Books › Musical Courier 1927-04-28: Vol 94 Iss 17, 1927 › scan 14
Scan 14
Musical Courier 1927-04-28: Vol 94 Iss 17, 1927
56 lines. Read by computer on 29 September 2026. Printed page 15. See the scan on archive.org.
1DENVER, COLO.
3DENVER, Colo.—Horace Trueman, conductor of the Civic Symphony Orchestra planned the first half of the fifth pair of concerts, which were given at the Auditorium Theater, as a memorial to Beethoven. Opening with an interesting reading of the Egmont Overture, the next number was the Beethoven violin concerto, played very beautifully by Helen Swain Bartow. A broad, full tone and neat finger work, coupled with a high conception of the composer's meaning, brought a real success to Mrs. Bartow. An unduly slow tempo in both the first and last movements, which gave too little contrast to the succession of movements, was the only marring feature of a fine performance. The Funeral Music of Siegfried from Göterdämmerung followed and was a stately tribute to Beethoven's memory. Especial interest centered in the second half of the program, consisting of two short symphonic poems by Horace Trueman, listed under the title of Mountain Magic, Far Dreaming Peaks, and The Valley of the Wild Deer. It speaks volumes for the modesty of the composer that during the five years the Civic Symphony has been in existence, never before has a composition of his found a place on the programs. This is to be regretted, as the two given on this occasion proved most piquant bits of tone poetry. Mr. Trueman succeeded admirably; It is charming music, full of poetry, with a hint of melancholy even in the gay and sportive passages. The program was brought to a stirring close with a brilliant performance of Tchaikowsky's 1812 Overture.
5A capacity house greeted the Treble Clef Club when this splendid chorus of 165 voices, under the direction of Florence Lamont Hinman, gave its annual concert in the Auditorium Theater. It is difficult to imagine anything more perfect than the work of this organization, quality, tonal shading and nuance being beyond criticism. The program was as varied as it was delightful, and opened with A Grace before Singing (M.S.), by Frances Joseph, a member of the chorus and winner of the Treble Clef Harmony Scholarship in 1926. A Russian group followed: Through the Silent Night, Rachmaninoff-Harris; Andante Cantabile, Tchaikowsky-Spross; Cradle Song, Gretchaninoff, in which Jeanette Perlmutter sang the solo in Russian, and Since First I Met Thee, Rubinstein-Shelley. Among other interesting numbers was a group of Characteristic Rhythms—Scotch, Mexican (in which the club was assisted by Frank Dinhaupt, baritone), Hungarian and German. A dramatic scene, Grieg's At the Cloister Gate, was sung by Helen Olin Roberts and Katherine Prescott Bemis; the quartet from Rigoletto was done by Frances Koster, June King, Joseph Fuschino and Frank Dinhaupt. Other soloists were Louise Holst and Agnes Davis, and Edward Millstone, a gifted young violinist, played a fine group. The program closed with a noble performance of Agnus Dei, Bizet, with Clarence Reynolds at the big organ. Especial mention must be made of the excellent unison accompanying of Faye Roswell and Abbey Chase.
7In keeping with the universal homage now being paid to the memory of Beethoven, the Blanche Dingley-Mathews Piano Work, Inc., invited music lovers to the Central Christian Church on March 24 to hear Beethoven's quartet in D, op. 18, magnificently given by the Denver String Quartet, and Beethoven's Sonata, C minor, op. 30, for violin and piano, admirably interpreted by Henry Trustman Ginsburg, violinist, and Fred Wright, pianist. In addition, Mr. Wright spoke sympathetically of Beethoven's life and work.
9In spite of her youth, Riccarda Forrest, violinist, is setting a pace for Denver musicians. This young artist announced a series of three spring recitals to be given at the new Hotel Cosmopolitan, the first one, a sonata program, the first sonata program ever given in this city. Miss Forrest had the valuable cooperation of Barbara Loomis, pianist, and the three works presented were given with a finesse and depth of understanding which aroused much enthusiasm from the audience. Opening with the Handel sonata in D, played with breadth and classic simplicity, the C minor Grieg sonata followed. Miss Forrest's ardent temperament, which never goes beyond the bounds of good taste, had free play in this work which was interpreted with a fire and vitality altogether fascinating. Chief interest centered in the final offering, sonata in G minor by M. Melville, a work hitherto unknown to Denver. That it is entirely worthy of a place on representative programs cannot be doubted, its broad and beautiful thematic material, its virile grasp and deliciously tender melodies, making it a genuine "find" for concert violinists. The gifted composer is now better known as Mme. Lisznewaska, concert pianist, and although an American, her works are probably better known in Europe than in this country.
11That Denver is fortunate in possessing a singer and teacher with the background of operatic achievement in foreign music centers was demonstrated when the voice pupils of Blanche DaCosta gave a remarkably fine recital, each young student showing not only correct vocal training but savoir faire, as well. Those on the program were Kathleen Burtcher, Imogene Tedrow, Mary Alice Elliott, Frances Staunton, Virginia Wells, Marcella Henry, Agnes Andrews, Virginia Taylor and Ora Brown.
13Two dozen pupils of Ada Bloedorn gave a carefully prepared program at the Denver College of Music, exemplifying the excellent work done by this sterling teacher.
15The advanced students of Corinne Bourk gave a creditable program at Knight-Campbell Hall. An interesting phase of Miss Bourk's work is the fact that she uses many beautiful and worthwhile works by American composers in her teaching.
