Books › Musical Courier 1927-04-07: Vol 94 Iss 14, 1927 › scan 45
Scan 45
Musical Courier 1927-04-07: Vol 94 Iss 14, 1927
81 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 46. See the scan on archive.org.
1INFORMATION BUREAU
2REPLIES TO INQUIRERS
3Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
5APPROPRIATE NAMES
6S. C. H.—The custom of having a stage name, whether for actors or musicians, is a time-honored one. People studying abroad find that foreigners are often not able to pronounce the names of Americans and English, so an Italian or other version is assumed, and the name frequently becomes a permanent one. In some cases, adding a letter or two as a termination is sufficient, but often the entire name is so changed it would never be recognized. Arthur is very awkward, and Artur is not very distinguished, so adding an "o" makes little change and does not alter the name sufficiently to make it unrecognizable. However, individual taste usually rules, and after all, "what's in a name?"
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9Occasionally one sees a name that is suitable for any musician, although generally it is misplaced. There are many in the profession using their own names, and making just as much success as though Italy or any other country had furnished an incognito.
11MANNERS ON THE CONCERT STAGE
12G. D. R.—You are quite right in criticising the manners of those on the stage who draw attention to themselves with by-play that has nothing whatsoever to do with the programs. Nor should mannerisms be too much in evidence on the platform. Information Department can recall a singer who gesticulated all through his solos, as if acting in a play. It became very tiresome to the listener. A quiet entrance and a dignified manner that may be called well balanced, gives the best impression. And it is always the first impression that is most effective. A well known singer had the habit of coming on the stage, making a bow, and then putting his hand underneath his coat in the back and pulling down his vest. It seemed as though he could not sing unless he went through this performance, for he did it before commencing to sing and before he took an encore. Why he had acquired the habit was a matter of wonder. There was another soloist, very well known, in fact at the time might have been called famous, who always ran off the stage in a kittenish manner. As the lady was not very young, and was decidedly fat, the effect was unpleasant. Two fat men, world wide favorites, always made an entrance that brought a laugh from the audience. One tripped along like a school girl; the other ponderously followed. The effect was really funny and seemed as if the one was trying to catch up. At a high class concert, where only opera singers and famous instrumentalists were heard, one of the soloists became tired of replying to the continued applause and ran off the stage calling something to the conductor of the orchestra as she flew past. She rushed into the green room, seized the two men who were to make up the trio for the next number on the program, in which she was also to sing, and dragged them out before they really knew what was happening. Then with a sigh of satisfaction she stopped right in front of the leader and waited for the opening chord of the trio. The astonished men gradually "came to" and of course the audience shouted with delight at the performance. One well known singer had the habit of stopping in a solo if she felt like coughing, and then going on from exactly where she left off, to the consternation of the orchestra. Perhaps these things do not happen in this modern age.
14Musicians Endorse Ann Arbor Festival
15The Ann Arbor May Festival at Ann Arbor, Mich., is attracting nation wide interest, and from all corners of the country letters of commendation are pouring into the office. Such distinguished authorities have endorsed the festival as Walter Damrosch, conductor of the New York Symphony Orchestra; Dr. Edwin J. Stringham, music critic of the Denver Post; William Wade Hinshaw, impresario of New York; L. E. Behymer, concert manager of Los Angeles; Herbert Witherspoon, president of the Chicago Musical College; Rubin Goldmark, president of The Bohemians, New York; H. L. Butler, president of the Music Teachers' National Association and dean of the School of Fine Arts, Syracuse University, Syracuse, N. Y.; Margaret Rice, secretary of the Milwaukee Orchestral Association; Joseph N. Weber, president of the American Federation of Musicians; George Oscar Bowen, president of the Music Supervisors' National Conference, Tulsa, Okla.; Howard Hanson, director of the Eastman School of Music, Rochester, N. Y.; Arthur J. Gaines, manager of the Minneapolis Symphony Orchestra; Antoinette Sabel, secretary of the Civic Bureau of Music and Art, Los Angeles, Cal.; William E. Walter, executive director of the Curtis Institute of Music, Philadelphia, Pa., and George L. Lindsay, president of the National Educational Association, Philadelphia, Pa.
