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Musical Courier 1927-01-06: Vol 94 Iss 1, 1927
65 lines. Read by computer on 27 September 2026. Printed page 10. See the scan on archive.org.
1OMAHA, NEB.
3OMAHA, NEB.—Beethoven held the place of honor on the recent program of the Omaha Symphony Orchestra, his eighth symphony forming a main share in the evening's offerings. The symphony was accorded a most interesting performance, Conductor Harmati drawing from his intimate knowledge of the score in such a way as to translate into tone its essential and characteristic elements. Against this classical work the Dukas scherzo, the Sorcerer's Apprentice was outlined in sharp and definite contrast, and again the conductor accomplished wonders in interpreting the moods and fancies of the charming work. A pleasing novelty was Elliott Schenck's In a Withered Garden, the dreamy atmospheric effects of which were well achieved through Mr. Harmati's version. Further indication of the conductor's ability was his highly colored and spirited readings of the 'ppolitow-Ivanow Caucasian Sketches and of Grainger's Shepherd's Hey, with which the program closed. We are indeed fortunate in having a conductor who, though well grounded in classical traditions, has an imagination unbounded by schools or periods, great versatility of gifts and consistently high ideals.
5The Manhattan Opera Company, in connection with the Pavley-Oukrainsky Ballet, appeared in afternoon and evening performances at the Technical High School. Pagliacci, with Orville Harrold, Marie Williams, Parisi Votto, Joseph Cavadorc and Luigi Dalmollc in the solo parts, was chosen for the matinee performance, following which Andreas Pavley and his associates appeared in a series of ballets and divertissements. The evening brought a representation of Franchetti's one-act musical tragedy, Namiko San, with the composer at the conductor's desk and Tamaki Miura, Graham Marr, and Serge Radamsky in the leading roles. And again, as in the afternoon, the ballet enchanted eye and ear by a series of lovely stage pictures. The operas likewise gave the maximum of pleasure as the principals were all well equipped for their parts, the orchestra was adequate, and the varied details of the performance gave proof of careful and thoughtful preparations.
7An added reason for thanksgiving was the appearance of the Ukrainian National Chorus, Alexander Koschetz, conductor. This remarkable body of choristers recreated and refreshed the impression made by former appearances and left a memory of singing as vital, as vividly colored and as variegated as the multiple-hued costumes which the singers wore. Max Pollikoff, assisting violinist, showed notable ability in the performance of two solo groups. He was accompanied by Joseph Barsky at the piano.
9Mrs. Edward MacDowell appeared at the Cooper Studio Theater, December 1, in a program of her late husband's compositions. Mrs. MacDowell's visit was at the instance of the local Monday Musical Club.
11The Fortnightly Musical Club gave a benefit concert for the music department of the University of Omaha at the First Presbyterian Church. Under the direction of Louise Tansen Wylie and Mrs. Howard Kennedy, the program brought into action a large proportion of the club's members in solo and concerted numbers.
13J. P. D.
15Mannes School Activities
17A Christmas concert was given at the Mannes School on December 21 by the senior orchestra under Paul Stassevitch, the school chorus under George Newell, and the Holland Vocal Trio whose members are Josephine Kirpal, Else Letting and Mary Bennett. The accompanist was Rosemary Lillard. Several tiny children gave violin and piano solos. Christmas carols concluded the program.
19On December 19, David and Clara Mannes continued their chronological series of the sonatas of Beethoven. On the evening of December 24 they were heard in a sonata program in the People's Symphony chamber music series at Washington High School.
21After the holidays the school will reopen January 4. Shortly afterwards the annual artists' series will begin, the first concert to be given by Paul Stassevitch. On January 8 Mr. Mannes gives the first of the orchestra concerts at the Metropolitan Museum of Art.
23Wittell's Algerian Suite a Success
25Chester Wittell's Algerian suite was played on December 12 by the Reading Symphony Orchestra under the direction of Walter Pfeiffer. This was the first performance of the work and was the feature of the concert. The suite, which was composed in 1925, has a decidedly Oriental flavor; in fact, the composer states that in it he has tried to conceive the American idea of Oriental music. The Reading Times commented on the work as follows: "The suite opens with Dance of the Ouled Nails. A distinguished trait lies in the subtlety in orchestration. In Moghrebian Serenade, the second theme, the bassoon carries a pensive, brooding theme, of exotic eastern flavor, to the accompaniment of plucked strings. A spirit of poetic contemplation pervades these measures. If the scoring of Scene Berber, the last movement, was noisy at times, it was purposely so. The sonorities were effective in a robustious hammer-and-tongs way, bringing out a realistic picture of the wild, hostile rovers of the great desert. In the handling of the orchestra was brilliance, with a clear eye to effect. Throughout the work, one sensed a keen feeling for progress, climax and structure, and barring a few discursive moments, when the rhythm was a bit uncertain, the number was given an admirable performance. As a whole, the Algerian Suite marks Mr. Wittell as a composer of sensitive imagination and technical skill, and the enthusiasm with which the modest composer was greeted when he came forward to the stage was a pleasing tribute to his musicianly ability."
