Books › Musical Courier 1927-06-16: Vol 94 Iss 24, 1927 › scan 37
Scan 37
Musical Courier 1927-06-16: Vol 94 Iss 24, 1927
158 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 38. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1MUSIC ON THE PACIFIC SLOPE
3LOS ANGELES, CAL.
5Los Angeles, Cal.—The piano-violin sonata recitals of Helena Lewyn and Vera Barstow came to an end recently. Two contrasting English modern works and Haydn's Sonata in G were the offerings. The Bax number was of a romantic nature, and, contrasted with the Goossens sonata, which while cunningly constructed, was less original than the Bax number. Miss Lewyn is leaving for Europe soon for a short vacation.
7The Timmer Quartet provided the third and last chamber music program sponsored by Mrs. F. S. Coolidge at the Library Lecture Room. The quartet was assisted by Messrs. Jay Plowe, Perrier, DeBusscher, Brain, Moritz and Huber. The program consisted of Dvorak's Quartet in F major, Domenico Brescia's Dithyrambic Suite, and Beethoven's Septet in E flat, op. 20.
9The Hollywood Community Orchestra, conducted by Jay Plowe since its organization eight years ago, gave a testimonial concert to its conductor, with Homer Grun, pianist as soloist.
11L. E. Behymer announces the following attractions for next season: Tuesday night course—Claudia Muzio, Ignaz Friedman, Georges Enesco, Beniamino Gigli, Ernestine Schumann-Heink, English Singers, John McCormack, Barere Little Symphony, Lawrence Tibbett, and two dates still to be announced; Thursday night—John Charles Thomas, Nina Morgana, Sigrid Onegin, John Philip Sousa, Giesking or Bauer, John McCormack, and two dates still to be decided; he also announces two selective courses of fourteen dates and ten dates selected from the two courses.
13Sylvain Noack, violinist, for years concertmaster of the Philharmonic Orchestra, has been engaged as concertmaster of the Philharmonic Orchestra of the Bowl season.
15Alice Gentle, of operatic fame, achieved a triumph as Portia in the Shakespearian Festival.
17National Music Week was recognized by a special program at the Beaux Arts Auditorium open to the public.
19Shibley Boyes, pianist and former pupil of Thilo Becker, has returned from a course of study and concert work abroad.
21Mr. and Mrs. Thilo Becker gave a joint artist-pupils' recital at the Beaux Arts Auditorium recently.
23Pietro Cimini will be one of the conductors of the Los Angeles Civic Opera season. Raymond Harmon, tenor, left for Europe, where he will sing in concert in France and Italy and also coach with the maestro with whom Tito Schipa trained.
25Louis Graveur, baritone, will arrive in Los Angeles in the near future for his fifth summer master class.
27Giacomo Minkowski, internationally known vocal coach who has located here, is offering a talented pupil a scholarship which will include an European appearance.
29The Cecilian Singers, under the direction of John Smallman and consisting of 100 young women teachers in the elementary schools, gave a concert in the Philharmonic Auditorium recently.
31Dorothy Newman Smith, artist-pupil of J. Francis Smith, appeared before the Artland Club in recital.
33Giovanni Martinelli, tenor, has been engaged for the Civic Opera season.
35LONG BEACH, CAL.
37Long Beach, Cal.—Martha was the opera chosen by Dr. Frank Nagel, pianist-lecturer, at the last meeting of the Opera Reading Club of Long Beach for the season of 1926-27. A vivid analysis of the composer's musical thought and the story of the opera were given by Dr. Nagel, assisted in interpretation by Lilian Wilson, soprano, as Lady Harriet; Lillia Snelling Farquhar, contralto, as Nancy; Ivan Edwards, tenor, as Lionel; Frank Geiger, baritone, taking the parts of Tristan and Plunkett, and the Ladies Madrigal Octette of Los Angeles as the Maid Servants.
39At the annual election of the Ebell Club a musical program was introduced as an innovation for such occasions. The California Mixed Quartet (consisting of Irmalee Campbell, soprano; Charles King, tenor; Virgie Lee Mattoon, contralto; and James Murray, baritone) was heard in a number of selections. The program included Blue Danube Waltz, By the Waters of Minnetonka, Bells of St. Mary's, Carmen, and the quartet from Rigoletto, by the ensemble; Vision Fugitive, by James Murray, Qui La Voca, by Irmalee Campbell, Che Gelida Manina, by Charles King, and The Eternal Gift, and Touch of Spring, by Virgie Lee Mattoon.
