked to present numbers based on Indian themes, for which they chose the Charles T. Griffes suite for string quartet, at the meeting of the American Indian Council, a group interested in the preservation of the folk lore of these first families of this country. February 20, the group was heard again, this time on a program at the Three Arts Club of Cincinnati.
21Simplicity of presentation formed an effective background against which pupils of Dean Frederic Shailer Evans displayed their talent and training in a truly meritorious recital at the Cincinnati Conservatory of Music on February 16. Absence of affectation was noticeable as successive performers took their places at the piano, and bespoke a commendable respect for their art and for the composers whose works they were interpreting.
23The interpretation was of a high order. Preparation, intelligence, native ability and sympathy were evident from the first number, Pastorale Varie, by Mozart, played by Ruth Keagy, to the climactic Etude No. 2, E flat minor, of Paganini-Liszt, which was given a brilliant rendition by Jean Frances Small. Vivian Ladd, Flora Gordon, Velma Cline, Marvin Schute and Elsie Moore also appeared on the program, which added novelty to excellence in presenting a violinist, Christine Colley. Miss Colley, a pupil of Robert Perutz, played the Grieg F major sonata for piano and violin, with Anne Mader, another of Dean Evans's pupils. P. B.
25Master Institute Faculty Recital
26A program of distinction was presented at the Master Institute of United Arts, New York, by three members of the faculty—Sadie Blake-Blumenthal, pianist, Percy Such, the English cellist, and Gustave Walther, the Belgian violinist. Mr. Blake-Blumenthal opened the program with the Bach-Busoni chaccone, lending to it the dignity and style which it demands. Her second group, including the Mendelssohn-Liszt On Wings of Song, Ravel's Jeux d' Eau and the Erlking, showed her versatility of style, her ability to display atmospheric quality in her interpretations as well as her feeling for nuance.
28Mr. Walther's fine technic and tone-quality were shown in two groups—the first given over to the Vieuxtemps concerto, the second to shorter numbers. The concerto provided a medium well suited to Mr. Walther's ease and sense of phrasing and style. The shorter numbers, Kreisler's Londonderry Air, Old Refrain, the Schubert-Kreisler Rosamunde and the Bee of Carl Bohm, were given with a delicacy of interpretation which unfolded them with much charm.
30The unquestioned musicianship of the English cellist, Mr. Such, was amply displayed in the Boccherini concerto, which was his first offering. The restraint of the work, as well as its poetic form were finely outlined by the artist. Again in two numbers from Bruch, Mr. Such showed his beautiful balance of tone and his control of technic and style. Jeanne Feront and Frank Braun provided splendid accompaniments. The former for Mr. Walther, the latter for Mr. Such. All of the artists were enthusiastically received.
32Following the program the audience visited the exhibition of American painting and sculpture being held under the auspices of Corona Mundi, International Art Center.
34NEW YORK CONCERT ANNOUNCEMENTS
36MARCH 11—New York Symphony Orchestra, afternoon, Carnegie Hall; Boston Symphony Orchestra, evening, Carnegie Hall; Victor Wittgenstein, piano, evening, Aeolian Hall; Marica Palesti and Diomed Aylontis, evening, Town Hall; National Opera Club of America, Strauss, Elektra, afternoon, Waldorf-Astoria.
38MARCH 12—New York Symphony Orchestra, evening, Carnegie Hall; Joe Pattison, piano, afternoon, Aeolian Hall; Pergolesi's Stabat Mater, evening, Steinway Hall.
40MARCH 13—Boston Symphony Orchestra, afternoon, Carnegie Hall; Shura Cherkassky, piano, afternoon, Aeolian Hall; Guionar Novas, piano, afternoon, Town Hall; League of Composers, evening, Town Hall; David Mannes Orchestra, evening, Metropolitan Museum of Art; Rubenstein Club, afternoon, Waldorf-Astoria.
42MARCH 14—Moiseiwitsch, piano, afternoon, Carnegie Hall; Blanche Terry, song, evening, Aeolian Hall; Marguerite D'Alvarez, song, afternoon, Town Hall; Philharmonic Orchestra, afternoon, Metropolitan Opera House; New York Symphony Orchestra, Mecca Auditorium; New York Music Makers, afternoon, Ambassador Association, evening, Town Hall.
44MARCH 15—New York Trio, evening, Aeolian Hall; Beethoven Association, evening, Town Hall.
46MARCH 16—Edwin Hughes, piano, evening, Aeolian Hall; Mieco Horowitz, piano, evening, Town Hall; Dusolina Giannini and Ignace Hilsberg, afternoon, Hotel Roosevelt.
48MARCH 17—Russian Symphonic Choir, evening, Carnegie Hall; Andre Polak, violin, evening, Chickering Hall.
50MARCH 18—Philharmonic Orchestra, evening, Carnegie Hall; Alexander Kipnis, singing, afternoon, Aeolian Hall; Harold Samuel, piano, evening, Town Hall.