17March Musicales at Chalfonte-Haddon Hall
18The Vernon Room of Chalfonte-Haddon Hall, Atlantic City, N. J., was crowded with an enthusiastic audience for the concert given recently by Lucile Chalfant, soprano; Armand Tokatyan, tenor, and Oscar Nicastro, cellist, this being the fourth event in the March series arranged each year. Miss Chalfant created an unusually fine impression, both as the result of her singing and her personal attractiveness. She possesses a beautiful, clear coloratura voice which she has under excellent control, being able to overcome with ease the difficult passages in such numbers as The Shadow Song from Dinorah, the Norwegian Echo Song and Benedict's La Capinera. For her final group, Miss Chalfant appeared in a Jenny Lind costume, and completely captivated the audience with the charm of her appearance. Of course there were numerous encores before the soprano was permitted to conclude her program.
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21Mr. Tokatyan was heard in operatic arias and songs and displayed his usual fine musicianship. He and Miss Chalfant were especially well received in duets from Lucia and La Boheme.
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24Mr. Nicastro gave an interesting program of cello pieces and demonstrated conclusively his mastery of his instrument.
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27Moriz Rosenthal, pianist, Dorothea Flexer, contralto, and Curtiss Grove, baritone, were fellow artists at the last concert of the season. Mr. Rosenthal's dynamic intensity, and spiritual exaltation were as always in evidence and won breathless attention from his auditors. His program consisted of a group of airs from Beethoven, including the bagatelle in E flat and Ecossaises, Chopin's Deux Chants Polonaise, a Liszt Hungarian Rhapsody, and a few numbers of his own composition. His virile interpretation and scintillating technic were especially to be noted in the familiar rhapsody. Miss Flexer revealed a beautifully pure contralto and excellent interpretative ability in songs by Lenormand, Weaver, Kernochan, and an aria from Le Prophete. Mr. Grove gave an artistic and convincing performance of the Pagliacci Prologue and songs by Hageman, Schubert and Morgan. Miss Flexer was accompanied by Justin Williams, and Mr. Grove by Nicolai Mednicoff.
29Robert Ruckman Plays for Arts Club
30Robert Ruckman, professional pupil of Edwin Hughes, gave a successful recital before the Arts Club in Washington, D. C., on March 13, which received exceptionally favorable comment in the local press. The Washington Star spoke of his fine tone control and the atmospheric color in his interpretation of the modern compositions on the program.
32JULIETTE WIHL one of two readings
33"A pianist possessed of exceptional qualities of technique and perception."—Daily Telegraph (London). one of two readings
34"Among the most interesting of contemporary artists."—New York Herald (Paris). one of two readings
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37Verdi Club Opera and Ball
38The annual Verdi Club opera and ball of the Silver Skylarks, given at the Waldorf-Astoria Hotel, March 23, under the personal direction of Florence Foster Jenkins, founder and president, was quite the most notable affair ever given by the club. In effective decorations, including broad streamers painted with flying skylarks, banners of nations as well as club insignia; in performance of the chosen Verdi opera (Il Trovatore), in gorgeous tableaux vivant and appropriate brilliant costuming; in attending numbers and the closing ball, all this went to make it a huge success. Associated in the opera, conducted by Vito Moscato, were Mesdames Vergeri, Spencer, and Weber, with Messrs. Attanasio, Fobert, Sorrento and Nola, all of them being capable singers and actors; the Lyric Guild Chorus and Di Salles Orchestra were likewise efficient.
