Books › Musical Courier 1928-12-13: Vol 97 Iss 24, 1928 › scan 42
Scan 42
Musical Courier 1928-12-13: Vol 97 Iss 24, 1928
140 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 43. See the scan on archive.org.
1Music Notes From Coast to Coast
3Cleveland, Ohio. The Flonzaley Quartet chose a beautiful way in which to say farewell at its concert in the ballroom of Wade Park Manor, in the series presented by the Cleveland Chamber Music Society. Messrs. Betti, Pochon, d'Archembeau and Moldavan played Mozart's quartet in D major, Schubert's quartet in G major, Allegretto con malinconia grottesca by Erwin Schulhoff, and Danza Slovaca. The program was a half hour late in beginning as attendants had to be dispatched for extra chairs to accommodate the crowds that stormed the rather small room. Cleveland said goodbye to this inimitable organization in a burst of enthusiastic applause that came from its heart. one of two readings
4Cleveland, Ohio. The Flonzaley Quartet chose a beautiful way in which to say farewell at its concert in the ballroom of Wade Park Manor, in the series presented by the Cleveland Chamber Music Society. Messrs. Betti, Pochon, d'Archembaud and Moldavan played Mozart's quartet in D major, Schubert's quartet in G major, Allegretto con malinconia grottesca by Erwin Schulhoff, and Danza Slovaca. The program was a half hour late in beginning as attendants had to be dispatched for extra chairs to accommodate the crowds that stormed the rather small room. Cleveland said goodbye to this inimitable organization in a burst of enthusiastic applause that came from its heart. one of two readings
6The Requiem Mass of Verdi was sung at the Museum of Art by the choir of the First Baptist Church, C. B. Ellinwood directing. Soloists were Caroline Hudson-Alexander, soprano; Hazel Lawrence, soprano; Marie Simmelink Kraft, alto; Richard Bovington, tenor, and Plummer Giffin, bass.
8Edwin Arthur Kraft, F.A.G.O., organist of Trinity Cathedral, dedicated three new organs recently at the Presbyterian Church at Bellaire, Ohio, the Presbyterian Church at Cambridge, Ohio, and the Hope Lutheran Church in Cleveland. At these dedicatory recitals he was assisted by his wife, Marie Simmelink Kraft.
10A program of Bach was presented at an evening faculty recital at the Cleveland Institute of Music by Josef Fuchs, Andre de Ribaupierre, and Arthur Loesser. E. C.
12Lindsborg, Kans. The Russian Symphonic Choir made its second appearance in Lindsborg recently. This choir is noted for its unusual vocal resources and the artistic finish of its presentations. Basile Kibalchich conducts with dignity and subtle musical understanding. One is enchanted with his portrayal of the various moods, the mysticism of the church music, the pathos of the folksongs, the passion and glow in numbers demanding dramatic intensity. The choir and soloists were enthusiastically received and Mr. Kibalchich added several encores. O. L.
14Long Beach, Cal. Kathryn Meisle, contralto of the Chicago Civic Opera Company, was enthusiastically received by a large audience at the Municipal Auditorium, where she appeared as the second attraction in the Civic Concert Series, managed by Kathryn Cothill. Four groups of songs, Old English, German, French, and modern art songs in English, with aria, Printemps Qui Commence from Samson et Delilah (Saint-Saens), made up the program. After the aria, Miss Meisle sang for an encore the Una Voce Poco fa from the Barber of Seville (Rossini), given with all the brilliant embellishments and cadenzas used by a coloratura, and still the audience demanded more, and the gracious artist sang the Habanera from Carmen. The accompanist, Solon Alberti, was splendid support with his sympathetic artistry.
16The Woman's Music Club was hostess to the President's Council of the California Federation of Music Clubs, Abbie Norton Jamison, president. A round table discussion in the morning, luncheon at noon, and a program of Italian music in the afternoon, was the entertainment provided by Mrs. Albert Small, president of the Woman's Music Club, and her committees.
