Books › Musical Courier 1928-04-12: Vol 96 Iss 15, 1928 › scan 38
Scan 38
Musical Courier 1928-04-12: Vol 96 Iss 15, 1928
102 lines. Read by computer on 28 September 2026, twice; the two readings disagreed in places. Printed page 39. See the scan on archive.org.
1Recent Publications
3Publications Received
5(White-Smith Music Publishing Co., New York, N. Y.)
6An Indian Slumber Song, a song by Harland A. Riker.
7Four Songs, by H. N. Redman.
8Tales from Arabian Nights, suite for organ, by R. S. Stoughton.
10(Clayton F. Summy Co., Chicago, Ill.)
11Readings, Musically Illustrated, by Freida Peycke.
12The Peace of Night, By the Brookside, for piano by Emma Dutton Smith.
13Barcarolle, for piano, by Florence A. Goodrich.
14Caprice Joyeuse, for piano, by Leslie Loth.
15Caprice Fantastique, for piano, by L. Leslie Loth.
16The Merry-Go-Round, for violin, by Charles Kovacs.
17Pomponette, for piano, by Theodora Troendle.
18In the Park, for organ, by H. P. Hopkins.
19Mother Nature Songs, by Henrietta Coughtry Stevenson.
20Worship Songs for Youth, by Mrs. Crosby Adams.
21Etudes, by Frederic Chopin, transcribed for two pianos four hands by Edouard Hesselberg.—Andante in E flat minor; Vivace in G flat major; Presto in C sharp minor; Lento ma non troppo, E major; Allegro in C major; Allegro in C minor.
23(Arthur P. Schmidt Co., New York, N. Y.)
24The Lord Is My Strength, Easter song, by Alfred Wooler.
25Sweet Bells of Easter Time, song, by William Baines.
26Grace Be Unto You, Easter song, by F. Leslie Calver.
27The Risen Christ, Easter song, by George Henry Day.
28This Is the Day of Light, Easter song, by William Berwald.
29Resurrection, Easter song, by W. J. Marsh.
30Hie Away, Hie Away! song, by Roy E. Agnew.
31June Twilight, song, by Roy E. Agnew.
32Contrasts, piano cycle in five pieces, by Roy E. Agnew.
33Duo Concertante, for violin, cello and piano, by Franz Drdla.
34Practical Finger Exercises, for violoncello, by Guillaume Hesse.
35Scale and Arpeggio Studies, for violoncello, by Guillaume Hesse.
37(Chapell-Harms, Inc., New York, N. Y.)
38VOCAL LIBRARY OF PART SONGS:
39Little Grey Home in the West, for female voices, by Hermann Lohr.
40Mammy's Precious Pickaninny, for three female voices, by Lillian R. Goodman.
42Come Back in Dreams, for three female voices, by Bernard Hamblen.
43A Brown Bird Singing, for three female voices, by Haydn Wood.
44Rose of Memory Lane, for three female voices, by Westell Gordon.
45When Shadows Fall, for three female voices, by Leslie Loth.
46Far-Away Bells, for three female voices, by Westell Gordon.
47The Blind Ploughman, arranged for mixed voices, by Robert C. Clarke.
48Tick, Tick, Tock, arranged for mixed voices, by Bernard Hamblen.
49From Day to Day, sacred song, by Bernard Hamblen.
50King Jesus of Nazareth, sacred song, by Bernard Hamblen.
51On Eagles Wings, sacred song, by Bernard Hamblen.
53VOCAL LIBRARY OF PART SONGS FOR SCHOOL USE.
54In the Garden of Tomorrow, by Jessie L. Deppen.
55Croon, Croon, Underneath de Moon, by G. H. Clutsam.
56Three for Jack, by W. H. Squire.
57Mate o' Mine, by Percy Elliott.
58Roses of Picardy, by Haydn Wood.
59Come Back in Dreams, by Bernard Hamblen.
60Long Ago, song, by Leslie Elliott.
61Oh Lucindy, song, by Jessie L. Deppen.
62Southern Skies, song, by Keith McLeod.
63You Gave Me All My Sunshine, song, by Haydn Wood.
65Music Reviews
67(J. Fischer & Bro., New York)
68Songs, duets and piano pieces, by Hugh Newsom.—This large collection seems to have been published all at once and was copyrighted in 1927. There are thirteen songs published separately, two duets, two song collections, from which are taken some of the songs published separately, and three piano pieces. It is impossible at this writing to do more than generalize. The music is evidently the work of a skilled composer who understands not only how to construct a pleasing melodic line, but also how to support it with effective harmonies and pianistic arrangements. The general character of the music is broad and strong. Mr. Newsom is fond of modulation but does not carry it to excess. Special mention must be made of the good vocal writing; the voice parts in all of the numbers are written in a manner that will please singers. The vocal range is moderate and where high notes are used they are reserved for the purpose of climax.