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41The handsome tableaux vivant enlisted the able co-operation of a hundred Verdi members; it would take a page of the MUSICAL COURIER to name them all, with attempt at description. So much forethought, however, was expended by the principals that they are herewith named: Ophelia C. Kiel staged, directed and gave the solo dance in A Little Spanish Town, this being a brilliant opening; Mrs. Oscar Gemunder and Major John Grosby appeared as The Empress and The Emperor, the former queening indeed in her regal gown, and the latter stunning in his Russian Hussar uniform (stage manager Charles Trier at this juncture interrupted to hand Mrs. Gemunder a beautiful gift); Faust and Marguerite were presented by Gertrude Dallas and Bennet Duffie, and these were also beautiful costumes; A Carneval Joyeux was directed by Mrs. Jesse Edwards, with solo dance (Coppelia ballet music) by Betty Stoddard, this being a very effective grouping; Iolanthe, with Elizabeth Mara, Mrs. Lewis Dana Knowlton, Peers and Fairies, received warm applause, the pretty and smiling Miss Mara, and the Queen (Mrs. Knowlton) being much admired. The final tableau, that of President Jenkins, is always a notable feature. She is recalled as an unusual Brunnhilde, and as Carmen was enthusiastically applauded in this evening's finale; various poses in the character were well planned. Major Crosby presented her, in the name of the Verdi Club, with a beautiful white gold and diamond bracelet, whereupon President Jenkins briefly thanked her devoted club, of which she is the key-note; she also thanked all the chairmen and co-workers, including Mrs. Gemunder, Mrs. John McClure Chase (whose good looking picture ornamented a full page of the program), Claire Spencer (opera manager), Mr. Trier and others.
43Junior Students Play at Master Institute
44A large audience heard the junior program of the Master Institute of United Arts, New York, when some young performers presented a program with eagerness and charm. Susan Fox, Fif Lazaris, and Muriel Sable, pianists; and Kalman Getter, violinist, provided the first numbers with assurance and enthusiasm, the latter playing a pizzicato selection with delightful éclat. Ethel Cahn, Madeline Mutnick, Gladys Needles and Mark Robinson, in numbers of Grieg, demonstrated not only their fine training but also an engaging sense of style and verve. Ira Spector, six years old, demonstrated depths of tone and ease of technic in numbers by Mozart and Beethoven. A tiny clarinetist, George Phillips, added to the program a group of Gluck and Schumann. Bernice Feltenstein, Marjorie Sable, and Edward Trestman, pianists; and Clara Bernard, violinist, gave fine interpretations of Rimsy-Korsakoff and Clementi numbers, with interpretive finesse and ease in encompassing the technical difficulties. Tschaikowsky and Godowsky furnished the final numbers of the program, played by Leonard Sable, Mildred Pearson and Janet Simon, with lovely tone and rhythmic motion. Frieda Lazaris and Jeanette Binder supplied excellent accompaniments.
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47The students were pupils of Esther J. Lichtmann, Ethel Prince Thompson, Edward Young and Sadie Blake-Blumenthal of the piano department; Herman Rosen and Eugene Walther of the violin department, and Bernard Kuhlmann of the orchestral department, all of whom are to be congratulated.
49Cecil Arden on Tour
50Cecil Arden, of the Metropolitan Opera, has been engaged to give recitals in Vicksburg, Miss., Tuscaloosa, Ala., and Atlanta, Ga. She will fill these engagements at the close of her western tour which ends at the Panhandle Festival in Amarillo, Texas. A feature of Miss Arden's recitals is the Carmen fantasy which has been arranged especially for her by Buzzi-Peccia. Miss Arden will give additional recitals on her western tour in Laramie, Wyo., and Ogden, Utah, appearing on two successive days in Ogden.
52American Soprano one of two readings
53This Season's Recitals one of two readings
54NEW YORK—LONDON—PARIS one of two readings
55Booking now—Season 1927-28 one of two readings
56Bogue-Laberge Concert Mgt., Inc., 130 West 42d Street, New York one of two readings
57JULIUS LEEFSON, Director one of two readings
58WEIGHTMAN BUILDING one of two readings
591524 Chestnut Street PHILADELPHIA, PA. one of two readings
60PHONE RITTENHOUSE 5167 one of two readings
61LANSDOWNE BRANCH one of two readings
62Barker Building LANSDOWNE, PA. one of two readings
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65LISA ROMA
66LEEFSON
67Conservatory of Music
69THE ELSHUCO TRIO OF NEW YORK
70"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.
71The Elshuco Trio uses the Steinway piano and records for the Brunswick Co.
72members of the "Gang" who broadcast every Monday evening over WIZ. one of two readings
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75KROLL-WILLEKE-GIORNI
76"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."
77N. Y. Herald-Tribune.
78Management: Emma Jeannette Brazier, one of two readings
79100 West 80th St., New York, N. Y. one of two readings
80Management: Emma Jeannette Brazier, 100 West 80th St., New York, N. Y. one of two readings
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