Books › Musical Courier 1927-11-10: Vol 95 Iss 19, 1927 › scan 39
Scan 39
Musical Courier 1927-11-10: Vol 95 Iss 19, 1927
56 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 40. See the scan on archive.org.
1MUSIC ON THE PACIFIC SLOPE
3SAN FRANCISCO, CAL.
4SAN FRANCISCO, CAL.—The 1927-1928 music season has commenced! In the Gold Ballroom of the Fairmont Hotel on October 13 the Pacific Musical Society, Mrs. Frank B. Wilson, president, presented a well balanced and finely contrasted program for its members and their guests. The feature attraction was the Abas String Quartet (Nathan Abas, first violin; Julian Brodetsky, second violin; Romain Verney, viola, and Michel Penha, cello). This quartet has been recently formed from the personnel of the San Francisco Symphony Orchestra. The opening number was Mozart's quartet in B flat major which was given a performance of gentle grace, of excellent intonation, of beautifully blended tone and of intelligent conception. Other offerings were the Lento from Dvorak's American Quartet, Grainger's Molly on the Shore, and Three Novelettes by Glazounow. Each was played with a rhythmic verve, clarity of phrasing and an ensemble that was really remarkable, particularly for so new an organization. It is whispered in musical circles that the Abas String Quartet intends giving a series of concerts here during the winter season. Should such be the case devotees of chamber music may anticipate some highly artistic achievements in that branch of art.
6Mme. Rose Relda Caillaeu, soprano, accompanied by her young daughter, Relda, sang two groups of songs with perfect poise and charming intimacy. She was in fine fettle, her voice containing all the lovely qualities for which it has been so greatly admired. Songs representative of the French school served Mme. Caillaeu as a medium through which to show her art, her understanding of style, French diction and musicianship. She was heartily applauded.
8It was a large and appreciative audience at the Columbia Theatre that greeted Jascha Heifetz in his first recital here in three years, on October 16, under the management of Selby C. Oppenheimer. Heifetz is unquestionably a marvel of virtuosity, ease and elegance. Technical gifts of a high order give a solid basis for his art. His fingers are like steel and winged in their flight, his harmonics gleam, his double stopping exceptional, his tone consistently beautiful, and his intonation faultless. Music both by modern and classical composers formed Heifetz' program, wherein he manifested his versatility in mood interpretation and fine sense of style. Naturally everyone applauded everything he played, particularly Hartman's arrangement of Debussy's La fille aux Cheveux de Lin, which had to be repeated. It could not have been played better in respect to nuance, fulgent dexterity and sensitive charm of impressionism and poetic-mood. A word of special praise is due Isidor Achron, whose work at the piano was outstanding. He was always in accord with the soloist and his artistic playing lent color to the various numbers presented.
10Once again San Francisco paid tribute to the art of Claudia Muzio. The 5,000 music lovers who heard the celebrated soprano in her first concert here on October 18 gave her a rousing reception, showing that she is as welcome in recital as in opera. Muzio is without doubt one of the most charming, beautiful and gracious artists that have ever appeared on the stage of our auditorium, or, as a matter of fact, any auditorium. The oftener one hears her the most convinced one is of her great art. Whether sky-rocketing among high notes with that wonderful sureness of attack and exquisite purity of tone, or spinning pianissimo tones of the most ravishing quality, Muzio is always the perfectionist. The singer gathered her offerings from a field that ranged from early Italian classics to a number of lovely French songs, a group of English compositions and several operatic arias. Every song she sings is a creation—Claudia Muzio touches nothing which she does not adorn. The manner in which she shapes her numbers musically, how intelligently she interprets, with what masterfulness she achieves her effects all prove that she is one of the truly great artists of this generation. To describe the effect her singing had upon the people would be impossible. They were thrilled with everything she sang and applauded with real western enthusiasm. With her sweetness and desire to please her public, Mme. Muzio added innumerable encores, including the Vissi D'Arte and the Ritorno Vincor from Aida. Charles Lurvey played musically and artistic accompaniments. This was the opening attraction of Selby C. Oppenheimer's concert series.
