Scan 7
Musical Courier 1926-07-08: Vol 93 Iss 2, 1926
49 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 8. See the scan on archive.org.
1MUSICAL COURIER
2THE FOLK-SONGS OF THE TARTARS
3By Natalie de Bogory
5Most countries with a rich collection of folk-music present it to sophisticated audiences by means of native artists, whose talent and ambition have pushed them out of their native element. It is thus that Georgians have acquainted us with the plaintive songs of the Caucasus. But the numerous tribes of Siberia have never had an interpreter. The Tartars of the Volga, the Bashkirs, the Ouzbeks—their songs were as strange and unknown until a few evenings ago as is their existence in the distant steppes.
7Prof. Anton Eichenwald, composer and conductor in Moscow, became interested in this unknown folk music fifteen years ago after the appearance of the collection made by Gretchaninoff, which admittedly did not resemble the original. When it was played to a group of musical Tartars, they said that it reminded them of their songs, but it was not the same. Prof. Eichenwald thereupon started on his quest.
9The first great difficulty was to get in touch with the singers. The best of these were women; indeed the Koran forbids men to sing and any man who is known to indulge in this frivolity is not admitted to prayers at the Mosque. Consequently, not only was it necessary to become acquainted with the women, who lived under the old Turkish regime, but it was essential to be introduced into their homes, since they only sang there. Having interested a group of patriotic Tartars, it was through them that Prof. Eichenwald was brought to the home of a prominent Tartar in Kazan, possessing six musical wives and a piano. From here he was taken to the home of a very old woman in Varsk Titush, Spassk, a tiny place, where he heard some of the oldest songs he has in his collection. In order not to frighten the singer, he usually listened and made his notes in an adjoining room. So it was that through friends he reached the Bashkirs, then the Chuvash one of the rare non-Mohammedan tribes of Siberia, a mixture of Tartar and Swede. He drifted into Persia and gathered Turkish songs, so that his collection now counts about 2,000 songs hitherto unheard and unknown in Western Europe. He learned the different languages and dialects.
11However, the inscribing was only the beginning of Prof. Eichenwald's difficulties, for the problem of harmonizing the songs and finding an adequate accompaniment was even greater. Always trusting to the friends he had made among the people, he would play whatever he had worked out and ask for their opinion. And it was some time before they stopped shaking their heads dubiously and saying: "It's like our songs, but not quite." It was certainly a difficult task to produce on a piano the effect of the native instruments: the gush, the harmonica, and the more habitual percussive instruments, beating out a monotonous rhythm.
13Success came when Prof. Eichenwald discovered that he must work with a five-note scale, such as the Chinese use. Musicians scoffed at him, but with the approval of his native guides he persisted. The Russian revolution caught him at his work. By 1920, the newly formed government of the Tartar Republic decided that here was a chance to show the people what their folk music sounds like in concert, when played by a symphony orchestra. The work had been done, but Prof. Eichenwald now presented it for criticism to his Tartar friends. The first concert was given to an overflowing auditorium in Kazan, before an audience of Tartars, who, when they recognized their native songs as played by an orchestra, whistled with delight, while old women wept. One song had to be encored fourteen times. It was an historic event, and the experiment was repeated in every Mussulman centre.
15To introduce this remarkably interesting folk music to Western Europe, Prof. Eichenwald found aid in several excellent artists, who did not hesitate to learn the difficult languages and the elusive harmonies. With these he gave a concert in Paris, which aroused extraordinary interest.
17It is quite impossible to describe these songs with their distinctly original melodies and the all pervading melancholy of most folk songs. Several stood out from the rest by their beauty. There was the Persian song, Otmé-bul-Bul, admirably rendered in Persian by Consuelo Eastwick, an American soprano.
19Oh night, so fresh and gentle, the brightness of silvered skies,
20Oh perfume of roses, the sweet songs of nightingales
21Which speak to us of love and gentle tenderness.
23Another exceptionally beautiful song, strongly reminiscent of the folk music of Great Russia was Ouz Behtcha Haramzi:
25Oh my heart is weary,
26My heart fears, weeps and groans.
