Books › Musical Courier 1928-12-13: Vol 97 Iss 24, 1928 › scan 49
Scan 49
Musical Courier 1928-12-13: Vol 97 Iss 24, 1928
126 lines. Read by computer on 29 September 2026. Printed page 50. See the scan on archive.org.
1HUGHES
2PIANIST
3Management: LOUDON CHARLTON, Carnegie Hall, New York
4Steinway Piano Duo-Art Records
6ARNOLD CORNELISSEN
7Conductor Buffalo Symphony Orchestra
8"A fine musician."
9(Signed) FRITZ REINER.
11J. FRED WOLLE
12CONCERT ORGANIST
13Bethlehem Pennsylvania
15GEORGE GARNER
16THE INTERNATIONAL COLOURED TENOR
17London address: 91, Sinclair Road, W. 14
18Chicago address: 6408 St. Lawrence Ave.
19Tel. Riverside 0142 Tel. Hyde Park 8626
21MISCHA ELMAN
22World Famous Violinist
23IN AMERICA ALL SEASON, 1928-1929
24Management: METROPOLITAN MUSICAL BUREAU
2533 West 42nd Street, New York City
26STEINWAY PIANO
27VICTOR RECORDS
29GEORGE FERGUSON
30Teacher of Singing
31106 Central Park West
32New York City
34CROZIER OZMUN
35Soprano
36Mgr.: H. C. SLEE, Room 1306, 505 Fifth Ave., New York
37Phone: Van. 0526
39MORTIMER
40Contralto
41Assisted by COENRAAD V. BOS, at the Piano
42(Steinway Piano)
43Direction: BALDINI & TREMAINE
44Aeolian Hall, 689 Fifth Avenue New York, N. Y.
46VOICE HYGIENE CLUB, Inc.,
47113 West 57th Street—Suite 1611
48For Teachers, Singers, Vocal Students, etc.
49Benefits: Entitled members to free medical treatment and advice, for any condition affecting the VOICE, NOSE, THROAT and EAR, between 2 and 5 p.m. daily (except Sunday), Monday and Thursday evening 8 to 9.
50Lectures on Voice, Thursdays at 9 p.m.
51Membership fee Fifteen Dollars per annum.
52DR. JOHN J. LEYBARG, Medical Director. Circle 0593
54JOHN CHARLES THOMAS
55The Famous Baritone
56Recital—Concert—Opera
57Assisted By ERIC ZARDO Pianist
58METROPOLITAN MUSICAL BUREAU
5933 West 42nd Street, New York City
61"May Peterson, soprano, gave one of her too rare recitals at Aeolian Hall. There is charm in her voice and style in her art."
62The New York Evening World said the above about May Peterson, soprano, formerly Opera Comique and Metropolitan Opera Company.
64Management: HAENSEL & JONES
65Steinway Hall, 113 West 57th St., New York
66Mason & Hamlin Piano Used Aeolian-Vocalion Records
68Recent Publications
69Reviews
70(G. Schirmer, Inc., New York)
71Vocal Music: What Is a Song (Pearl G. Curran); Come, Love, the Long Day Closes (Clara Edwards); Wings, the Cup of Dew (John Beach); Till the Tale Is Told (Cecil Cowles); The Sea-Chair (Vaughn de Leath); A Riding Song. Dost Thou Remember? (Louis Drakeford).—Songs and songs and songs! There seems to be an endless supply of them. And yet, so we are told, the supply is never sufficient entirely to satisfy the demand—at least for good ones. Pearl Curran should have answered the question she puts in her piece, What Is a Song? She should also have gone a bit farther and asked, what is a good song? This particular work is a song, and undoubtedly a good song. But that does not answer the question, for there are plenty of songs, and plenty of good songs, that the world is quick enough to recognize without knowing the why or wherefor.
