Books › Musical Courier 1928-03-01: Vol 96 Iss 9, 1928 › scan 36
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Musical Courier 1928-03-01: Vol 96 Iss 9, 1928
129 lines. Read by computer on 29 September 2026. Printed page 37. See the scan on archive.org.
1March 1, 1928
3Recent Publications
5Reviews
6(The Willis Music Company)
7Six Mexican Melodies, transcribed for violin by Godfrey Ludlow.—Ay-Ay-Ay, La Borrachita, Si Algun Ser, Mi Viejo Amor, Rosalinda and Maldito Tango are the numbers included in this volume. The songs themselves are already favorites with the melody loving public. Singers of fame have placed them on their programs as popular attractions with the result that the audiences have clamored for more. The transcriptions of Mr. Ludlow have placed these selections at the disposal of the public in another form, which is proving just as popular as the vocal, for the clever arrangements of the violinist are indeed intriguing. Mr. Ludlow has an original ability for harmonization, his progressions, while being considerably modern, still maintain the chief theme of the songs, and in fact his embellishments tend to accentuate the beauty of the original tune. This collection employs some very difficult double stops that are quite unique and individual. They lend a decided touch of originality to the thematic development and should attract every lover of popular tunes.
9(The Boston Music Co.)
10Hindu Lullaby, by Marghee Knaffl, transcribed for violin by Godfrey Ludlow; Transcriptions on Favorite Melodies, for violin and piano, by Godfrey Ludlow and Keith McLeod.—Gentle Annie, Plantation Folk tune, Nobody Knows the Trouble I've Seen, Swing Low Sweet Chariot, Steal Away and Water Boy are in this collection. Mr. Ludlow and Mr. McLeod are very well suited in their musical ideas. They have made of these original tunes sketches that can well be included in a classical program, and yet retain all the flavor which has made them favorites for many years.
12The Hindu Lullaby is a simple arrangement of an attractive melody. The middle section has an appealing interpolation of double stops in thirds, which is a thing that all lovers of tunes revel in. The entire work, of course, is marked by a gentle, flowing rhythm, in keeping with the spirit it portrays, and Mr. Ludlow was wise in stressing the main theme, which is of a decided Oriental flavor.
14Publications Received
15(Chappell-Harms, Inc., New York, N. Y.)
16Little Grey Home in the West, song, by Hermann Löhr, chorus arrangement by Clarence Lucas.
17The Far-Away Bells, song, by Westell Gordon.
18When Shadows Fall, song, by Leslie Loth, chorus arrangement by Clarence Lucas.
19Rose of Memory Lane, song, by Westell Gordon, chorus arrangement by Clarence Lucas.
20The Blind Ploughman, song, by Robert Coningsby Clarke, choral arrangement by Clarence Lucas.
21A Brown Bird Singing, song, by Haydn Wood, chorus arranged by Clarence Lucas.
22Tick, Tick, Tock, song, by Bernard Hamblen.
23Come Back in Dreams, song, by Bernard Hamblen.
24Mammy's Precious Pickaninny, song, by Lillian R. Goodman, chorus arranged by Clarence Lucas.
25Roses of Picardy, song, by Haydn Wood, chorus arrangement by Clarence Lucas.
26Mate O'Mine, song, by Percy Elliott, chorus arrangement by Clarence Lucas.
27Three for Jack, song, by W. H. Squire, chorus arrangement by Clarence Lucas.
28Croon, Croon, Underneath De Moon, song, by G. H. Clutsam, chorus arrangement by Clarence Lucas.
29In the Garden of Tomorrow, song, by Jessie L. Deppen, chorus arrangement by Clarence Lucas.
30On Eagles Wings, Jesus of Nazareth, From Day to Day, three songs by Bernard Hamblen.
32(Nordheimer Piano & Music Co., Ltd., Toronto, Can.)
33The Little Blue Ghost, song, by W. O. Forsyth.
34The Light of the Summer Stars, for piano, by W. O. Forsyth.
36(J. Fischer & Bro., New York, N. Y.)
37I Hold A Rose In My Hand, song, by Hugh R. Newsom.
38My Life Is Like The Summer Rose, song, by Hugh R. Newsom.
40MUSICAL COURIER
42Sometime At Eve, song, by Hugh R. Newsom.
43Mother O'Mine, song, by Hugh R. Newsom.
44Question They Soul Today, song, by Hugh R. Newsom.
45Constancy, song, by Hugh R. Newsom.
46Whither Thou Goest, song, by Hugh R. Newsom.
48(Clayton F. Summy Co., Chicago, Ill.)
49Hie Away, song, by Pauline Penn Russell.
50Tarantella, for piano, by Lucina Jewell.
51April Shower, for piano, by Frances Terry.
52A Peter Pan Picture Suite, for piano, by Louise Robyn.
53Slumber Song, and A Story, for piano, by Olive Endres.
54A Little Dance, and The Pixie Band, for piano, by Olive Endres.
55Chromatic Etude, and Etude de Concert, for piano, by Florence A. Goodrich.
56Russian Dance, for piano, by Henry Smidt-Gregor.
