Books › Musical Courier 1927-05-05: Vol 94 Iss 18, 1927 › scan 13
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Musical Courier 1927-05-05: Vol 94 Iss 18, 1927
60 lines. Read by computer on 29 September 2026. Printed page 14. See the scan on archive.org.
1BUFFALO, N. Y.
3BUFFALO, N. Y.—Among the commemorations of the one hundredth anniversary of the death of the great music master, Beethoven, two notable concerts were given under the auspices of the Beethoven Centennial Organization, March 27 and 28. The first was a symphonic concert in Elmwood Music Hall, executed by chorus, orchestra, and soloists. Both chorus (250 United German Singers) and orchestra (forty-eight picked players from New York, Rochester and Buffalo) did excellent work under the brilliant leadership of Director Carl Noehren, who gave an inspired reading of several chorus works and the fifth symphony. Richard Sahla rendered the violin concerto, op. 61, D major, with winning grace, exquisite tone, and brilliant virtuosity, while Heinrich Pfitzner gave the fifth (Imperial) piano concerto, op. 73, E flat major, with convincing power backed by perfect mastery of virtuoso, technic and touch. The second concert was a chamber music evening in Knights of Columbus Hall, given by Richard Sahla and Heinrich Pfitzner. The artists had selected four beautiful sonatas for piano and violin (op. 27, op. 30, No. 2, op. 30, No. 3, and op. 47), which they rendered in such perfect manner that they received a genuine ovation. Aside from the flawless technic and beautiful tone which they both command, their truly genial conception and perfect cooperation enabled them to present those masterworks in their whole significance and beauty, so that the individual character of each movement was perfectly portrayed.
5The Courier-Express published the following: "Dr. Heinrich Pfitzner, a noted concert pianist, played with brilliant musicianship, his technical equipment, command of color, and artistic shading making it a splendid performance. At the close he was accorded a flattering tribute. Prof. Richard Sahla, a poet musician, his playing having all the polished elegance and continental finish that has made him a favorite artist, was recalled with great enthusiasm. Director Carl Noehren conducted the opening choral work, The Heavens Declare, with inspiring musicianship, in which the singers disclosed excellent training. He led his orchestral forces in the fifth symphony with a virility and power that made his reading of the score a very vital and inspiring one and the players responded with such enthusiasm that the result was an artistic performance."
7L. H. M.
9Mary Jordan Returning from Orient
11Mary Jordan, whose contralto voice has been the loss of American audiences for the past two years, though the gain of the Orient where she has been living, will return to the United States next fall and will again be heard in concert.
13Miss Jordan, in private life, is the wife of Major Cresswood, Judge Advocate in the American Army, who has been stationed at Manila in the Philippines. The recent order for his transference back to the United States goes into effect in January of next year. Miss Jordan and her husband will sail for America on the American Transport Thomas, arriving in New York by way of the Panama Canal on November 15, and will leave for Washington, D. C., where they are to make their home.
15During her stay in the Philippines, Miss Jordan has been busy with concert work, and recently completed a tour of the Orient. At the Conservatory of Music of the Philippines, Miss Jordan found in its director, Herr Lippay, a profound musician and splendid coach, with whom she has worked in the planning of various programs for her forthcoming season in America.
17Already Miss Jordan has been chosen as soloist for the National Convention of the American Legion which will meet in San Antonio, Texas, in 1928. On December 1, she will sing there in a Home Coming Concert which is being planned for her.
19Miss Jordan will again be under the management of Loudon Charlton.