70Symphonic Piece for organ and piano by Joseph W. Clokey.—The piece opens with a movement called dialogue. This is followed by a romance, a scherzo, and intermezzo, and a fugue by way of finale. The work is hardly of symphonic length as it is understood in connection with symphonies to be played by the orchestra, nor is the music of symphonic character that one expects in orchestral music. It appears to be rather in the nature of a brief piano concerto or suite, with an elaborate organ accompaniment. Mr. Clokey leans slightly toward modernism in his harmonies and allows himself progressions that were not familiar a generation ago. At the same time it would be libel to call him a modernist, and his music is far too good to belong in that category. That Mr. Clokey writes counterpoint with ease and fluency is evident enough, but he uses commendable discretion in not overloading his music with the contrapuntal style so familiar with organists, and even the fugue is rather more of a free fantasia than a fugue in the old sense. This is a work that should be of interest to pianists, as well as organists, and one can readily perceive that it might be profitable to arrange the organ part for the orchestra.
72(G. Schirmer, Inc., New York City)
73By the Bend of the River, a song by Clara Edwards.—Here we have a song to words about the moonlight and other pleasant things which are most enjoyable in the days of youth, when one is unconscious of the existence of mosquitos, malaria, and other miasmas. The left hand movement suggests a barcarolle, but the tune itself is more of a light and graceful dance. The general effect is that of a ballad with verse and refrain, and it is the sort of music that might profitably be arranged for orchestras that have saxophones and banjos in them, not to speak of muted trumpets. There is no reason why this song should not become a popular favorite.
75GEZA DE KRESZ AND NORAH DREWETT
76Prior to sailing for Europe recently, this well known violinist and pianist gave a successful concert in Windsor and Victoria. They will be in Europe all summer, most of their time being spent in Vienna, where both will teach a number of pupils who followed them abroad. The couple will return in the fall and resume their concert work.
78WILLARD SCHINDLER
79Baritone
80Cincinnati Grand Opera Co.
81SCORES IN OPERA AND CONCERT
82The following are criticisms from the pens of numerous critics following his appearance in the Wolf-Ferrari one act opera "The Secrets of Suzanne" at the Goodman Theatre, Chicago, Ill., March 18, 1928, under the direction of Isaac Van Grove:
84"I enjoyed very much the manly, plausible characterization of Count Gil by Willard Schindler."—Herman Devries, Chicago American.
86"Willard Schindler, as the suspicious husband, Count Gil, was both clever and expert to a high degree, never at a loss for telling action and POSSESSED OF A FINE, RESONANT BARITONE and a PERFECTED ENUNCIATION THAT GAVE EVERY WORD ITS JUST AND LAWFUL DUE."—G. D. Gunn, Herald Examiner.
88"THAT MOST DIFFICULT THING TO TRANSMIT, COMEDY, WAS PROJECTED IN EFFECTIVE FORM BY WILLARD SCHINDLER."—Edward Moore, Chicago Tribune.
90"The text was perfectly understood throughout the score. . . . MR. SCHINDLER HAS A BARYTONE VOICE OF POWER AND ALSO knew how to use it intelligently, and the RIPPLING TUNES and concerted passages went with celerity and facility."—Maurice Rosenfeld, The Daily News.
92"In the Wolf-Ferrari opera, Willard Schindler, as Count Gil, distinguished himself. Here is a young man who hails from California and who has all the requisites for a successful operatic career. HE HAS THE VOICE, THE DICTION, THE PHYSIQUE, and in the difficult role he made A LASTING IMPRESSION. His success had the earmarks of a PERSONAL TRIUMPH."—Rene Devries, Musical Courier.
94"Mr. Schindler is a DOMINANT FIGURE ON THE STAGE. He combines a FINELY TRAINED BARI-TONE VOICE, which is at his absolute command, colorful and fiery, rich and powerful, with a histrionic ability, which if the gods are willing, should make him one of our great singing actors."—Roger Bromley, Music News. one of two readings
95"Mr. Schindler is a DOMINANT FIGURE ON THE STAGE. He combines a FINELY TRAINED BARI- TONE VOICE, which is at his absolute command, colorful and fiery, rich and powerful, with a histrionic ability, which if the gods are willing, should make him one of our great singing actors."—Roger Bromley, Music News. one of two readings
97"Mr. Schindler has a voice of great possibilities, and WAS ADMIRABLE in his acting as IN HIS SINGING, and gave a telling performance as the Count Gil."—Evelyn French, Musical Leader.
99"Willard Schindler as the husband was comical, stagewise, and sang his lines in completely understandable English with a voice of EXCELLENT QUALITIES."—Albert Goldberg, Musical America.
101Schindler Management: Suite 1432—701 North Michigan Boulevard
The computer misreads some letters and numbers. Where a name matters to you, read the scan.