Books › Musical Courier 1927-05-05: Vol 94 Iss 18, 1927 › scan 19
Scan 19
Musical Courier 1927-05-05: Vol 94 Iss 18, 1927
69 lines. Read by computer on 29 September 2026. Printed page 20. See the scan on archive.org.
1From June to October
2CLARENCE ADLER
3Conducts
4MASTER CLASSES IN PIANO PLAYING
5at
6KA-REN-NI-O-KE
7His Music Camp at
8LAKE PLACID, N. Y.
9Address: Secretary, 137 West 86 Street, New York
11HUGO KORTSCHAK
12Summer Class for Violinists
13June 15th to September 15th at Cummington, Mass.
14(Berkshire Hills)
15Instruction in Solo Repertoire and Chamber Music
16Advice on Teaching
17Address New York Studio: 1157 Lexington Avenue
19The David Mannes Music School
20DAVID and CLARA MANNES, Directors
21Announces for the Season of 1927-28 the Addition of a
22Department of Cultural Studies
23An introduction into the essentials of Philosophy, Psychology, the great tradition of English letters, and the spirit of the periods of highest French and German culture.
24For music students who wish to enrich their cultural background with an accompanying knowledge of allied arts.
25To be Conducted by
26DONALD B. CLARK, M. A.
27Formerly Assistant in Philosophy at Harvard University and the University of California, Lecturer in the History of Music and Symphonic Analysis at Mills College.
28A leaflet giving further details concerning the new department will be sent upon request addressed to The Secretary.
29157 East 74th Street, New York.
30STEINWAY PIANO
32LEEFSON Conservatory of Music
34ALMA PETERSON
35Private Address: 3020 Sheridan Road, Chicago, Ill.
37Master Classes
38JULY 19TH—AUGUST 30TH
39Colorado Springs
40Class and Private Teaching
41Piano Technic—Interpretation
43SCHMITZ
44Bogue-Laberge Concert Mgt., Inc. 130 W. 42nd St., New York
46Master Pianist
47Concert Tour 1927-'28
48NOVEMBER—FEBRUARY
49Booking Now
50Mason & Hamlin Piano Ampico Recordings
52Irene Peckham
53The present writer echoes the sentiment of the Herald Tribune of April 30 in its able, tersely written review of Irene Peckham's piano recital of the preceding evening, at Chickering Hall, New York, calling it "an almost spectacular disclosure." She is known as first prize-winner (piano classes) in the New York Music Week open contest of 1925; as winner of the $500 cash award at the Sesquicentennial exposition, and as a Stadium soloist. He mentions her strong hands, mature artistic perceptions, assurance and poise. Her all-embracing technic copes fearlessly with such difficulties as lie in the Waldstein sonata, MacDowell's brilliant concert study, Moszkowski's Juggler, and the Saint-Saens waltz-study, surmounting all hazardous moments with an assurance and ease altogether astonishing; with all this it sounds spontaneous, musical, and is fast growing into depth of expression. Her shading, color, tempo, sense of form and proportion astonished this writer as it did the Herald Tribune, and it is safe to prognosticate a future for the modest, level-headed girl of fourteen, who owes her artistic progress and position to Carl M. Roeder.
54May 6, Therese Obermeier gives a recital in the same hall, as does Hannah Klein (1926 Music Week first prize winner) on May 13; all these young pianists are in their 'teens, and are pupils of Mr. Roeder.
56Beethoven Symphony
57The second concert of the Beethoven Symphony Orchestra, Georges Zaslawsky, conductor, took place at Carnegie Hall on April 29 before a large and attentive audience, one that was moved to frequent applause during the evening.
58The program opened with the overture from Glinka's opera, Russian and Ludmilla, after which came the Pathétique of Tchaikowsky, which was given an excellent rendition, and conductor and men were tendered an enthusiastic reception. The American rhapsody, Masquerade, by Carl McKinley, was worthy of a place on the program, having been played before at one of the Stadium concerts. The final contribution was the Rimsky-Korsakoff Capriccio Espagnol, played with dash and brilliancy, and bringing to a close an evening of artistic pleasure.
59Marguerite D'Alvarez, contralto, was the soloist, being heard in the familiar Adieu Forets, from Jeanne d'Arc, and a ballet, La Mer, by Borodine. In good voice, she was the recipient of a warm reception.
61Concert in Memory of Joel Engel
62Every seat was taken and there were many standees to do honor to the memory of Joel Engel at a concert given at the Intime Theater on April 30. Mr. Engel not only was the pioneer in collecting Jewish folk-music, but he also had won wide recognition in Russia as a critic, composer and research worker in the field of music generally. The program last Saturday was in charge of Joseph Achron, a friend and disciple of Engel, who gave the audience an opportunity to hear a variety of works from the pen of the composer, including selections for contralto, piano, violin, baritone, string quartet, women's choir and clarinet and string quartet. The soloists were Anna Meitchik, Arié Abilea, Mischa Mischakoff and Boris Zaslavsky.
64John Finley Williamson in Demand
65John Finley Williamson, young conductor of the Dayton Westminster Choir, read an important paper on choir singing before the Convention on Church Music, arranged by the National Federation of Music Clubs at the biennial in Chicago on April 25. This month he will lecture and conduct a massed chorus and an orchestra of great dimensions in Washington, D. C., when the Council of Churches of Christ in U. S. A. holds its great National Conference on Better Music in the Churches of America. During June and July, Mr. Williamson will head the city of Winston-Salem's Master School of Church singing. Requests for lectures from various sections had to be declined.
67Mme. Polia Melides-Hermides
68On April 29, in the Steinway salon, Mme. Polia Melides-Hermides gave an interesting and artistic song recital before a capacity house. Beginning her program with a German group in which she revealed a fine soprano voice, brilliant and particularly sympathetic, she continued with three other groups by many well known composers, rendering songs in many different languages. Mme. Melides-Hermides is an unusual artist, and in her singing of all of her numbers she appears to live the part she portrays. Throughout her program encores were demanded, to which she responded graciously. Gladys Shail furnished excellent accompaniments.
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