Books › Musical Courier 1927-04-07: Vol 94 Iss 14, 1927 › scan 17
Scan 17
Musical Courier 1927-04-07: Vol 94 Iss 14, 1927
57 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 18. 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.
1BOSTON
3EVA BROCHU
4Boston.—Eva Brochu, soprano, gave a recital, March 22, in Jordan Hall. She is an artist-pupil from the Vincent V. Hubbard studio. With the competent assistance of Frances Omar Weeks, accompanist, she opened her program with the aria, Una voce poco fa, from Il Barbere di Siviglia, by Rossini. Then followed pieces by Palmer, Chadwick, Homer, Franz, Fourdrain, Vidal, Holmes, Arensky, Bleichmann and Gretschchaninoff. Miss Brochu made a distinctly favorable impression. Gifted with a voice much larger than one would expect from a little girl her singing afforded ample evidence of sound training and a sensitive appreciation of dramatic values. Her diction, moreover, in several languages is praiseworthy. Musical intelligence and characterizing ability of a convincing kind stamped her singing. Miss Brochu was warmly applauded by a large audience.
6STELLA ROBERTSON
7Stella Robertson, mezzo contralto, gave a recital, March 16, in Jordan Hall. She was heard in an interesting and well-varied program that included the aria, The Death of Jeanne d'Arc, by Bemberg, and pieces by Gluck, Brahms, d'Albert, Hildach, Guion, Coates, Sjogren, LaForge, Bourgault-Ducoudray, Louis, Tremisot, Vidal, Chaloff, Shaw and Bibb. This promising young artist is the possessor of an uncommonly rich voice which she uses with no little skill. She respects musical form; her enunciation is clarity itself. At present she lacks a certain poise and freedom of utterance which more frequent appearances in public ought to remedy. Certainly, given her voice and intelligence, Miss Robertson ought to go far as a singer. Her audience, a large one, was very enthusiastic. Henry Levine was, as usual, a very helpful accompanist.
9HANS EBELL AND JOHN CAMPBELL
10Hans Ebell, pianist, and John Campbell, tenor, divided a program, March 19, in Jordan Hall. Mr. Ebell gave an enjoyable exhibition of his familiar technical and interpretative gifts in Schumann's Symphonic Studies and in lighter pieces by Chopin, Schubert and Godowsky. Mr. Campbell disclosed an agreeable voice of good range and volume and a marked ability as interpreter in songs by Fauré, Widor, Ebell, Rubinstein, Curran, Duke and Warford, and in the ever lovely Spring from Wagner's Walkure.
12DORIS AND CORNELIA NILES
13Magnificently costumed, Doris and Cornelia Niles presented an interesting and diversified program of dances in Jordan Hall, March 21. Their program was divided into three parts—Classical, Interpretative and Oriental, and Spanish and Russian. Handicapped by a slippery floor and poor lighting, the Misses Niles found it difficult to get under way. Not until the second group did they reveal their skill and grace in beautifully executed interpretations. Doris Niles' version of Anita's Dance, though more costumed than this enchantress is usually portrayed, proved an interesting and effective departure from convention. Her Chinese dance, a jolly picture of a Chinese girl with a fan and umbrella in graceful control, afforded unusual pleasure. Cornelia Niles' Hindu Prayer was a charming conception, beautifully performed. Both girls excelled in their last group what with castanets and clicking heels and incisive rhythms as aids to their aesthetic ends. Louis Horst, pianist, accompanied the dancers with skill and taste.
15NOTES FROM VINCENT HUBBARD'S STUDIO
16Harold Dahlquist, baritone and artist-pupil of Vincent V. Hubbard, noted Boston vocal teacher, made his English debut in London at Wigmore Hall, January 25, presenting a program which included three old Italian airs, six songs by Brahms and pieces by Grieg, Palmgren, Diaz, Quilter, Stuart and Deems Taylor. Reviews from the London press indicate that Mr. Dahlquist made a highly favorable impression, the critic of the Times referring to his singing "as of rather an exceptional quality."
17George Hackett, younger brother of the tenors Charles and Arthur, himself a tenor of no small ability, abandoning the career of singer, has decided to become a teacher of singing. Recognizing Mr. Hubbard's unusual ability to impart his knowledge to others, he is at present spending all his time at the studio of Mr. Hubbard in Boston, studying voice and the Hubbard technic of the teaching of singing.
18The climax of Mr. Hubbard's activities this season will be a performance of the Verdi Requiem in Symphony Hall, with the Symphony Orchestra, during April. The soloists and a large portion of the chorus are from the Hubbard studios. Mr. Thompson Stone will conduct.
