Books › Musical Courier 1928-03-01: Vol 96 Iss 9, 1928 › scan 31
Scan 31
Musical Courier 1928-03-01: Vol 96 Iss 9, 1928
63 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 32. See the scan on archive.org.
1THE WOMAN'S SYMPHONY ORCHESTRA OF CHICAGO
2of which Ethel Leginska is the conductor. This organization, composed entirely of women, gave its first concert of the season, under the baton of Miss Leginska, on December 5, and received the unanimous favor of the press. Maurice Rosenfeld stated that "Ethel Leginska has made a palpitating vital instrument out of the organization." The critic of the Herald-Examiner was of the opinion that "Miss Leginska is an interesting musical personality with important and often individual ideas about interpretation, with as much pantomimic gift as Stokowski, Koussevitsky, or any of the other prima donna conductors." The second concert took place on January 8 last when the impression was deepened. The Boston Woman's Symphony Orchestra is now also well established under Miss Leginska's conductorship and will be heard in a number of concerts also. Miss Leginska appeared as guest conductor of the St. Louis Symphony on February 12 and will conduct the New York Symphony in New Rochelle, N. Y., on March 9.
4MARJORIE CANDEE
5Wins Praise of Critics
6Press Comment, Town Hall Recital, Feb. 24, 1928
7N. Y. SUN
8"The program was of broad variety and made up with RARE TASTE. The singer proved to be a CHARMING RECITALIST. She has GONE AHEAD IN HER ART WITH LEAPS AND BOUNDS during the year's time since she sang here. Her voice, of FRESH QUALITY, was WELL-PRODUCED and her understanding and delivery of texts displayed only a SERIOUS ARTIST OF ENVIRONMENTABLE ACCOMPLISHMENT. Her style was admirable and her skill in taking intervals correctly was praiseworthy. The audience was large." one of two readings
9"The program was of broad variety and made up with RARE TASTE. The singer proved to be a CHARMING RECITALIST. She has GONE AHEAD IN HER ART WITH LEAPS AND BOUNDS during the year's time since she sang here. Her voice, of FRESH QUALITY, was WELL-PRODUCED and her understanding and delivery of texts displayed only a SERIOUS ARTIST OF ENVIRABLE ACCOMPLISHMENT. Her style was admirable and her skill in taking intervals correctly was praiseworthy. The audience was large." one of two readings
10NOEL STRAUS, N. Y. EVE. WORLD
11"… Voice of more than ordinary sweetness and purity. She threw herself with considerable fervor into the more pensive and sombre effusions attempted. The singer evoked a real atmosphere and her tones took on real body in the upper register."
12GRENA BENNETT, N. Y. AMERICAN
13"… Large admiring audience. Fresh, warm and pleasing voice."
14F. D. PERKINS, HERALD TRIBUNE
15"Smooth, well-produced top notes."
16W. B. CHASE, N. Y. TIMES
17"Vibrant upper tones."
18N. Y. EVENING POST
19"Well-pleased audience."
20For terms and dates, address
21Concert Management
22Harry and Arthur Culbertson of New York
2333 W. 42nd St. New York
244832 Dorchester Ave., Chicago
26New York Concerts
27(Continued from page 24)
28a rousing reception, which she well merited. In the pink of vocal condition, Mme. Gadski gave a splendid account of herself in an excerpt from Tristan and Isolde which made one instantly realize that she is unquestionably still in possession of her excellent voice and true Wagnerian style. The orchestra, under Rapee, gave good support and added numbers by Beethoven and Wagner.
30Charles Anthony and William Heyl
31So successful was the first joint recital given this season by Charles Anthony and William Heyl that a second program of two-piano music was given at the John Golden Theater last Sunday evening. The program leaned toward the modern in character and included numbers by Ropartz, Casella and Rachmaninoff, as well as Mozart's D major sonata. Technical skill, a fine appreciation of the content of the music, and sympathetic accord in the matter of interpretation marked the playing of these two artists. Both of them also were heard in solos in which they created an equally fine impression.
