Books › Musical Courier 1926-05-20: Vol 92 Iss 20, 1926 › scan 11
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Musical Courier 1926-05-20: Vol 92 Iss 20, 1926
48 lines. Read by computer on 29 September 2026. Printed page 12. See the scan on archive.org.
1HAYS (KAN.) FESTIVAL AROUSES GREAT ENTHUSIASM
3HAYS, KAN.—With a chorus of 500 voices and an orchestra of sixty-four pieces, the Hays Music Festival Association, with Henry Edward Malloy, head of the department of music of Kansas State Teachers' College as director, presented the oratorio, Elijah, in Sheridan Coliseum on May 2. The chorus sang in a manner which was highly creditable both to its conductor and the community. Always striving toward perfection in his work with the chorus, Mr. Malloy came very near attaining his ideals in some of the choruses and particularly in Thanks Be To God, which was magnificently given. The singing of the oratorio as a whole was distinctive for its fervor and enthusiasm, as well as for its dignity and reverence, and the good taste and musicianship of the conductor was marked throughout the concert. The orchestra accomplished its part dependably and gave good support to the chorus and soloists.
5Irma Lewis Fischer, soprano of Topeka, proved herself schooled in oratorio singing. Her voice is lovely and appealing in quality, and she interpreted her role in Elijah in a manner altogether pleasing. Mrs. Raymond Havens, of Kansas City, Mo., contralto, was equally satisfactory in her solos. Her voice is lovely in tone color and she gave a stirring interpretation of Woe Unto Them. Arthur Boardman, tenor, of Chicago, sang much of his part without a score, thereby being able to give most of his attention toward impressing his message upon the audience. He divided his efforts equally between calling forth a full resonant tone and enunciating with commendable distinctness. J. Alfred Casad, baritone, professor in the Hays College music department, shouldered his share of the solos with marked success, singing with good tone and enunciation, and with the assurance of a seasoned artist. The combined men's and women's glee clubs helped immeasurably in singing some of the less important quartets and choruses.
7On the afternoon of the same day, Luella Melius, coloratura soprano of the Chicago Civic Opera, gave a recital which marked an epoch in this section of the country by setting a standard for delightful singing. There have been singers heard here who equal her in volume and quality of voice, but she would be difficult to equal in intonation and technic. She was enthusiastically received and gave as many as six encores. She was assisted by Herbert Johnson, accompanist, and E. Eck, flutist of the Chicago Symphony Orchestra, the latter giving two pleasing flute solos.
9Advanced students of piano and violin furnished the program Monday afternoon. The pianists, Lorane Brittain, Mildred Carter, Louise Seiling and Maybelle Billings, played in a creditable manner. Lois Rarick gave the concerto for violin in D by Mozart with a good deal of finish, and a unison choir of thirteen violinists played Bach's Air for the G String with good tone and ensemble.
11The dance program, an annual event, directed by Martha Hill and Edith Ballweber of the department of physical education, was a gorgeous spectacle and presented dancing which was highly artistic.
13On the afternoon of the third day of the Festival, J. Alfred Casad, baritone, gave a varied and interesting recital. His voice is rich and resonant and he handles it with ease and assurance. He was assisted by Lucille Felten, pianist, member of the music faculty, who played four numbers with good technic and musicianship.
15The concert in the evening was given by Helen Ide Morse, soprano and member of the music faculty; Clara Louise Malloy, contralto; Rollins An-Gove Seabury, tenor, also of the music faculty; H. E. Malloy, baritone, and Ernestine Fields, accompanist. The first part of the program was given over to sacred soli by the quartet and as concerted numbers, Buck's Festival Te Deum and Gloria from Mozart's Twelfth Mass, all of which were effectively sung. The song cycle, In a Persian Garden, by Lehmann, was given as the second part of the program, and it was sung in a manner which invited requests for an early repetition.
17One of the important recitals of the week was that given by Mark Hoffman, pianist and head of the piano department, on Wednesday afternoon. He played a seldom heard sonata by Schubert in a way which made it popular at once. The Brahms-Paganini Theme and Variations were given with a brilliance of technic and freedom of expression rarely heard. These qualities were duplicated in modern pieces by Granados, Carpenter, Sternberg and Bartok.