19Before the end of the season Jordan Hall recitals will have been given by artist-pupils of Vincent V. Hubbard as follows: William Collins, baritone, last November; Georgina Shaylor, contralto, February 23; Eva Brochu, soprano, March 22; Camille Girouard March 30; Roland Partridge, tenor, April 1; Pat Hyland, tenor, and Frank Riley, baritone, in joint recital, May 3.
21DUEHEANNA PUPILS GIVE SONG RECITAL
22Gertrude Dueheanna, voice teacher, presented some of her pupils in a song recital at Steinert Hall. Those participating included Margaret Keeley, Hazel Erb, Elizabeth Bernard, Gabrielle Decot, Helene Norwood, Alice Murphy, Alyce Hession, and Mary O'Brien. Minnie Stratton Watson assisted as accompanist.
24OLGA WARREN IN ALL-AMERICAN PROGRAM
25Olga Warren, soprano, sang a program of songs drawn altogether from American composers, March 17, in Steinert Hall. Instead of the usual classical group she sang pieces by Francis Hopkinson, A. Reinagle and Victor Pelissier, composers of the Revolutionary period. Other songs followed with Chadwick, MacDowell, Winter Watts, G. A. Grant-Schaefier, Frank Waller, Richard Hageman, Alexander MacFadyen, J. Bertram Fox, Hilbert Earl Stewart, Lily Strickland and Henry Hadley. Mme. Warren sang with that skill as an interpreter which has won her favorable notice before in this city. Francis Moore was a helpful accompanist.
27BOSTON CONSERVATORY OF MUSIC OFFERS VIOLIN PRIZE
28Clark Powers, Boston violin maker, has again offered one of his celebrated Equipoise violins as a prize to a student in the violin department of the Boston Conservatory. The award will be determined by a contest to be held in May, for which the following compositions have been named: First Movement from concerto No. 9 by de Bériot, and Melody by Gluck-Kreisler. The contest is open to all violin students of the Conservatory who file their applications by April 9.
30BEETHOVEN CONCERT AT N. E. CONSERVATORY
31In commemoration of the centenary of the death of Beethoven, the orchestra of the New England Conservatory of Music, Wallace Goodrich, conductor, gave a Beethoven concert in Jordan Hall on March 25. The program had a sympathetic soloist in the person of F. Motte-Lacroix, pianist, of the faculty. The program included Leonore, Overture, No. 3; concerto in G major, No. 4, and symphony No. 3 in E flat major (Eroica).
32With an address on Beethoven as outstanding musician, by George W. Chadwick, director, the student body of the New England Conservatory attended special commemorative exercises at noon on March 26. Mr. Chadwick emphasized the relative unimportance of the biographical details that concern Beethoven and the permanent qualities of his musicianship that make his work gratefully received by audiences of today. Beethoven ensemble numbers were presented by the following advanced students of the Conservatory: Rosanna McGinnis (Evansville, Ind.), Willa Sample (East Florenceville, N. B.), Harriet E. Curtis (Erie, Pa.), Jeanette Giguere (Chelsea), Ione Coy (Cleveland Heights, O.), Elizabeth Travis (Boston), Margaret Clark (Worcester).
33A faculty concert under the auspices of Sigma Alpha Iota and Kappa Gamma Psi of the New England Conservatory of Music brought a sizable audience to Jordan Hall, March 26. A program that included several quite notable and unusual pieces was performed by accommodating artists of the Conservatory faculty for the benefit of the scholarship funds of these two student societies. Albert W. Snow gave an interpretation of Three Sketches for the Organ by Edward Shippen Barnes. The Nedbal Sonata in B minor for violin and pianoforte was tastefully performed by Minot Beale and Stuart Mason. Four Chopin pieces represented Frank Watson's quite artistic contribution, while Alice Huston Stevens, soprano, sang songs from Joncieres, Dalcerze, Cimarra and Soule. The performance ended with E. B. Hill's Jazz Study, produced by Richard Stevens and Stuart Mason.
35LIBRARY ANNOUNCES NEXT SEASON'S CONCERTS
36An announcement of great interest to Boston music-lovers comes from the Public Library, as follows: "Through the gracious courtesy and generosity of Elizabeth S. Coolidge, Mr. Belden, director of the Boston Public Library, has pleasure in announcing the following concerts to be held in the Lecture Hall of the Library on Sunday evenings during the season of 1927-28: Gordon Quartet of Chicago, October 9; Persinger Quartet of Santa Barbara, November 13; Musical Art Quartet of New York, December 18; Hart House Quartet of Toronto, January 15; Burgin Quartet, assisted by Durrell Quartet, of Boston, February 12; New York String Quartet, March 11; Lenox Quartet of New York, April 8, and Rose Quartet of Vienna, May 6."
