Books › Musical Courier 1927-11-10: Vol 95 Iss 19, 1927 › scan 24
Scan 24
Musical Courier 1927-11-10: Vol 95 Iss 19, 1927
82 lines. Read by computer on 29 September 2026. Printed page 25. 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.
1November 10, 1927
3well-balanced piano accompaniments. Many encores were granted the enthusiastic listeners by the baritone, and one programmed number had to be repeated.
5Richard Crooks
7Richard Crooks, tenor, was the soloist at the third symphonic concert on Sunday morning, November 6, at the Roxy Theater, being greeted by a large audience. He sang with tonal beauty and distinctiveness of style the Una Furtiva Lagrima from L'Elisir d'Amore, which brought him a well earned success. Recalled several times, he responded with an encore, the ever beautiful O Moon of My Delight.
9The orchestra of 110 men accompanied the singer and also played the Goldmark Sakuntala Overture, Tchaikovsky's fourth symphony (second, third and fourth movements), and a group comprising prelude, Jarnefelt, To A Wild Rose by MacDowell, and Molly on the Shore by Percy Grainger. Erno Rapee and his men gave the score an authoritative reading.
11Geza de Kresz and Norah de Kresz
13Geza de Kresz, Hungarian violinist, and his English wife and accompanist, Norah de Kresz, gave their second sonata recital of the season at the Guild Theater on November 6, before a decidedly interested audience. In the selection of their program the de Kresz ran practically the whole gamut of violin-piano sonata literature, beginning as they did with the Brahms D minor, op. 108, Sonata, and concluding with a Ravel sonata, in the ultra-modern vein.
15Of the four movements of the Brahms sonata, the first, adagio, and last were the most successful, as there is a noticeable loss of tone, beauty and resonance in direct proportion to an increased rate of speed and dynamics.
17It is seldom that one is afforded such a musical treat as the second number on Mr. de Kresz' program proved to be. It was a violin solo, sans accompaniment, the Bach Chaconne, Partita in D minor. The Chaconne is one of Bach's famous two-part inventions, replete with contrapuntal intricacies and Herculean feats of bowing. That Mr. de Kresz acquitted himself admirably must be a pre-conceived conclusion—none but an artist of the first water could have the temerity to present such an ambitious offering. Mr. de Kresz reached a high point of technical perfection in the Partita, playing the five dance forms with only a slight pause between each.
19The last two numbers on the program—sonatas by Jarnach and Ravel—although in the conventional sonata form, seemed to have gone over to the side of program, rather than absolute, music. Jarnach's sonata might easily have had a title à la Debussy, and the first movement of the Ravel might just as well have been another peep through one of his contemporaries' colorful cathedral windows. Ravel's second movement, Allegretto (Blues), was written in the popular jazz idioms, if one might be permitted to use such a term, and began with a strummed introduction on the violin. The last movement, Constant Motion, was delightful. In the piano accompaniments the consummate artistry of Mrs. De Kresz ably supplemented the violin numbers of her husband.
21Werrenrath and the Capitol Theater Orchestra
23The Capitol Theater opened its big front door on November 6 for the Sunday morning throng of music lovers who had come to hear the theater's fifth hour of music and Reinald Werrenrath. The program consisted of popular orchestral composition—Bizet's L'Arlesienne suite, the scherzo from Dukas' Sorcerer's Apprentice, and the second polonaise of Liszt. Mr. Werrenrath sang the aria, Vision Fugitive, from Massenet's Herodiade, Duna, and Danny Deever, which seems to belong just to him. It was an hour of genuine pleasure, devoid of formalities, and filled with the spirit of sincere appreciation. David Mendoza, who has made the Capitol Theater orchestra the organization that it is, directed with the fine sense of feeling and understanding which is characteristic of his work. Mr. Werrenrath came forward with a "good morning" air in his smile and gait, and he quite merited the long and hearty applause accorded him. He felt, perhaps, that his audience merited a compliment from him, so he sang The Road to Mandalay.
25Samuel Gardner
27Samuel Gardner, violinist, gave a recital at Carnegie Hall, Sunday, November 6. It proved a fine testimonial to this serious and thorough young artist, for the large auditorium was well filled and, to judge from the amount of applause coming from the two top galleries, these must have been crowded. Mr. Gardner had many recalls, compelling him to play several extra numbers at the conclusion.
29The violinist's playing is finished, his tone full, round and powerful, and always mellow. These qualities, together with his serious and unaffected manner made the recital a very enjoyable one.
31The Brahms Sonata brought forth in addition to Mr. Gardner a good pianist in Mr. Arthur Loesser, who has an excellent technic and a euphonious tone. Mr. Luther Glass was an able accompanist.