72The song of devotion by Clara Edwards possesses a simple and attractive melody, and an accompaniment which gives it excellent support. Perhaps that is the definition of a song—that is should be singable. John Beach writes in a manner that is extraordinarily complex. On page 3 of this work (Wings) a 3/4 bar is divided with a triplet on the first beat and another triplet across the other two beats, which must be awful to sing. The next bar, in 5/4 time, has a triplet on the third beat and another triplet across the fourth and fifth beats. The bar following that has five sixteenths in the right hand against two eighths in the left hand. Perhaps this is a song? If so, a song is a puzzle to be solved by pianists and singers of extraordinary skill. However, when solved it sounds well, and what more shall one want? The Cup of Dew, also by John Beach, is much simpler, except that the pianist has a long passage of 4/8ths in the left hand and 6/8ths in the right hand. But then Schubert used to do the same thing, though whether Schubert intended it to be performed in that way nobody knows. Probably not.
73The Cowles song, being to words by Shaemas O'Sheel, is a gentle Irish jig and full of charm. The Sea-Chair is a popular, chatty sort of thing, during the course of which a man of roving tendencies tells of his delight in the ocean wave. At one season of the year we all delight in the ocean wave—to be in it, not on it. The Riding Song by Drakeford is, as the name implies, the same thing as the above, only instead of riding over the ocean waves, these riders are jogging up and down on horses' backs, and the accompaniment, instead of flowing in 6/8 time, which is proper for a sea song, trots along in 3/4 time, "dodging the licks," as they used to say in the good old times. Whether all this present-day tendency to sing about the out-door sports indicates that we love them the more, or that we love them the less and prefer to sing about them, the reviewer does not know, but the material is entertaining anyway and gives plenty of scope for the good singer. Drakeford wrote the words as well as the music of this song, as he did also of Dost Thou Remember? It is fortunate that the caliber of the poetry is not of great moment in vocal music, else were these songs indeed of small worth. The poet, if he so may be called, has a real gift for melody, and this love song is therefore attractive. It is a simple ballad, but as such and of its kind is very much worthwhile.
75Miscellaneous
76(M. Witmark & Sons, New York)
77Come to Granada, by Frederick W. Vanderpool.
78For You, by Sigmund Romberg.
79(G. Schirmer, Inc., New York)
80Voi lo sapete, from Cavalleria Rusticana, by P. Mascagni.
81Life's Sunshine, by Syrene Lister.
82Lullaby for a Baby Fairy, by Minnie Coons Freeman.
83The Lamplighter, by Marian Coryell.
84Where Cherries Bloom, by Marian Coryell.
85The Harp, by Ida Bostelmann.
86To My Sister, by Enrique Soro.
87Request, by Lorraine Tombo.
88Summer Afternoon, by Amy Worth.
89Come back to Me with the Roses in June, by Arthur A. Penn.
90Jean, by Walter H. Nash.
91If I Ever Have Time for Things that Matter, by Frank H. Grey.
92To the River, by Creighton Allen.
93Within Your Hands, by Dorothy Foster.
94The Weaver of Dreams, by Dorothy Foster.
95God Bless Thee, Love, by Vaughn DeLeath.
96Give Me Flowers, by Walter Haefliger.
97Just Pretending, by Arthur A. Penn.
98The Lark's Song, by Anna von Wohlfarth-Grille.
99Water Songs, by Mary Helen Brown.
100Come, Love, the Long Day Closes, by Clara Edwards.
101She Powders Her Nose, by Paul Th. Miersch.
102Over the Hills and Home Again, by Oley Speaks.
103Cup of Gold, by Umberto Sistarelli.
104Camarado, by James H. Rogers.
105Two Songs (The Birth of Dawn and A Vision), by W. Henri Zay.
106Two Poems (Cobwebs and Thine Eyes Still Shined), by Robert Braine.
107(J. Fischer & Bro., New York)
108Bells of Noel, by M. Schloss.
109A Christmas Alleluia, by Samuel Richards Gaines.
110A Song Cycle (The Beloved Stranger; Of Wounds and Sore Defeat; Little Billee; On a Singing Girl; The Return from Town), by Constance Herreshoff.