41At the City Club, a musical program under the direction of Gertrude Bird Holt included numbers by Mrs. Genevieve Clark, whistler, accompanied by Ivy Lake; Ruth Burdick Williams, soprano, in the aria Face, pace mio Dio, Spring Song, by Winter Watts, and Song of the Violin, Jamison. William Conrad Mills, tenor, accompanied by Helen Davenport, gave The Volga Boatman and Mother of Mine.
43The May festival concert of the Choral-Oratorio Society of Long Beach was held at the First Presbyterian Church, under the direction of Clarence Krinbill. Vernice Brand, contralto, Maxine Dalgleish, soprano, and Robert Edmonds, tenor, were the soloists. The choral feature was Mendelssohn's Walpurgis Night.
45M. T. H.
47THE PICK OF THE PUBLICATIONS
49Violin
51(Oliver Ditson Company, Boston)
53Five compositions for violin and piano by Franz Drdla.—This man with his unpronounceable name is justly world famous for his compositions, some of which have taken their places in the standard repertory and are likely to stay there for many a long day. He has here offered his admirers a set of very violinistic pieces with the following titles: Pagoda, The Fountain, Katinka, Flirt, and Danse Espagnole, some of which may take their places with the best known of his favorites. They are all so attractive that it is difficult to pick out the best.
55(Carl Fischer, Inc., New York)
57Two compositions for violin and piano by Clarence Cameron White.—They are evidently both negro songs, as are most of Mr. White's very attractive compositions. The titles are Camp Song (Water Boy), Traditional Negro Melody, and Levee Dance. It is all splendid negro music, excellently arranged for violin and piano, and sure to become popular favorites not only with violinists but with orchestra as well.
59Vocal
61(White-Smith, New York)
63Step by Step, by Geoffrey O'Hara.—The composer has used in this sacred song, lyrics by the late Gordon Johnston whose ability in this line has been of great service to composers of this type of music. Mr. O'Hara has strictly adhered to the sentiment of the text and given it a reverential theme and accompaniment in an andante con fervore tempo. The theme, which accompanies the first line "Step by Step I'll follow Thee," is simple. A very clear impression is created by the repetition of this principal theme, the first notes of which are peculiarly accented, of a moving and approaching effect which naturally betokens the approach nearer to "Where Thou Leadest, Lord." This song can be made most impressive by the proper use of the religious atmosphere attained by singers who know this field of art. It is a song written to stimulate the emotional, and offers every opportunity for the accomplishment of this end. It is published in three keys and should prove of value to church singers.
65(J. & W. Chester, Ltd., London)
67Nursery Rhymes, by A. Fairbairn Barnes.—Six little pieces arranged for soprano, alto, tenor and bass. The writing is good-humored, lively, contrapuntal and amusing.
69(Clayton F. Summy Co., Chicago)
71Cuckoo, a chorus for women's voices, by F. Leslie Calver.—There is some brilliant writing in this piece, some excellent and effective characterizations, and toward the end a bit of counterpoint that is sure to make a striking culminating effect.
73Snow-White and the Seven Dwarfs, by Jessie L. Gaynor.—Mrs. Gaynor is well known for her compositions and has never done anything more effective than this little opera for children in which she has enjoyed the collaboration of her daughters, Rose Gaynor Faeth and Dorothy Gaynor Blake. The score fills one-hundred octavo pages and the libretto is a fairy story, as may be assumed from the title. The tunes are amusing and some of the waltzes more attractive than music for children generally turns out to be. There are, especially in the last waltz song, some inharmonic modulations that are mighty attractive and are so managed that they are easy for performers.
75INFORMATION BUREAU
77REPLIES TO INQUIRERS
79Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
81COMPLAINTS ABOUT TEACHERS
83F. G. O.—It is really, extraordinary how many pupils make complaints about the teachers with whom they are studying. The natural answer to these complaints would appear to be to ask the question as to why pupils continue to study with such unsatisfactory people. Naturally when lessons are contemplated, the first consideration is the teacher. Possibly many studios are visited, the voice tried, although the fact that there frequently is a charge for trying voices may limit the number of visits made, and the teacher decided upon as the one exactly suited to the requirements. The reasons for the decision vary. A pretty, attractive studio, another girl taking lessons who praises her particular teacher, flattery about the voice from someone, but whoever is chosen is at once set up on a pedestal, but not always kept there after lessons commence. It is so easy to find fault and think the teacher to blame for every failure or delay. One person wrote to the Information Bureau complaining—because after she had studied a year the teacher would not let her make a public debut! Teachers are all anxious to have their pupils advance; that is why they teach. But most pupils are not inclined to take any advice that does not agree with their own wishes. Many pupils consider a teacher a bitter enemy. As said above, why not make a change if not suited? Teaching is such hard work that a pupil not in sympathy must be a strain upon the teacher's nerves. You have all New York to choose your teacher from. Not all students are studying seriously; they may think they are, but these constant complaints make one doubt it.