12Louis Persinger, Louis Ford, Nathan Firestone and Walter Ferner members of the Persinger String Quartet, came from their home in Santa Barbara to play the first concert of its annual series of six in the Playhouse of the Women's Building on October 19. There was good variety in their program, which opened with Beethoven's B flat major quartet, op. 18, No. 6. Prior to the last movement, Persinger rose and in a short address reminded the audience that this was the first concert played in San Francisco since the death of Elias M. Hecht, founder and sponsor of the Chamber Music Society of San Francisco. He referred to Mr. Hecht's ideals and wonderful deeds, stating that the final movement of the Beethoven quartet (La Malinconia) would be played as a tribute to Mr. Hecht's memory. As ever, the Persinger String Quartet's playing was rich and full of color, flowing easily in a stream of sound. The men are sincerely devoted to their art and their eleven years of association have brought about a unity in execution and musical thought. No matter what the mood of the piece may be, these artists adapt themselves and convey its inner meaning. Two other numbers played were Dohnanyi's A minor quartet, op. 13 (first performance in America) and Glazounow's Novelettes, op. 15. The Persinger String Quartet was presented by The Chamber Music Society of San Francisco, which is under the local management of the Wolfsohn Musical Bureau of New York, Inc.
14The San Francisco Symphony Orchestra opened its seventeenth season in the Curran Theater with a pair of concerts on October 21 and 23. The occasion marked the beginning of Alfred Hertz' twelfth season as conductor. The outburst of sustained hand-clapping that greeted his appearance at the conductor's desk left no doubt as to the high esteem in which he is held by San Franciscans. The Brahms symphony No. 2 was given the principal place on the program. This has always been one of Hertz' pet symphonies and his reading brings out of the score the lyric elements, the harmonic web of the themes, and the sturdy power of the climaxes. The orchestra as well as the public appreciates this music of unsurpassable beauty and its performance was well nigh flawless. Strauss' Till Eulenspiegel followed the symphony. It is one of the most enjoyable numbers in orchestral repertory and was superbly rendered. De Falla's El Amor Brujo (Love, the Magician), heard in San Francisco for the first time, with its stirring rhythms and glowing colors was a fitting close to a rich program. It is an attractive and interesting novelty and shows the composer's mastery in every detail. The audience gave evidence of having thoroughly enjoyed it. There has been no radical change in the personnel of the orchestra. Mishel Piaistro has his old place as concertmaster and Michel Penha again is principal cellist. In each and every number the orchestra proved its virtuosity with brilliant effect. Its tone was beautifully round and rich and its ensemble faultlessly balanced. A remarkable ovation was accorded both conductor and orchestra at the end of the program.
16Compositions of Henry Cowell that have never been heard here before made up a large part of his program when he gave a piano lecture-recital at the Community Playhouse on October 19. This was one of Ida G. Scott's Fortnightly Concerts, wherein the program is devoted to modern music only.
18Robert Pollak, violinist, has returned from abroad and is again busily engaged teaching at the San Francisco Conservatory of Music. Pollak is at the head of the violin department.
20LOS ANGELES, CAL.
21Los Angeles, Cal.—Giordano's La Cena Delle Beffe, which was presented at the Saturday afternoon matinee, was the first local appearance of Lawrence Tibbett since his success in New York, and a large audience, out to do honor to their own, was in evidence. His work showed how far he has gone since leaving Los Angeles. He received an ovation, not only for his singing of the role of Neri, but also for his really magnificent acting. Frances Peralta was a lovely Ginevra, and Angele Bada played Gabriello sympathetically. Leslie Brigham, Millo Picco, Lodovico Oliviero, Louis D'Angelo, Clyde Umhey and Joseph Boncace filled the lesser roles exceptionally well. Dorothy Newman Smith made a lovely Lisabetta, Cornelia Black, Hilda Romaine, and Elinor Marlo all handled well the work entrusted to them. Pietro Cimini's master hand at the conductor's desk insured a practically perfect reading of the beautiful music.
