Books › Musical Courier 1927-04-28: Vol 94 Iss 17, 1927 › scan 36
Scan 36
Musical Courier 1927-04-28: Vol 94 Iss 17, 1927
73 lines. Read by computer on 29 September 2026. Printed page 37. 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.
1April 28, 1927
3MUSICAL COURIER
5Daguerre photo
6RAPHAEL SPIRO
8Two New Artists for Chicago Musical College
9The Chicago Musical College announces the engagement of two new members of the faculty for the 1927-28 season: Arch Bailey, baritone, and Raphael Spiro, violinist.
10Mr. Bailey is an American and a Westerner, having been born in Kansas. His first professional engagement was as dean of music at the Iowa State College. Four years later he was engaged as assistant teacher to Oscar Seagle at Schroon Lake. Following this, Mr. Bailey spent a year and one-half in Europe studying with Jean de Reszke, Reynaldo Hahn, and, in England, coaching with Ben Davies. Mr. Bailey's voice is a rich baritone of unusual quality. His commanding stage presence is coupled with a magnetic personality which is merged immediately into his program.
12BOSTON
13BOSTON.—Serge Koussevitzky introduced levity into the relatively serious routine of the Boston Symphony Orchestra when he brought out Converse's Flivver 10,000,000 at the concerts of April 15 and 16, in Symphony Hall. Whether or not it will prove an important addition to current vehicular music—we are thinking of Carpenter's Adventures in a Perambulator and Honegger's Pacific 231—remains to be seen. The full title-page of Mr. Converse's manuscript reads: "Flivver 10,000,000, a Joyous Epic; Fantasy for Orchestra Composed by F. S. Converse, Inspired by the Familiar Legend, 'The ten millionth Ford is now serving its owner.'"
14The composer aims to depict in tones the life of a Ford from the incidents surrounding its birth in the factory to the collision from which our hero subsequently recovers, to proceed "on his way with redoubled energy, typical of the indomitable American spirit." There is a charming romantic episode, which prompted the town's first wag to observe that lovers ride today in a flivver as they did once in a buggy when one-handed driving was an accomplishment. Be that as it may, the composition is program music pure and simple, written with that high degree of workmanship that stamps Mr. Converse's scores. Its humor, however, is of the brief, restrained quality that suggests the polite smiles in a Beacon Street drawing room rather than the earthy guffaw of what commonly passes for comedy in the American scene.
16ETHEL GROW
17CONTRALTO
18Specialist in Tone Production
19"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.
20200 West 57th St., New York
21Phone: Circle 10117
23ADA WOOD
24"Charms with lovely songs."
25Address: 3 WEST 87th STREET, NEW YORK
27THE WESSELL STUDIOS
28OPERA Voice Production-Coaching
29CONCERT Voices Heard by Appointment
30ORATORIO Chickering Hall Florence Wessell Plaza 4984 29 West 57th St., New York
32THEODORE RITCH
33TENOR
343rd Season Chicago Civic Opera Co.
35Now on tour singing Resurrection opposite MARY GARDEN
36Management: Harry and Arthur Culbertson, 4832 Dorchester Ave., Chicago, Ill. Columbia Records
38ARCH BAILEY
40To his natural singing talent is added a sound musicianship and an exceptional technic, which place him among the most reliable singers now before the public. During the past five years Mr. Bailey has been a member of the faculty of the Horner Institute of Kansas City.
41Mr. Spiro was born in Lodz, Poland, and studied at the age of five with Lazar Ortenberg. At the age of eight he played the first violin concerto of Rode as soloist with the Lodz Philharmonic. After completing his course under Ortenberg at the St. Petersburg Conservatory, the young violinist studied with Gustave Baumgarten in Leipzig, and made extensive concert tours through European musical centers. Coming to America to study with Leon Sametini, Mr. Spiro eventually entered the concert field in the United States. A significant part of his concertizing has been given over to joint sonata recitals with Franz Pfau, young Viennese pianist.
43At the close of the performance Mr. Converse was called to the platform by an enthusiastic audience.
