Books › Musical Courier 1928-12-13: Vol 97 Iss 24, 1928 › scan 40
Scan 40
Musical Courier 1928-12-13: Vol 97 Iss 24, 1928
122 lines. Read by computer on 28 September 2026, twice; the two readings disagreed in places. Printed page 41. See the scan on archive.org.
1December 13, 1928
3whole year on Broadway. Anyhow, that is neither here nor there; his name, like that of Hinrichs, should certainly have been in the Hipsher book.
5May one add that this is not intended as a criticism of the book, which is only this far short of complete excellence.
7Variations
8(Continued from page 39)
9he should no longer keep the secret from the world. As a tonal writer remarked recently: "It is not as important to know where music came from, as to know where it is going to."
11Gershwin's new orchestral work, An American in Paris, is to be heard here today on the Philharmonic Orchestra program. If he tells the truth in tone about the average American in Paris, young women should keep their grandmothers away from the concert.
13Ernest Schilling's recital brought forward once more his own original Theme and Variations for piano. It is one of the most fanciful, characteristic, and brilliant keyboard compositions of recent years. Why is it not heard more often? Pianists maintain a peculiar aloofness from works written by their living confreres.
15A Sunday World headline has it "Music Regains Vogue in London Replacing Cocktail Parties." Interesting, if true.
17Rebecca West, the novelist, remarks: "We are remarkably poor stuff. The human being is an extremely defective animal." The lady must have been observing the paid claquers at the Opera.
19Proverbs are not always true. For instance, "Enough is as good as a feast." There is enough of Egyptian Helena, but—
21In view of the prevailing fad for intimate and insulting biographies of great men of the past, I am contemplating a series of iconoclastic volumes about the departed musical masters. Some of the volumes I have in mind shall be called:
22"Was Beethoven a Composer?"
23"Johann Strauss, the Waltz Hound."
24"Why Brahms Hid Behind His Beard."
25"Bach, Faker of Fugues."
26"Liszt, or Life With the Girls."
27"Was Mozart a Myth?"
28"Verdi, Idol of the Wops."
29"Did Sand Write Chopin's Music?"
30"Wagner's Brass 'Ring'."
31"The Private Life of Schubert in the Night Clubs of Vienna."
32LEONARD LIEBLING.
34LIVE-WIRE COPPICUS
35F. C. Coppicus, head of the Metropolitan Musical Bureau and super-energetic musical manager, now does his European business by telephone. The other day he held a conversation with London for twelve long minutes at so much per, and settled a deal which would have taken days or weeks of writing or telegraphing. Surely Mr. Coppicus must be commended for his up-and-comingness.
37Musical Courier Forum
38A Correction
39To the Musical Courier:
40Either through a slip of the fountain pen or a slip of the type setter four or five essential words dropped out of Dr. Mandyczewski's letter to me in the article on the Unfinished Symphony which appeared in last week's MUSICAL COURIER. These missing words will be found in the English translation of the German, which appeared directly beneath it, but for the sake of the record I should like to add here that the mangled sentence ought to read thus: "Vom Revisionsbericht zur Schubertausgabe erscheint keine 2. Auflage; ein solcher Bericht kann nur fuer die erste Auflage gelten, weil sich zu viele Aenderungen im Lauf der Zeit einstellen mussten." one of two readings
41Either through a slip of the fountain pen or a slip of the type setter four or five essential words dropped out of Dr. Mandyczewski's letter to me in the article on the Unfinished Symphony which appeared in last week's Musical Courier. These missing words will be found in the English translation of the German, which appeared directly beneath it, but for the sake of the record I should like to add here that the mangled sentence ought to read thus: "Vom Revisionsbericht zur Schubertausgabe erscheint keine 2. Auflage; ein solcher Bericht kann nur fuer die erste Auflage gelten, weil sich zu viele Aenderungen im Lauf der Zeit einstellen mussten." one of two readings
42Sincerely yours,
43HERBERT F. PEYSER.
