Books › Musical Courier 1927-10-27: Vol 95 Iss 17, 1927 › scan 11
Scan 11
Musical Courier 1927-10-27: Vol 95 Iss 17, 1927
76 lines. Read by computer on 27 September 2026. Printed page 12. See the scan on archive.org.
1LAIRD FRANK WALLER DISCUSSES PROGRAM MAKING
3Laird Frank Waller, who has just returned to his native Chicago after several years spent abroad conducting symphony orchestras in Berlin, Dresden, Munich, Vienna and Paris, was recently interviewed by a representative of this paper. What he had to say should prove interesting to the student as well as to the professional musician.
5"A famous music critic recently remarked, 'We critics are ourselves frequently severely criticised for writing a review of a concert after hearing an artist perform only a few numbers. It seems strange that people do not know that a very good and very fair estimate of an artist's ability can be given after a few minutes' hearing.'
7"And so it is. Henry Russell, who directed the former Boston Opera Company, disliked auditions, and not infrequently would ask an aspirant to sing only the last two pages of an aria.
9"It takes time to build up a repertory. And the difficulty with artists—especially young artists—is that their efforts are concentrated on learning the classics, which are absolutely necessary to their musical development. When a sufficient number of these are learned, it is rather difficult to restrain the urge to give a concert. With a singer, the plan is rather simple: a program is assembled, consisting of a group of the early masters, followed by German classic or romantic, then a French assortment, and closing with English. The idea is practically always the same, although an occasional operatic aria is interspersed.
11"A few years ago I prepared a program for an intelligent young lady artist in New York. It was so unusual that it could be only a success or a 'flop'—no intermediate course was possible. To begin with, the young lady was intelligent, and had a good if not remarkable voice. Noting the unusual program before the concert, most of the critical faculty were at the concert for the opening group. Most unusual of all, not one of the critics left before the last number.
13"Her notices were extremely good; her success was assured; a prominent manager guaranteed her a tour without an advance fee. But—she married a millionaire who refused to let her sing in public.
15"This experiment proved two things conclusively: that critics (and audiences) will take time to hear an artist that offers something unusual, and a singer who does not sing the usual 'hackneyed' numbers does not subject him—or herself—to comparison with the most eminent artists appearing before the public."
17Mr. Waller's many years spent abroad have given him an excellent opportunity of becoming acquainted with the finest music being composed at the present time, and serve to make his work as coach particularly advantageous for singers. He is busy coaching and teaching now at his Fine Arts Building studio in Chicago.
19MUSIC DAY IN CANADA
21TORONTO, CANADA.—Music holds a most important place on the program of the Canadian National Exhibition at Toronto each year. One day of the two weeks of the exhibition is called Music Day, and everything pertaining to music—all musical organizations and artists from all over Canada—has its say on this day. This year there were twenty-four bands in competition and over seventy piano recitals in the booths of the different piano exhibitors. All over the grounds there were troubadour groups in costume doing their singing. There were the Music Makers under the direction of Campbell McInnes, of the National Opera Company, doing The Bohemian Girl; The Kiwanis Gypsies; Ukrainian Chorus; a minstrel group; a Welsh group; "Ye Old Time Village Choir," and all sorts of organizations doing their best to make Music Day a sensation. There was a special cornet and trombone competition by members of competing bands for a trophy donated by the Coun Co.; there were also choral groups, juvenile choirs, banjo and guitar bands, harmonica bands, ukulele bands, old-time orchestras, dancing in costume from ten different dancing studios representing different countries and doing their native dances—everything and anything to help towards the spirit of Music Day. But perhaps if one might single out one feature of this glorious day of music, it would be the sensation of the Exhibition Chorus, which consists of 2200 voices directed by Dr. H. A. Fricker, conductor of the famous Mendelssohn Choir, Toronto. This chorus, which was organized in 1922, is one of the most outstanding musical organizations in Canada. The chorus was accompanied by the Toronto Concert Band. Each conservatory puts on a concert by its leading pupils, and innumerable private teachers have their artist-pupils performing.
23During the two weeks of the exhibition musical competitions were being held each day and gold medals were given as first prize, silver medals as second, and there was a third prize. Each class was stubbornly contested, which only went to prove the wealth of musical talent in Canada. Space will not allow mention of all the prize winners, but the Gold Medallists in each class were as follows: (Coloratura soprano) Joy Fawcett, Toronto; (lyric soprano) Mary Collings, Oakville; (mezzo soprano) Elizabeth Wright, St. Lambert, Quebec; (contralto) Dorothy Lisette, Toronto; (lyric tenor) Edwin Oswald, Brantford; (robust tenor) Charles Auld, Mt. Brydges; (baritone) Richard Ticehurst, London; (bass) Ralph Connor, Kitchener; (girl's high voice, age under sixteen years) Helen M. Dougan, Hamilton; (boy's unchanged voice) Edward Murch, Toronto; (violin) contestants under twelve years, Leon Rotterman, Toronto; under sixteen years, William Krehm, Toronto; open, a tie between Ethel Calvert, Toronto, and Abie Pratza, Toronto; (piano) contestants under nine years, Eleanor Jose, Toronto; under twelve years, Nancy Fine, Toronto; under sixteen years, Margaret Landsdowne, Toronto; open, a tie between Wilma Stevenson, Hamilton, and Muriel Richardson, Hamilton; (cornet) open, Jack Bray, Toronto; under eighteen years, John Durham, Toronto; (harmonica) under sixteen years, Rupert Wickham, Toronto; open, Jack Little, Toronto; (old time fiddlers—over sixty-five years) George Dallas, West Toronto; (old time fiddlers—fifty to sixty-five years) George Hawe, Proton; (bagpipe, intermediate—Marches) Marion Watson, Hamilton; (bagpipe, intermediate—strathspeys and reels) Ina Simpson, Hamilton; (bagpipe, junior—marches) Robert Allen, Hamilton; (bagpipe, junior—strathspeys and reels) Walter Johnston, Toronto.
