Books › Musical Courier 1928-03-01: Vol 96 Iss 9, 1928 › scan 32
Scan 32
Musical Courier 1928-03-01: Vol 96 Iss 9, 1928
118 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 33. See the scan on archive.org.
1March 1, 1928
3Juilliard School Orchestra
4Under the able direction of Albert Stoessel, the Orchestra Class of the Graduate School of the Juilliard School of Music gave an interesting Bach concert at the Engineering Auditorium on February 26. The program consisted of the Brandenburg Concerto in G; the Coffee Cantata with soprano, tenor and bass; a composition with bass, solo violin and chorus, and the Peasant Cantata with soprano and bass.
5Mr. Stoessel has done splendid work with these young people. The performance of the orchestra and that of the vocalists and chorus, as well, was conspicuous for an excellence of ensemble and a dignity of style that would be commendable even in musicians of much greater experience.
7New York School of Music and Arts Recitals
8On successive Thursday evenings of last month two unusual programs (the 60th and 61st) were given at the New York School of Music and Arts, Ralfe Leech Sterner, director. These were unusual in that the first was given entirely by young women, the second by young men, and also in the wide variety of music presented in the thirty-five numbers. Piano, organ, violin and vocal solos, vocal trio, male quartet and violin choir, all done by young pupils, from memory, showed the quality as well as quantity of work at the New York School of Music and Arts. Many pupils live in the school dormitories, which are always filled. They come from all over, Cuba, Porto Rico, South America being represented as well as the United States. The programs speak better than any words, and are herewith reprinted:
1060th PUPILS' CONCERT
11Thursday Evening, February 9
12Organ—Andantino ……………………………………… Batiste
13Vocal Duet—Every Flower (Madame Butterfly) …………. Puccini
14Janice Brown and Ruth O'Neil
15Piano—Siciliano and Sonata in D ………………………. Scarlatti
16Alys Rosenfield
17Vocal—(a) Ah! Love But A Day ……………………….. Gilberte
18(b) Come Out In The Sweet Spring Night …………….. Gilberte
19Margaret Noonan
20Violin—Legende ……………………………………… Wieniawski
21Helen Klepser
22Vocal—Aria, Elsa's Traum (Lohengrin) ………………… Wagner
23Frieda Hoffman
24Piano—The Lark ……………………………………… Balakireff
25Rose Slypian
26Violin—Zigeunerweisen ………………………………. Sarasate
27Violet Kahn
28Vocal—Aria, Stride La Vampa (Il Trovatore) …………. Ruth O'Neil
29Piano—Romance, from Suite …………………………… Arensky
301st Piano, Juliet Barragan; 2nd Piano, Flora Gross
31Vocal—Aria, Vissi D'Arte, Vissi D'Amore (Tosca) …….. Puccini
32Margaret Toohey
33Piano—Romance, Op. 44 ………………………………. Rubinstein
34Laura Brian
35Vocal—Aria, Connais-tu le pays? (Mignon) …………… Thomas
36Elizabeth Fey
37Piano—Military Polonaise …………………………….. Chopin
38Margaret Smith
39Vocal—Dawn ………………………………………….. Curran
40Blanche De Walt
41Piano—Etude, Opus 10, No. 12 ……………………….. Chopin
42Rica Prezzi
43Vocal—Aria, One Fine Day (Madame Butterfly) ………. Puccini
44Janice Brown
45Violin—Hejre Kati ……………………………………. Hubay
46Shirley Portnoi
47Vocal—Aria, Caro Nome (Rigoletto) ………………….. Verdi
48Dorothy Heyden
49Piano—Eighth Hungarian Rhapsody ……………………. Liszt
50Dounia Rutenberg
51Vocal Trio—Les Sylphes ………………………………. Bachmann
52Margaret Noonan, Janice Brown, Ruth O'Neil
5361st PUPILS' CONCERT
54Thursday Evening, February 16
55Piano—Variations on a Theme by Beethoven …………… Saint-Saens
56Alfred Di Rocco
57Vocal—Aria, Through the Forest, Through the Meadows (Der Freischutz) ……………………….. Von Weber
58Wilbur Lindsey
59Violin—Dirge of the North …………………………… Balogh-Kreisler
60Ransom Terwilliger
61Vocal—Invictus ………………………………………. Huhn
62Charles Schepp
63Vocal Duet—Solenne in Quest' ora (La Forza Del Destino) ……. Verdi
64Eva Williams and Edwin Matern
65Violin—Czardas ……………………………………… Monti
66Joseph Lauria
67Vocal—Aria, Celeste Aida (Aida) …………………….. Verdi
68Jean Borloz
69Piano—Romanze ……………………………………… Granados
70Prelude in C minor ………………………………….. Bach
71Raul Barragan
72Vocal—Requiem ……………………………………… Homer
73Edwin Matern
74Violin—Hungarian Dance …………………………… Drdla
75Master Julian Altman
76Piano—Nocturne, F sharp major; Scherzo, B flat minor ……. Chopin
77Vincent Aita
78Vocal—Aria, Flower Song (Carmen) ………………….. Bizet
79Evan Williams
80Male Quartet—The Lotus Flower …………………….. Schumann
81Evan Williams, Charles Schepp, Wilbur Lindsey, Edwin Matern
82Violin Choir (Under the direction of Paul Stoewing)
83(a) Air on G String ……………………………………. Bach-Wilhelmj
84(b) Hungarian Minor Symphony ……………………….. Mozart one of two readings
85(b) Hungarian Rhapsody No. 2 ……………………….. Mozart one of two readings
86Misses Noonan, Klepser, Kahn, Portnoi, Toledano, Mohaupt, Henriques, Messrs. Lauria, Zarnowski, Terwilliger, Di Rocco, Caravale, Halperin, Altman.