28Successful Artists From the Fife Vocal Studios
30Joanne de Nault, contralto, is soloist at Munn Avenue Presbyterian Church, East Orange, and Temple Beth-El, Fifth Avenue, New York. Miss de Nault came to New York two years ago, and has won recognition among musicians and music clubs and has filled with great success numerous concert and oratorio engagements. During the past season Miss de Nault has appeared in New York with the Banks Glee Club (Bruno Huhn conducting), the Sorosis Club, the Rubinstein Club, the New York City Federation of Women's Clubs, and other representative societies. Miss de Nault has appeared as soloist in the performance of the standard oratorios with many of the leading choral societies in Canada. She has also given numerous recitals, winning very favorable press comments. one of two readings
31Joanne de Nault, contralto, is soloist at Munn Avenue Presbyterian Church, East Orange, and Temple Beth-El, Fifth Avenue, New York. Miss de Nault came to New York two years ago, and has won recognition among musicians and music clubs and has filled with great success numerous concert and oratorio engagements. During the past season Miss de Nault has appeared in New York with the Banks Glee Club (Bruno Huhn conducting), the Sorosis Club, the Rubenstein Club, the New York City Federation of Women's Clubs, and other representative societies. Miss de Nault has appeared as soloist in the performance of the standard oratorios with many of the leading choral societies in Canada. She has also given numerous recitals, winning very favorable press comments. one of two readings
33The Ottawa Citizen declared: "Miss de Nault possesses a voice of truly lovely quality. She adds to it a charm and simplicity of manner coupled with a handsome stage presence. Miss de Nault sang with a quiet assurance that at once established her as a well-trained singer." The Montreal Standard was of this opinion: "Miss de Nault's beautiful singing was a delight, notable alike for its fervor and refinement of style. That she loves her art and magnetically carries her hearers along to feel every change in her mood was obvious to all as the concert progressed. Her voice combines strength with rare tonal delicacy. It was noticeable that she sang without strain or violence, and with ease and assurance. Her readings were logical, her command of tone color was broad, and she invested her songs with an expression that greatly accentuated their beauty." The Ottawa Journal said: "Miss de Nault has a splendid contralto voice of unique beauty, smooth, and clear in delivery and of wide range. Her enunciation is praiseworthy and it is obvious that she has a clear conception of musical interpretation and a keen observation for climax."
35Aida Campbell, coloratura soprano, has just completed a successful season in New York. She was heard at the Cameo Theater, singing the prologue to the picture, The Birth of a Nation. She also was heard at the Roger-Sherman Theater in Hartford, Conn., the Majestic Theater, Halifax, Canada, and the Pleiades Club, New York. In Leonard Liebling's comments of this club's program it was said: "Miss Campbell's singing contributes largely to the success of a wonderful program." The Hartford papers were unanimous in their praise of Miss Campbell's singing. The New Haven Evening Register wrote: "Miss Campbell is the young singer who so eloquently sings two numbers, and her title of being Canada's Galli-Curci is well earned." Commented the New Haven Union: "Miss Campbell sings several numbers and her exceptional voice is exceedingly beautiful." Regarding Miss Campbell's engagement at the Majestic Theater, the Halifax Chronicle stated: "Seldom has a singer been greeted with such acclaim. It would not be too much to say that she made the greatest hit a soprano soloist has made in recent years."
37Robert Armour, tenor, soloist of the Church of the Resurrection, has won for himself a position of the highest standing. He possesses the rarest type of tenor voice, the type whose powers compass both the lyric and dramatic styles of singing. Furthermore, he is endowed with unusual and finished musicianship which give him command over a wide variety of musical compositions. His voice, remarkable for range, is no less remarkable for its purity and beauty of tone. Leading music critics throughout the United States have been unanimous in their praise of his artistry, since he possesses the qualifications that place him in the front ranks of American tenors. Mr. Armour has appeared with success as soloist with choral societies, and has been heard in concert and recitals all over the country. The New York Evening Mail stated: "Mr. Armour has a pure tenor quality reinforced by tone volume above the tenor average." The Washington, D. C., Post is quoted: "Mr. Armour's program consisted of sixteen selections and every one was rendered with a beautifully modulated voice and perfect enunciation." None the less favorable was the opinion of the Atlanta Constitution: "Mr. Armour has a glorious voice, sweet and clear as a bell, and yet has a strength and volume that is remarkable." Said the Mobile, Ala. Register: "Mr. Armour sang repeatedly with such intensity and dramatic expression and withal such sweetness that his solos brought him not only unstinted praise, but much appreciation from the audience who heard his beautiful tenor voice."
39W. DRUMMOND FIFE
40teacher of Vocal Art Science, who has just completed another successful season in New York. Mr. Fife will leave for his summer residence, Muzikabin, at New Glasgow, Nova Scotia, Canada, where he will conduct his usual summer school. A large number of his students throughout the United States and Canada will avail themselves of this opportunity for summer study.
42Isabel Richardson Molter in the East
43Isabel Richardson Molter, well known dramatic soprano, and her husband, Harold Molter, distinguished accompanist, are taking their vacation in the East. On June 19, Mrs. Molter wrote to the MUSICAL COURIER as follows: "Greetings from Kennebunk (Me.). Mr. Molter and I (also Harold, Jr.) are motoring through New Hampshire, Maine and Massachusetts."
45Marianne Kneisel String Quartet
46TOUR NOW BOOKING SEASON 1926-1927
47Exclusive Management: NATIONAL MUSIC LEAGUE
48113 West 57th Street, New York, N. Y.
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