17Mme. Blanche DaCosta was the soloist at the last Moment Musicale at Chappell House, singing groups of German and Russian songs as well as the aria of Mimi from La Boheme. Florence Denny Morrison, pianist, assisted, playing several numbers with her usual charm.
19J. T.
21Toti Dal Monte at La Scala
23Toti Dal Monte, coloratura soprano of the Chicago Civic Opera, made her re-entry at La Scala in Milan on March 17 as Lucia. On the same evening Arturo Toscanini, too, made his re-appearance there at the conductor's desk. Reviewing Dal Monte's appearance the critic of Il Popolo d'Italia of March 18 wrote as follows: "Toti Dal Monte has returned to us after an absence long enough—too long—as we missed her. With her ideal singing, the purity of her tones, she gave the ear a balmy ointment and with her miraculous and impeccable mechanism, the divine Toti made an irresistible appeal. The music reviewer for Il Secolo wrote: "The return of Toscanini and of Toti Dal Monte and the revival of Lucia, gave to the performance of last evening manifestations of enthusiasm such as for a long while we have not heard at La Scala. The aria of the first act was sung superbly by Toti, that songstress of the golden voice, and at its conclusion the demonstration was a succession of interminable ovations. Unanimous in their plaudits was the public, who found in Toti their own pet, with her valuable voice and her great art, more precious and more perfect today than ever. Toti again has found the public of Milan all her own, every one happy to salute the sweet and dear diva." L'Ambrosiano, of the same date, had a column, in part as follows: "From the first tone in the Cavatina the purity of her voice made its appeal on the auditors, who also marveled at its perfect agility and with what ability she executes those picchettati, those trills, that impeccable intonation in every register of the vocal scale. In one word, the admiration of all for her unsurpassable technic caused a big sensation. L'Italia, another Milan paper, also contained a long article stating: "The same expression of admiration must be written for the magnificent interpretation of the role of Lucia by Toti Dal Monte. This star, a real artist, sang with her usual agility and her vocalism was perfect. She won thunderous plaudits throughout the opera."
25Toti Dal Monte sails on April 30 for South America, to appear at the Cologne Theater in Buenos Aires.
27Curtis Institute Notes
29In deference to the wish expressed by the founder of the Stanley Company of America just before his death, five of the young students in the piano and violin departments of The Curtis Institute of Music in Philadelphia were recently given watches as souvenirs of their appearance this past season as soloists with the Stanley Music Club. Leopold Stokowski, conductor of the Philadelphia Orchestra who is musical advisor of the Music Club, made the presentation. On behalf of Jules Mastbaum, whose generosity dictated the gifts before his death, Mr. Stokowski gave each young musician a wrist watch with the student's name.
31It happened that shortly before his final illness Mr. Mastbaum had attended the concert at which Shura Cherkassky was the pianist. As a token of his appreciation of the boy's virtuosity, Mr. Mastbaum bought Shura a watch, delaying the presentation, however, so that similar gifts might be given to the other young artists at the close of the season. All are between fourteen and seventeen years of age, and all scored success on the occasions when they appeared with the orchestra of the Stanley Club under the direction of Dr. Artur Rodzinski, Polish conductor who led the Philadelphia Orchestra this past winter in the intervals of Dr. Stokowski's absence. Three of the students were born in Russia, Shura Cherkassky and Lucie Stern, who are receiving personal instruction from Josef Hoffman, head of the piano department, and Iso Briselli, a pupil of Carl Flesch in the violin department. Two are American born, one, Jeanne Behrend of Philadelphia, having such a remarkable gift for composition that Mr. Hoffman, who is her teacher, has included some of the works on his concert programs. The other, Lois zu Putilitz, is a violinist who came from Los Angeles, Cal., to study with Mr. Flesch.
33Bienvenue à Québec
35FOR THE
36Canadian Folk Song and Handicraft Festival
37MAY 20-21-22
39A la Claire Fontaine
41Do you know the oldest white man's music in America . . . the habitant chansons of Old Québec?
43Come to Old Québec in May, for the folk song and handicraft festival. Under the auspices of the National Museum of Canada. Three days. May 20, 21, 22.
45The festival will be staged in the great halls of Chateau Frontenac. Celebrated habitant singers will be there. Fishermen from Gaspé. Canoemen from the Laurentians. Spinners and weavers from Ile d'Orleans and Baie Saint Paul. Indians also from Lorette.
47They will weave homespuns and ceintures fléchées. They will make hook rugs, catalogues, and baskets. Just as in their native villages, and accompanied by the songs of their handicrafts.
49Canadian composers and artist-singers who have devoted their lives to the study of this folk melody will render programs—showing its musical possibilities.
51In these habitant chansons is a vast, unexploited wealth of material for the modern musician. 4000 traditional French-Canadian melodies have been recorded by the National Museum of Canada—and 3000 Indian. Come and hear representative groups! Hear the wonderful Gregorian music at the Basilica. Browse through streets 3 centuries old, and inhale Québec's springtime fragrance. It will be a relaxation and an inspiration!
53Low summer fares. Specially low festival rates at Chateau Frontenac. Through overnight Pullmans from New York and Boston. Complete information from Canadian Pacific, 344 Madison Ave., at 44th, New York; 405 Boylston St., Boston; Locust St. at 15th, Philadelphia; or Chateau Frontenac, Québec, Canada.
55Chateau Frontenac
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