87Alice Davis at the piano
89Olga Halasz Pupils' Recital
90Chickering Hall was well filled on February 21, when eight piano pupils of Olga Halasz gave a recital, the first portion devoted to classic and the second to Hungarian composers. All played from memory, with technical clearness and style, giving pleasure. Thelma Vera-Estanol showed musical touch in six Chopin preludes, and played futuristic sketches by Weiner and Bartok very well. Gertrude Oberlander's phrasing and well developed technic were displayed in a Mozart sonata movement, and Liszt's six Hungarian rhapsody. Lois Dawson played a Beethoven dance with clean-cut technic and rhythm. Sophie Rauch is a very musical child, which she demonstrated in a Mendelssohn barcarolle and Siklo's Dance. A tasteful pianist is Irene Schwarz, showing good touch in Chopin's waltz in C sharp minor. Doris Maier's playing of Beethoven's first concerto (movement I) showed crisp touch and warmth; to this Mme. Halasz played the second piano. Beatrice Riemer shone in pieces by Poldini and Radnai, and Madeleine Lakatos did excellent playing, especially in Poldini's Impromptu.
91Mme. Halasz, graduate of the Royal Hungarian Academy of Music, Budapest, has taught there and in other European cities. Ernst von Dohnanyi was a classmate of Mme. Halasz and highly recommends her; a summer course from June 15 to August 1 is planned by this excellent teacher.
931927-1928 FACULTY AND PUPILS OF THE NEW YORK SCHOOL OF MUSIC AND ARTS.
94RALFE LEECH STERNER, DIRECTOR.
95Left to right: First (lower) row—Alice Davis, Paul Stoewing, Arthur Friedheim, Emma Robinson Sterner, Ralfe Leech Sterner, Frederick Riesberg, of the faculty, and Alfred DiRocco; second row—Evan Williams, Margaret Noonan, Janice Brown, Ruth O'Neil, Anne Cooke, Helen Klepser, Frieda Hoffman, Margaret Toohey, Elizabeth Fey, Violet Kahn, Sydney Halperin, Raul Barragan; third row—Charles Schepp, Vincent Aita, Wilbur Lindsey, Jean Borloz, Edwin Matern; top row—Flora Gross, Juliet Gross, Rica Prezzi, Indez Toledano, Lois Henriques, Margaret Smith, Dounia Rutenberg, Florence Smith, Laura Brian, Ransom Terwilliger, Joseph Lauria, Helen Mahaupt, Shirley Portnoi.
97MYRA REED
98Third New York Recital Feb. 8th
99"DISPLAY OF PIANISM PLACES HER WELL TO THE FOREFRONT OF THIS SEASON'S COMPETITORS IN THE LOCAL CONCERT FIELD."—Noel Straus in New York Evening World.
101Kubey-Rembrandt Photo
103"Myra Reed, a comely young pianist . . . made a decidedly favorable impression at her Town Hall recital last night. Miss Reed . . . disclosed a brilliant technic, accurate and clean to the slightest detail. Her interpretations were imbued with more than ordinary rhythmic grace and charm. For musicianship and finish of style, her display of pianism placed her well to the forefront of this season's competitors in the local concert field. Miss Reed's virtuosity had full play in the Naila Waltz of Delibes in the Dohnanyi arrangement, and it proved an exceptionally enticing bit of bravura work, accomplished with the ease and poise that comes of genuine command of the instrument. Shunning overstatement with the sanity that marked her evening's accomplishments in general, she gave the composition a reading of rare refinement and lucidity. Her agile, well equalized fingers also were employed with dazzling effect in an encore, Liszt's Gnomenreigen, which further served to exhibit dexterity in the manipulation of crisp, rapid staccato."—Noel Straus in New York Evening World.
105"Myra Reed is an interesting musician whose pianistic skill was agreeably illustrated last night at Town Hall. . . . Miss Reed convinced her hearers of her versatility in style and her broad command of tonal and dramatic effects."—Grena Bennett in New York American.
107" . . . Miss Reed's qualities of light touch, deft scale and distinction of melody. . . . She showed sound ideas and technical competence."—New York Times.
109"Miss Reed . . . an able pianist . . . digital precision and mechanical perfection. . . . Prokofieff, Ravel and Delibes-Dohnanyi each received correct and conscientious treatment."—New York Herald Tribune.
111" . . . Miss Reed . . . possessor of ten intelligent and flexible fingers. She crossed hands in the Scarlatti piece with great accuracy and colored Scarlatti's fast-moving scales with some facility . . . Miss Reed was competent, her fingers were agile."—New York Sun.
113Steinway Piano
114Duo-Art Records
116Management—RICHARD COPLEY, 10 East 43rd St., New York City
117PERSONAL ADDRESS—5405 WALNUT STREET, PHILADELPHIA, PA.
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