52MARCH 19—Philharmonic Orchestra, afternoon, Carnegie Hall; Kochanski, violin, evening, Carnegie Hall; La Forge-Berumen Noonday Musicaie, Aeolian Hall; Hyman Rovinsky, piano, evening, Aeolian Hall; Margarita and Max Selinsky, evening, Carnegie Chamber Music Hall; Harry Lawes, song, evening, Chickering Hall.
54MARCH 20—Fritz Kreisler, violin, afternoon, Carnegie Hall; Philharmonic Orchestra, evening, Carnegie Hall; Philharmonic Orchestra, morning and afternoon, Aeolian Hall; Blind Men's Improvement Club, evening, Aeolian Hall; Diller Quale School of Music, afternoon, Town Hall; David Mannes Orchestra, evening, Metropolitan Museum of Art.
56MARCH 21—Philharmonic Orchestra, afternoon, Carnegie Hall; Mahel Ritch, song, afternoon, Aeolian Hall; Society of the Friends of Music, afternoon, Town Hall; New York Symphony Orchestra, afternoon, Mecca Auditorium.
58MARCH 23—Philadelphia Orchestra, evening, Carnegie Hall; Nadia Reisenberg, piano, afternoon, Aeolian Hall; Lula Mysz-Gneiner, song, evening, Aeolian Hall; Mischa Mischakoff, violin, evening, Town Hall; Mildred Fass, song, afternoon, Steinway Hall.
60MARCH 24—Elly Ney, piano, evening, Carnegie Hall; Music School Settlement, evening, Town Hall; Andre Polak, violin, evening, Chickering Hall.
62Music at Exposition in Philadelphia
63Musical events of significance will be a prominent item in the general program of the forthcoming Sesquicentennial International Exposition at Philadelphia. Ten committees of musicians have been arranging a program which contemplates in its scope opera, orchestral concerts, performances of chamber music, organ recitals, appearances of vocal and instrumental soloists and choral festivals. During the last months of the Exposition this program will be augmented by the regular Philadelphia musical season.
65ELGAR'S VARIATIONS HEARD IN DRESDEN FOR FIRST TIME
66Dresden.—Two novelties presented here at the latest concert of the State Symphony, under Fritz Busch, are Paul Graener's Variations on a Russian Folksong and Edward Elgar's Enigma Variations, well known almost everywhere else but here. Needless to say, the latter carried off the palm. Graener's work did not compare favorably with it, though its theme, the famous Volga Boat Song, is popular enough, and though Graener, Reger's successor at the Leipzig Conservatory, commands all the technic of composition.
68A more interesting novelty was presented by Issai Dobrowen at a recent Philharmonic concert, namely a symphony by Hermann Baum, which is replete with interesting sound effects though reminiscent of Wagner and Strauss, and by no means profound in musical content.
70Recitals here are few and far between, owing to the general financial depression which weighs heavily upon the country. Among the recent visitors was Katharine Goodson, English pianist.
72A. Ingman.
74THE MARMEINS MIRIAM IRENE PHYLLIS
75Press Comments on Appearance with New York Symphony Orchestra in Original Drama Dances at Carnegie Hall
77New York Herald Tribune
78SYMPHONY PLAYS SECOND ROLE TO GAY MIMES
79The Marmein Dancers, Miriam, Irene and Phyllis, were the soloists and made of the usually sedate program a riotous diversissement of ten "Dance Dances" and a music-hall style of costume.
80It was the dancer's afternoon. These three sisters have a striking flair for droll and crisp pantomime, and no more delicious bit of fun has been seen in many seasons than their "John Alden and Priscilla."
81These young women are exponents of the best in the classic ballet school, saving it from artificiality and tiresomeness by the piquant conceptions of their little dramas, and their native talent for miming. It was a refreshing experience after some arid evenings spent in contemplation of the so-called "interpretive" school.
83New York Times
84MARMEIN DANCES DELIGHT
85The feature was the appearance of the Marmains in their original drama-dances…costumed after Watteau, made their initial impression in a suite of charming dances, to the music of Mozart, Verdi's "Aida" added to the atmosphere of a clever adaptation of Egyptian figures by Miss Marmein.
86A slightly grim but amusing pantomimic sketch gave the ensemble an excellent opportunity for picturesque comedy. A contrasting note in color and spirit was introduced by an exhibition of two pretty bluebirds…either in solo or in ensemble, exhibited a graceful movement in consonance with the accompaniments of the fine orchestra.
88New York Sun
89The Marmain Dancers were the leading feature in the New York Symphony Orchestra's last concert. These American dancers were in fine form and delighted the large audience with a list of their original "drama dances", were seen first in a suite of genuine dance music by Mozart, and made a splendid hit. These three dancers made their debut here two years ago. Their art, comprehensive in the principles of pictorial and other forms of dance traditions, grows in display of grace, rhythmic detail and muscular freedom. They gave an exhibition on Saturday bringing them distinct success.
91Soloists With New York Symphony.
92Brooklyn Academy of Music March 27th
93NOW BOOKING – – SEASON 1926-27
94Management:
95R. E. JOHNSTON, 1451 Broadway, New York
The computer misreads some letters and numbers. Where a name matters to you, read the scan.