Books › Musical Courier 1927-04-28: Vol 94 Iss 17, 1927 › scan 46
Scan 46
Musical Courier 1927-04-28: Vol 94 Iss 17, 1927
39 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 47. See the scan on archive.org.
1THE PICK OF THE PUBLICATIONS
3Vocal
4(C. C. Birchard & Co., Boston)
6Twice 55 Community Songs.—This book is full of popular songs arranged for treble voices. It is gotten out in convenient form, small size, easy to hold in the hand while singing.
8A Story, by Gladys Pitcher; Mister Moon, by Ira B. Wilson; All Day Long, by Samuel Richards Gaines; Come Join the Dance, by Czibulka-Remick; God of All Nature, by Harvey Worthington Loomis; Pack, Clouds, Away, by Gladys Pitcher; Youth at the Brook, by Schubert-Pitcher.—These are new compositions with arrangements, some for male and some for mixed voices.
10Four Two-Part Songs in Folk Style, by Samuel Richards Gaines.—The names are as follows: Early Violets (Norwegian), Heatherbloom and Heatherglade (Scottish), All My Grief and Sin (Russian), and Boscher Gaan (Hungarian), and they are arranged for two soprano voices or soprano and alto duet.
12Il Finto Arlecchino (The False Arlecchino), by G. Francesco Malipiero.—This is an operatic comedy in two parts by the noted Italian modernist. It calls for a good sized cast, two sopranos, two baritones, three tenors, and a number of characters who do not speak. Mr. Malipiero's style is well known and, of course, indescribable in words, like much modern music which must be heard to be judged. It cannot be classified as could music of an older, more traditional time. Malipiero is looked upon as one of the most gifted of the young Italians and is undoubtably one of the most original. He has a method and an idiom all his own and one thing he accomplishes which has been accomplished by no other writer of our time so far as this reviewer knows: he makes his choral parts sound like the real expression of a crowd expressing itself under the stress of an emotion. The publishing of such a work as this by an American publisher is an event and does the publisher much credit.
14Piano
15(Arthur P. Schmidt Co., Boston, New York)
17Impromptu-Serenade, Fantaisie Lyrique, by Felix Fox.—The composer of these pieces is too well known to need any introduction to MUSICAL COURIER readers. He has long since established himself as pianist, teacher and composer of eminent standing. His artistry is widely recognized and appreciated. The works now under review are piano pieces of charming character and very decidedly original. The Impromptu-Serenade is a piece of moderate difficulty as well as moderate length, in which the melody is taken mostly by the first and second fingers of the right hand with chords above, and the left hand crossing the right with bell effect. There is a passage before the recapitulation of short arpeggio chords that is especially original and effective. The whole piece is full of good humor and the tune is one of those which will be carried away and remembered.
19The Fantaisie Lyrique is of an entirely different nature, being a rapid allegro study in sixteenth notes mostly for the right hand. The central passage is of chromatic nature with left hand chords across the right hand, and will present a very interesting problem to students in hand control and independence of the two hands. There is a beautiful, delicate, chromatic, pianissimo cadenza at the close.
21"Who Is Myra Reed?"
23"Who is Myra Reed?" This question was asked twelve years ago when Miss Reed, then scarcely fourteen years of age, gave a piano recital for which she selected a program that virtuosi of the first rank would look upon as an example. How well she accomplished her task is evident from the following quotation taken from the Cincinnati Frei Press at this period: one of two readings
24"Who is Myra Reed?" This question was asked twelve years ago when Miss Reed, then scarcely fourteen years of age, gave a piano recital for which she selected a program that virtuosi of the first rank would look upon as an example of the highest attainable. The program was a brilliant one. How well she accomplished her task is evident from the following quotation taken from the Cincinnati Frei Press at this period: one of two readings
26"Who is Myra Reed? This will probably be asked in various places as time goes on. In answer to this we will say that she is not yet fourteen years of age and stands as a pianistic wonder child. In the rendition of her program Miss Reed showed a ripeness that could almost cause anxiety at her age. While she played Bach, one received an impression that a fully ripe man was at the piano. Of course one did not expect absolutely authoritative conceptions from such a youthful player, but, on the contrary, the command that the young maiden showed as she sat before the public, and the sovereignty with which she commanded the instrument was positively astounding. The fine shadings in her performance leave no doubt that she feels inwardly what she plays, and in this lies a complete guarantee that she will become an artist of great importance." That this prophecy is being fulfilled after years of continued work is demonstrated by her appearances in various parts of the country, her most recent achievement being her two recitals in New York. Some of Miss Reed's engagements have included appearances as soloist with the Cincinnati Symphony, the Philharmonic Society of Philadelphia, the Choral Art Society of Philadelphia in Philadelphia and Wilmington, Del., the Russian Symphony Orchestra during the biennial convention of music clubs held in Birmingham, Ala., and the Junger Maennerchor of Philadelphia.
28MYRA REED
30Photo by Goldensky
32Cleveland Institute Notes
34CLEVELAND, OHIO.—One of the delightful concerts of the season in Cleveland presented Carlos Salzedo in his double role as composer and harpist, in the third of the annual series of programs by visiting artists at the Cleveland Institute of Music. The varied program consisted of classics, chosen from Couperin, Corelli, Haydn, Rameau; and moderns, Debussy and Grandjany, and three of Salzedo's own compositions. The program closed with an introduction and allegro by the French musician, Maurice Ravel, scored for harp, string quartet, flute and clarinet. To consider Salzedo's interpretation of the classics is to admit in him a virtuosity of distinction, a wide range of power and skill and subtlety in tonal shading. In his rendition of the works of his own contemporaries he displayed the same distinguishing qualities. His own numbers, Mirage, Introspection and the Whirlwind, proved the variety of moods within himself that are probably accountable for his power to translate the different moods of the other composers. A brilliant, though short, number was Salzedo's Iridescence, one of the many encores he was forced to give. Some unique chamber music came at the close of the program with a colorful Ravel number, which was played with animation and brilliancy. In this ensemble number Salzedo was assisted by the Ribau-pierre String Quartet and Weyert A. Moor, flutist, and Louis de Santis, clarinetist.
36Radamsky Has an Active Season
38Sergei Radamsky recently returned from a sixteen weeks' coast to coast tour with the Manhattan Opera Company. He sang the leading tenor roles in Rigoletto, Madame Butterfly, Pagliacci and Namiko San. Mr. Radamsky appeared in Town Hall on March 19 and in Madison Square Garden on March 22 in the same program with Raisa and Rimini in an oratorio by Schaefer accompanied by the New York Symphony Orchestra. He was plainly heard throughout the vast hall without the aid of the amplifiers generally used. He appears again in the same work at Carnegie Hall on May 28. He is booked for a concert tour next year and expects to make several appearances in New York. Mr. Radamsky's notices have been excellent wherever he has appeared.
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