18The subject discussed at the two last meetings of the Musical Arts Club, Clarence E. Krinbill, president, was Musical Ethics. A committee has been appointed to draw up a code of ethics which may prove interesting to other clubs of professional musicians.
20A Schubert Centennial Program was given by the Long Beach Municipal Band, Herbert L. Clarke, director. A. M. G.
22Los Angeles, Cal. L. E. Behymer presented Mary McCormic, soprano, on the regular Tuesday Concert Artist's course. She had a large, but rather cold audience, until her charm and the beauty of her singing won it to enthusiasm. Her program was varied. Miss McCormic understands the art of putting her work over to the audience. Her accompanist was excellent and played his solos with skill and understanding.
24L. E. Behymer presented Alfred Megerlin, violinist, in recital at the Philharmonic Auditorium before a large audience. He played a taxing program and would grant but one encore. His intonation was perfect and his technic exceptional. He played more intellectually than emotionally or sensuously; his musicianship is of a high order and he pleased a critical audience.
26L. E. Behymer has added another star to his crown as impresario of the Pacific Coast in the founding of the Los Angeles Repertory Theater.
28The Southern California Chapter of the National Association of Harpists gave a program in the Assembly Hall at the Friday Morning Club, assisted by Lenore Ivey, soprano; Lisbeth LeFevre, cello; Sol Cohen, violin; H. Bodenbacher, viola, and Hague Kinsey, organist.
30The Los Angeles Music Teachers' Association offered a Schubert Centennial Memorial Program in the Beaux Arts Auditorium when the following artists participated: Olga Steeb, pianist; John Patton, baritone; Mme. Sprotte, contralto, and a trio composed of Fanchon Armitage, pianist; Robert Alter, cellist; Sol Cohen, violinist, and Max Swarthout.
32B. L. H.
34San Antonio, Tex. Luisa Espinel, lyric diseuse, was presented in one of the most charming and entertaining recitals ever given here, by the San Antonio Branch of the American Association of University Women. She opened the program with a short explanatory talk on the numbers and gave the English translation, making them doubly interesting. The first group was from Asturia Galicia and Castile, the second from Valencia and Murcia, and the third consisted of compositions by Nin, Huarte, and Chapí. For each she wore the authentic costumes—Asturian, Valencian, and Andalusian Gypsy, making in each a very beautiful picture. Her voice is one of sweetness and charm. For some of the numbers she gave the authentic folk dance preceding the number. At the close of the program, after insistent applause, she responded with several encores. The unusually fine accompanist was Shibley Boyes, who also contributed two groups of solos, playing numbers by Granados, M. De Falla, Scriabine, and Debussy.
36The San Antonio Civic Opera Company, which is sponsored by the San Antonio Musical Club, Mrs. Lewis Krams Beck, president, presented Gilbert and Sullivan's delightful The Mikado. Two performances were given, one in the Lone Star Sunken Garden in Breckinridge Park, during the American Legion convention, and the second, in the Municipal Auditorium. Preceding the performances, the combined orchestras of the two High Schools, under the direction of Otto Zoeller, played a number which was greatly enjoyed, and also played the accompaniment to the opera with David Griffin conductor, who was also the general director of the company. Lois Farnsworth Kirkpatrick was cast as Yum-Yum, and her beautiful voice was heard to fine advantage in this delightful role. The scenes with Nanki-Poo, sung by Alexander Johnston, were charming. Mr. Johnston sang and acted the role with all the finesse one would expect from the "Son of the Mikado." He has a voice of beautiful quality. Eli Salomon was especially well cast as Ko-Ko. His comedy was equal to that of any professional, and was greatly enjoyed by the audience. The decidedly dignified roles of Pooh-Bah, sung by Manfred Gerhardt, and Pish-Tush, sung by Raymond Pigott, were capably given, and each voice was shown to advantage. Mary Aubrey Keating was decidedly well cast in the role of Katisha. Milton McAllister was an imposing Mikado and acted and sang well. Dorothy Arendt and Glodys Hood were excellent as Pitti-Sing and Peep-Bo, respectively. The choruses were splendidly sung. The principals and chorus were trained in dramatic action by Otis Thayer of Boston. Many persons attended both performances, which speaks well for their excellence.