38A DAI BUELL CONTRIBUTION TO BEETHOVEN CELEBRATION
39Among the artists in great demand during the Beethoven anniversary week was Dai Buell, of whom our dean of critics, Philip Hale of the Boston Herald, said: "The music of Beethoven gave Miss Buell full opportunity to show her facility, her tonal charm, her taste, and a certain feminine elegance." One of her most inspiring and inspired experiences of recent date was her appearance before the Milton Academies. Both the girls' and boys' schools were brought together for Miss Buell's appearance, which took the form of one of her delightful Causerie Concerts. A short address, bearing on the picturesque youth of the master, followed by a recital which featured some of the lesser known compositions, served to humanize Beethoven and make him less of a myth in the minds' eyes of 1927 young people. The enthusiasm was unbounded and Dai Buell freely admits that she has seldom been so touched by the applause of an audience. Children are recognizedly mercurial and their response or the opposite is usually a good indication of the worth of a venture. In fact, one of the most impressive sides to the musical activity of today is reflected in the recitals for young people. This is a field in which Dai Buell delights and for which she is manifestly richly endowed.
41WALTER GIESECKING one of two readings
42WALTER GIESEKING one of two readings
43Walter Gieseking, pianist, gave a recital March 14, in Symphony Hall. Mr. Gieseking gave a highly pleasurable exhibition of his extraordinary gifts in the English Suite in D minor of Bach, Schumann's C major Fantasie, and in groups of pieces by Debussy and Ravel, revealing again that mastery of his instrument, sense of proportion, command of nuances, and musical sensitiveness that have already won him an eminent place among contemporary pianists. Add his freedom from affectation and tremendous absorption and it is easy to understand why he held his large audience rapt throughout the concert.
45POVLA FRIJSH
46Povla Frijsh returned to Boston after too long an absence for a recital, March 7, in Jordan Hall. Her loyal following in this town turned out in full force and gave evidence throughout the evening of the uncommon pleasure afforded by the interpretations of this artist. Songs from French, German, Spanish, Russian, Norwegian and American composers gave her abundant opportunity to disclose anew her striking command of tonal color, highly discriminating musical intelligence, and interpretative vitality. Mme. Frijsh was ably accompanied by Frank Bibb.
48PAUL ROES
49Paul Roes, Dutch pianist, gave a recital, March 9, in Jordan Hall. Mr. Roes played Busoni's transcription of the Prelude and Fugue in D major of Bach, Beethoven's Sonata, opus 53, a group of pieces from Chopin, and two numbers from his own pen—Il Giorno, and La Vita Eterna, both composed in Florence during the past few years. This pianist has a serviceable technic, praise-worthy command of shading, and unquestionable poetic feeling. As an interpreter he is somewhat startling at times, due to an impulsive emotional reaction that leads him, in his playing of the classics at any rate, to original, if not always satisfactory, departures from tradition.
51KATHERINE GORIN WINS SUCCESS
52Katherine Gorin, pianist, gave a recital, March 12, in Jordan Hall. Miss Gorin was heard in a program well designed to demonstrate her abilities. Opening with Franck's prelude, choral and fugue, she then played two intermezzi and a caprice by Brahms, a nocturne and four studies out of Chopin, her own Presage and pieces by Stravinsky, Medtner and Dohnanyi. Miss Gorin proved herself one of the most interesting of the newcomers among the younger generation of pianists. Her technic is already adequate to the demands of whatever music she sets out to play and she can be brilliant when brilliance is required. This technical equipment she uses not as an end in itself, but as a means to poetic interpretation. She comprehends tonal design and respects it; she differentiates between different schools of composition. Moreover, hers is manifestly a genuinely musical temperament, with unfailing taste to guide her. Greater power as an interpreter of dramatic music will doubtless come when she has had further contact with life. However, Miss Gorin has made an excellent beginning and it would not be hazardous to predict a successful career for her.
54NOTABLE ADDITIONS TO N. E. CONSERVATORY LIBRARY
55The library of the New England Conservatory of Music, Boston, has received through the kindness of B. Loring Young and Arthur S. Pier, executors of the estate of the late Mrs. Richard J. Hall, a gift of the scores and parts of a number of important orchestral works. In addition to the gifts the library has received as a loan a number of orchestral scores, in the composers' manuscripts, of pieces written specially for Mrs. Hall through whom they were given their first performance in concerts of the Boston Orchestral Association, conducted by Georges Longy.
56An officer of the Conservatory in describing these gifts and loans, says: "Mrs. Hall was not only a devoted friend and patron of music but also one who acquired remarkable
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