111(Clayton F. Summy Co., Chicago)
112Transcriptions by Godfrey Ludlow.—Lullaby, by Lolita Cabrera Gainsborg; In the Cradle, by Eva Louise Bradley; Dark Eyes, Russian folk song; Valse in E, by Moszkowski. The work of Mr. Ludlow is at all times embellishing; simply and melodically he follows the theme of a work with the skill of a real musician, yet he never destroys the fundamental purpose of a work nor distorts its outline and color. He has made use of trills, mutes and excellent double stops to carry out his ideas; the Valse is quite a little master piece. In fact all four numbers are an addition to the literature of the violin.
114Vera Curtis' Six Concerts in Seven Days
115Vera Curtis recently returned from six engagements in the following places: Cadillac, Kalamazoo, Muncie, Ind., Washington Court House, Ohio, New Concord, Ohio, and Muskingum College, Norwalk, Ohio. These six concerts took place inside of seven days. In commenting upon her appearance at the college, one of the leading papers wrote in part:
116"The singing of Mme. Curtis proved entirely refreshing. Possessing a voice of surpassing sweetness, warmth, and flexibility, Mme. Curtis could have kept the auditorium ringing most of the evening with powerful resonant tones. But instead of taking this course, the vocalist used the element of reserve and admirably in a comparatively small hall laid in a hat that is noted for its remarkable acoustic properties. To the spectators versed in the technic of vocal music, it seemed the unanimous opinion that Mme. Curtis has the best placed voice that was ever heard on the concert or operatic stage here.
117"Many sopranos who sing a long program place the light and airy numbers at the opening of their program, fearing a loss of flexibility in the big numbers. But Mme. Curtis demonstrated her marvelous voice control by superbly singing some of the most delicate airs at the very last. The singer did much to aid the audience in appreciation of giving short but complete descriptions of her big numbers. Curtis rose to sublime heights in her selections from the first act of Aida. When the audience applauded vehemently it was regarded by an inspiring interpretation of the song Only God Can Make a Baby. Every number was agreeably rendered. Many thought that the singer was especially pleasing in the Luxembourg Gardens, a song by Manning.
118"Mme. Curtis at times rose to thrilling heights of volume and pitch. In these passages at many times the audience could not help but conjure up a vision of the vocal soprano as she stood many times on the Metropolitan Opera stage before bewitched listeners in the magnificent role of Aida and other great parts."
120Stanley Hummel the "True Artist"
121Stanley Hummel gave his annual piano recital on November 15 in the auditorium of the Albany Institute of History and Art, and the following day the Albany Evening News reviewer declared his playing to be truly brilliant, showing excellent technic and each selection on the program being presented with the proper spirit. "Mr. Hummel," wrote that reporter, "wove with melodic grace the skein of a Mozart sonata, which opened the program, bringing to it both color and form. Liszt's Fantasia Quasi Sonata (after reading Dante) was large and splendid, far spreading as the themes of the Italian poet, and as magnificent. To Schumann's Romance, the Strauss Tausig Waltz, he brought beauty and rhythm, and to Chopin's Variations Brillantes, glittering delicacy. Godowsky's Lament was an elegy only to be called beautiful. The Old Scissors Grinder of Behrend and the Juggleress of Moszkowski were jolly, vivid note pictures, and Mr. Hummel's own composition, Impression, which did not lose grace or charm through its modern freedom, was delightful." The foregoing review was concluded with the following salient paragraph: "Last night was the first occasion in any Albany theater or hall that one has seen the audience, to a man, remain sitting after the final number until there was an encore, and last night there were three curtain calls."
122After paying tribute to the parents of Mr. Hummel, both of whom are musicians, George Edgar Oliver wrote in the Times-Union in part as follows: "The true artist is one who has the power of touching you—one who has mental power, poetry and imagination, in order to properly interpret the various moods and idioms of the composer. This attribute Hummel possesses in a marked degree, and his recital was a joy to his many friends—the audience."
124Vienna Honors Weingartner
125VIENNA.—The Vienna Philharmonic Orchestra has created a new institution. A ring is to be donated to every member who has served with the orchestra for 25 years, and also to musicians worthy of special gratitude on the part of the orchestra. Among the latter, Felix Weingartner and Franz Schalk are the first to have received this ring. P. B.
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