23Cimini again conducted in the evening, when Verdi's Aida was given with a brilliant cast. Martinelli as Rhabdames gave a marvelous performance, not only vocally but also histrionically. Roselle gave a fine characterization of Aida, but not as effulgent a one as Turandot, which set a high standard. Bourskaya as Amneris was not only charming to look at, but gave a notable performance along somewhat original lines. Amato as Amonasro was excellent and the minor characters were well taken. The chorus which Spadoni trained was admirable, and the performance as a whole, with the excellent scenery, was gorgeous. one of two readings
24Cimini again conducted in the evening, when Verdi's Aida was given with a brilliant cast. Martinelli as Rhamades gave a marvelous performance, not only vocally but also histrionically. Roselle gave a fine characterization of Aida, but not as effulgent a one as Turandot, which set a high standard. Bourskaya as Amneris was not only charming to look at, but gave a notable performance along somewhat original lines. Amato as Amonasro was excellent and the minor characters were well taken. The chorus which Spadoni trained was admirable, and the performance as a whole, with the excellent scenery, was gorgeous. one of two readings
26In Falstaff, Tibbett again showed his remarkable ability as Ford. He and Scott, as Falstaff, were called before the curtain many of times. Frances Peralta also scored as Mistress Ford. Claire Donnelly, as Nanette, did excellent work, and Bourskaya as Dame Quickly, made a rather unimportant part conspicuous. Elinor Marlo, as Mistress Page, showed that she is acquiring poise with experience. Bada as Dr. Cajas and Oliviero as Bardolph, were entirely adequate. Gaetano Merola conducted in his usual artistic manner.
28Tuesday evening La Boheme was the offering, which Cimini conducted in a noteworthy manner. Macbeth as Mimi and Mario Chamlee as Rodolfo had a better opportunity than in Romeo and Juliet on the opening night, and they made the most of it. Macbeth was an ideal Mimi and Mario was cheered to the echo for his work as Rodolfo. Katherine Seymour as Musetta was good. The other roles were given adequately.
30B. L. H.
32WASHINGTON ENJOYS MUTH'S OPERETTA
34WASHINGTON, D. C.—Under the direction of Paul Bleyden, Edward Muth's charming little operetta, Chrysanthemum, was given at the City Club before a large gathering of members and friends. The cast was recruited from the Bleyden studios, this popular school supplying nearly a dozen of the leading singers. There was also a chorus numbering about twenty-five from the same institution.
36Chief among the soloists were Helen V. Harper, Selma S. Klein and James Barr. The music is written largely for female voices, the single exception being that of the tenor part. It is regrettable that such had to be the case, as in this instance the small part assigned to the interpreter of Omony was so delightfully sung that one vainly wished that more had been allotted to the role. Mr. Barr lent his efforts happily to the success of the production. As much can be said, for the others who appeared in various parts.
38The operetta had been done once before this season, but since the initial performance the composer had added much to his score and materially bettered the lyrics and general arrangement. The costuming was as expected, colorful, new and in good taste. The audience seemed well pleased, so much so that there is talk of a repetition.
40T. F. G.
42Deegan Well Received in New York Debut
44(no line here) one of two readings
45Mabel Deegan, violinist, played recently in New York, and in commenting on her recital the New Haven Register stated: "An attractive program was chosen for the concert which marked the New York debut of Mabel Deegan, and, notwithstanding the very inclement weather, an appreciative audience gathered to hear her at Steinway Hall. Miss Deegan, whose thorough musicianship is already well known in her native city, won a most hearty acclaim in the metropolis. This artist's stage presence, although devoid of any trace of nervousness, is capable of a fuller significance. In the Brahms' sonata in A major a mellow quality in the second movement distinguished her interpretation. In the concerto in D major, Mozart, the spirited and somewhat martial content was well stressed in the introductory passages; the melody in the second number was delicately wrought. It remained, however, for the fourth number, Baal Them, by Bloch, to prove the outstanding incident of the evening, executed with more feeling and dramatic intensity than any of the foregoing. A very finished technic characterized the Rapsodia Piemontese, Sinigaglia, and in response to the insistent and continued applause Miss Deegan graciously contributed two encores at the close of the program. Complete harmony between violin and piano, with N. Frank Chatterton at the latter instrument, added greatly to the artistic quality of the recital."
47Elsa Alsen with Chicago Opera
49Elsa Alsen, whose success as Isolde with the California opera companies is well known, has just been engaged for some guest performances with the Chicago Civic Opera Company, according to Annie Friedberg, Mme. Alsen's manager. one of two readings
50Elsa Alsen, whose success as Isolde with the California opera companies is well known, has just been reengaged for some guest performances with the Chicago Civic Opera Company, according to Annie Friedberg, Mme. Alsen's manager. one of two readings
52Maddalena Elba with Gallo
54(no line here) one of two readings
55Maddalena Elba, coloratura soprano, sang in Springfield, Worcester and Boston with the San Carlo Opera Company, creating a splendid impression in all cities.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.