44The same reward was given Charles M. Loeffler for his symphonic poem, Memories of My Childhood (Life in a Russian Village), one of the most felicitous of Loeffler's works, admirably written and highly agreeable music of the absolute variety. Mr. Koussevitzky opened this interesting program with five sonatas of Scarlatti, skillfully arranged as a suite by Tommasini who orchestrated the music without doing violence to its ancient spirit. He has succeeded in preserving the infectious gaiety and wistful charm that one would associate with the original ballet, The Good-Humored Ladies. Mr. Koussevitzky brought the program to a stirring close with his dramatic, impassioned reading of Tchaikovsky's fifth symphony. Occasionally banal and repetitious, as the work now seems, its general effect at the hands of Mr. Koussevitzky is quite overwhelming. With reason the audience lingered long to applaud him.
45J. C.
47Claussen and Althouse in Samson and Delilah
48The Handel and Haydn Society of Boston gave its 840th performance at Symphony Hall on Easter Sunday, selecting Saint-Saëns' Samson and Delilah as the attraction. Emil Mollenhauer, the veteran conductor, has his chorus—and what an admirable singing body it is—well in hand, and the general work was excellent. There was a fine tonal quality, of ample volume, and the effects of shading were artistically achieved.
49The cast was headed by the two prominent artists, both well known, Julia Claussen, contralto of the Metropolitan Opera Company, and Paul Althouse. Horace Stevens was the High Priest, while Henry J. Warren essayed the double roles of Abimelech and the Aged Hebrew. The music of the Philistine was sung by Frank L. Whitcher and Daniel M. Guiney, who were not very impressive.
50Mme. Claussen rose to great dramatic heights in her singing of Delilah, lending her beautiful voice to the demands of the music with satisfying effect. She was, however, always within the bounds of oratorio, and achieved a personal success with very little effort. Mme. Claussen is singing extremely well this season.
51Paul Althouse lived up to the reputation he has made. He was in good voice, despite a case of laryngitis, and sang with a finesse of style and full knowledge of the context of the score. The audience recognized an artist of proven ability and gave him a cordial reception.
53Santa Ana to Celebrate Music Week
54From Santa Ana, Cal., comes news of the preparations being made for the celebration of Music Week, May 1 to 8. Programs have been arranged for each night during the week, free to the public, and executed by the best musical talent of Southern California. All of the local musical organizations will take part, including the Santa Ana Symphony Orchestra, the Santa Ana Municipal Band, the Men's Chorus, high school glee clubs, various service clubs, church choirs and other local organizations. There will be lectures by authorities on music, and the local theaters, newspapers, department and music stores, libraries and schools are giving hearty cooperation.
56Frieda Klink Popular in Germany
57Frieda Klink, who studied for six years with Oscar Seagle, has become one of the most popular opera singers in Germany. Her first engagement was at the opera in Magdeburg, where she sang fifteen of the most important roles, including Azucena, Delilah, Carmen and Amneris, as well as the roles from German opera. This year she continued her success at the Nuremberg opera and she has been engaged for leading roles at Munich next season.
59Steinway
60The Instrument of the Immortals
61THERE IS A STEINWAY TO FIT YOUR HOME
62—there is a price to fit your income
63MANY styles and sizes await you at Steinway Hall. Small apartment or large house—there is a Steinway piano to fit it. Special rooms of different sizes at Steinway Hall enable you to select the model that is most suitable, both in size and volume of tone, for your home.
64No matter what your price limit, do not fail to visit Steinway Hall. The ever-reasonable prices are divided by terms so generous that almost any income can be suited. If you do not want a new piano, an excellent rebuilt Steinway may be had at a very attractive figure.
65Any Steinway piano may be purchased with a cash deposit of 10%, and the balance will be extended over a period of two years. Used pianos accepted in partial exchange.
66Prices:
67$875 and up
68(Rebuilt Steinway pianos, $500 and up)
69STEINWAY & SONS
70STEINWAY HALL
71109 West 57th Street
72New York City
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