Books › Musical Courier 1926-05-20: Vol 92 Iss 20, 1926 › scan 38
Scan 38
Musical Courier 1926-05-20: Vol 92 Iss 20, 1926
31 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 39. See the scan on archive.org.
1May 20, 1926
3NEW YORK CONCERTS
4(Continued from page 30)
5that should he desire to confine his singing to ballads, he could well make that his forte.
6The other artists also came in for their share of the audience's favor.
8Dudley Buck Pupils in Recital
9A spring song recital by the pupils of Dudley Buck was given on May 13 in Chickering Hall. Those participating were Frank Munn, Alma Milstead, Leslie Arnold, Adelaide De Loca, and members of the Ensemble Class. The program opened with an Old Catalan folksong arrangement, and Coleridge Taylor's The Sea Shell, sung by the ensemble class. The program continued with Frank Munn singing two selections—Springtime (Becker) and Le Reve de Manon (Massenet). Mr. Munn has a lyric voice of pleasing quality and smooth execution. Alma Milstead, delivered A Spring Fancy (Densmore), and the Cavatina from Bizet's Les Pecheurs des Perles. Her voice, a light lyric instrument, is flexible and well placed. Leslie Arnold gave the famous aria from the Verdi Vespri Siciliani, O Tu Palermo. Mr. Arnold is the possessor of a rich and mellow voice, with wide range, and he is capable of doing some very fine interpretive work with it. He was vociferously applauded and had to render part of this number again. Adelaide De Loca did herself credit when she sang A Happy Song (Del Riego) and the Tschaikowsky Adieu, Forets. Miss De Loca's beautiful mezzo-contralto was heard to great advantage in this last selection, her dramatic intensity leading her to give it a poignant interpretation. The program closed with The Song Cycle of Cadman, The Morning of the Year, for soprano, alto, tenor and bass, with chorus, and an interpolated tenor solo, I Held Your Heart, by H. O. Osgood.
11Master Institute Students in Recital
12A well balanced program was presented at the Master Institute of United Arts, New York, May 11, by the students of the music departments. In the opening numbers, which included works of Chopin, Jeannette Binder and Isabel Gordon showed sensitiveness of touch and fine technical equipment. Two gifted students who followed, Irving Binder, violinist, and Alice Goldberg, pianist, revealed charm in their interpretations, as well as poise and feeling. One of the most stimulating moments of the evening was the playing of two blind pianists, Florence Bleedens and Solomon Philipps. No evidence of any handicap marked their playing, which was sensitive and notable for beautiful phrasing and purity of tone. Pearl Rosenblum, Lillian Pearson and Shirley Reisman, a trio of pianists, reflected in their playing of Beethoven, Brahms and Chopin, excellent knowledge of style and artistry which indicated musical understanding. Maturity of interpretation, coupled with excellent nuance, marked the playing of Harold Trauman and Ida Goldstein, the latter presenting an interpretation of Scriabine which was full of poetical outline. An intonation of lovely quality as well as excellent phrasing and interpretation were evident in the playing of a Bruch concerto by Adele Vertes, violinist, while Laura Binder, Rebecca Kutel and Rossel Golden, pianists, revealed brilliancy of technic and admirable atmospheric quality. As the final number of the program, Carlton Boxill gave a group of vocal numbers, demonstrating beautiful voice splendidly sustained and meeting the demands of his numbers by Mendelssohn and Bishop. Lillian Pearson, Martha Kleinart and Jeannette Binder supplied the accompaniment in the various numbers with skill and understanding.
13The pupils appearing were students of Mr. and Mrs. Maurice Lichtmann and Esther J. Lichtmann of the piano department; Gustave Walther of the violin department and Alberto Bimboni of the voice department. A large audience gave evidence of appreciation of the program.
14After the recital, the audience visited the exhibition of works by students of the Master Institute, from the painting, sculpture and design departments. The exhibition is to be open until June 1, and is open to the public daily.
