Books › Musical Courier 1926-03-11: Vol 92 Iss 10, 1926 › scan 41
Scan 41
Musical Courier 1926-03-11: Vol 92 Iss 10, 1926
89 lines. Read by computer on 29 September 2026. Printed page 42. See the scan on archive.org.
1ARTISTS EVERYWHERE
2(Continued from page 39)
3appearances of this popular harpist were at the home of Mrs. Gillette in Garden City, L. I., and at the High School Auditorium on February 5 and 6.
5Mme. Lillian Croxton, soprano, has been kept active during the foregoing season with her many recital appearances. Noteworthy among them was her program rendered for the Rubinstein Club on December 16, a musical tea at Mrs. Wentel Holms on January 12, and a musical evening at Mrs. H. F. Davies on February 14. Lillian Croxton is an interpreter of ballads and also excels in operatic coloratura arias. This makes the artist especially in demand for interesting "at homes."
7Richard Crooks has been engaged for the tenor rôle in Wagner's Lohengrin, to be given in English at the Ann Arbor, Mich., Festival on May 22. He goes to the Michigan Festival from one at Pittsburg, Kansas, where he sings on three evenings in a variety of programs.
9Walter Damrosch has been invited by Arbos, conductor of the Symphony Orchestra of Madrid, to direct that organization when he is in the Spanish city early in April, and has accepted the invitation.
11Esther Dale, soprano, who sailed for Europe on February 9, made her first appearance in Berlin on February 23 and her London debut on March 10.
13Mellie Dunham, the fiddler who became famous through his recent contests sponsored by Henry Ford, is now playing "big time" on the Keith-Albee circuit, and of course he is a tremendous success. He is bringing back to popularity the old fashioned dances, such as the quadrille, the schottische, the minuet, and also the square dances. Carl Fischer, Inc., has published his waltz, Rippling Waves, and also his book of Fifty Famous Fiddlin' Dance Tunes.
15Arta Bright Ekengren was heard in song recital on February 16 at the Academy of Music, Centralia, Wash. She was assisted by Rudolph Lund, voice; Fred Ekengren, clarinet, and Lula Premo, accompanist. One of the songs which was greatly appreciated by the large audience was Just a Cottage Small, by Hanley. In The Garden of Tomorrow, by Jessie Deppen, is another song that was particularly effective as sung by Mr. Lund; in fact the program was made up entirely of songs from the catalogue of Harms, Inc., and Chappell-Harms, Inc.
17Zita Friedman, lyric soprano, and artist-pupil of Mrs. Robert Parks Bennett of Dallas, Texas, was heard in recital in Dallas on February 15, in the Munger Room, Y. W. C. A. auditorium. In Miss Friedman's last group she was particularly successful in her rendition of My Desire, one of Cadman's newest ballads. She was roundly applauded and reflected great credit on her teacher.
19Edwin Hughes, pianist, will leave for an extended tour of the South after his New York recital on March 16, going as far as Texas.
21A Henry Hadley Easter Program will be given on Palm Sunday evening, March 28 at the Church of St. John the Evangelist, 11th Street, New York. The choir will render a program of Easter music assisted by an orchestra from the New York Philharmonic, with the composer conducting and Ernest C. S. Graham, organist and choirmaster of the church, at the organ.
23Max Jacobs conducts this winter The Eveready Hour Chamber Symphony Orchestra, which broadcasts every Tuesday evening from station WEAF. He gave in a recent program the first performance of Marche Triomphe by J. Arko-Mendelssohn, specially written for Mr. Jacobs and his orchestra.
25Specialization Activities of Anna Groff Bryant
26The specialization department of Anna Groff-Bryant's activities has been an important branch of her work for the past twenty-five years and more, although perhaps better known as Educative-Corrective practice. It was in order that she might have more time to devote to the advancement and the practice of educative-corrective work that this proved one of the strongest influences in urging her to retire from all institutional activities a year ago.
28Her educative-corrective practice includes: First, the restoration of either total or partial loss of the singing or speaking voice or in any particular location of the voice, such as the lower, middle or upper section of the voice, which may have been caused either by the common menace or its resultant, such as chronic laryngitis, pharyngitis, bronchitis or nasal problems; loss of voice resulting from over-specializing, either on too much soft tone work or too much dramatic work, or too much on the medium section of the voice, in either case causing an unbalanced effort on the vocal instrument. Secondly, the correction of the destructive excessive vibration of the vocal organs, either singly or collectively, such as the excessive vibration of the jaw, lips, tongue and the throat, which unfortunately is being encouraged and regarded as a sign of greatness when in reality it is a sign of a crumbling and tumbling vocal instrument, as may be seen in several great singers before the public today. Thirdly, the much deplored and destructive habit of singing off pitch, which is not the fault of the singer's ear, or musical taste, as when a musical instrument gets out of tune it is not a reflection on the performer; in that case it is well known that it is the fault of the instrument and a tuner is called in to correct the instrument and put it in tune. Fourth, vocal abnormalities, such as hoarseness of voice, husky and breathy conditions of voice, as well as all the other common ailments of throat afflictions which seem to be on the increase if one but observes. Fifth, vocal defects, such as stuttering, stammering and lisping and the pernicious habit of clearing the throat, swallowing and the common nervous affliction of the facial muscles. Sixth, vocal limitations such as limited range of voice either high or low, volume, resonance, brilliancy, soft tone or the mezzo voce, or the undeveloped so-called falsetto tone, which is in reality the truest tone in the male voice. Any of the above list of specialized work can be successfully applied without interfering with the individual vocal methods only in such as where the cause of the case is due to destructive vocal methods; in that case the singer or student would undoubtedly welcome the discovery of the causes for his troubles and seek to prevent any further re-occurrence of his afflictions.
