Books › Musical Courier 1928-05-10: Vol 96 Iss 19, 1928 › scan 29
Scan 29
Musical Courier 1928-05-10: Vol 96 Iss 19, 1928
65 lines. Read by computer on 29 September 2026. Printed page 30. See the scan on archive.org.
1Leginska Reengaged as Conductor of Woman's Symphony Orchestra of Chicago
3Frieda Hempel Gives First Chicago Recital in Several Seasons—Gilbert Ross Makes Deep Impression—Other News of Interest
5FRIEDA HEMPEL
6CHICAGO.—Frieda Hempel, who has not been heard in Chicago in several seasons, reappeared at the Studelaker in a song recital on April 29. Beautiful to gaze at, gorgeously costumed and bejeweled, her ingratiating charm and personality gained her new friends and caused old ones to rejoice as she made her appearance on the stage.
8A lieder singer who knows how to sing and interpret the classics as well as the moderns, Hempel displayed her beautiful and even voice in songs by Handel, Mozart, Schumann, Schubert, Brahms, Franz, Ravel, Hahn, and Holmes. Besides the qualities above enumerated, there is another that must be written here in capital letters—MAGNETISM. Here is an asset that cannot be acquired. Either one has it or has it not, and Mme. Hempel bubbles with magnetism. Her success was emphatic and her return engagements here in seasons to come should be numerous.
10GILBERT ROSS
11Heard for the purpose of this review in Cesar Franck's Sonata in A major, Gilbert Ross made a deep and lasting impression on his listeners at the Playhouse on April 29. Impeccable technic, bigness and beauty of tone were only a few of the qualities revealed by the distinguished young American violinist. His well built program included also selections by Albert Spalding, Chausson, Handel, Mozart-Kreisler, Lili Boulanger, Burleigh and Pablo de Sarasate. According to reports on hand, he played throughout the afternoon with the same mastery noted in the Sonata, the only number heard by this reporter.
13Mr. Ross was ably assisted by Leon Benditzky, the much-in-demand accompanist.
15SALOMEA KRUCENISKI
16The above named soprano is, to begin with, not very modest, as she styles herself the "world's greatest operatic singer." Heard for that reason, if for no other, in recital at Orchestra Hall on April 29, she showed remnants of what might have been a remarkable voice at one time. Years have gone by since Kruceniski created in Brescia the role of Butterfly after that opera had been hissed in Milan. Rearranged by Puccini and sung by Kruceniski, Butterfly's success at Brescia was the beginning of the triumphal life of one of the most successful of our modern operas.
18Those things and many others concerning the musical life of Salomea Kruceniski are practically unknown to American musicians and totally to the layman. Probably due to this fact, the singer was handicapped by appearing before an empty house. It was disconcerting to the few on hand to see so many vacant seats and how much more it must have been to a singer of note. Years ago Kruceniski had a tremolo and that fault still is with her. Years ago she had a glorious voice and made a splendid appearance, being beautiful to look upon and always well groomed. Those same qualities exist today. We have aged but Kruceniski has drunk at the fountain of youth and she is as young as when she scored big success in Italy, St. Petersburg and Warsaw.
20WOMAN'S SYMPHONY ORCHESTRA
21The sixth and final concert of the season given by the Woman's Symphony Orchestra of Chicago, under the leadership of Ethel Leginska, completely sold out the Goodman Theater on the evening of April 29. Before reporting the concert we wish to inform the readers of these columns that Leginska has accepted an unlimited engagement as conductor of the Woman's Symphony Orchestra of Chicago and will conduct a series of concerts next season.
23This being set down, it remains to congratulate the conductor of the Woman's Symphony Orchestra for what she has accomplished with this body of players since the beginning of the season. Where at first we were willing to give a helping hand by praising the Woman's Symphony, today we can truthfully sing its praise without blushing for using many superlatives. Bach's Choral Prelude, By the Waters of Babylon (superbly orchestrated by Mabel Wood Hill), had its first performance here and was beautifully played by the orchestra. Then came the Mozart Symphony in D major, the real backbone of the program, and in this the orchestra proved itself a remarkable instrument, one on which Leginska can play with the same fluency, delicacy of tone and stupendous dynamics as she can on the instrument of the immortals.
25Not satisfied to appear as conductor, Leginska scored too as composer of a Triptych for Eleven Instruments, which had its first performance on this occasion under its composer. On those who possess so-called modern ears, who delight in dissonance, in cacophonies, who love tone color above harmony, the Triptych made a deep and lasting impression. To one born with musical ears, those confusing noises irritated and we could not join our plaudits with those of a delighted audience which recalled the conductor-composer time after time to the stage. Chicago audiences are really far advanced in matters of modern music. They understand new works after a single hearing as quickly as a child in kindergarten could understand Wagner.
27After the intermission Delius' Concerto in C minor for piano and orchestra had its first performance here with Esther Linder, as soloist, giving a splendid account of herself. Endowed with ten fingers of steel, she used her digits in producing stupendous dynamics without forcing her instrument at any time. Her rhythm is excellent, her technic flawless, and if the Delius Concerto scored such a big success here, it was due in a great measure to the rendition of this young pianist, who should go to the front in her chosen field of expression. The orchestra under Leginska gave the pianist splendid support. The Tschaikowsky Nutcracker Suite concluded the program and the present series of concerts. Long life to the Woman's Symphony Orchestra of Chicago, to its conductor and to those who, by their generous support and attendance have made its existence possible! The Woman's Symphony Orchestra is making history in the musical life of this city and its future will be watched with interest by those who were present at its birth and during its development.
