Books › Musical Courier 1926-09-23: Vol 93 Iss 13, 1926 › scan 14
Scan 14
Musical Courier 1926-09-23: Vol 93 Iss 13, 1926
68 lines. Read by computer on 29 September 2026. Printed page 15. 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.
1September 23, 1926
3DOLMETSCH FESTIVAL
4(Continued from page 5)
6two concerti for harpsichord and strings; preludes and fugues for the clavichord; the Chaconne for violin; an English suite; a fantasia in C minor; and the above mentioned Goldberg variations for harpsichord. Dolmetsch's assertion that the chords in such pieces as the Chaconne, by Bach and his forerunners, were meant to be sustained, and his method of sustaining them (by means of a flatter bridge and a convex bow) is an interesting historical argument, though unlikely to deflect the modern virtuoso from his imperious course.
8There were three concerti of Italian, French and German music respectively. The Italian program comprised works by Carose (1580), Frescobaldi (1635), Allegri (1618), Albinoni (1670), Corelli Vivaldi (concerto for lute, viola d'amore with muted strings, and organ) and the two Scarlattis, Domenico and Allessandro. The French were represented by Couperin, Rameau, Attalgnant (1530), Marais (1689), Hervelois (1736), and Leclair (1723).
10MAKING THE AUDIENCE BEHAVE
11Johann Kuhnau's The Marriage of Jacob (1696), one of a set of six Biblical Sonatas, formed the climax of the German evening. It was played by Dolmetsch on his own tiny clavichord, which, despite its increased tone power over the usual clavichord, still could hardly be heard beyond the fifth row. That may have accounted for Dolmetsch's wrath over the restlessness of his audience. It seemed to me as if they had been very still but their preceptor thought otherwise and, scolding them roundly after the third movement he concluded, "Now please be good, all of you!"
13Thereafter even he was satisfied with them for he interpolated program notes between the movements, becoming particularly graphic after the fifth. "So in the morning," he said, "when Jacob saw how Laban had deceived him he was quite wild, and you can hear how his rage boils within him. Then comes Laban, rubbing his hands and saying 'Only seven little years, and you can have what you want,' and then everything is all right." And we really heard it all, even on the tinkling little clavichord. The audience was especially requested not to applaud after this piece but its enthusiasm could not be restrained.
15Surely his is the faith that moves mountains! Bach and Handel figured in this concert, as well as R. T. Mayer (1692), D. Funck (1677) and Johann Jakob Walther (1694).
17OLD ENGLISH MUSIC
18One of Dolmetsch's chief enthusiasms is old English music, and the remaining four concerts presented it in various phases. Songs and ballads by Purcell, Thomas Morley (1600), Henry Lawes (1634) and unknown composers played a large part. There were two concertos of concerted music for viols, pieces for the lyra viol by John Jenkins (1630), a sonata by Butler (1630) for violin, viola da gamba and harpsichord, a suite by William Young (1640) for the treble viol, and many other offerings.
20An ensemble of viols is a fascinating combination to listen to for a time. The different registers blend better than those of the violin family, and the tone is as sweet, delicate and quaint as an old print. But a viol is to a violin what a harpsichord is to a piano, and modern ears soon long for the rich, full tones of present-day instruments.
22Arnold Dolmetsch will never accomplish his entire aim, which, apparently, is to do away with virtuosity, public recitals, and modern inflated music and induce the world to return to the days of making music at home. I do sincerely hope and believe, however, that he is giving a strong impetus to private music-making among amateurs. In fact, results are already in evidence. (A consort of viols has been organized in Liverpool and one or two old instrument groups are in course of formation in London.) Moreover, he deserves our gratitude for his difficult and important research work. It would be a great pity to let any of these delightful and amusing old works as well as instruments fall into oblivion.
24C. S.
26Philadelphia Operatic Society Rehearsing
27In accordance with its policy of presenting each season one of the fine old comic operas and two grand operas, the
29" She has a lyric soprano voice of great natural beauty. Her singing is musical and pleasing. "
30The Boston Globe said the above about May Peterson, soprano, formerly Opera Comique and Metropolitan Opera Company.
32Management: HAENSEL & JONES
33Aeolian Hall, New York
34Mason & Hamlin Piano Used
35Aeolian-Vocalion Records
37Philadelphia Operatic Society has begun rehearsals of Sousa's El Capitan with which it will open its twenty-first season on December 15, with John Philip Sousa, the composer, conducting. Rehearsals are being held under the direction of Clarence K. Bawden, general musical director, who will conduct Massenet's Manon and Weber's Der Freischutz.
39For the last year the Society has been affiliated with the Philadelphia Music Club, although maintaining its own separate organization, and performances are given under the supervision and management of Mrs. Edwin A. Watrous, director general of the Society and president of the Music Club.
41The Philadelphia Operatic Society claims to be the first purely amateur grand operatic organization in the world. It was founded in April, 1906, by John Curtis, with the late Siegfried Behrens as musical director, and in the last twenty years has appeared before the public more than sixty times.
43Dr. Andrew Knox is president; Clarence K. Bawden, vice president; Charles C. Edelman, treasurer, and Alice Stallman, secretary. The operas will be staged by Luigi Raybaut and the ballet trained and directed by W. Mikolaichik.
45Bruce Benjamin Returns from Europe
46In order to give a concert for the orphans at St. Vincent's Summer Farm near his home in Saginaw, Mich., Bruce Benjamin returned from Europe by the way of Montreal and Quebec. Mr. Benjamin had spent most of his vacation at his summer home in Switzerland, but before returning to this country had appeared in several German cities including Dresden, where his last previous appearance was in the Beethoven Birthday Festival there last winter. Mr. Benjamin will begin his second American season by giving the first concert of the Monday Musical Club at Albany on November 22, following which he will appear in recitals in New York, Chicago, Boston, twelve concerts alone in his native state of Michigan, and further engagements in various New England and Atlantic States. The tenor's New York recital will be given in Town Hall on December 14, when he will introduce a new group of Scotch songs of the type in which he was so successful last season and which he brought over from Europe with him.
48Dr. John J. Levbarg to Resume Lectures
49Dr. Levbarg, whose lectures last season on the Mechanism of the Voice, won much favor and comment, will resume his talks on the same subject early in October.
51AT THE HASELMERE FESTIVAL.
52The Dolmetsch family playing old English tunes for recorder, lute and viola.
54Complying with the Numerous Requests received within the last three years
55Mme. VALERI
56will teach this Winter
57in
58CHICAGO
59where
60She Has Rented A Magnificent Studio
61AT THE COMMODORE
62550 Surf Street
63Courses Open, November 15th
64A wonderful opportunity for singers and teachers finding difficulties in the exercising of their profession
65Twenty years' experience in training beginners and in guiding celebrated artists
66For particulars address:
67MISS MARY LEWIS, Room 500 Wrigley Bldg. 400 N. Michigan Avenue, Chicago, Ill.
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