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Musical Courier 1927-04-28: Vol 94 Iss 17, 1927
88 lines. Read by computer on 29 September 2026. Printed page 7. See the scan on archive.org.
1April 28, 1927
3my object, I will confine myself to the three or four who aroused particular attention.
5The much-heralded Jan Kiepura came and saw—but did not conquer. In fact he was a mild disappointment. It is the same story that greets him everywhere; his beautiful voice, especially the upper notes, are much appreciated, but his obvious lack of training is generally deplored.
7JULIA CULP'S VOICE BETTER THAN EVER
9Julia Culp gave a benefit concert at which her voice proved to be more beautiful, if possible, than ever before, and the enthusiasm she evoked was such as to satisfy the most exacting. William Norman, from London, made his debut here with such overwhelming success that he had to give a second recital, and Ruzena Herlinger, who sang Mozart and Mahler with the orchestra under Schalk's baton, also enjoyed a great success.
11Our Leporello's list is shorter when it comes to violinists. Huberman, Kocian and Prihoda are too well known to need comment. Of the newcomers, Hilde Lang, a pupil of Marteau, is beginning to make her way. The pianists were represented again by an almost innumerable list including Paul Wittgenstein, Hortense Husserl, and a most promising home talent, namely young Ruda Firkusny, who causes astonishment not only because of his technic, but also his masterly improvisation, which is surely not an everyday occurrence with a boy of fifteen. E. R.
13GENEVA PREFERENCES ORCHESTRAS
15A Hard Nut to Crack for Recitalists—Promising Young Conductor
17GENEVA.—"Orchestral and choral concerts preferred" would seem to be the motto of the inhabitants of Geneva. For such concerts they are always to be had. Recitalists, on the other hand, have a fairly hard time of it. Some of them have success, however, and it is particularly interesting to see who they are. Among the pianists are Robert Casadesus, Edwin Fischer and Arthur Rubinstein. Jacques Thibaud and Adolf Busch represent the violinists, and Lotte Leonard, Ninon Vallin and Ernest Bauer, the singers.
19Ernest Ansermet has brought out a number of novelties at his concert series, namely the Suite Anglaise, by Henri Rabaud; Tessnese Suite by Gustav Doret, who is one of the best Swiss composers and who, at present, is working on the music for the next Fête des Vignerons; Sarabande, with chorus, by Paul Dukas and Rythmes, by Frank Martin, the young Geneva composer whose work shows such promise.
21These works were all brilliantly played under Ansermet's able lead, but while they were well received, there was no display of enthusiasm.
23We have had two remarkable opera performances, Walküre and Siegfried, with visiting artists from Germany and Zurich. The conductor was young Robert Denzler, an admirable opera leader, whose success on both occasions was sensational. G. P.
25Concerts Heard in Dresden
27DRESDEN.—Dolores van Doren, of New York, gave a successful song evening, singing Wagner, Liszt and Brahms with fine understanding. Mme. von Langermann-Larisch, formerly of the Manhattan Opera, was heard to utmost advantage in selections from Wagner, Weber, etc. Her sterling vocal powers, dramatic interpretation, and brilliant operatic gifts were unanimously recognized even in the concert hall. Ingeborg Holmgren, a singer who was noticed for her pure soprano of phenomenal range, also gave a concert, and Bronislaw Hubermann scored a triumph with the Brahms violin concerto.
29In other concerts the modernists came in for a great share of attention, Janacek, Krenek, Weill, Hermann Baum, Milhaud, Ernest Roters and others being partly enjoyed, partly otherwise. Janacek, though old in age displayed almost revolutionary characteristics in his Concertino, which possesses originality and much color. Krenek in his opus 39 proved his facility to respond to any style whatever. Kurt Weill conducted his own Frauenanz. Grete Nikisch interpreted the vocal parts exquisitely.
31Herman Baum's Schöpfung (Creation) had its premiere under Eduard Moerike's direction. It is a declamation with symphonic background, closing with a vocal solo. The work reveals nobility of thought and abounds in sound effects and big climaxes. A. I.
33Simple Truths Used by Great Singers
35The following letter addressed to Mrs. Robinson-Duff from G. G. Williams, Paris, France, speaks for itself:
37A few months ago, I came across your wonderful little book, Simple Truths used by Great Singers, on the shelves of the American Library here. I was so impressed by the manner in which you explain and simplify things that had hitherto been quite inaccessible to me that I decided to try what I could do with your book as a guide, and after three months I have had such encouraging results that I feel it would be worth my while to take lessons again. I have a good soprano voice, but after studying unsuccessfully in London some time ago I gave up in despair because, having forced my middle register, I was unable to sing high notes as my voice "split." I did not make another attempt, as I realized that only very careful teaching—which is so hard to get—would help me, and I was not in a position to go to London to study, so I had the hope of finding the right one. May I then ask your advice in the choice of a teacher either here or preferably in London or Milan? I cannot tell you how much your book has meant to me and I should be most grateful for your help in the matter.
39LIVERPOOL PLEASED WITH VAUGHAN WILLIAMS' MASS
41LIVERPOOL.—The first performance here of Vaughan Williams' unaccompanied Mass in G minor for vocal quartet and double chorus was given by the Liverpool Bach Choir, a body of some forty mixed voices which had been carefully trained by J. E. Wallace. The composition, whilst plainly influenced by Palestrina and Byrd, is none the less an individual piece of work and mirrors the Latin text with due reverence and unaffected fervor. The Mass as a whole appears to fulfill the requirements of the Roman motu proprio, so that there is no reason why it should not be adopted as a welcome addition to the official rubrical list.