29ELSA HARTHAN ARENDT PUPIL SINGS
30Pupils from the class of Elsa Harthan Arendt are constantly heard in recital throughout the season and reflect the excellent training received under the guidance of this fine voice teacher. Ida Greenspon, soprano, sang in recital at Sherwood Recital Hall on April 30, winning well deserved success in Besly, Zimbalist, Carew, Rogers, Edwards, Sachs, Batten and Ronald numbers.
32CHICAGO MUSICAL COLLEGE SYMPHONY ORCHESTRA
33The Chicago Musical College Symphony Orchestra under the direction of its conductor, Leon Sametini, assisted by artist students, gave another concert on April 29 at Central Theater. Smetana's Overture to the Bartered Bride, well played, opened the program auspiciously. Then came Ethel Bentkover, a student of Maurice Aronson, who gave a lucid reading of the Mozart concerto for piano in A major. J. Robert Long, who hails from the class of Graham Reed, made a good impression in the Flower Song from Bizet's Carmen. The Bach Concerto for two violins in D minor was played by Edna Ellen and Jeanette Perlman, excellent products of the Leon Sametini class. Pearl Walker Yoder, a Herbert Witherspoon student, disclosed a well trained dramatic soprano voice in Ritora Vincitor from Verdi's Aida. Evelyn McConchie, student of Mme. Cole-Audet, played with good understanding and fluent technic the first movement of the Beethoven Concerto in G major. The program came to a happy conclusion with two excerpts from Wagner's Lohengrin—the Prelude and the Introduction to the Third Act. Another concert that reflected the high standard of the Chicago Musical College as a school of musical learning.
35CHICAGO MUSICAL COLLEGE NEWS ITEMS
36Pearl Walker Yoder, pupil of Herbert Witherspoon and Wesley La Violette, sang at the spring concert of the Winnetka Community Church at Winnetka. H. S. Foth, tenor, another Witherspoon pupil, was soloist with the Edgewater Men's Chorus over WMAQ on April 26. Mr. Foth also broadcasted over WORD on April 24 and was soloist with the Hyde Park Y Men's chorus over WLS on May 4.
38Helen Fletcher, pianist, artist pupil of Maurice Aronson, was a soloist during Music Week held by the Federation of Music Clubs at Billings, Mont., on May 7.
40Dorothy Caraher, pupil of Graham Reed, made her debut in March in the Rose of Erin, an operetta and had unusual success.
42Lydia Mihm, soprano, pupil of Isaac Van Grove, was soloist at the Uptown Theater the week of April 30. Miss Mihm, and Willard Schindler, tenor, another pupil of Van Grove, broadcasted a group of songs over KYW April 25.
44Loene Pooler, pianist, artist pupil of Gustav Dunkelberg-er, will give a piano recital of modern compositions at Lynn, Mass., where she will hold a five weeks' summer course.
46Marine Obenchain, organist, pupil of Charles Demorest, has accepted a position as organist at one of the leading moving picture houses in Grand Rapids, Mich. Marvin Luke, a pupil of Mr. Demorest, has been appointed assistant organist at one of the leading theaters in Grand Rapids.
48BUSH CONSERVATORY NOTES
49Helen Wilson, soprano, directed the song cycle, The Morning of the Year, by Cadman, for the music department of the Centralia Woman's Club, at the Methodist Church, Salem, Ill., on April 25.
51Clay Hart, tenor, artist student of Herbert Miller, has been filling a month's engagement at Aquila, Italy, the three principal tenor roles in Lucia, Rigoletto and Trovatore.
53Lillian Dubsky, student of the dramatic department, gave a program for the Oak Park Woman's Club on April 27.
55The following judges represented Bush Conservatory last week in the Chicago Herald and Examiner Piano Tournament: Helen Herscheid, Bernice Peck, Samuel Gotz, Alicia Appelman, Robert Yale Smith, Gretchen Parker.
57The degree students of the public school music department under the direction of Lyavine Votaw, Oranne Truitt Day, and Lawrence Johns, staged a children's operetta, The Forest Court by Grant Schaefer, on April 28. The children taking part in the cast were gathered from junior pupils from the piano, violin, voice and expression departments. The project was most successful.
59During the past week, two adult classes in piano have been organized by Ellen Munson of the piano faculty. The classes will be directed by Miss Munson.
61The students of Marjorie Barton, pianist, and Lorentz Hansen, violinist, were heard in recital on April 28, giving evidence of careful, thorough training.
63FOUR YOUNG CELLISTS
64Four young cellists, pupils of Hans Hess, taking part in a program under the auspices of the American Conservatory at Kimball Hall on April 21, were most heartily applauded for their fine playing. A certain finesse, characteristic in Mr. Hess' pupils, was again noticed in each of these young people's performances. John Horn, with Dorothy Best at the piano, played the Marcello Sonata in A minor (first time in Chicago), showing musically understanding and technical finish quite unusual for a lad of his age. Bruch's Kol Nidrei was given by Arnold Cohn with fine tone and splendid appreciation of the music. Catharine Carlsson and Ione Bryce, both of whom undoubtedly will go far in their chosen field, judging from the marked strides they have made since their appearance last year at these concerts, won well deserved applause—Miss Carlsson in
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