Books › Musical Courier 1927-01-13: Vol 94 Iss 2, 1927 › scan 47
Scan 47
Musical Courier 1927-01-13: Vol 94 Iss 2, 1927
69 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1MUSICAL COURIER
3Haig Gudelian Settles in New York
5Haig Gudelian, news reports of whose European recitals have appeared from time to time in the MUSICAL COURIER, is now in America and has settled in New York, although he hardly expects to take an active part in the recital world before next season.
7Mr. Gudelian, a native Armenian, is a violinist and composer and has set himself for his task in life the introduction of the music of the ancient East to Occidental audiences. This he has done through numerous original compositions, arrangements, and transcriptions, all founded upon the native ancient folk-music of Eastern countries which he has visited for the sake of collecting their ancient folk lore and folk music. Besides his native Armenia, the countries investigated by Mr. Gudelian include Syria, Turkey, Asia Minor, Bulgaria, Roumania, Egypt, and the Caucasus.
9Unknown here, he has made a decided impression in Europe and Great Britain, where he has repeatedly given recitals. His particular champion in Germany is the well-known music writer, Dr. Weissmann, who said of him: "Violinist and composer in one person!" Gudelian, without doubt a fine mind, brings us a synthesis of Oriental composition. Though he appears so European himself, what he produces before us is not disguised European, but pure music from the East. It is nearest to synagogue music, at times in free recitative, then again in positive metrical style. As an interpreter of his pieces for the violin he is a tone poet. A singular and noteworthy, inwardly clever phenomenon in our otherwise jazz-diseased world.
11Henri Prunieres, editor of La Revue Musicale, and probably the best known among French writers of music today, also gave Mr. Gudelian high praise: "Mr. Gudelian is not only a remarkable virtuoso violinist, but at the same time a composer full of sensitiveness and originality. Oriental, educated in European style, in the same way that he speaks with facility the languages of the Orient and the Occident, he possesses the technic of these two artistic worlds and reconciles them in very subtle compositions. He borrows from the Orient its scales, modes, infinitely varied rhythms, and above all, its subjects of inspiration, and from the Occident the polyphonic harmony. The violinistic scripture of Mr. Gudelian is very original and he makes use of it with extreme ability. This music is not only picturesque but also very touching and his recital was a very beautiful concert. The Orient is perhaps destined to play the same role which was reserved to antiquity in the sixteenth century to provoke a new renaissance."
13The London critics devoted a good deal of attention to him. Best known of them all, Ernest Newman, wrote in the London Sunday Times: "Mr. Gudelian, I believe, has been making something of a stir in London musical circles. His own peculiar style of composition is undeniably fascinating and exhales a subtle and strangely moving odour," while Alfred Kalisch said in the London Daily News: "He has a beautiful tone, and he is a complete master of the special technic necessitated by the unusual tuning of his violin."
15He has been received no less enthusiastically at other places where he has played, and he has visited many cities not ordinarily on the concert giver's list, such as Constantinople, Tiflis, Alexandria, Egypt, Bucharest, and Sophia. Next season he will play extensively in recital here.
17Guilmant Organ School Opens for Winter Term
19The Guilmant Organ School reopened for the winter term last Tuesday with a full enrollment. The master class under Dr. Carl and the class in voice culture as an aid to organists under Edgar Schofield were resumed on Wednesday. Dr. Carl spent the holiday vacation in Washington and the other members of the faculty have returned to take up their work. At the final students' recital of the fall term, December 28, the following program was played: Three compositions by Bach—the Prelude and Fugue in C minor, the chorale, in Dulci Jubile, and Cathedral prelude in E minor, played by the Misses Irma Clark, Pearl Haug, and Helen Torbert, respectively; Handel's Tempo di Gavotta, played by John Stamm Irwin; the Fantasia in E flat of Saint-Saens, played by Frances Anson; Hollin's Intermezzo in D flat, played by Kenneth Yost; Mendelssohn's sonata in C minor, played by Sumner A. Jackson; Mulet's Carillon Sortie, played by George William Volkel, and two other Bach compositions—Prelude and Fugue in B flat and sonata in E flat—played by Helen Reichard and Daisy M. Herrington.
21Massell Is Opera Advisor
23James Massell, eminent vocal instructor, has joined the New York Civic Opera Company as advisor in the selection of singers. The New York Civic Opera Company is soon to go south on a six weeks' tour. Its first performance will take place at Daytona Beach, Fla., February 28. The company will visit Gainesville and Jacksonville, Fla., Savannah, Ga., Columbia, S. C., Richmond, Va., and other cities with which Maurice Frank, the impresario of the company, is negotiating.
25Jessie Fenner Hill Pupils Give Costume Recital
27The annual costume recital of the Jessie Fenner Hill Studio Club took place in the Green Room of the Hotel McAlpin on January 6. Individually the club members gave evidence of excellent voice and marked histrionic ability; their colorful costumes were in keeping with the character of their interpretations, adding much to the genuine effectiveness of the whole.
