Scan 4
Musical Courier 1927-04-28: Vol 94 Iss 17, 1927
41 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 5. See the scan on archive.org.
1National Federation of Music Clubs' Fifteenth Biennial Convention Attracts Delegates from Entire Country
3The "Singing Biennial," Extending from April 18 to 25, Proves Brilliant Affair—Prize Winners of Young Artists' and Students' Contests Announced—Performance of Prize Winning Compositions—Chicago Symphony Orchestra Plays N. F. M. C. Prize Symphonic Poem—Apollo Club Presents Edgar Stillman Kelley's Pilgrim's Progress—William Lester's Choral Opera, Everyman, Delights Huge Audience—Other Features Include N. F. M. C.'s Prize Three-Part Chorus for Women's Voices (Award $500, from Theodore Presser Estate); Trio for Violin, Cello and Piano (Award $200, from Kansas City Musical Club); Cello Solo (Award $100, from Saint Cecelia Society, Grand Rapids); Song (Award $100, from Mrs. J. R. Custer, Chicago); Harp Solo (Award $100, from Chas. H. Ditson); Special Prize of $1,000 for Female Operatic Voice Offered by the National Opera Club—Culmination of Children's Crusade for $100,000 for Completion of MacDowell Peterboro Memorial Fund—$500 Prize Contest for New Setting to Katherine Lee Bates' Poem, America the Beautiful, to Be Continued as Judges Failed to Find Suitable Work—Excellent Soloists Participate—Tremendous Enthusiasm Prevails.
5CHICAGO.—The fifteenth convention of the National Federation of Music Clubs, which took place in Chicago, extending from April 18 to 25, with headquarters at the Congress Hotel. Looking over the files of the MUSICAL COURIER since the first Biennial of the National Federation of Music Clubs, we notice that all reports began practically with "It is said that this has been the most successful and productive convention in the history of the National Federation. Approximately 500 delegates registered.
7What has been written in the past may again be written here in all truthfulness—the Biennial of the National Federation under review is probably the most successful of the fifteen as to the number of delegates on hand and also as to the talent heard.
9Although a great part of the convention will be reported by Jeannette Cox, Chicago and Middle West Representative of this paper, the major concerts were attended by the writer—not that there were any minor events on the program, but the programs were so varied that it would be impossible for one reporter to cover each phase of the convention, and, as a woman naturally is better fitted to report a convention of this kind, we delegated our Chicago representative to cover many important assignments.
11PILGRIM'S PROGRESS
13The close of the fifty-fifth season of the Apollo Musical Club served as a fitting tribute for the first important event of the Federation of Music Clubs, on Monday evening, April 18, at Orchestra Hall—a performance of Edgar Stillman Kelley's Pilgrim's Progress.
15This work has often been reviewed in the MUSICAL COURIER and the critics of this paper have unanimously proclaimed it one of the best oratorios ever written by a native or foreign composer. The many merits of the composition having been already printed, it remains only for this writer to mention that the work was received with marked enthusiasm by the audience, and as Mr. Kelley made his appearance on the stage at the close of the first part, he was greeted with salvos of applause, which had every ear-mark of a triumph for the happy composer.
17It may be said that the Apollo Musical Club of Chicago, under the direction of Harrison M. Wild, did itself proud in its rendition of Pilgrim's Progress, even though a true report necessitates the mentioning that at times the choir deviated from true pitch and that the climaxes were too sudden. This being written, it must also be reported that in big moments when big tones are necessary the choir came into its own and on more than one occasion had the hearers completely electrified by the sonority of tone that shook Orchestra Hall to its very foundation. In Harrison M. Wild, Edgar Stillman Kelley, the composer, had a brilliant interpreter, for under his baton the work of the Chicago Symphony Orchestra also was most delightful. Before the opening of the concert it was announced from the stage that Theodore Harrison was ill and unable to appear. The part of the Christian and of Faithful were taken at the eleventh hour by Rolland Pease, a local basso, who acquitted himself more than satisfactorily with these two heavy parts. That he came out of the ordeal with flying colors is indeed remarkable. Mr. Pease sang with good understanding and virility of tone, and though at times he is apt to force his voice beyond its limitations, standing on his toes in order to get every ounce of energy from his throat, his delivery entitles him to words of praise. Clayton Quest sang with telling effect the music given to the Dreamer and Moneylove. There is only one adjective to describe Arthur Kraft's singing of the Evangelist and Hopeful—superb. Here is a tenor who is an ideal oratorio singer, one who projects the English text so well that not a single word is missed, one who understands the value of each note and whose every tone is ointment to the ear.
19Watt Webber sang the role of the Atheist with a colorful voice of good range, and his success would have been greater were it not that the young man's self-confidence marred somewhat his excellent work. Conceit on the concert platform is a great detriment to any singer, and most likely in the very near future Watt Webber will realize that modesty is an asset. Barre Hill sang the roles of Apollyon and Worldly Wiseman. Where has Barre Hill kept himself all these years? We have been told that he has sung in Chicago, that he had made a big hit at his debut and that his preceptor in voice is Theodore Harrison, and that both teacher and professional student are located in Ann Arbor. Happy must Ann Arbor be to harbor such a singer as Barre Hill. With Arthur Kraft, he was the bright star of the night, in our humble opinion. Better singing has seldom been heard at Orchestra Hall. Barre Hill is a very young man, but one who is sure to come to the top in the very near future, especially if his talent is well exploited. He made a stirring appeal at least on one auditor, through the beauty of his song, the clearness of his enunciation, the nobility of his tone and the correctness of his phrasing. Leola Turner, a local soprano, sang the roles of the Shepherd Boy and the wife equally well. At times Miss Turner had a tendency to force her tones, which was somewhat surprising, but was probably due to a desire to please those who enjoy stentorian tones instead of beautiful singing, or it might have been due to nervousness, as toward the end of her first solo Miss Turner sang with her usual artistry and beauty of tone and was rewarded with much applause. Margery Maxwell was selected to sing the roles of Madam Bubble and Angel. Miss Maxwell, who, by the way, was beautifully gowned and looked ravishing to the eye, sang the dramatic soprano role to the satisfaction of all.