19In the evening the Woman's Glee Club, under the direction of Mr. Malloy, sang a number of part songs, which were models of artistic ensemble. The tone quality of this organization is especially to be commended. Solos given by Mildred King, violinist; Hazel Hayes, contralto; Margaret Rarick, flutist; Sylva Voorheis, reader, and Fadonna Wright, soprano, were a credit to the club. Mildred Carter supplied good accompaniments. The Tale of the Bell, a series of part songs and solos, occupied the last part of the program and it, as well as the balance of the concert, was performed in a way which should repay the time and work spent upon it.
21Thursday evening, Rollins An-Gove Seabury led the K. S. T. C. band through a program composed of some rather pretentious music such as the andante from Beethoven's fifth symphony, as well as lighter pieces by Sousa and Grieg. He also included a few of his own compositions which, with the rest, were well received. The band played with vigor and good ensemble and improved upon its usual high standard of artistry and tone quality.
23Under the leadership of J. Alfred Casad, the Men's Glee Club entertained a large audience the next evening with an interesting program made up of part songs by the club and sung with the usual enthusiasm and efficiency. Homer Grout gave several readings and Mildred Nibert, pianist, and Carl Dewy, tenor, gave numbers which proved to be among the best given by students during the week. Lorene Bartlett served effectively as accompanist. Mr. Casad is to be congratulated upon the success of his club.
25Faust, sung in concert form, was offered by the combined glee clubs under the direction of Mr. Malloy and Mr. Casad, who alternated in conducting and singing, respectively, the solos of Mephistopheles and Valentine. The parts of Marguerite, Siebel and Faust were taken by Elaine Hoffman, Helen Ide Morse and Mr. Boardman, with Ernestine Fields at the piano. In spite of a heavy rain the hall was almost completely filled and the audience was most demonstrative in its approval of the efforts of the chorus and soloists and these in turn gave of their best to make the evening one of the outstanding successes of the Festival.
27The Sunday recital by Francis Macmillen, American violinist, proved to be as well received as any concert artist who has been here. Mr. Macmillen is a master of his instrument in all of its many phases, and in addition has a magnetic personality and a forceful stage presence. In the interpretation of his program he displayed fire and abandon, but at the same time musicianship of the highest order. The audience was large and enthusiastic. Mrs. Rucker, of Sedalia, Mo., played beautiful accompaniments.
29The last event of the week was the Messiah, given by the festival chorus and orchestra, and directed by Mr. Malloy. Mrs. Havens, contralto, and Arthur Boardman, tenor, who sang on the previous Sunday, acquitted themselves equally well on this occasion. Mrs. George Cowden, soprano, and David Grosch, bass-baritone of Kansas City, Mo., completed the quartet and assisted in making it one of the finest and most reliable that has yet been heard here. Mrs. Cowden sang beautifully and Mr. Grosch's singing was all that could be wished. The chorus out-distanced all previous efforts and created thereby a memorable evening for those who have worked to make it a success. Mr. Malloy was heartily congratulated by Mr. Macmillen and Hagbard Brase, conductor of the Lindsborg (Kans.) chorus.
