Books › Musical Courier 1927-05-05: Vol 94 Iss 18, 1927 › scan 17
Scan 17
Musical Courier 1927-05-05: Vol 94 Iss 18, 1927
67 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 18. See the scan on archive.org.
1NEW YORK CONCERTS
3Concert by Rutgers and N. J. College for Women Glee Clubs
4The annual New York concerts of the choral clubs of Rutgers University and the New Jersey College for Women was heard in Town Hall on April 23. The opening group consisted of songs by Beethoven, Byrd, Shaw, and Holst, and the second group was made up of works by Russian composers, of which the last, Hospidi Pomilui, by Lvorsky, was particularly well sung. Jean Knowlton, soprano, was soloist in this group, accompanied by the clubs. To vary the choral numbers selections for two pianos followed, given by Helen Thompson and Hawley Ades, students at the University; they played with considerable ease and skill, with an evenness of tempo and a continuity of expression and nuances that were indeed a surprise. Theodore Webb, baritone, was soloist in the fourth group, composed of songs by Stanford, Songs of the Fleet, and as a concluding selection the choruses of the two colleges sang Stevenson's May Day.
6Howard McKinney is the able director of the clubs and much credit is due his painstaking efforts in training the singers and his excellent taste in the selection of the program numbers. Mary Schneck accompanied at the piano. This concert marks the end of an active season for the clubs, as they have appeared at their home concert in New Brunswick and subsequently in numerous cities and towns in New Jersey.
8Alfredo San Malo
9Alfredo San Malo, South American violinist, who made his New York debut in February, gave another concert in Carnegie Hall, April 25. Mr. San Malo created a very favorable impression at his first appearance and achieved new laurels on this occasion from an audience which was warm and spontaneous in its acclaim. The artist has won for himself a place in the first rank of contemporary musicians by virtue of an equipment which includes a natural talent, an obviously warm and brilliant emotional nature, and technic that is clean and rapid. He also has the wisdom to use his abilities with discrimination and good taste, for it is easy, with such an abundance of dramatic values as Mr. San Malo has as his, for an artist to become a victim of exaggeration. Instead, the listener is treated to a fine line of intelligent application, and a complete absorption of the artist. His tone is clear and carries to the most extreme parts of the hall even in the most diminutive pianissimos, and in the lower register it is a rich and full toned quality which one hears.
11The program was made up of a sonata by Henri Eccles and an unaccompanied one by Bach, in contrast to the familiar Lalo Symphonie Espagnole, a Romance by Beethoven, succeeded by numbers of De Falla, Debussy, Milhaud and Sarasate. In the Eccles number there was fine phrasing, delicate nuancing and a strict adherence to style.
13This was also noticeable in the Bach solo, where the polyphonic details are the one and only real reason for playing such music on the violin. The Lalo Symphonie was given an excellent interpretation. It was colorful and vital, while in the Beethoven number the violinist drew a beautiful, muted melody from his instrument. Whether the Milhaud number is supposed to be humorous or not, the audience thought it was; and, this reviewer prefers Debussy's La Fille au Cheveux du Lin in its original piano form, though Arthur Hartmann has done a neat piece of arranging. The Sarasate selection of course was a challenge to the technical dexterity of the artist and, needless to say, he came out with flying colors having to add several encores. The genial personality and able musicianship of Walter Golde were valuable assets for the art and affability of the violinist.
15American Orchestral Society
16A large sized audience gathered at Aeolian Hall on the afternoon of April 25 to hear the closing program of the season given by the American Orchestral Society, under the efficient leadership of Chalmers Clifton. Beginning with Weber's overture to Der Freischutz, the orchestra followed with an interesting and mature reading of Loeffler's Memories of My Childhood (Life in a Russian Village) and, in support of Frank Sheridan, pianist, soloist for the occasion, offered a delightful interpretation of Tschaikowsky's concerto for piano and orchestra in B flat minor. The Loeffler work displayed the orchestra to great advantage, with its delicate picturization of old Russia, the tolling bells, peasant dances and native dirges. The musicians rose to the occasion with a verve and enthusiasm that heaped much credit on the musical and artistic integrity of their conductor. Mr. Clifton was forced to acknowledge continued applause, and in the Tschaikowsky number shared honors with Mr. Sheridan. The pianist was warmly acclaimed, his technical proficiency, delicate shadings and emotional expression recommending him highly to the listener. Both Franklin Robinson, chairman of the society's executive committee, and Mr. Clifton had occasion to speak on the plans and ambitions of the organization for the coming year. It was an enjoyable concert and provided a fitting conclusion for a successful season.
18Joseph Regneas Arranges Program
19An interesting concert was given at the Central Branch of the Y. W. C. A., New York, on April 25, the program for which was arranged by Joseph Regneas. Classical concerts of this nature are given at least once a year as the result of a fund left by Miss E. G. Cunningham for this purpose. For about ten years Mr. Regneas has been called upon to provide the program, and he has presented such artists as Nevada Van der Veer, Charles Stratton, Mary Potter, Louise Hubbard, Henry Clancy, Andreas Sarto and Alice Goddilot. Those taking part in the program last week were Adelaide Fischer, soprano; Joseph Mathiew, tenor, and Elinora Grey, pianist. Miss Fischer was enthusiastically received, and displayed fine artistry in two groups of solos and also in duets with Mr. Mathiew. The tenor gave an excellent account of himself in a group of dialect songs and in numbers by Spross, Dunn and Branscombe. Miss Grey, a Juilliard scholarship winner, gave evidence of fine pianism both as accompanist and as soloist. She was heard in the Scherzo in B flat minor by Chopin.
21Sittig Trio
22A recital was given at Steinway Salon on April 26 by the Sittig Trio (Margaret Sittig, violinist; Edgar H. Sittig, cellist, and Frederick V. Sittig, pianist.) The program opened and closed with trios, the first being Sonate a Trois by Jean-Baptist Loeillet, and the last being Schumann's Fantasiestuecke op. 88, Romanza, Humoreske, Duet and Finale. All of these were beautifully played. The Sittig family is made up of three individual artists of high merit and they have rehearsed together to a point where not only synchronization is perfect but the interpretations of
24Cecile De Horvath
25PIANIST
26SWEEPING SUCCESS IN NEW YORK AND CHICAGO
27"MISTRESS OF HER INSTRUMENT"
28New York Herald Tribune, April 10, 1927
30"Held her own with considerable aplomb. There were brilliant moments in the second group, the Spanish number by Albeniz, for instance; Ravel's Ondine, and most refreshingly, a Chopin mazurka. Chopin came out with the clearest lineaments. The mazurka was given with grace and elegance. Miss de Horvath was recalled after the Moszkowski Etude and gave an encore."—New York Times, April 10, 1927.
32"Cecile de Horvath, an interesting pianist, offered a more modern program. Her feathery touch was most ingratiating in Seeboeck's Minuet a l'Antico."—New York World, April 10, 1927.
34"She pleased her audience. Was successful."—N. Y. Sun, April 11, 1927.
36"Gave a recital before her usual audience of gratified admirers with her equally wonted success."—Herman Devries, Chicago Evening American, January 28, 1927.
38"An excellent pianist. Poetic imagination and technical skill."—Karleton Hackett, Chicago Evening Post, January 28, 1927.
40"Ease, honesty, stimulating suggestions and delicacy."—Eugene Stinson, Chicago Daily Journal, January 28, 1927.
42"Technical facility and smoothness as well as pleasing tonal effects."—Chicago Daily News, January 28, 1927.
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61(Songs and Piano Selections) one of two readings
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