Books › Musical Courier 1928-12-20: Vol 97 Iss 25, 1928 › scan 16
Scan 16
Musical Courier 1928-12-20: Vol 97 Iss 25, 1928
49 lines. Read by computer on 28 September 2026. Printed page 17. See the scan on archive.org.
1Music Notes From Coast to Coast
2(Continued from page 16)
4San Francisco, Cal. Until one evening recently when Dino Borgioli walked on the stage of Scottish Rite Hall he was unheard of in this vicinity. Today his name is being favorably mentioned in musical circles throughout the city. Under the management of Frank W. Healy, Mr. Borgioli gave a recital and proved to be an Italian tenor of a fine order, possessing all the qualities that create the atmosphere for a delightful recital—a charming stage presence, a beautiful voice of natural quality, and a technic admirably adapted to operatic music and songs of a lyric character. In his first group, which included Giordani's Caro Mio Ben, Caccini's Amarilli mia bella, and Gluck's Spagge Amate, Mr. Borgioli did some of the most exquisite singing of the evening, with fine restraint, artistic phrasing and a care for expression. The audience was stirred to demonstrative enthusiasm. Mr. Borgioli sang two arias, one from the Barber of Seville; the other, The Dream, from Massenet's Manon. The latter gave rare pleasure, for Mr. Borgioli sang it with such sweetness of tone and such understanding that it reflected the very soul of the artist. Encores were called for and encores were given, and everybody was happy. The assisting artist on the program was Vivian Baxter, a soprano with excellent vocal material, who, with further study, will no doubt develop into a pleasing artist. Benjamin S. Moore played uncommonly fine accompaniments.
6The Coleridge-Taylor Choral Club, a Negro choir of thirty voices directed by Ethel R. Clark, was heard by a large audience in Scottish Rite Hall in a program devoted for the most part to Negro spirituals. This attraction was presented to the musical public through the San Francisco branch of the Wolfsohn Musical Bureau of New York, Inc.
8A novel and interesting program devoted entirely to modern compositions was interpreted by Rose Florence, mezzo-soprano of distinction and one of San Francisco's foremost pedagogues, and Christine Howells Pfund, flutist. These artists proved a most delightful combination and were heartily endorsed by an intimate audience that attended the Ida Gregory Scott Fortnightly concert.
10The Cora W. Jenkins School of Music in Oakland has been sponsoring a number of attractive musicale during the season, to which invitations have been issued to prominent musicians on both sides of the bay. The faculty of this conservatory is composed of some of the leading artists and teachers residing in this vicinity. It is, therefore, not surprising to note that whenever a program is presented under the auspices of the Cora W. Jenkins School of Music it is of the very highest standard.
12Maier and Pattison will always remain inseparable in the minds of music lovers. In Dreamland Auditorium they gave fresh evidence of the fact that they have brought the art of playing on two pianos to the very highest point of perfection. Their genius in this field was eloquently demonstrated in a characteristically interesting and well contrasted program that included compositions by Chopin, Franck, Bach-Bauer, Saint-Saens, Rachmaninoff, Pattison, Chopin-Maier, Stravinsky and Hutcheson. The ensemble of these two musicians is as nearly perfect as it is humanly possible to achieve; their balance is exact; their control of dynamics marvellous; their tone quality of immeasurable richness; their interpretations an example of two musical intellects that function as one. Especially beautifully played was the Saint-Saens Variations on a Beethoven Theme. It flowed from their fingers, a golden and jeweled stream, scintillating, rippling, purling. Again San Franciscans sat at the feet of masters of music, two figures whose position in the world of music is unique. This was the third attraction in Selby C. Oppenheimer's Concert Course.
14While Maier and Pattison were playing at the Dreamland Auditorium, Robert Pollak, head of the violin department of the San Francisco Conservatory of Music, was giving his first recital of the season in Sorosis Hall. As it was necessary to attend both events, only a half of each program was heard. Assisted at the piano by Elizabeth Alexander, Mr. Pollak played the following works: Chaconne (Vitali), G minor concerto (Bruch), Second Sonata for violin alone by Max Reger, first time in San Francisco, Romance (Sinding), Tambourin Chinois (Kreisler). Robert Pollak again manifested that he is unquestionably one of the enjoyable violinists of the day. From his instrument he draws a large, warm, vibrant tone, and besides his brilliant technic, accurate intonation and admirable bowing, he possesses rare musicianship and sympathetic understanding, all of which make his violin playing of the very first quality. His numbers were beautifully set forth; as a matter of fact, Mr. Pollak delivered some of the finest playing he has ever presented in San Francisco. C. H. A.
16Seattle, Wash. The third of the children's concerts was given at the New Orpheum. If it is possible to judge the unbounded enthusiasm of these young folks, one would unhesitatingly say that this concert, devoted entirely to program music—such as Anitra's Dance of Grieg—was the best yet. However, the enthusiasm which these youngsters display is so contagious that it can be construed to mean one thing at least—namely, it was excellent, and inspired many a one present to do better work in his own music study, to a greater interest and understanding of music. Mr. Krueger's talks preceding each composition are always the high-light of the concerts.
18Two of Jacques Jou-Jerville's pupils, Herbert Bartlett, tenor, and Kenneth Atkins, bass, have been engaged by the Rose Marie Co., of New York. They were both engaged during the company's appearances in Seattle.
20The seventh annual Seattle Composers' Concert, sponsored by the Seattle Clef Club, was given at the Chamber of Commerce. The concert was devoted to songs, piano solos and a cello sonata, and proved conclusively that the compositions from local pens are worthy. Annar Jacobsen, Adelina C. Appleton, Carl Paige Wood, Katherine Glen, Edouard Potjes, Daisy Wood Hildreth and George F. McKay each had compositions represented.
22The annual series of concerts given by the Spargue String quartet is now under way. The first concert, devoted to Haydn, Schubert and Bridge, was given at the Olympic.
24The Seattle Philharmonic Society, under the directorship of Alexander Wallace (who also appeared as a soloist), gave Handel's Judas Maccabaeus November 26. The Chorus numbers sixty-five, all well chosen and intelligently trained.
26At the University Temple, Fernando Germani, twenty-one-year-old Italian organist, gave a remarkably entertaining organ recital.
28Louise Van Ogle recently gave the first of an extended series of Opera Reviews at the Olympic. Her review on this occasion covered the widely known and much talked of The Egyptian Helen of Richard Strauss. J. H.
30MISCHA LEVITZKI
31meets the pigeons at Venice on his tour of Italy.
33HENRY CLANCY—Tenor
35Press Comments—Festival Appearances
37Spartanburg, S. C., Festival—"Gained heartiest applause of evening. Voice truly a delight."—Spartanburg Herald.
39Ottawa, Can., "Judas Maccabeus"—"Sang with exceptional purity of voice and distinctive style."—Ottawa Journal.
41Hartford, Conn., Oratorio Society, "Hora Novissima"—"Sang with excellent style and beauty of voice. Received vociferous applause."—Hartford Times.
43Fitchburg, Mass., Choral Society—"The exquisite sweetness of his rich tenor voice, the ease with which he sang and the clearness of his diction made his appearance a notable one."—Fitchburg Sentinel.
45Festival Engagements for 1929—Now Booking
47Exclusive Management: Walter Anderson, Inc.
485 Columbus Circle, New York City
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