44December 7, 1928.
46In Reply to Prof. Auer
47[The following letter is a reply by Mario Corti, violinist, to a letter published in the MUSICAL COURIER of November 29 by Prof. Auer in which the latter suggests that institutions such as the Juilliard and Curtis should purchase a few of the remaining first class Italian string instruments and lend them to the many debutantes which are being helped by various philanthropic ventures.—The Editor.] one of two readings
48[The following letter is a reply by Mario Corti, violinist, to a letter published in the Musical Courier of November 29 by Prof. Auer in which the latter suggests that institutions such as the Juilliard and Curtis should purchase a few of the remaining first class Italian string instruments and lend them to the many debutantes which are being helped by various philanthropic ventures.—The Editor.] one of two readings
50To the Musical Courier:
51I read in the MUSICAL COURIER of November 29 Prof. Auer's letter in which he so ably and kindly presents the case of the young artists who are in need of adequate instruments with which to begin their concert careers. one of two readings
52I read in the Musical Courier of November 29 Prof. Auer's letter in which he so ably and kindly presents the case of the young artists who are in need of adequate instruments with which to begin their concert careers. one of two readings
54He suggests two solutions: that such powerful institutions as the Juilliard and the Curtis should purchase a few of the remaining first-class Italian string instruments and lend them to the debutants until the latter have the means to acquire one, or that these institutions should establish a workshop for the building of excellent instruments. These solutions, although admirable, seem in my judgment difficult to put in practice—the first because it involves an enormous and continual expense (it requires a shorter time to educate a young violinist worthy of help than for that same debutant to accumulate sufficient money for an old Italian instrument) to the projectors, and a heavy and irksome responsibility upon the young artists; the second because of the difficulty which he himself describes in the selection of the dubious modern instruments and hence the violin makers to whom could be assigned the responsibility of founding the new American school of violin making.
56I have had occasion for many years to keep in close touch with the products of modern European violin makers, and I believe that it is possible to say that there are violins made today which are superior to the third-rate Italian ones of which he speaks, and that they could faithfully and successfully serve the young debutant. Do not suppose by this that I mean to make any specific recommendations, either individual or national. My suggestion is simply that the above-mentioned institutions should organize an annual competition for American and European violin makers, selecting possibly a pair of quartets each year. In this way, with a comparatively small expenditure, they would find themselves, in a few years, possessors of a collection of good instruments, and at the same time the committee of judges would gather information and experience which would enable them to choose the founder of the American school of violin making. I can assure Prof. Auer that the old system of the competition, although frequently of dubious outcome, gives in this case dependable results.
58In Italy these competitions have been held for the past ten years, limited, however, to Italian violin makers, and in this manner, through the aid of the government, our conservatories have acquired a number of excellent instruments. Thus, also, wealthy citizens have provided many young artists with the necessary equipment, and at the same time our Italian violin makers have been stimulated to reach that high level of beauty which has been the glory of my country for two centuries.
60With the profoundest admiration for Prof. Auer, I am
61Sincerely yours,
62(Signed) MARIO CORTI.
63December 5, 1928.
65Cleveland Enjoys All-Wagner Program
66Local Music Lovers Again Delighted With Orchestra's Annual Offerings—Gertrude Kappel the Soloist—Other Concerts
67CLEVELAND, O.—A high point of the season was the all-Wagnerian program, which Nikolai Sokoloff makes an annual event of the Cleveland Orchestra. This year the orchestra was assisted by Gertrude Kappel, illustrious Wagnerian soprano, who made her first appearance in the city and won a real ovation with the finished artistry of her singing and her startling and effective tonal effects. Mme. Kappel sang the Love Death from Tristan and Sieglinde's beautiful narrative from the first act of the Valkyrie.