21Wolfe Sings in Lansing
23At its debut appearance on April 3, the Lansing Orpheus Club had a concert at which James Wolfe was soloist. In reviewing the event the Lansing State Journal said: "The other half of the program was given by an artist Lansing music lovers will want to hear again, James Wolfe, basso of the Metropolitan Opera Company. He is a singing actor with a voice that is a rich, virile organ and with controlled dramatic expression. One has the feeling that Wolfe's first aim is to make his audience feel the mood and understand the story of the song he sings. Two arias were given with beautiful feeling and in a voice revealing unusual loveliness in the depth and unusual sweetness in the heights. In the second group, Wolfe gave The Two Giants by Stolipin a thrilling interpretation. The familiar Song of the Boat-man was born again. For a minute his audience remained in a dream; then they indicated that if it required applauding all night they would have an encore. Deep in My Heart, by Alward, and three other songs in easily understood English, made up the last group, and the final encore was The Road to Mandalay, sung with more swing and spirit than seems possible. This group was largely in the upper register, which might be a strain on a basso's powers, but Mr. Wolfe was very much at ease vocally. And wherever his songs carried him, it was obvious that he liked to sing and his audience shared his pleasure in his wonderful music."
25ST. LOUIS, MO.
27ST. LOUIS, Mo.—Driven by the burning of the Odeon, in which auditorium musical events in St. Louis have been held for twenty-five years, Mr. Ganz and the St. Louis Symphony Orchestra were tendered the new Scottish Rite Cathedral Hall for the last two pairs of concerts. Conductor Ganz arranged the fourteen pair to commemorate the anniversary of Beethoven's death. The soloist, Carl Flesch, played the Beethoven Violin Concerto in masterly style, leaving nothing of technic, tone and expression to be desired. He was repeatedly recalled by his enthusiastic hearers. The orchestra under Mr. Ganz' direction played the Lenore Overture, No. 3 and the Eroica Symphony not only in exceptionally fine form, but also entirely according to Mr. Ganz' excellent standards and fine understanding of Beethoven. The audience was highly appreciative of an evening, which seemed the tonal presentation of a bit of rare filigree. The final pair of regular concerts of the St. Louis Symphony Orchestra, Rudolph Ganz, conducting, were given at the Scottish Rite Cathedral Hall. The Saturday night concert took on the decorative value of a gala affair, and the casual observer might have thought the occasion a flower show instead of a concert. The stage was a veritable bower of flowers and after the conclusion of every number on the program Mr. Ganz was the recipient of many more lovely expressions of friendship and admiration. The opening number was Handel's Concerto Grosso in B minor with Mr. Ganz in the duo-role of conductor and pianist. Then came the novelty on the program, Italian Serenade for small orchestra, by Hugo Wolff. This composition of light loveliness, so characteristic of Wolff's songs, was beautifully given and should be heard oftener. Death and Transfiguration of Strauss was played with fine effect and interpretation, and received much applause. Mr. Ganz was recalled many times, and with his men acknowledged the applause of his audience. Dvorak's New World Symphony, played with exquisite feeling, and Tchaikovsky's 1812 Overture, completed the music of the evening and brought the 1927 season to a close. But no one left the hall and a din of applause roared through the house, a tribute of esteem to Ganz and his orchestra for the entire season as well as this particular concert. There was an ovation the clamor of which was not stilled until Mr. Ganz addressed the audience. He expressed his appreciation and concluded his brief talk by announcing his resignation.
29The English Singers sang to a capacity house at Principia. This group of six singers is unusual and their method of presentation unique. They sit cozily around a table, and without perceptible signal begin to sing. Their sureness of attack is remarkable, voices accurate and well blended, and the interpretations given to motets, madrigals and ballads of the 15th and 16th centuries were delicate and often humorous.
31Willard MacGregor appeared in recital at Sheldon Memorial in a program which demands recognition of musicianship he so richly deserves. His technic is flawless, his tone singing, and he is a sympathetic interpreter of modern as well as classic works, as the scope of his repertory would indicate. His audience was most enthusiastic.
33The 18th "Pop" concert featured Dorothy Jackes, soprano, and Corinne Frederick, pianist. Miss Jackes sang an aria from Gounod's Queen of Sheba, and a group of songs with piano accompaniment. Her voice is remarkably elastic and she sings with style. Mrs. Frederick played Concertstück in B minor for pianoforte by Rudolph Ganz. She has flawless technic. Unusually clear cut velocity and velvety tone quality do the bidding for her musical intelligence. The intricacies of the Concertstück were dwarfed in her musicianship. The orchestra, Rudolph Ganz conducting, gave the Overture to Sakuntala, Saint-Saens' Le Rouet d'Omphale in their usual interesting manner and concluded the concert with Waldteufel's sprightly Skaters' Waltz.