31The Western Kansas High School Music Contest for bands, orchestras, piano, violin and vocal solos, glee clubs, quartets and mixed choruses was held Thursday, Friday and Saturday. Sixty-one high schools were represented and 1,100 persons were enrolled in the contest. The judges were: Walter McCray, director of the department of music, K. S. T. C. of Pittsburg, Kans., and John R. Jones, director of the Haydn Male Chorus of Kansas City, Mo. The results were as follows: band contest—Norton first, Oberlin second; orchestra, class B—Kensington first and Natoma second; orchestra, class A—Hays first, and Larned second; piano—Helen Bryant, Hoisington, Kans., first, with Mary Earlenbaugh, Hays, second, and Lucille Gabel, Larned, third; violin—Edna Russell, Jewell, Kans., first, with Marjorie Morrison, Hoisington, second, and Geneva Wright, Kinsley third; soprano—Mary Earlenbaugh, Hays, first, with Iona Mull, Great Bend, second, and Marvel Biddle, Phillipsburg, third; alto—Arline Cline, Larned, first, with Fausta Vernon, Oberlin, and Edith Loomis, Osborne, a tie for second, and Ruby Christenson, Smith Center, third; tenor—Tom McKay, Oberlin, first, with Kenneth Seltsam, Spearville, second, and Mark Lovejoy, Almena, and Reuben Roth, St. Francis, a tie for third; baritone—Glenn Sutton, Great Bend, first, with Blaine Coolbaugh, Hays, second, and Merle Raymond, Burdett, third; bass—Milton Spece, Great Bend, first, with Leon Webb, Rozel, second, and Leven Calkins, Colby, third; girls' quartet—Ness City, first, with Sylvan Grove, second; boys' quartet—Oberlin, first, and Kirwin, second; girls' glee club, class B—Plainville and St. Francis a tie for first, with Lewis, second; girls' glee club, class A—Hays and Smith Center a tie for first, and Larned, second; boys' glee club, class B—Garfield, first, with Plainville, second; boys' glee club, class A—Smith Center, first, and Colby, second; mixed chorus, class B—Hoxie, first and Plainville, second; mixed chorus, class A—Hays, first, and Smith Center, second. The sweepstakes cup, which has been in the possession of Smith Center for having gained the highest number of points last year, goes now to Hays which has fifty-six points. Those winning a lower number of points were Smith Center, 43; Oberlin, 22, and Larned 21.
33E. F.
35Keene Festival May 19, 20, 21
37The Keene Chorus Club is now holding its twenty-eighth annual spring festival in the City Hall, Keene, N. H. The first program on May 19 was designated High School Night, at which the High School Orchestra played the Von Suppe Poet and Peasant overture, and Cowen's cantata, The Rose Maiden, was given by the High School Chorus and Orchestra, under the direction of Harry W. Davis. This evening, May 20, is Opera Night, and the Keene Chorus Club of 250 voices will present La Gioconda in concert form, George Sawyer Dunham conducting. An orchestral matinee will be given on Friday afternoon by the Boston Orchestral Players, with Joseph Lautner, tenor, as soloist and Mr. Dunham wielding the baton. The concluding concert, Artists Night, on May 21, will be participated in by the Chorus Club, Lawrence Tibbett, baritone of the Metropolitan Opera Company, and the Boston Orchestral Players.
39San Francisco Opera Plans
41SAN FRANCISCO, CAL.—The San Francisco Opera Association announces its fourth annual season of grand opera and presents the San Francisco Opera Company, under the general direction of Gaetano Merola, for a season of twelve performances at Exposition Auditorium from September 20 to October 6. Distinguished artists of previous seasons will be augmented by equally well known stars in a greatly elaborated organization. They will be supported by a numerous and well trained chorus of the best voices in the San Francisco metropolitan area, and by California's leading artists in secondary and minor roles. The orchestra will, as in previous seasons, be made up of members of the San Francisco Symphony Orchestra. A new and scientific plan evolved by experts to convert the Auditorium into an opera house of splendor and acoustic acceptability has been adopted. Scenic investiture will be produced in a manner to excel past stage effects assured by the re-engagement of Giovanni Grandi. The lighting arrangements will be adaptations of recent achievements in that branch of theatrical development.
43The artistic and financial successes of the past, and a definite demand by the public, have moved the executive committee to plan not only for greater artistic triumphs in the fourth season, but also to extend the regular series of performances in keeping with the development of the community and the greatly extended appreciation of opera among the people generally. The announced program will be adhered to strictly.
45Much of the extensions of operations and betterments in all branches of the undertaking is due to the fact that the San Francisco Opera Association and the Los Angeles Grand Opera Association have concluded a formal treaty of full co-operation. By this arrangement the two ambitious community organizations, through which civic participation in opera is manifested, have joined hands to give both cities opera seasons comparable to those given in the capitals of the world and the great cities of America. The intercity agreement provides for the interchange of artists, the sharing of the services of artistic and technical staff, and the joint creation and ownership of scenery and equipment of all kinds. It is the present expectation that this arrangement will prove the forerunner of a co-operative movement that will take in all of the principal cities of the Pacific Coast under a common plan in the near future. This serves to realize the fundamental desire that opportunity be given ambitious and qualified vocalists in Western America to make public appearances in grand opera, at the same time attaining the idealistic object of the respective local associations to serve their communities.
47Among the favorites of past seasons who will be heard
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