43The penultimate concert of the Liverpool Philharmonic Society brought as guest conductor Aylmer Buesst, who has been acting in that capacity with the British National Opera Company since its inception in 1921. Mr. Buesst is an Australian but his musical education was acquired under the guidance of Eugene Ysaye and Cesar Thomson for the violin, and subsequently with Nikisch. Useful practice as conductor at Breslau and other German towns provided an experience that was subsequently recognized by the Beecham and other operatic combinations, ultimately leading to his present appointment.
45The program included Schumann's second symphony, overtures by Cherubini and Auber, and the Scherzo from a suite by the conductor, which was very favorably received. Renée Chemet was heard to advantage in Mozart's violin concerto in E flat and Chausson's Poème.
47The final event of the eighty-eighth season of the Society was under the direction of Sir Henry Wood and was supposed to represent an adequate offering to the manes of Beethoven. The material submitted comprised the Coriolan and Leonore No. 3 overtures, the Rondino for six wind instruments, a portion of the Prometheus ballet music and the Tremate motet, sung by Doris Vane, Arthur Jordan and Harold Williams—not a very striking tribute, especially as the remainder of the evening was devoted to Rachmaninoff's The Bells. W. J. B.
49Leonard and Hopkins Pupils in Recital
51Pupils of Florence Leonard and Louise Hopkins are closing an active season. At the spring ensemble musicale on April 9, with the assistance of Alexander Lenker, violinist, and John Fischer, flutist of the Philadelphia Orchestra, they presented a long and interesting program. The audience was large and enthusiastic. Players who received special commendation were Mary Andrews, Agnes Hegener, Charlotte Horn and Anne Prichard. Miss Prichard has been invited to appear next season for a second time with the Main Line Orchestra, under the direction of Adolph Vogel. Rosalie Murray, assistant to Miss Leonard, gave an interesting interpretation of Debussy's Evening in Granada.
53Marion Hitchings, one of Miss Leonard's pupils from Maine, has had a successful season with teaching in Caribou and is in frequent demand for solos at club meetings and lectures. Her repertory includes many of the modern pieces by Griffes, Ornstein, Goossens and others. Miss Leonard will teach at Ogunquit, Me., during July and August.
55Doris Doe Praised
57Doris Doe sang not long ago in opera in Washington, making her local debut. She was very successful, the Washington Post having the following to say: "The audience had the privilege of listening to the local debut of Doris Doe, a Chicago girl fast winning renown on the operatic stage in contralto roles. Miss Doe as Maddalena sang effectively. Her contralto is of wide range and mellow in tone, and she was a picturesque figure as well." In Palm Beach Miss Doe was no less successful. The Palm Beach Daily News said that her voice showed wide range and commented on the beautiful mezzo qualities of it. The same paper stated that she was enthusiastically received and that her enunciation was perfect.
59Grainger's Works Performed in Vienna
61Percy Grainger's Colonial Song for symphony orchestra and Irish Tune from Country Derry for string orchestra and horns were recently introduced to Vienna under the conductorship of Rudolf Nilius. Advices from the Austrian capital state that these two works scored "a quite unusual success with the Viennese audience."
63MUSICAL COURIER
65Einladung
66zu
67Ludwig van Beethoven's
68Leichenbegängniss,
69welches am 29. März um 3 Uhr Nachmittags statt finden wird.
71Man versammelt sich in der Wohnung des Verstorbenen im Schwarzspanier-Sauste Nr. 200, am Glacis vor dem Schottenthor.
73Der Zug begibt sich von da nach der Dreyfaltigkeits-Kirche bey den P. P. Minoriten in der Alsergasse.
75Die musikalische Welt erlitt den unersetzlichen Verlust des berühmten Tonköchers am 26. März 1827 Abends gegen 6 Uhr. Beethoven starb an den Folgen der Wassersucht, im 56. Jahre seines Meers, nach empfangenem hoh. Sacramenten.
77Der Tag der Exequien wird nachträglich bekannt gemacht von
78L. van Beethoven's
79Verehrern und Freunden.
81A PHOTOGRAPHIC REPRODUCTION OF AN INVITATION TO BEETHOVEN'S FUNERAL
82It reads: "Invitation to Ludwig van Beethoven's funeral procession which will take place on the twenty-ninth of March at three o'clock in the afternoon. Guests will assemble at the dwelling of the deceased in Schwarzspanier—house number two-hundred, on the Glacis at the Schottenthor. The procession will go from there to the Dreyfaltigkeit Church at the Minorites Monastery in the Alsergasse.
83"The musical world suffered an irreplaceable loss in the death of the famous composer on the twenty-sixth of March, 1827, about six o'clock in the evening. Beethoven died of dropsy at fifty-six years of age after receiving the Holy Sacrament.
84"The day of the obsequies will be announced later." It is signed, "Ludwig van Beethoven's admirers and friends."
85"This card is published by Haslinger's Music Store. Printed by Anton Strauss."
87INTERIOR AND EXTERIOR OF THE WHITE ROCK PAVILION, HASTINGS, SUSSEX, ENGLAND
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