38Julien Paul Blitz, cellist; Flora Blitz, pianist, and accompanist for Mr. Blitz; Ora Witte, soprano, with Marie Olcott of Chicago as accompanist, were presented in joint recital by the Tuesday Musical Club. Mrs. Eli Hertzberg president, at the first musical tea in the series of four given each season by the club. Mrs. Walter Walthall is chairman and Mrs. Leonard Brown vice-chairman, assisted by an able committee. The program opened with the Walzer Suite (Popper), played by Mr. Blitz. He has flowing technic, if one may use that term, and his tone is very rich and warm. Mrs. Blitz then played Fantasie, op. 49 (Chopin) with her customary fine skill as pianist. They are both former residents here. Mr. Blitz was pleasantly remembered as conductor of the San Antonio Symphony Orchestra, and Mrs. Blitz as one of the fine young artists of the city. In response for a demand for an encore Mr. Blitz presented his small son, Eduoard, who played a short violin solo. Miss Witte's rich, full resonant voice was enjoyed in a group by Brahms, Loewe, Schubert, and Strauss, Micaela's aria from Carmen, and a group by A. Gorin Thomas (2), Marie Olcott and Winter Watts. Her pianissimos are exquisite. The song, Regret, dedicated to Miss Witte, was so well received that it had to be repeated. Miss Witte's German group was especially pleasing as she is racially fitted for German work. Miss Olcott was an unusually fine accompanist, giving sympathetic support. The program closed with the Blitz System of Musical Analysis, applied to the Variations Symphoniques (Boellmann). Red, yellow and blue flowers lighted by electricity each represented a theme in the composition, and during the rendition of the number, when a theme was played, the flowers were lighted, making the themes easy to follow.
40The faculty of the San Antonio College of Music, John M. Steinfeldt, president, appeared in a recital which was greatly enjoyed by an appreciative audience. Those appearing were Marie Watkins, pianist, playing numbers of Beethoven and Brahms; Delphine Klickman, soprano, singing an aria from Lucia di Lammermoor and numbers by Mozart and Mulder; John M. Steinfeldt, Jr., violinist, playing numbers by Handel and Kreisler; Cecile Steinfeldt Satterfield, pianist, in numbers by Scarlatti and Steinfeldt, and Silvestre Revueltas, violinist, offering numbers by Beethoven and Mozart-Kreisler. Mrs. Satterfield was the excellent accompanist.
42Mrs. Rexford Shores was in charge of the program given for the Tuesday Musical Club, Mrs. Eli Hertzberg, president, by the Army Guest members. Colonel Beaumont Buck gave an interesting talk on descriptive music, illustrated at the piano by Mrs. Shores, and Frances Huddleston, pianist, played a number by Grieg. The second half of the program was given by Joseph Burger, baritone, who sang numbers by Faure, Franz, Tabrigo and Fay Foster, displaying a rich, resonant quality, fine musicianship, and notable ability as a linguist. His accompanist was Anna Bell Vestal, of Westmoreland College.
44An excellent program on Schubert was given at a meeting of the Music Department of the Woman's Club, of which Mrs. F. L. Carson is chairman, with the following participants: Francis de Burgos, baritone; Helen Oliphant Bates and Alice Mayfield, pianists; Janice Brown, soprano; Gladys Couth Hodges, violinist; Mrs. R. C. Delevan, soprano, and Mrs. J. K. Brown, contralto. The accompanists were Sylvia Ostrow, Irene McMonigal and Mrs. Henry Gazley. The closing number was the Unfinished Symphony, played by a selected orchestra of high school students conducted by Otto Zoeller.
46Edward Reynolds was presented in an interesting piano recital by his teacher, Frederick King, displaying admirable technic, tone and interpretation.
48The Junior Department of the San Antonio Musical Club, of which Mrs. Alois Braun is chairman, presented a program of Schubert music, sponsored by Mrs. Fraser Richardson.