30The Selinskys to Play March 19
31Margarita Selinsky, assisted by Max Selinsky, will present an unusual program of violin music at Carnegie Chamber Music Hall on the evening of March 19. They will open the program with Mozart's Concertante in D major for two violins, following which Mrs. Selinsky will play numbers by Sinding, Friedeman Bach, Rode Elman and Tchaikowsky. Of special interest in a group of numbers for two violins unaccompanied is the Ries Perpetuum Mobile, which was arranged for and dedicated by the composer to Mr. and Mrs. Selinsky. The program will be concluded with Zimbalist's Concert-Phantasia on Rimsky-Korsakoff's Le Coq d'or, played by Mrs. Selinsky. This will be the first recital to be given by these two musicians since returning to New York this season to resume their activities in the metropolis as concert artists and pedagogues.
33Szigeti "Magnificent"
34When Szigeti played in St. Louis last month, the Globe Democrat commented: "We may safely say that he has nearly all that Heifetz has in the way of technic and a good deal more than that wizard in the way of heart." And when the brilliant violinist appeared in Chicago, the American carried this head-line: "Magnificent, Says Devries, of Joseph Szigeti," saying in the article: "Szigeti's performance was so sublimely beautiful that it utterly disarmed criticism."
36Whittington Concertizes in South
37Dorsey Whittington, pianist, was heard in recital in Chicago on March 4. He left immediately for a Southern tour. Among the most important places where he will appear is the Convention for the Federation of Music Clubs of South Carolina, which is being held in Anderson. After this tour Mr. Whittington will concertize in the middle west.
39AEOLIAN HALL 34 West 43rd Street New York City
40Tuesday Evening, March 16 at 8:15
41PIANO RECITAL
42by
43EDWIN HUGHES
44PROGRAM
45German Dance…………………Beethoven
46Polonaise, Op. 89…………….Beethoven
47Sonata Appassionata, Op. 57…..Beethoven
48La Soirée dans Granade………..Debussy
49Prelude, Op. 18, No. 1………….Debussy
50Temple Bells at Sunset………..Charles Repper
51Novellette, Op. 46, No. 1……….MacDowell
52Elfin Dance, Op. 46, No. 5……..MacDowell
53Birds at Dawn…………………F. C. Dillon
54Jug Stummin'………………….Arthur Nevin
55Quill Dance…………………….Eugen Putnain
56Prelude, Op. 18, No. 6………….Marion Bauer
57The Harp of Life……………….Henry Cowell
58STEINWAY PIANO DUO-ART RECORDS
60HAROLD LAND
61Address THE HAROLD LAND MGT., Yonkers, N. Y., or Metropolitan Opera House Studios, 1425 Broadway, New York
62HENRY F. SEIBERT
63Concert Organist
6448 recitals booked this season
65Washington Post
66"Perfect command at all times."
67Philadelphia Public Ledger
68"He exhibited a splendid technical command as well as excellent musicianship."
69Miami, Florida, Daily News
70"His technical control of the instrument, his discrimination in the use of stops, his technical skill and his interpretative ability proved a combination which resulted in an hour and a half of unadulterated enjoyment. His facility is nothing short of remarkable."
71Miami Herald
72"Probably the most amazing person, Henry Seibert, organist."
73Buffalo Courier
74"Technical prowess that commanded great admiration."
75Macon, Georgia, Daily Telegraph
76"His technical facility is terrific. Ideally suited to play a program such as the occasion of last night demanded. He knows his audience." (Dedication of Municipal Auditorium.)
77Wilkes Barre Times Leader
78"Pedal technic amazing. Musical eloquence that will remain long in memory of musical impressions."
79Address 898 West End Avenue, New York City Telephone Academy 3074
81PAPALARDO
82Noted Vocal Coach, Conductor and Accompanist
83Maestro Papalardo is one of the few masters who can see a pupil all the way through from fundamental tone production to the peak of an outstanding artistic career. Catalogue including a distinguished list of artists who have been prepared for the concert and operatic stage by Maestro Papalardo will be sent upon request.
84STEINWAY BUILDING 109 West 57th Street, New York
85Telephone: Marble 1573
86Steinway Piano Used Exclusively
88JOSEPH SZIGETI.
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