57Laughing Brook, for piano, by Frances Terry.
59Philadelphia Civic Opera Company
60Give Die Walkuere
62Vocally and Dramatically the Wagnerian Opera Proves Great Success—Splendid Cast of Principals Includes Florence Austral, Helen Stanley, Marie Stone Langston, Sigurd Nilssen, Paul Althouse and Fred Patton
64PHILADELPHIA, PA.—The Philadelphia Civic Opera Company gave what proved to be perhaps the most imposing performance of its history on February 23, when Wagner's Die Walkuere was presented at the Metropolitan Opera House before a capacity audience. Difficult as this opera is, vocally, dramatically, and as to stage properties, it was a veritable triumph from beginning to end.
66The cast was a strong and well balanced one. Florence Austral, as Brunhilde, received such an ovation after her first appearance (in the famous Valkyries' Call) as threatened to stop the performance. Her remarkable success a few weeks ago as Aida with this same company had in a measure prepared the audience for her superb rendition of this entirely different and difficult role. The depth and richness of her voice were combined with splendid acting in her scenes with Wotan.
68Helen Stanley, as Sieglinde, again added lustre to her already brilliant record. Her voice, so recently heard in the lighter part of Cio-Cio-San, was equally fine in this Wagnerian role, showing the diversity of her talents.
70Marie Stone Langston, well known Philadelphia contralto, made a regal Fricka, and was in excellent voice.
72Paul Althouse seemed especially well fitted to the role of Sigmund and sang beautifully, especially in the so-called Spring Song and Sword Song in the first act. Although heard here to fine advantage many times before, probably never before has he sung a part better than this one.
74Fred Patton was the Wotan. His voice is of a fine quality, and in the famous Farewell to Brunhilde, of the last act, he achieved a real triumph. Sigurd Nilssen was a satisfactory Hunding.
76The parts of the eight Valkyries were taken by some of the best known of Philadelphia's singers—Hilda Burke, Emily Stokes Hagar, Ruth Montague, Mildred Faas, Marjorie Meyer, Esther Binker, Helen Bentz and Maybelle Marston. Their acting and singing were of a high order.
78The orchestra, composed of Philadelphia Orchestra men, did fine work, while Alexander Smallens did some excellent conducting, maintaining a fine balance between orchestra and voices and bringing out the many Wagner motifs in a most accomplished manner. Mr. Smallens with the principles was called out many times by the applause of the enthusiastic audience.
80M. M. C.
82More Engagements for Festival Opera Company
84The Adelaide Anderson Conservatory of Music, of Pocatello, Idaho, Gaylord Anderson, director, has engaged the Festival Opera Company for a performance of the Barber of Seville next November. The contracts were arranged by the Ellison-White Bureau of Portland, Ore., on behalf of Clarence E. Cramer, Chicago producer. Gertrude Huntington, of Spokane, Wash., also has engaged for the company for a performance.
86It long has been the contention of the many American music critics that the Barber of Seville should be sung in English. When given with a group of such capable singers as are to appear in the Festival Opera Company's production, the experiment will be most interesting. The cast will feature three former Chicago Grand Opera stars—Melvina Passmore, soprano; William Rogerson, tenor, and Henri Scott, bass—as well as John Ross Reed, late of the Monte Carlo Opera; Margot Hayes, Howard Carman and Charles Boggs.
88FREDERIC HUTTMAN
89OFFERS
90EXCEPTIONAL OPPORTUNITY TO
91AMERICAN VOCALISTS
93For the sum of TWO THOUSAND DOLLARS, American voice students aspiring to a European career will receive VOCAL TECHNICAL Instruction from Mr. HUTTMAN; A LANGUAGE TEACHER; PRIVATE OPERA or ORATORIO COACH, STAGE DIRECTOR; Weekly ATTENDANCE at OPERA or CONCERT, and BOARD and ROOM for the period of ONE YEAR.
95Mr. Huttman, who is a teacher of Internationally known Vocal Artists, guarantees to students, who, in his opinion, are qualified, auditions before the most prominent Managers, Impresarios and Directors of Europe, and will assist them in securing engagements.
97SPECIAL SUMMER COURSE
98of 6 months for $1,000—including all above conditions to advanced vocalists. Term beginning May 15, 1928.
100American References on file at
101Musical Courier Office, New York
103Private address:
104Richard Wagnerstrasse 37, Cologne, Germany
106"An artist having the technical equipment and the feeling for music to give a finished performance."—El Paso Herald.
108Frederick Gunster
109TENOR
110Management: RICHARD COPLEY, 10 East 43rd St., New York City
112AMERICAN SOPRANO
113In America 1927-28
11450 West 67th Street
115Tel.: Susquehanna 9490
117VOICE
118Specializing in Oratorio
119165 West 74th St.,
120New York City,
121Telephone Endicott 9677
123MYRNA SHARLOW
124MORRIS GABRIEL WILLIAMS
125RENEE CHEMET
126K of C AUDITORIUM
127SEATING CAPACITY 1550 — STAGE CAPACITY 100
12851st STREET AND EIGHTH AVENUE
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