33Mr. Gardner played particularly well in the Vivaldi Concerto, which he did with fine tone, style and technic. It was a real joy to hear this beautiful gem of old violin music. The two compositions of Mr. Gardner's which appeared on the program, Old Virginia and Vaqueros, both played for the first time, were in his best mood, very original, and brought him great acclaim from the audience.
35Abbie Mitchell
37A thoroughly delightful recital was that given by Abbie Mitchell, soprano, at Steinway Hall on November 6. From the moment she stepped upon the platform the artist was en rapport with her audience, and the applause throughout the program was of the most spontaneous and appreciative kind. Miss Mitchell is a rare artist and should have a large following among concertgoers. On this occasion she repeated four of her songs, but had the audience had its way there would have been a second hearing of practically every number on the program. Miss Mitchell has a powerful voice under excellent control, and her interpretations are thoroughly musical. Her lower register is rich and full, the middle even and of fine quality, and her upper tones are clear and produced without effort.
39The singer chose for her opening group four German songs—two by Brahms, Franz' Aus Meinen Grossen Schmerzen and Schubert's Erlkonig, sung with dramatic intensity. A group of contrasting French numbers followed, Duparc's L'Invitation au Voyage appearing to have a special appeal for the audience. In the Russian group, sung in English, two numbers were repeated and an encore given. A group of numbers by Cook were rendered with fine shading and won her enthusiastic applause. The program closed with some Negro Spirituals by Hall Johnson and Burleigh, all of them effective numbers effectively sung. Miss Mitchell has a wide range of dynamics and her sustained tones are especially pleasing. She well deserved the many floral tributes given her.
41New York Philharmonic Orchestra
43Under the direction of Wilhelm Mengelberg the Philharmonic Orchestra appeared November 6, at the Metropolitan Opera House in an all-Wagner program. The program was of large proportions, making the concert longer than even the most rabid Wagnerites could have desired.
45The A Faust Overture showed spirit and an excellent working out of details, and in the Prelude to Die Meistersinger Mr. Mengelberg was at his best, conducting with life and enthusiasm in which the orchestra supported him eagerly.
47Beginning with the all too short tuba solo in the Faust Overture (why do not composers make more extensive use of the tuba?), the players brought out the phrases allotted to their instruments by the great master in a most finished way.
49The trumpet in the Prelude to Parsifal was very eloquent and beautifully shaded, as were the horn, flute, oboe, English horn and clarinet in the numerous solo passages throughout the concert. A tremolo in the bassoon in cantabile passages was no more welcome than it is in the case of a singer.
51The ensemble of the orchestra was perfect, the whole instrumental body sonorous and noble in tone quality. The strings played with rich tone and clear execution.
53The rest of the program was made up of excerpts from Die Meistersinger and Siegfried, the overture to The Flying Dutchman and the Prelude to Die Meistersinger.
55The most remarkable part of the concert was the very large audience present, even to a large number of standees; which proves the wonderful hold the music of the great Bayreuth master has on the public.
57Mr. Mengelberg was called out a great many times after each number and caused the orchestra to rise repeatedly in response to the applause.
59Pennsylvania Opera to Give Hamlet
61The season of eight performances to be given by the Pennsylvania Grand Opera Company at the Metropolitan Opera House in Philadelphia will open with Ambrose Thomas Hamlet on November 16. Titta Ruffo, baritone, who recently returned to this country to join the Metropolitan Opera Company and to fulfill his engagements with the Pennsylvania Company, will sing the title role. Ophelia will be sung by Pina Garavelli, and the names of Rhea Toniolo, Mario Fattori, Ivan Izmailox, Giuseppe Reschiglani, Valentin Figaniaik, John Witt and Preston Foster also appear in the cast. The presentation will be under the direction of Walter Grigaitis. Francesco Pelosi is general manager of the company.
63Prof. M. ELFERT FLORIO
64TEACHER OF CELEBRATED SINGERS
65Complete Operatic Training—Concert—Oratorio
66Studio 8D, Chickering Hall, 27 W. 57th St., New York
68The New Pythian Temple Auditorium
70To the artist or concert management anticipating a recital or other musical event, the magnificently appointed new PYTHIAN TEMPLE Auditorium is available at a moderate rental.
72Equipped with a grand organ and stage, with seating capacity of 1,400, perfect acoustics and an atmosphere of beauty and refinement. This auditorium is unsurpassed in the Metropolitan district in its arrangement.
74In addition fifteen distinctively decorated smaller rooms are available. Each organ-equipped. Adaptable for all musical engagements.
76Pythian Temple places at the disposal of its guests, a sumptuous foyer and lounge, a dining room of rich elegance and many other facilities.
78Situated in the Center of Convenience
7970th Street, East of Broadway
80New York
81For information address Manager of Pythian Temple
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