29The Jessie Fenner Hill Trio opened the program with a number of familiar selections of Southern character. This trio comprises Anne Staudt, soprano; Dorothea Brandt, mezzo-soprano, and Mary G. Leard, contralto. Their voices blended delightfully and they sang with a unity and harmony that brought them warm applause. Each sang solos in later groups, Miss Leard pleasing greatly with her warm, full contralto, and with the charm and vivacity of her personality in flaming Gypsy numbers. Miss Staudt displayed agility of voice and nice tonal quality in an aria from Mme. Chrysantheme, Messager, and Brah's Japanese Love Song. Miss Brandt was an artistic figure in two Indian songs of Woodforde-Finden, her voice disclosing a pleasing texture and easy flowing tone. Georgiana Moore sang three children's songs in a naive and juvenile manner. Mary E. Kelly was appreciatively received in three lovely numbers by Griffes, Haydn Wood, and Dunn. Emily Steiner did the Spanish sonorita to perfection with Esperon's La Esapolita and two others of similar character; while Adele Puster's presentation of Gounod's Ave Maria met with the approval of all, rivalled by her rendition of Saint-Saens, The Swan. Janet Shair was the wild young Russian of the program and looked stunning in her Cossack costume; her interpretation in Moussorgsky's Hopak was inspiring for its verve and dash and complete surrender to the spirit of the theme. Miss Shair, together with Irma Hahn, concluded the program with two humorous Negro numbers, considerably adding to the amusement with their mirth-provoking antics. Shelia Fryer displayed a lovely well-rounded voice in Saint-Saens, My Heart at Thy Sweet Voice, from Samson and Delilah, and was called upon for an encore. In addition to the singers, Marietta Bitter, harpist, offered several splendid solos and some incidental accompaniments, while Anca Seidlova provided pianistic background for the participants and with nimble fingers added a piano solo to the completion of the program. Dancing followed. one of two readings
30The Jessie Fenner Hill Trio opened the program with a number of familiar selections of Southern character. This trio comprises Anne Staudt, soprano; Dorothea Brandt, mezzo-soprano, and Mary G. Leard, contralto. Their voices blended delightfully and they sang with a unity and harmony that brought them warm applause. Each sang solos in later groups, Miss Leard pleasing greatly with her warm, full contralto, and with the charm and vivacity of her personality in flaming Gypsy numbers. Miss Staudt displayed agility of voice and nice tonal quality in an aria from Mme. Chrysantheme, Messager, and Brah's Japanese Love Song. Miss Brandt was an artistic figure in two Indian songs of Woodforde-Finden, her voice disclosing a pleasing texture and easy flowing tone. Georgiana Moore sang three children's songs in a naive and juvenile manner. Mary E. Kelly was appreciatively received in three lovely numbers by Griffes, Haydn Wood, and Dunn. Emily Steiner did the Spanish serenita to perfection with Esperon's La Esapolita and two others of similar character; while Adele Puster's presentation of Gounod's Ave Maria met with the approval of all, rivalled by her rendition of Saint-Saens, The Swan. Janet Shair was the wild young Russian of the program and looked stunning in her Cossack costume; her interpretation in Moussorgsky's Hopak was inspiring for its verve and dash and complete surrender to the spirit of the theme. Miss Shair, together with Irma Hahn, concluded the program with two humorous Negro numbers, considerably adding to the amusement with their mirth-provoking antics. Shelia Fryer displayed a lovely well-rounded voice in Saint-Saens, My Heart at Thy Sweet Voice, from Samson and Delilah, and was called upon for an encore. In addition to the singers, Marietta Bitter, harpist, offered several splendid solos and some incidental accompaniments, while Anca Seidlova provided pianistic background for the participants and with nimble fingers added a piano solo to the completion of the program. Dancing followed. one of two readings
32ETHEL GROW
33CONTRALTO
34Specialist in Tone Production
35"She has a fine diction, therefore there was a difference whether the songs were in English or not. We like our own tongue best when easily understood." one of two readings
36New York World. one of two readings
37"She has a fine diction, therefore there was a difference whether the songs were in English or not. We like our own tongue best when easily understood."—New York World. one of two readings
38200 West 57th St., New York
39Phone: Circle 10117
41THE WESSELL STUDIOS
42Voice Production-Coaching
43Opera Concert Oratorio
44Voices Heard by Appointment
45Chickering Hall Florence Wessell Plaza 4984 29 West 57th St., New York
47LOUISE HUNTER
48—SOPRANO—
49Metropolitan Opera Company
50Address: Louise Hunter Management
51Metropolitan Opera House, New York City
53JOHN CHARLES THOMAS
54AMERICAN BARITONE
55Returns to America for concerts during January, February and March only—after an absence of two years.
56Management: R. E. JOHNSTON, 1451 Broadway, New York
57Knabe Piano Brunswick Records
59ANTONIO CORTIS
60TENOR
61Chicago Civic Opera Company
62VICTOR RECORDS
64KARL HEINRICH
65premier dancer and director of the Heinrich Concert Dancers. Director of the Heinrich Normal School of Dance Arts.
66Ballet Master, Character, Toe, Interpretive, Pantomime and Ballroom Dancing
67535 Penn Avenue, Pittsburgh, Pa.
68Telephone Grant 9872
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