Scan 8
Musical Courier 1926-05-20: Vol 92 Iss 20, 1926
44 lines. Read by computer on 29 September 2026. Printed page 9. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1PARIS
2(Continued From Page 6)
3of the Russian numbers better than the lilt of the negro spirituals, which were decidedly too slow.
5SHAVITCH CONDUCTS
6The concerts of the Pasdeloup Orchestra have come to an end for this season. The last two were distinguished by unusual features, for one was conducted by Vladimir Shavitch of Syracuse, New York, and a piano movers' strike at the other prevented Robert Schmitz from playing Franck's Symphonic Variations with the orchestra.
8Rene-Baton, conductor of the Pasdeloup Orchestra, is deserving of more than a casual paragraph. He is the only French conductor, if I am not much mistaken, to invite an American as a guest conductor. Last year he asked Leopold Stokowski of Philadelphia and this year the guest was Vladimir Shavitch. I have been told that he is the only French conductor to play American compositions for orchestra in Paris. This statement hardly sounds credible, but I must report what I have been told. He has given Carpenter, Hadley, Eichem, among the most modern of American composers. He is the only French conductor with a permanent Paris orchestra to travel over Europe continually. During the past six months he has conducted in Prague, Riga, Palermo, Rome, Torino, Liverpool (Philharmonic Society), and London (Royal Philharmonic Society). He is at present engaged for orchestral concerts in Norway, Sweden, England, Italy and the Orient.
10The guest conductor of the Pasdeloup Orchestra this year, Vladimir Shavitch, has won his laurels by sheer hard work and musical merit. He has had two seasons of orchestra concerts in Paris before this present season, when he was invited as a guest. I believe I am right in saying that no other foreign conductor but Koussevitzky has been so successful in winning the esteem of the Parisian public. In fact, he has repeated in Paris his orchestral successes of London. It must be remembered, too, that Shavitch is the conductor of one of the youngest symphony orchestras in America. The conductor of the New York Philharmonic Orchestra or of the Boston Symphony Orchestra might be expected to receive invitations, as it is taken for granted that only first class conductors are supposed to fill those positions.
12I have had many years of practical experience with orchestras and am therefore better able to judge of the merits of a conductor than if I was merely a listener at concerts. I was struck at once with the clearness of Shavitch's gestures. No wonder the orchestra responded so admirably and with such spirit, and with only one rehearsal. The players could not fail to know what he meant, even if they had not rehearsed with him at all. Recently in London he was compelled to direct a work without a previous rehearsal with the men. Apart from the technical handling of the men, his interpretations show insight into the composers' intentions, imagination, sympathy, and the necessary force of character to compel the players to carry out his designs. He was called to the platform again and again by an excited audience. No artist, native or foreign, could have asked for a more generous appreciation on the part of his public. It was a triumph for Shavitch, and it ought to be a source of pride to the managers and members of the Syracuse Symphony Orchestra. CLARENCE LUCAS.
14A Busy Young Violinist
15Eleanor Whittemore, violinist, has been having a very busy season. In January she was fortunate enough to be engaged for a short Florida tour—for Florida is a pleasant place to be engaged in during January. Besides appearances in Tampa and Palm Beach she gave a recital in Wachula and another before the Women's Club of Bradenton, and another one at Harrisville. Among her February engagements was the Union League Club, New York, and as soloist at the Intercollegiate Glee Club meeting at Boston.
17On March 13 she played for the Bradford Academy Alumna Association at Brookline, Mass., and a few days later with the Harvard double quartet before the Outlook Club of Lexington, Mass. On Good Friday she played in obligatos for the performance of St. Matthew's Passion given by the combined choirs of the Emanuel Church and the First Church of Boston; and these last two appearances resulted in immediate re-engagements.
19In April she played for the Studium Club, New York; gave a recital for the Women's Club at Chatham, New Jersey; played for the Jackson Heights Country Club, and for the Gira Masonic Lodge at Mount Vernon. May began with a private appearance at the home of Sterling Beardsley in New York. The frequency of her engagements is ample proof of the popularity of this young artist.
21Mana-Zucca's Candyland Given
22Candyland, by Mana-Zucca, was presented by the Junior Music Club of Miami, Fla., during Music Week in the Royal Palm Park and the Jackson Memorial Hospital, The Day Nursery, The Children's Home, and The Vocational School. The performances were given under the direction of Mrs. L. B. Safford.
24Ann Arbor School of Music Notes
25Albert Lockwood, head of the piano department of the University School of Music, Ann Arbor, Mich., has not only surrounded himself with a corps of able piano teachers but they also are teachers of high artistic merit and their public performances are of interest. In order to provide the students with an opportunity of hearing a great deal of the best piano literature, a twelve weeks' course in Russian piano literature has just been completed. This group was chosen as being representative of the most interesting of the writers since the romantic period of the last century. The composers Scriabin and Melnher were set up as the opposing forces in the movements, the first radical, the second conservative. A large number of works by other Russian writers also were performed. The music was played by Maud Okkelberg, Albert Lockwood, Andrew Haigh, Guy Maier, assisted by Mabel Tilley, a gifted amateur of Ann Arbor; Nell Stockwell, Grace Richards, Martha Merkle and Donna Esselstyn. It is proposed to give a similar course next year, playing all the piano works of Cesar Franck, including the chamber music and the less known and worthier works of Liszt. Earl V. Moore, musical director of the school, gave a lecture on the aims in general of the Russian composers. The detailed lecturing on the individual pieces was done by Andrew Haigh and Albert Lockwood.
27The piano department of the school offered an especially fine student recital in Pattengill Auditorium on April 30, when two talented students of Guy Maier, Elizabeth Davies and Ethel Hauser, gave a recital of two piano numbers.
29John Dwight Sample
30Vocal Studios
31Announce
32SUMMER CLASSES
33June 15th—August 1st
34Private Lessons, Operatic Classes
35Concert and Oratorio, Repertoire—
36Interpretation, Coaching and Languages
37All Study under the direct supervision of Mr. Sample assisted by Mrs. Sample and other prominent artists
38FREE SCHOLARSHIPS
39Mr. Sample will award TWO FULL SCHOLARSHIPS (One Male and One Female) and TWO PARTIAL SCHOLARSHIPS (One Male and One Female) to the Student, who after an Audition Contest held in his Studios, before competent judges, is found to be the most gifted singer. The Two Full Scholarships and the Two Partial Scholarships will be given to the Contestants winning First and Second place, respectively.
41Information relative to Summer Classes and Tuition by Addressing
42JOHN DWIGHT SAMPLE VOCAL STUDIO
43421 Fine Arts Building, Chicago, Ill.
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