35The final concert of Elizabeth Cueny's Chamber Music Course was given by the New York String Quartet. This scholarly group played with virility and brilliance a program made up of Haydn, Beethoven and Dvorak. A generous sprinkling of encores rewarded the clamorous applause of the eager audience.
37Under the local management of Elizabeth Cueny, the Chicago Civic Opera Company gave an estimable performance of the Resurrection.
39The Knights of Columbus Choral Club assisted at the nineteenth "Pop" concert. The orchestra under Ganz gave a tuneful reading of the Fingal's Cave Overture, third movement of Tchaikowsky's sixth Symphony, and several lighter numbers. The Prelude to the Meistersinger, majestically given, completed the program.
41E. S. K.
43"She was in excellent voice. There is a caressing sweetness to her tone, and she is more than a mere dispenser of beautiful sound, for she is an interpreter of no mean ability."
45The New York Evening Telegram said the above about May Peterson, soprano, formerly Opera Comique and Metropolitan Opera Company.
47Management: HAENSEL & JONES
48Steinway Hall, 113 West 57th St., New York
49Mason & Hamlin Piano Used Aeolian-Vocalion Records
51Lindi Ends Successful Tour
53Hundreds of Bostonians who have followed Mr. Lindi's career with a personal interest, and hosts of friends, were in the large audience in Symphony Hall to witness his Boston triumph. Those who heard and applauded him realized that Lindi is a great dramatic tenor. His tour ended in Chicago where he had made his brilliant debut on the opening night of the opera season.
55The Boston Globe commented: "Mr. Lindi's voice is a dramatic tenor of unusual vigor and sonority. The upper tones have a ringing clarion-like quality, and the lower tones are rich and sombre with unusual warmth and strength. He sings well. In a group of songs in English he made every word clearly audible,—something few opera singers achieve in the concert hall. There could be no doubt of his being a notable tenor, certain of high rank in any opera house in the world today." The Boston Evening Transcript was of this opinion: "Mr. Lindi, a strapping figure of a man, meet for Rhadames, Manrico, and all their operatic kin, gave no little pleasure. His voice is a tenor, 'as is a tenor,' curiously devoid of any hint of racial origin or provincial schooling. Throughout it is firm, even, resonant, unclouded in the lower range, full-bodied in the upper,—used with a considerable sense of operatic rhetoric,—the sustained period, the well marked transition,—the up-swelling climax,—the conveyed sense of vocal and temperamental exuberance." Warren Storey Smith wrote in the Boston Post: "A tenor of exceptional quality. Mr. Lindi's voice is essentially virile and robust,—yet his singing is not deficient in lyric quality as his performance of the Flower Song from Carmen abundantly proved. Dramatic power Mr. Lindi has in abundance, and passion and enough of that quality best defined as musical intelligence to make him a more than usually acceptable interpreter of songs."
57The Chicago Daily News stated that "Mr. Lindi's interpretation of songs by Gretchaninoff, Hageman, Quilter and Rachmaninoff was gripping and interesting. His voice came forth with warmth in quality, with fine power and volume, and he put a virile interpretation into his work."
59The Chicago Daily Tribune commented: "Mr. Lindi demonstrated that the same fine voice and manner that he uses in opera can be applied with equal success to songs, and incidentally to winning encores." The Chicago Evening Post was of the belief that "the aria afforded Mr. Lindi opportunity to display his high tones," adding that he has "A fine voice,—a resonant and vigorous tenor voice. The people like him and applauded heartily." The Chicago Herald and Examiner published this: "Vocally he brought to his task a robust, voluminous voice, freely produced."
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