16Violet Kemble Cooper and Victor Wittgenstein
17An evening of artistic pleasure was afforded a large sized audience at the MacDowell Galleries on May 12, when Violet Kemble Cooper and Victor Wittgenstein co-operated in a program of poetry and music. Mr. Wittgenstein is a pianist of decided merit, giving evidence in his playing of a splendid technical knowledge, clear, well rounded tone, a comprehension of his various numbers, and an adaptability to their changing moods that made each offering a delight. The unique idea of the concert was the close similarity of the music, which followed each poem offered by Miss Cooper, to the text of the verse. In some cases—such as The Erl-King (Goethe and Schubert-Liszt), The Hurdy Gurdy and Marionettes (Eskell and Goossens), and The Eagle (Tennyson and MacDowell) the title of the poem and the piano number was the same. What research and knowledge of music was revealed in the expression of Poe's Annabel Lee in Chopin's Ballade in G minor; Stevenson's well known child classic, The Shadow, followed by MacDowell's Shadow Dance, a Nineteenth Century Chinese Song brought to an Oriental climax with Whitworth's Pell Street! It was a program enjoyed from beginning to end. Miss Cooper has a beautiful voice and gave original and completely satisfying readings of her selections. The warm applause, awarded both artists, brought a repetition of Caroline Norton's I Do Not Love Thee, followed by Mr. Wittgenstein's lovely rendition of Scriabin's Album Leaf. one of two readings
18An evening of artistic pleasure was afforded a large sized audience at the MacDowell Galleries on May 12, when Violet Kemble Cooper and Victor Wittgenstein co-operated in a program of poetry and music. Mr. Wittgenstein is a pianist of decided merit, giving evidence in his playing of a splendid technical knowledge, clear, well rounded tone, a comprehension of his various numbers, and an adaptability to their changing moods that made each offering a delight. The unique idea of the concert was the close similarity of the music, which followed each poem offered by Miss Cooper, to the text of the verse. In some cases—such as The Erl-King (Goethe and Schubert-Liszt), The Hurdy Gurdy and Marionettes (Eskell and Goossens), and The Eagle (Tennyson and MacDowell) the title of the poem and the piano number was the same. What research and knowledge of music was revealed in the expression of Poe's Annabel Lee in Chopin's Ballade in G minor; Stevenson's well known child classic, The Shadow, followed by MacDowell's Shadow Dance, a Nineteenth Century Chinese Song brought to an Oriental climax with Whitworth's Pelt Street! It was a program enjoyed from beginning to end. Miss Cooper has a beautiful voice and gave original and completely satisfying readings of her selections. The warm applause, awarded both artists, brought a repetition of Caroline Norton's I Do Not Love Thee, followed by Mr. Wittgenstein's lovely rendition of Scriabin's Album Leaf. one of two readings
20Manchester Choral with Archibald Sessions
21The following editorial from the Manchester (Conn.) Herald of April 27 confirms reports received from other sources as to the great success of the final concert of the season of the Manchester Men's Choral Club under the direction of Archibald Sessions. The club was assisted by the Boston Symphony Ensemble, under the direction of J. Theodorowicz, and by Gladys Hahn, soprano. "The Men's Choral Club of Manchester last night completed its second season of public entertainment—gloriously. The gratitude of the community should go to this group of men, to their gifted director and to those earnestly enthusiastic citizens whose moral and material backing has contributed to the success of the well-nigh unique enterprise. . . . The Herald has been admonished, before this, against the peril of erring on the side of over-praise of this essential amateur body of singers. It takes pleasure in deliberately ignoring the warning. As the club sang last night, there is no danger of becoming too lavish in appreciation. . . . Musical technicians, no doubt, may be able to detect room for improvement in the future. To the mere 'listener,' however—and 'listeners' after all comprise nine-tenths of any large concert audience anywhere—the Choral Club conveyed sheer delight. Moreover, it filled the Manchester consciousness with a new civic pride. It is something to be a citizen of a town the size of this which can and does achieve such a cultural triumph as that concert represents. . . . Manchester is proud of the Choral Club, and justly. It could be just as proud if the town were ten times its present size. One might travel through many communities without finding the organization's superior—or, we fancy, its equal."
23Elsa Alsen with Chicago Opera
24Elsa Alsen, one of the most popular dramatic sopranos now before the public, has just signed a contract through her manager, Annie Friedberg, to be guest artist with the Chicago Civic Opera Company next season. Mme. Alsen, who appeared with this company in Cleveland last winter, was such an outstanding success that she was immediately engaged for a number of appearances, including Tristan and Isolde, she having made a name for herself in this role when she first came over to this country three years ago with the Wagnerian Company.
26Plan to Unite Musicians' Clubs
27The Musicians' Club of New York has decided to try a policy of expansion into what might be known as an international association of musicians' clubs. This will be for the purpose of interlocking membership throughout the world, so that musical visitors to and from all cities may have a place where they can expect service, information, recreation, advice, companionship. The plan suggested is to unify the musicians' clubs already existing, and where none exists to encourage immediate organization. The Musicians' Club of New York held an informal dinner to talk the matter over at Town Hall Club, May 18.
29Leginska to Conduct Chorus in Boston
30Ethel Leginska will conduct a chorus of one thousand voices in several numbers on May 23 at Symphony Hall, Boston. This concert will end the Civic Music Festival.
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