Scan 8
Musical Courier 1928-05-10: Vol 96 Iss 19, 1928
75 lines. Read by computer on 28 September 2026, twice; the two readings disagreed in places. Printed page 9. See the scan on archive.org.
1May 10, 1928
3Dr. de Koos Announces Artists for Next Season
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6Americans on the List
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9The Hollandsche Concertdirectie Dr. G. de Koos, The Hague, has engaged the following artists for appearances with the Concertgebouw Orchestra conducted by Mengelberg and Monteux, with the Residentie Orchestra conducted by Dr. van Anrooy, with the Utrechtsch Stedelijk Orchestra conducted by Cornelis, for the various music societies and for its own subscription concerts for the season 1928-29:
10Piano—Claudio Arrau, Stefan Askenase, Wilhelm Backhaus, Bela Bartok, Harold Bauer, Alexander Brailovsky, Harriet Cohen, Ernst v. Dohnanyi, Severin Eisenberger, Paul Frankel, Carl Friedberg, Leopold Godowsky, Frans Goldenberg, Vladimir Horowitz, Jose Iturbi, Ilona Kabos, Elsa Karen, Leonid Kreutzer, Frieda Kwast-Hodapp, Frederic Lamond, Mischa Levitzki, Joseph Lhevinne, Yolanda Mero, Benno Moiseiwitsch, Elly Ney, Nicolai Orloff, Sergei Rachmaninoff, Arthur Rubinstein, Walter Rummel, Harold Samuel, Jan Smeterlin, Solomon, Tibor Szatmari, Margarette Wit, and Aglaia von Zech;
11Vocal—Rosette Anday, Sophie Braslau, Lucia Chagnon, Lucille Chalfant, Lucia Corridori, Richard Crooks, Esther Dale, Ursula van Diemen, Ilona Durigo, Harriet van Emden, Birgit Engell, Elena Gerhardt, Co van Geuns, Dusolina Giannini, Meta Glass-Villaret, Louis Graveure, Roland Hayes, Maria Ivogun, Vera Janacopoulos, Nina Kochetz, Lotte Lehman, Myra Mortimer, Charles Panzera, Marie Rappold, Tito Schippa, Elisabeth Schumann, Franco Tafuro, Jacques Urlus, and Ruth Welsh;
12Violin—Zlatko Balakovic, Samuel Dushkin, Mischa Elman, Adila Fachiri, Carl Flesch, Thelma Given, Cecilia Hansen, Jascha Heifetz, Bronislaw Huberman, Paul Kochansky, Fritz Kreisler, Georg Kulenkampff, Edith Lorand, Barbara Lull, Nathan Milstein, Alexander Moskowsky, Vasa Prihoda, Alexander Schmuller, Toscha Seidel, Albert Spalding, Joseph Szigeti, Emil Telmanyi, Jacques Thibaud, Josef Wolfstahl, and Efrem Zimbalist;
13Violoncello—Judith Bokor, Arturo Bonucci, Pablo Casals, Gaspar Cassado, Maurice Eisenberg, Emanuel Feuermann, Hans Kindler, Gregor Piatigorsky, and Antoni Sala;
14Chamber music—Budapester Trio, Trio Kreutzer-Wolfstahl-Piatigorsky, Amar Quartet, Budapester Quartet, Capet Quartet, Harpen Quartet, Lener Quartet, London String Quartet, Pro Arte Quartet, Roth Quartet, Triester Quartet, and Wiener Quartet;
15Miscellaneous—Concertgebouw Orchestra, under the direction of Mengelberg, La Argentine (Dance), Ruth St. Denis (Dance), Andres Segovia (Guitar), and Robertson and Bartlet (two-piano recital).
17Summer Courses at Carnegie Institute
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20A faculty of twenty-two, including three guest instructors, will be in charge of the summer courses in music this year at the Carnegie Institute of Technology in Pittsburgh. The guest instructors are Dr. Will Earhart, who will give a two weeks' course on base of methods in public school music and technic of conducting; Glenn H. Woods, who will give two courses throughout the six weeks' period, one in community music and one in methods for junior and senior high schools; and Elba Lindbom, who will give a course in special features of elementary instruction.
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23Summer courses in Music at Carnegie are arranged in two main groups announced as the public school music course and the instrumental course, each of which consists of a combination of subjects of instruction. Courses will be given for a period of six weeks, from June 25 to August 3. Professor J. Vick O'Brien, head of the department of music, will be in charge. Members of the regular faculty staff who will be retained for the summer session include Susan T. Canfield, Huldah J. Kenley, Dr. Casper P. Koch, Otto C. A. Metz, and fourteen regular faculty members who will be available for individual lessons in music.