27Henri Deering with St. Louis Symphony
29Henri Deering, American pianist, who recently arrived in New York following European successes, opened his season were with two appearances as soloist with the St. Louis Symphony Orchestra in that city on December 10 and 11. Mr. Deering made an instantaneous success and was most cordially received by the public, as well as by the press. The critic of the Times commented in part: "Another native son to whom St. Louis may point with pride, is Henri Deering, the pianist, who made a profound impression on yesterday's symphony audience at the Odeon, appearing at fare of advance announcements. In the argot that must be sparingly employed in this relation, Henri Deering made good; furthermore, he evidenced careful study of the work under the composer himself. He gave us all the Rachmaninoff nuances in the pedaling and that crisp, yet singing tone, in the somewhat xylophonic regions of the instrument. . . And he showed that he also has partaken of instruction under other noble and approved good masters, in his encore, Claude Debussy's A minor prelude, whose daring arpeggios and glissandos were elegantly submitted. . . A large audience gave Mr. Deering a genuine ovation, with not one whit of forced applause or claque methods about it."
31PHILADELPHIA, PA.
33PHILADELPHIA, PA.—The sparkling overture, Die Verkaufte Braut, by Smetana, was the opening number of the Philadelphia Orchestra concerts, December 17 and 18, and was splendidly played. Following this, came the Goldmark concerto in A minor for violin and orchestra, played by the young and talented Ruth Breton. The depth of tone which she produced and the facility of her technic were only surpassed by her masterly interpretation. Many recalls were accorded Miss Breton, who accepted them with a charm and simplicity of manner wholly gratifying. The assistant conductor, Artur Rodzinski, conducted these two numbers with marked success. The audience manifested great pleasure, however, when Dr. Stokowski appeared to conduct the fifth symphony by Beethoven. With his right arm still in a sling, he conducted with the baton in his left hand, but nothing of the virile strength of interpretation was lacking in spite of the use of but one arm. The powerful first movement had the same effect of irrevocable destiny, while the second reached the heart with its exquisite melody. The scherzo and last movement also left one completely satisfied in the reading and execution. The audience showed its great pleasure in this old favorite.
35At the fourth meeting of the Philadelphia Chamber Music Association on December 19, the Philadelphia Chamber String Simfonietta rendered an interesting and enjoyable program, Fabien Sevitzky conducting. This organization is composed of members of the string section of the Philadelphia Orchestra (eighteen in number). The program opened with Handel's Concerto Grosso in D minor which was admirably played. This was followed by Antonio Vivaldi's sonata in E minor for cello and strings, Benjamin Gusikoff playing the solo part. The ensemble in this was not quite satisfying, but a second or third public reading would effect that freedom which would release for the listener that delicacy and charm of this seventeenth century composition which seemed somewhat lost by the too watchful care of a "first time" in Philadelphia. Verklarte Nacht, by Schoenberg was third on the program—a most beautiful composition, rich in contrasts in the skill with which the one theme is used and distributed among the different instruments, beginning with the solo viola which really has a leading part all through, ably sustained by the first violin, singing in a high register. This number was very well given indeed, as was also Intermezzi Goldoni, a suite in light and cheerful vein which closed an excellently contrasted program received by a large and appreciative audience, developing in its understanding of chamber music well rendered.
37An unusual Christmas program was arranged for the meeting of the Penn Athletic Club Musical Association, on December 19, when Frank Speight, interpreter, gave selections from Dickens' Christmas Carol so delightfully that the audience was loath to let him go. The musical part of the program was provided by the double mixed quartet from the Strawbridge & Clothier Chorus. It included Elsa Lyons Cook and Edna M. Greulich, sopranos; Maybelle Berretta Marston and Jane Vandersloot, altos; Ednyfed Lewis and John E. O'Connor, tenors; John Vandersloot and Louis A. Starr, basses. The numbers which they sang and which proved to be very lovely were: Lo, How a Rose by Praetorius; The First Nowell, arranged by Stamer; Silent Night, arranged by Becker; Holy Art Thou, by Handel; Hark the Herald Angels Sing, by Mendelssohn, and Adeste Fideles, arranged by Reading. Between the selections were Tableaux—The Prophecy, the Annunciation, The Shepherds, The Wise Men, The Nativity, and Christmas Morn. These were unusually beautiful. Caroline Hoffman was the excellent accompanist.
39M. M. C.
41Harold Samuel in Bach Series
43Harold Samuel arrived from Europe during the past week ready to give New York its first taste of a Bach Festival, six concerts in as many days, the first of which will take place in Town Hall on Tuesday evening, January 18, and continue on the evenings of January 19 and 20, and the afternoons of January 21, 22 and 23. Programs will be announced during the coming week.
45JULIUS LEEFSON, Director
46WEIGHTMAN BUILDING
471524 Chestnut Street PHILADELPHIA, PA.
48PHONE RITTENHOUSE 5167
49LANSDOWNE BRANCH
50Barker Building LANSDOWNE, PA.
52ALMA PETERSON
53Private Address: 3020 Sheridan Road, Chicago, Ill.
55THE ELSHUCO TRIO OF NEW YORK
56"Such undertakings are a liberal education for young musicians and for those music-lovers who wish to develop in themselves a real understanding of the art, and of its literature."—N. Y. Evening Post.
57The Elshuco Trio uses the Steinway piano and records for the Brunswick Co.
59William KROLL-WILLEKE-GIORNI
60Willem Aurelio
61"A programme all replete with the ineffable charm and romance of the chamber-music Schubert. It was very beautiful and held a large audience in rapt attention until the last note was played."
62N. Y. Herald-Tribune.
63Management: Emma Jeannette Brazier,
64100 West 80th St., New York, N. Y.
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