69Mr. Sokoloff began his program with the Prelude to Act I of Lohengrin, and followed it with the Dance of the Apprentices from the Mastersingers and Siegfried's Rhine Journey from The Dusk of the Gods. The stirring Brunnhilde's Immolation closed the program, which seemed to be the most dexterous and exciting playing of Wagner that Mr. Sokoloff has so far achieved. Thanksgiving night patrons responded with tremendous enthusiasm to the playing of the orchestra and to the artistry of the newcomer-soloist.
71JOHN CHARLES THOMAS SOLOIST WITH SINGERS' CLUB
72John Charles Thomas was soloist at the first concert given this season by the Singers' Club. Always warmly welcomed in Cleveland, Mr. Thomas gave a highly interesting program of songs, praised the acoustics and set-up of the New Music Hall of the public auditorium and responded generously with encores. His songs included Gebet by Joseph Marx, Richard Strauss' Traum durch die Dämmerung, Brahms' O Liebliche Wangen, Au Pays by Augusta Holmes, Bemberg's Le Neige, an air from Massenet's Herodiade, and a group in English by Peter Warlock, Geoffrey O'Hara and Herbert Hughes. The Singers' Club, under the leadership of J. Van Dyke Miller, sang W. Franke Harling's Comrades the Morning Breaks, Drums by Arthur Meale, Long Ago in Alcala by Messager, Speaks' Sylvia, The Sword of Ferrara by Bullard, an arrangement of an old German melody, Ye Watchers and Ye Holy Ones, by Dr. Archibald Davidson, and a group of songs sung in memory of the late Frederick Hayes Gates, for years an active member of the club, who died last May. The In Memoriam group consisted of Protheroe's The Pilot, The Long Day Closes by Arthur Sullivan, and Crossing the Bar by Homer B. Hatch, club member.
74OTHER CONCERTS
75John Philip Sousa brought his band to the New Music Hall for an afternoon and evening performance on Thanksgiving and presented one of his customary martial and stirring programs, interspersed with instrumental solos and with vocal numbers by Marjorie Moody.
77The following evening Paul Whiteman and his orchestra were heard at the same hall, offering George Gershwin's Concerto in F for piano and orchestra, with the solo part excellently played by Roy Bargy; Ferde Grofé's new Metropolis, and several groups of ordinary dance music skillfully arranged and finely performed by his men.
79Douglas-Moore, formerly curator of music at the Museum of Art, returned to the city to give a lecture-recital at the Museum on Expression Versus Pure Design in Music, illustrating his remarks with extracts from his own compositions. Mr. Moore's Four Museum Pieces won the Pulitzer Prize, and he is now on the faculty of music at Columbia University.
81The five-part Mass by William Byrd was sung by the choir of St. Ann's Church, under the direction of Edgar Bowman, at the Cleveland Institute of Music. Mr. Bowman gave a brief lecture on Byrd preceding the performance.
83The choir of the Lakewood M. E. Church, conducted by John Colville Dickerson, paid its respects to Schubert by performing his cantata, The Song of Miriam, on Thanksgiving night at the church. Soloists were Mrs. George Hinds, soprano; Eve Eddy, contralto; Jay Smith, tenor; Guy Booth, baritone, with Ida M. Reeder at the organ.
85E. C.
87Omaha Orchestra Honors Schubert
88Friends of Music Begins Its Season
89OMAHA, NEB.—The Omaha Symphony Orchestra, under Conductor Sandor Harmati, rendered homage to the memory of Franz Schubert by performing the master's sixth symphony in C major on the program of the season's second concert. Both conductor and orchestra shone with unusual radiance in the performance of this work—practically a novelty in these parts. Phrasings which deserve to be called exquisite, rhythms of real allurement, rich and varied shadings, readings which searched out the deeper as well as the more obvious meanings, all combined to give the performance point and purpose and to make it one of real distinction.
91Rossini's Barber of Seville overture came in for a sympathetic and graceful rendition as an opening number, and Rimsky-Korsakoff's Spanish Caprice, in all the seduction of its scintillant colorings and changing rhythms, formed a gay and garish close. In between, the six numbers in Debussy's Children's Corner, as orchestrated by Andre Caplet, were played as originally written for the piano, just preceding the orchestral rendition, the pianist being Dorothy Morton Parks, a gifted and able local musician. A most interesting experiment!