33Maurice Ravel
34Maurice Ravel and assisting artists gave a concert of Ravel music at the Century Theater on February 26 with the same success that greeted the French composer some weeks ago when he appeared under the auspices of Pro Musica, the society which brought him to America. He was assisted by Lisa Roma, who has been with him on a tour of America from coast to coast, E. Robert Schmitz, founder and president of Pro Musica; Ivor Karman and Horace Britt.
35The program consisted of a trio for piano, violin and cello, songs sung by Miss Roma accompanied by Ravel, and piano pieces played by Ravel. The music again enchanted, and these American appearances of Ravel serve to remind us that in France there still lives an unassuming composer who must be listed among the great, a fact that, with all the clamor and aggressiveness of modernism, is sometimes in danger of being forgotten.
36Schmitz and his associates proved themselves excellent interpreters of the Ravel music, giving it all of the brilliance which Ravel wrote into it, and, alternately, all of that elusive, mysterious, atmospheric color of which only France and the French have the secret. Miss Roma sang the songs with the same understanding and with lovely tone quality. No better choice could have been made for the proper rendition of the Ravel works, and she was included in the applause that greeted Ravel, as were the other artists who assisted on the program.
38Civic Repertory Theater
39Eva Le Gallienne was honored at a concert on February 26, given by various "European-American" organizations in New York, in appreciation of her artistic accomplishments. Paula Fire, soprano; Margarita and Max Selinsky, violinists, and Isa Seligman, pianist, were the program's artists. At the conclusion of the concert Miss Le Gallienne was presented with gifts, flowers, and encouraging messages from the representatives of the various societies, and in reply paid fitting tribute to those who had helped her in making possible her artistic accomplishments, for which she was being honored.
41Maria Grever
42Maria Grever, a Spanish (or Mexican or South American?) composer, gave a recital of her own works at Pythian Temple with much assistance and all sorts of distinguished patronage, including that of the Ambassador of Mexico, the Ambassador of Spain, the Ambassador of the Argentine, and so on. The assisting artists were Gustavo Carrasco, Milla Dominguez, Rodolfo Hoyos, George Djimos, Marguerite Sylva, Michio Ito and the Rondalla Usandizaga, an instrumental group. Corinne Welesen was the accompanist. The music is all of it strongly flavored with the Spanish folk idiom. It is semi-popular but highly interesting and thoroughly well made.
44Marcel Grandjany
45Marcel Grandjany, French harpist, gave a recital at Steinway Hall on February 26. He played a program of unusual interest, his selections being made, obviously, not for the purpose of displaying his great virtuosity, but solely for their musical value and excellence. Among those of more than usual musical value and excellence must be named, first of all, Grandjany's own compositions. He is surely to be listed among the most genuine and most gifted of living French composers. He has invention of a high order, and his taste leans towards the idiom that has made modern French music the most talked of among modern idioms, and the idiom that has had the greatest influence upon present day writers—except those (among them some French modernists) who repudiate the style and cast it aside as something not only worthless but to be avoided. For Grandjany makes out of it music that is simply exquisite, music that one listens to with rapt attention, and of which one hears the last note with a feeling of genuine regret. The pieces he played at this recital were his Automne, heard for the first time here, and Fairy Tale, already familiar and justly popular.
46A novelty on the program was Jazz Band by Marcel Tournier, an amusing conception of the French idea of jazz, which, as Ravel has pointed out, is not the American idea of it, and remains strictly French, as it should. The balance of the program was made up of modern and classic compositions, and arrangements, some of them by Grandjany himself. The composer-harpist has a splendid technic, and, better still, genuine musicianship of the sort that is not learned but is inborn. Not that he is a self-made musi-
48MYRA HESS
49In America Jan.-April 1929
50Season Now Booking
51Exclusive Management: Steinway Piano Duo-Art
52ANNIE FRIEDBERG, Fisk Bldg., N. Y. Columbia Records
54Antoine de Vally
55The distinguished Belgian tenor says of
56THE POOL OF QUIETNESS
57by
58THOMAS VINCENT CATOR
59"It is the most satisfying song I have come across for a long while."
60Both concert and radio artists are using this number with success.
61Published by
62G. SCHIRMER, INC., NEW YORK
The computer misreads some letters and numbers. Where a name matters to you, read the scan.