Books › Musical Courier 1926-09-23: Vol 93 Iss 13, 1926 › scan 15
Scan 15
Musical Courier 1926-09-23: Vol 93 Iss 13, 1926
45 lines. Read by computer on 27 September 2026, twice; the two readings disagreed in places. Printed page 16. See the scan on archive.org.
1Alfred Friese School for Kettledrums and Drum Instruments
2A recent entry into the pedagogical field of the music world is the Alfred Friese School for Kettledrums and Drum Instruments, the only one of its kind anywhere, which is exclusively devoted to teaching how to play correctly, and from an artistic angle, kettle-drum, snare drum, bells, xylophone, marimba and all other instruments of the "battery" of an orchestra. It already has received astonishing encouragement from professional and amateur drummers.
4Mr. Friese, founder and director, having had the advantages of a Leipzig Conservatory education, has given during his sixteen years' (1909-1926) association with the New York Philharmonic Orchestra, numerous interviews to music critics and educators wherein he tried to acquaint the musical public with the truth as to the percussions. He observes: "During the past twenty years as a symphony artist I have had ample opportunities of realizing the handicaps the aspiring percussion player has to contend with. Heretofore, and notably in America, has the so-called 'battery' of the orchestra received little appreciation, not only by the concert-goer, but also by musicians and even conductors. One need only read the biography of Beethoven, Mahler, Berlioz, Mendelssohn or Meyerbeer, or read their scores or those of Wagner, Rimsky-Korsakoff, Tchaikowsky, Richard Strauss and Stravinsky to know for themselves. If the art of drumming is so easy or unimportant, as many perhaps still think, why do the orchestra personnel managers continue to go to Germany for eligible tympanists and percussion players? The truth of the matter is that in the past drummers would, so to speak, after a few lessons in the rudiments of technical execution, commence their careers as professionals in five or six piece bands and graduate after years' and years' experience into the orchestra of second and third rate theaters and picture-houses. In some cases of course there are players of this type in leading symphony orchestras, but as soon as more capable material is at hand they are replaced. To be a really able percussionist requires an authoritative and painstaking foundation. Moreover, the trend in modern composition has sensed the immense musical potentialities of the percussion instruments and I am convinced that their exploitation has only begun. This condition has already widened the market for qualified drummers and the next few years will emphasize, more than ever, the need for players in this indispensable section of an orchestral body."
6Cooperating with this new school in bringing to the attention of students, teachers and the musical public generally the purposes set forth, are educators such as George H. Gartlan, supervisor of music for the elementary and high school system of the Board of Education; Prof. Hollis Dann, director of the summer courses for musical supervisors at N. Y. University; Prof. Dykema, director of the summer courses for musical supervisors at Columbia University. Numbering among the leading conductors, music critics and musicians who, it is said, are enthused over Mr. Friese's school, are: Arthur Bodanzky, Wilhelm Furtwaengler, Ossip Gabrilowitsch, Edwin Franko Goldman, Henry Hadley, Fritz Reiner, Kurt Schindler, Josef Stranisky, William Van Hoogstraten, Prof. S. A. Baldwin (of C. C. N. Y.), Felix Deyo (critic, Brooklyn Standard Union), Prof. W. H. Hall (of Columbia University), Maurice Halpern (critic, Staats-Zeitung), W. Henderson (critic The Sun), Leonard Liebling (critic, N. Y. American), Elly Ney and Pitts Sanborn (critic, Evening Telegram). one of two readings
7Cooperating with this new school in bringing to the attention of students, teachers and the musical public generally the purposes set forth, are educators such as George H. Gartlan, supervisor of music for the elementary and high school system of the Board of Education; Prof. Hollis Dann, director of the summer courses for musical supervisors at N. Y. University; Prof. Dykema, director of the summer courses for musical supervisors at Columbia University. Numbering among the leading conductors, music critics and musicians who, it is said, are enthused over Mr. Friese's school, are: Arthur Bodanzky, Wilhelm Furtwaengler, Ossip Gabrilowitsch, Edwin Franko Goldman, Henry Hadley, Fritz Reiner, Kurt Schindler, Josef Stranky, William Van Hoogstraten, Prof. S. A. Baldwin (of C. C. N. Y.), Felix Deyo (critic, Brooklyn Standard Union), Prof. W. H. Hall (of Columbia University), Maurice Halpern (critic, Staats-Zeitung), W. Henderson (critic The Sun), Leonard Liebling (critic, N. Y. American), Elly Ney and Pitts Sanborn (critic, Evening Telegram). one of two readings
9Judson Establishes Recital Department
10Concert Management Arthur Judson has established a special recital department devoted exclusively to the direction of local concerts. This department, which is headed by George L. Colledge, will sponsor many musical events in the coming season and will also have supervision of the New York appearances of artists touring under the direction of Concert Management Arthur Judson. Among the concerts already booked by Mr. Colledge are the New York appearances of the Cincinnati and Detroit orchestras and three concerts by Max Jacobs' symphonic ensemble, as well as song recitals by Genevieve Cadle, Constance Clements Carr, Dorothy Helmrich, Max Kaplick and Donatelli Prenzisi; piano concerts by Lyell Barbour, Gabriel Fenyves, James Friskin, Marguerite Liszcziewska, Adolf Opfinger, Mathilde Verne and P. Wolfssohn; and violin recitals by Frances Berkova, Fred Shade and Elise Steele. Additions to this list are being made constantly.