93The Friends of Music, an important local organization, opened its present season by presenting Mr. and Mrs. Cecil W. Berryman in a recital of solo and two-piano numbers. The second program was devoted to Schubert and enlisted the co-operation of Mrs. Karl Werndorff, pianist; Adelaide Pegg, dancer; Marian Fisher, soprano; The West String Quartet; James Hansen, clarinetist; Ernest Norden, Jr., flutist, and a chorus of female voices.
94J. P. D.
96Radio Audience to Hear Sokoloff and Cleveland Orchestra
97CLEVELAND, O.—A study of broadcasting conditions in Europe influenced Nikolai Sokoloff, conductor of the Cleveland Orchestra, in consenting to rehearse and conduct a series of ten radio concerts to be broadcast by station WTAM of Cleveland, beginning at four o'clock, December 16th. Earle Ferris, manager of WTAM, has just made the announcement that these novel and illuminating concerts will be brought to the public over the air. He stated that he was much gratified and elated to think that such a splendid series could be given to the radio world.
99"The arrangement was made possible through the co-operation of the Musical Arts Association, which has supported the Cleveland Orchestra since its foundation ten years ago," said Mr. Ferris. "The initial program, already selected by Mr. Sokoloff, promises a rare musical feast. The radio audience will be given an opportunity to voice its preference in subsequent broadcasts."
101Adella Prentiss Hughes, manager of the Cleveland Orchestra, expressed her satisfaction with the plan. "I welcome the opportunity which radio brings to extend the symphony audience," said Mrs. Hughes.
103Mr. Sokoloff admitted that his viewpoint on broadcasting was somewhat affected by a visit to European broadcasting studios, where symphony programs are regular features. "I was amazed," he said, "at the enthusiastic reception they were given. Moreover, improvements in equipment for transmitting and reproducing radio programs give me reason to hope that the beauties of symphonic music can now be heard so as to be appreciated."
105The programs are to be played on the afternoon of December 16, 23 and 30; January 6, 13 and 27; February 3, 10 and 24, and March 3. They will last from four to five, and will be strictly symphonic in character. Mr. Sokoloff will select each program with an idea of pleasing his new radio listeners, and will rehearse the programs specially for radio performance.
107E. C.
109Lhevinne Returns From European Triumphs
110Josef Lhevinne, who has just completed a triumphal tour of Europe, arrived in New York on December 11 to spend Christmas with Rosina Lhevinne and their two children, at their home in Kew Gardens, L. I.
112The Lhevinne European tour began September 12 in Scheveningen, and included three London appearances which received noteworthy tributes from Ernest Newman and the other leading London critics. Subsequent concerts in Paris, Berlin, Budapest, The Hague, Amsterdam and Hamburg only added new lustre to the pianist's fame in these countries.
114Early in January, Lhevinne will begin his American tour which calls for appearances the length and breadth of the country. Rosina Lhevinne will appear with him at several recitals, when these two noted artists present their annual programs for two pianos. In addition to their concert activities, both of the Lhevinnies are on the faculty of the Juilliard Graduate School.
116Norbert Salter Soon to Go on Tour
117Norbert Salter, European impresario, who recently established an office in New York, will leave on December 17 for a tour of the United States to acquaint himself personally with the various managers and clubs. Being interested in American musical talent, Mr. Salter will grant auditions to aspiring artists in the cities he visits. Among these are Washington, Pittsburgh, Cleveland, Detroit, Chicago, St. Louis, Denver, Kansas City, Los Angeles and San Francisco.
119DeSylva, Brown & Henderson Song
120Programmed by Thomas
121At his recital at Town Hall on Sunday afternoon, December 9, John Charles Thomas programmed Guns, a song by Geoffrey O'Hara, which is published by the firm of DeSylva, Brown & Henderson. This song is making a big hit wherever it is heard.
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