25There was also a scholarship of $75.00 awarded to the competitor showing the most talent in the vocal, piano, and violin departments. The winners of the scholarships were: (Ladies, vocal) Irene Baker, Toronto; (men, vocal) Leigh L. Bundy, Thorold; (piano) tie between Wilma Stevenson and Muriel Richardson, Hamilton; (violin) tie between Ethel Calvert and Abie Pratza, Toronto.
27Everything pertaining to this festival of music is in the hands of the Canadian Bureau for the Advancement of Music, and J. S. Atkinson, the director, is to be highly congratulated upon the magnificent success of this stupendous musical undertaking.
29CHICAGO RECITAL
30Goodman Theatre
31SUNDAY AFTERNOON, OCTOBER 30th
33Frederick Gunster
34TENOR
35Management: RICHARD COPLEY, 10 East 43rd St., New York City
37THE NEW YORK MUSIC BUREAU
38Takes Pleasure in Announcing the Opening of Its New Offices at
39730 FIFTH AVENUE
40HECKSCHER BUILDING
42A List of Distinguished and Talented Artists who will Cooperate with
43THE NEW YORK MUSIC BUREAU
44For the Fall and Spring Season will be Announced soon
46Bookings will include the United States, South America, Mexico and Cuba.
47PHONES CIRCLE 1184-1185
49FREDERICK E. BRISTOL.
50New York vocal teacher, who is also one of the oldest subscribers of the MUSICAL COURIER. Mr. Bristol, following his annual custom, held a class last summer at Harrison, Me., and has now resumed his work at his New York studios. (Photo by V. Akers, Norway, Me.)
52Pratza, Toronto; (piano) contestants under nine years, Eleanor Jose, Toronto; under twelve years, Nancy Fine, Toronto; under sixteen years, Margaret Landsdowne, Toronto; open, a tie between Wilma Stevenson, Hamilton, and Muriel Richardson, Hamilton; (cornet) open, Jack Bray, Toronto; under eighteen years, John Durham, Toronto; (harmonica) under sixteen years, Rupert Wickham, Toronto; open, Jack Little, Toronto; (old time fiddlers—over sixty-five years) George Dallas, West Toronto; (old time fiddlers—fifty to sixty-five years) George Hawe, Proton; (bagpipe, intermediate—Marches) Marion Watson, Hamilton; (bagpipe, intermediate—strathspeys and reels) Ina Simpson, Hamilton; (bagpipe, junior—marches) Robert Allen, Hamilton; (bagpipe, junior—strathspeys and reels) Walter Johnston, Toronto.
54There was also a scholarship of $75.00 awarded to the competitor showing the most talent in the vocal, piano, and violin departments. The winners of the scholarships were: (Ladies, vocal) Irene Baker, Toronto; (men, vocal) Leigh L. Bundy, Thorold; (piano) tie between Wilma Stevenson and Muriel Richardson, Hamilton; (violin) tie between Ethel Calvert and Abie Pratza, Toronto.
56Everything pertaining to this festival of music is in the hands of the Canadian Bureau for the Advancement of Music, and J. S. Atkinson, the director, is to be highly congratulated upon the magnificent success of this stupendous musical undertaking.
58Hanna Brooks Gives Annual Bedford Recital
59Hanna Brooks gave her annual recital at Bedford, Pa. on September 15, accompanied by Beatrice Raphael, who also interpreted and translated the songs for the audience. Miss Brock's program consisted of the aria, Caro Nome, from Rigoletto, a group of Liszt songs, a Brahms group, and English songs. The reviewer of the Inquirer wrote of her: "She held her audience entranced with her brilliant execution and exquisite shadings, her wonderfully developed voice taking the variances in the separate numbers with perfect register."
61Miss Brooks spent her summer teaching in Bedford, and that city is appreciative of her interest in them, as evidenced in the paper's tribute that "Miss Brooks has brought a great deal to Bedford. Her music has awakened a dormant spirit because we have talent that needs development."
63Annie Louise David's New Studio
64Annie Louise David, harpist, reopened her new studios on Riverside Drive on October 24. Prior to that, on her return from Europe, she went to Portland, Me., for some concentrative work in preparation for her concerts this season. She will be under the Eastern management of Harry and Arthur Culbertson, continuing her Western connection with Alice Seckels, of San Francisco.
66One of her special programs will be a costume recital. Miss David brought with her many novelties from Europe.
68Leonore Gordon Foy Opens New Studios
69Leonore Gordon Foy, dramatic soprano of Pittsburgh, has announced the opening of new studios on Shady Avenue in that city. Mme. Foy will be remembered for her singing with the Opera Comique and the Manhattan Opera Company.
71Mignon Sutorius a Dramatic Mezzo
72In a recent issue of the MUSICAL COURIER it was stated that Mignon Sutorius, a pupil of Conal O'C. Quirke, who has been reengaged to appear in opera in Philadelphia this season, is a soprano. As a matter of fact, Miss Sutorius is a dramatic mezzo.
74Paul Althouse in Opera
75Paul Althouse will appear with the Philadelphia Civic Opera Company four times during the winter, in the following operas: L'Amore de Tre Rei, Samson et Dalilah, Wal- kure, and Pagliacci.
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