25Philadelphia Civic Opera to Give Sixteen Performances
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28The Philadelphia Civic Opera Company, Mrs. Henry M. Tracey, president and general manager, plans to give sixteen performances in the Academy of Music, Philadelphia, during the period from October 18, 1928, to April 18, 1929. Alexander Smallens has been reengaged as musical director for next season, Karl T. F. Schroeder as stage manager, and members of the Philadelphia Orchestra will continue to give orchestral support.
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31In the last five years, fifty-one operas were given by this company, among them three American premieres. Over one hundred young Philadelphians made their operatic debut in leading and small roles, all of whom were individually coached under the musical and stage directors of the Civic Opera. Artists from the Metropolitan and Chicago Opera companies, as well as from European companies, were secured for many of the leading roles.
33Lauwers Honored by French Government
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36Charles Lauwers, who has just been appointed first French conductor by Col. Blois, general manager of the New Syndicate of the Covent Garden Theater in London, has been decorated by the French Government. The French consul in Chicago, M. de Fontnauville, presented Lauwers with the Brevet d'officier d'Academie by promotion of the French Secretary of Beaux-Arts, dated March 1, 1928. This distinction was accorded Mr. Lauwers for services rendered to French art throughout his theatrical career. Mr. Lauwers recently left for London on board the S. S. Veendam of the Holland-American line. He has been re-engaged for his tenth consecutive season by the Chicago Civic Opera Company.
38N. A. O. Pennsylvania Chapter to Convene
39May 20
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42Under the auspices of the Reading chapter, Pennsylvania State Council, National Association of Organists, a three days' convention will begin in Reading on May 20, Dr. William A. Wolf, president. A radio recital; The Reading Day; testimonial dinner tendered President Wolf; guest organ recital; moving picture demonstration; public service at St. Stephen's Reformed Church, with chorus of 100; address by J. Francis Cooke; a banquet, also various automobile rides—all this makes up an interesting program.
44Harmonious Hans and Alphonse
45Their Tragic Lives Told in Tone
46By Mortimer Wilson
47(Copyrighted, 1928, by The Musical Courier Company)
49Hans had a toy given him by his father. Now the father was a descendant of a long line of industrious, truthseeking, and unostentatious toilers. It can, therefore, readily be imagined that Hans' toy was one of solid proportions, well-rounded corners, and free from artificial color-veneer,—if we may be allowed a slight figure of speech.
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52The toy was patterned after its prototype in nature; that is, it was not its creator's conception of how Nature should have fashioned it in the first place. When Hans received the toy it was in this shape:
54Hans appreciated the possibilities of which this simple toy was capable. He could see its myriad applications to as many needs. It never occurred to him to wish it were in this shape:
56Had he wished it that way, he could, of course, easily have made it so. He had a hammer-and-tongs, a file, and several tubes of paint, but such decorations, he thought, belonged more properly to the quaint little figures adorning his leather play-breeches.
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59During infancy, Hans had not been fed upon the crimson veneer that comes off when chewing a striped rubber-ball: hence his digestion was unimpaired. A little sauerkraut and beer, with a bit of pumpernickel, had not satiated him with a desire for froglegs and snails. He could still enjoy real food.
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62Hans had a neighbor playmate who ate snails and drank cafe-au-lait. This playmate's toys were different from those of Hans. They were lively with many hues; and in their wood Hans often found knot-holes ingeniously decorated and almost obscured by a brilliant slice of orange or egg-yolk. When in his neighbor's company, Hans speculated how glorious to believe that one could play the tuba with the wind of an E-flat trumpet.
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65Alphonse, for that was the playmate's name, had no pleasure in Nature's toys. This delicate disposition sought the idealistic fancies which the universe had neglected to record. Reared even higher than ostentation, nothing satisfied but the exotic. Alphonse's father, and a short line before him, had grown ethereal by cleverly avoiding routine and hard work. Most of them had had a weak spine.
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68This is the shape of one of Alphonse's ethereal toys:
70As the playmates grew, the influence exercised by the toys brought results to be expected. Hans became a man of this shape:
72Alphonse persisted in the fight to outlaw Nature, and his backbone became this shape:
74As the grown men now pass along the crowd, they are separately joined by those who played with similar toys, either imbibing the brightly colored veneers or appreciating the solidity of Nature's simple truths.
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