85MARIO A CELEBRATED TENOR
87W. D. T.—The tenor you ask about who was mentioned in a poem must be Giuseppe Mario. He was born in Sardinia in 1810 and died in Rome in 1863. He first appeared in opera in 1838, but it was in 1840 that he joined the Italian Opera. The poem in which he is mentioned is Aux Italiens by Owen Meredith, whose poems may not be read as much at present as they were in the last century. There is no opera house in Paris now called Aux Italiens, nor is there much Italian opera sung. The poem commences with the line: "At Paris it was, at the Opera there," the second verse mentioning that the opera was Il Trovatore. Continuing, "And Mario could soothe with a tenor note a soul in Purgatory." In another verse the singing of the Miserere is alluded to and that his voice rang out "Non ti scordar di me, non ti scordar di me." You should read the poem, it is interesting. Mario married Grisi, also a celebrated singer.
89Junior Students Appear at Master Institute
91The season's closing junior recital was held at the Master Institute of United Arts, New York, on May 21. Vera Marks, Edith Friedman, Susan Fox, Fifi Lazaris and Muriel Sable, all tiny pianists, demonstrated a surety in technic and a delicacy of interpretation which delighted the audience. An equally diminutive violinist, Kalman Getter, played Beethoven-Kreisler's rondino, with Jeanette Binder at the piano, with assurance and melodic feeling. Two gifted children, Ira Spector and Dorothy Blumberg, gave works of Beethoven, Mendelssohn and Mozart with poise and assurance. Numbers of Godard, Mozart, Durand and Schmoll provided opportunity for Madeline Mutnick, Gladys Needles, Edith MacLellan and Blair Hawes to reveal undertaking of style and admirable facility of technic. Final numbers were given with a sense of balance by Edward Trestman and Janet Simon, whose ingratiating interpretations won a ready response from the audience. Fine ensemble work was shown by Marjorie and Leonard Sable, who gave a dramatic interpretation of Grieg's Hall of the Mountain King. The final number of the program was a trio by Bridge, played by Mildred Pearson, piano; Socrates Lazaris, violin, and Paul Moss, cellist, with fine modulation and style.
93The students who appeared were pupils of Sina Lichtmann, Ethel Prince Thompson, Esther J. Lichtmann and Sadie Blake-Blumenthal of the piano department; Gustave Walther of the violin department; and Percy Such of the cello and ensemble department.
95A large audience applauded the recital and afterwards visited the exhibition of works by students of the painting and sculpture departments of the Master Institute of United Arts.
97PACIFIC COAST DIRECTORY
99ARMSTRONG, FRANCIS J.
100Concert Violinist
101Resident in Seattle, 1519 3rd Ave.
103BEHYMER, L. E.
104Manager of Distinguished Artists
105705 Auditorium Bldg., Los Angeles
107BOGART, ANDREW
108Teacher of Singing
109"A Message to Singers" mailed on request
1102218 Lake Street, San Francisco
112BOWES, MR. and MRS. CHARLES
113Voice—Mise en scene
114146 South Grand View, Los Angeles
116BRESCIA, DOMENICO
117Voice Specialist—Composition
118407-8 Marshall Square Bldg., San Francisco
120CORNISH SCHOOL OF MUSIC, INC.
121Dramatic Arts and Dancing
122Nellie C. Cornish, Director
123Roy Street, at Harvard, Seattle, Wash.
125JACQUES JOU-JERVILLE of Paris
126Formerly Boston Opera
127and leading grand opera of France
128Private Voice Studios
129The McKelvey, Seattle, Wash.
131KANTNER SCHOOL OF SINGING
132Clifford W. Kantner, Director
133306 Spring Street, Seattle, Washington
135LOTT, MR. and MRS. CLIFFORD
136Voice and Piano
137Member, American Academy of Teachers of Singing, N. Y.
138912 W. 20th St., Los Angeles
140OATMAN, JOHN R.
141Musical Courier Correspondent
142713 Couch Building, Portland, Ore.
144PERSINGER, LOUIS
145Management Selby Oppenheimer
14668 Post Street, San Francisco
148SAN FRANCISCO CONSERVATORY OF MUSIC
149ERNEST BLOCH, Director
1503435 Sacramento St., San Francisco
152TOWNS, KIRK
153Baritone
154205 The McKelvey, Canadian Club
155Seattle one of two readings
156New York one of two readings
157Seattle New York one of two readings
The computer misreads some letters and numbers. Where a name matters to you, read the scan.