12Artists touring under the direction of Concert Management Arthur Judson who will be heard in recitals here include Nina Morgana, Corinne Rider-Kelsey, Karin Bramzell, Sophie Braslau, Vernon Williams, Fraser Gange, Irving Jackson, Ruth Breton, Carl Flesch, Joseph Szigeti, Efrem Zimbalist, Carl Friedberg, Mieczyslaw Horszowski, Evelyn Howard-Jones, Gitta Gradova, Ernest Schelling, the New York String Quartet and the Philharmonic String Quartet. Concert Management Arthur Judson will continues to manage International Composers' Guild concerts.
14Two Liebling Pupils Succeed in Comic Opera
15Ethel Louise Wright, who was engaged by Arthur Hammerstein for the leading role in this season's Rose Marie company, made her debut with that organization on September 6 in Albany, N. Y. The local papers report that Miss Wright is a "wise selection for this role and she has youth, charm and a beautiful voice."
17Celia Branz, contralto, who made her first appearance under the Shubert management on September 1 at the Auditorium in Chicago was equally successful as Pitti-Sing in The Mikado and was stamped as a "sweet and comely Pitti-Sing with a good voice."
19Austrian Village Gets Opera House
20REICHENAU (Austria).—This small city near Vienna has just completed its beautiful new opera house, erected and operated with municipal funds. The opening performance was a well-staged production of Johann Strauss' comic opera, Die Fledermaus. P. B.
22THE PICK OF THE PUBLICATIONS
24Piano
25(Carl Fischer, Inc., New York)
27Birthday Greetings, by Grace Hofheimer.—Four easy teaching pieces for the piano for students of about the second grade. Characteristic little sketches known as Invitation, Hurdy Gurdy Dancers, Doing Tricks, and Farewell. Miss Hofheimer has supplied a few words to a couple of the skits, which gives them a poignant spirit.
29Minute Miracle Waltz, by Houston Ray.—This is indeed a "miracle" waltz and it will be a miracle if anyone can play it. Equally interesting is what the author has to say of it. "This is the first of a series of compositions arranged by myself for use in therapeutics and has been acclaimed potent in musical healing under test conditions, where the so arranged harmonies have been an aid in bringing about mental as well as physical harmonies." Further comment is not needed.
31(Grinnell Bros., Detroit)
33Technical Work in Ear-Training for the Piano, by Ida Elkan Katz.—A method devised by Miss Katz after her long experience in teaching which will develop a sense of tonality and distance so that the student is able to play without being obliged to look at the keyboard while playing. It is really a form of complete memorization of the keyboard and no doubt will be of aid in speed and the development of rhythm. It begins with the whole and half steps and continues through to the most intricate sort of harmonic combinations.
35Songs
36Wisdom and Love, by Laura Sedgwick Collins and Martha Ridgway Bannan.—A catchy and colorful song with much of the spirit of spring about it. It must be handled by a singer with a flexible voice, as use is made of staccatos and trills. The lyrics are spirited.
38(Carl Fischer, Inc., New York)
40Muckwa, The Bear, by Charles Sanford Skilton.—Song for low voice, really for the male voice, and is written in a fast and barbaric tempo. It is a call to the hunter and depicts the many dangers of the animal in vivid fashion. The composer has supplied a rhythmic accompaniment; the song is effective if handled by a competent interpreter.
42Voliam Lassu and Vieni Sul Mar, by Angelo Patricolo.—The former is a valse for high voice dedicated to Toti dal Monti, and the latter is a serenade. They are written in the typically popular Italian style—perhaps a little too long.
44A Rose Will Fade in a Day, by Bainbridge Crist.—An attractive ballad with a flowing arpeggio accompaniment.
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