21CHICAGO SYMPHONY PLAYS FOR MUSIC CLUBS
23The Chicago Symphony Orchestra and the Orchestral Association are here congratulated for their generosity in giving a concert for the N. F. M. C. on Wednesday afternoon, April 20. Mrs. Edgar Stillman Kelley, president of the Federation, in a very clever speech, thanked the orchestra president, management, conductor and members, for the honor tendered the Federation of which she is the able and popular head. In her speech she also thanked William A. Clark of the Los Angeles Orchestra for having placed at the disposition of the N. F. M. C. a thousand dollar check which she presented on the stage to C. Hugo Grimm, after the orchestra had performed his Erotic Poem.
25The concert began with the Bach-Abert chorale and fugue, which was followed by Beethoven's overture Leonore, which the orchestra of virtuosos played superbly and which was received with much enthusiasm by the delegates and their friends. Then came the prize winning composition of the N. F. M. C.'s contest, C. Hugo Grimm's Erotic Poem, which was adjudged the best composition submitted; Messrs. Stock, Ganz and Hanson formed the jury. The honor of winning over more seasoned composers must have been most pleasant to the young man, who makes his home in Cincinnati, as it was learned by the program notes so well written by Felix Borowski, that though Mr. Grimm has contributed various pieces to the repertory of the organ, the composition heard on this occasion is his first symphonic work. From the same source of information one learns that the Erotic Poem is based upon Edgar Allan Poe's Eleonora. Mr. Grimm, born in Zanesville, Ohio, is only thirty-seven years of age and his first symphony presages well for his future efforts in that line. The piece is well orchestrated and its chief fault is that it lacks sequence. The composer's imagination permits him only to sketch here and there thoughts which he is as yet incapable of developing. Theme after theme follows without being properly joined together. There are too many loose passages, and though he has written a symphony of merit, it is not closely woven. It begins with a sort of dirge; then we hear a snappy march, much noise, then pianissimos, passages in which Grimm's muse is found at his best and the melodic line is followed carefully. Then we have another march, war-like in its complex, but it is toward the close that the composer is at his best.
27It might seem from reading this report that Grimm's symphony has many faults, but it has also many qualities and so obvious are they that the judges discovered them at once, and the Erotic Poem won the prize of the National Federation of Music Clubs. That symphonic literature for the present has not won a great deal by the addition of the Erotic Poem, may be true, yet no doubt C. Hugo Grimm, richer by a thousand dollars through this creation, will work assiduously and devote his time to perfecting himself toward writing symphony works. His second composition in the same line should be a great improvement on the first, and having the flair for symphonic music Mr. Grimm probably will devote himself now to larger works. His composition was received with vociferous plaudits and he had to bow many times at its conclusion.
29After the intermission the orchestra played the Stravinsky Suite from L'Oiseau de Feu, Wagner's Traume, and Symphonic Poem No. 3 and Liszt's Les Preludes.
31FALSTAFF, APRIL 21
33A complimentary performance to the N. F. M. C. was given at the Eighth Street Theater on Thursday evening with Falstaff (in English.) Only four of the six scenes were given, due to a sudden indisposition of Robert Ringling, cast in the title role. The orchestra was made up mostly of members of the Chicago Civic Opera, and there were also several of the principals. Mabel Sherwood, cast as Alice Ford, though not quite as handicapped, vocally as Mr. Ringling, also suffered from laryngitis, which seems to be an epidemic here. Robert Steel, as Ford, covered himself with glory. He sang superbly and acted with freedom and understanding. If memory serves right, Steel sang the role with the Chicago Civic Opera two years ago, but since then he has made big strides in his art both vocally and histrioni- one of two readings
34A complimentary performance to the N. F. M. C. was given at the Eighth Street Theater on Thursday evening with Falstaff (in English.) Only four of the six scenes were given, due to a sudden indisposition of Robert Ringling, cast in the title role. The orchestra was made up mostly of members of the Chicago Civic Opera, and there were also several of the principals. Mabel Sherwood, cast as Alice Ford, though not quite as handicapped, vocally as Mr. Ringling, also suffered from laryngitis, which seems to be an epidemic here. Robert Steel, as Ford, covered himself with glory. He sang superbly and acted with freedom and understanding. If memory serves right, Steel sang the role with the Chicago Civic Opera two years ago, but since then he has made big strides in his art both vocally and histrionically. one of two readings
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39CHARLES STRATTON, one of two readings
40who is one of the most popular of American tenors. The following statistics are an indication of his standing: he has been engaged for three successive years in recital by the Brooklyn Institute; he appeared six times last season and five times this season as soloist with the Boston Symphony Orchestra; he appeared seven times this season as soloist with the New York Philharmonic Orchestra; he has sung nineteen performances of Beethoven's Ninth Symphony with orchestras, including the Philadelphia, Detroit Symphony, Boston Symphony, New York Philharmonic, and New York Symphony. In addition to his concert work, Mr. Stratton is soloist at the Brick Presbyterian Church, on Fifth Avenue, New York. one of two readings
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