50Mrs. Ephraim Frisch gave an instructive talk on Music in Its Relation to Life, at a meeting of the Tuesday Musical Club. Cara Franklin gave a delightful resume of musical events.
52Jewel Carey, pianist and accompanist, recently returned to San Antonio from New York where she was studio accompanist for Virginia Colombati, Frantz Proschowski, and other teachers. She has also been accompanist for Lauritz Melchior and Rafaelo Diaz. She recently returned from Europe where she was accompanist for Katherine Rose.
54S. W.
56San Francisco, Cal. Louis Graveure's appearance in this city, under the management of Selby C. Oppenheimer, crowded the Dreamland Auditorium. Prior to his recital there was considerable speculation among his admirers as to whether his voice would be as lovely in its present state as it had been in its former. At the very outset of his program Mr. Graveure demonstrated that inasmuch as the timbre of his voice has changed, his art as a technician remains as superlative as ever. Mr. Graveure's printed list of songs was an attractive one. In his delivery of these and the many encores which he was obliged to add, Graveure disclosed again those attributes of his art which have won him such a high rank among the present day recitists. Louis Graveure is without doubt one of the world's greatest exponents of perfect vocalization; he sings as easily as one breathes. He is an artist with the ability
58(Continued on page 51)
60PACIFIC COAST DIRECTORY
62A RMSTRONG, FRANCIS J.
63Concert Violinist
64Resident in Seattle, 1519 3rd Ave.
66B AYS, BERNICE
67Lyric Soprano
68Available for Concert, Church and Club Work
69504 Majestic Theatre Bldg., Los Angeles
71B EHYMER, L. E.
72Manager of Distinguished Artists
73705 Auditorium Bldg., Los Angeles
75B OWES, MR. and MRS. CHARLES
76Voice—Mise en scene
77446 South Grand View, Los Angeles
79C OOK, ELSIE
80Pianist
81California Representative of Tobias Matthay Piano School
823325 Octavia St., San Francisco
84C ORNISH SCHOOL OF MUSIC, INC.
85Dramatic Arts and Dancing
86Nellie C. Cornish, Director
87Roy Street, at Harvard, Seattle, Wash.
89E NSEMBLE CONSERVATORY OF MUSIC
90Emmaletta Vantine, Director.
91All Branches Taught. Dormitories.
922058 No. Vermont Ave., Hollywood, Calif.
94J ACQUES JOU-JERVILLE of Paris
95Formerly Boston Opera
96and leading grand opera of France
97Private Voice Studios
98The McKelvey, Seattle, Wash.
100K ANTNER SCHOOL OF SINGING
101Clifford W. Kantner, Director
102306 Spring Street, Seattle, Washington
104L OTT, MR. and MRS. CLIFFORD
105Voice and Piano
106Member American Academy of Teachers of Singing, N. Y.
107912 W. 20th St., Los Angeles
109O ATMAN, JOHN R.
110Musical Courier Correspondent
111713 Couch Building, Portland, Ore.
113P ERSINGER, LOUIS
114Management Selby Oppenheimer
11568 Post Street, San Francisco
117S T. EMBER, ROSA
118"Producer of Vocal Artists"
1194110 W. 3rd Street, Los Angeles
121S AN FRANCISCO CONSERVATORY OF MUSIC
122ERNEST BLOCH, Director
1233435 Sacramento St., San Francisco
125T HE ELIZABETH SIMPSON PIANO STUDIOS
126Coaching of Concert Programs a Specialty
12726 O'Farrell St., San Francisco
129T HE CORA W. JENKINS SCHOOL OF MUSIC
13046 Randwick Avenue, Oakland, Calif.
131Dept's.—Elementary, Intermediate and Artistry.
132Violin, Cello, Piano
133Teacher's training; special method
135T RONITZ, PHILLIP
136Norwegian Concert Pianist and Pedagogue
137Studio—California Music Co. Bldg.
138Los Angeles, Cal. Summer Classes
139Also Head of Piano Department of Hollywood Conservatory of Music.
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