37
MUSICAL COURIER
GEORGE PROCTOR
Concert Pianist and Pedagogue
Writes as follows concerning the
Pianofortes
----<s--
Mason & Hamlin Co.,
Boston, Mass.
Gentlemen:—
At various times / have given myself the pleasure of expressing to you my sincere admiration for your splendid pianofortes. / woidd like to write you that I consider them the finest made. I know of no instrument at the present time which is their equal in beauty and smoothness of tone, and which possesses their remarkably flexible action. This is my candid opinion, formed after many years of experience as concert-giver and teacher.
Please accept my sincerest good wishes for your success in the future, and that the New Year may be a prosperous one for you in every way, and believe me, Gentlemen,
Cordially yours,
(Signed)	George Proctor
the meeting continued from 3:30 to 5:30, she was compelled to respond to encores at the very end of the late hour.
Miss Patterson was equally successful at Parkersburg in charming her auditors, her afternoon performance being for the Elks and her evening appearance for the Ladies’ Club of that place.
Seattle Liked Gentle’s Tosca
The following are only a few of the many splendid press tributes given Alive Gentle’s impersonation of the role of Tosca in the opera of that name:
Miss Gentle never sang before any Seattle audience with such tonal opulence and authentic dramatic fire as she did last evening. She brilliantly surpassed her previous achievements here in either opera or concert. Her voice has gained both in power and texture. And there is a new freedom and spontaneity in her style which, coupled with the silken smoothness of her tone production, and her innate histrionic instinct, makes her—in my candid judgment, at least—a dramatic mezzo soprano of the first rank. . . . And she was accorded the kind of an ovation that only consummate artistry ever evokes.—Seattle Post-Intelligencer, September 14, 1921.
“La Tosca,” with two such consummate artists as Scotti and Alice Gentle, held two-fold interest for the music lovers, and the anticipation of the great throng was happily realized. The opera was magnificently sung and its dramatic story vividly realized. Alice Gentle has never sung better. ,Never has her beautiful vocalism been more productive of thrills than last night. Miss Gentle has a voice of remarkable range, and rich, vibrant quality which she used last night most lavishly. Throughout the opera she sang beautifully, and the dramatic intensity of her acting was gripping. She is a superior artist.—Seattle Daily Times, September 14, 1921.
Writer Compliments Kathrine Murdoch
Ralph: L. Buckley, late of the Chicago Tribune and San Francisco Examiner, wrote the following about Kathrine Murdoch:
Those who failed to attend the recital given by Kathrine Murdoch at the Methodist Church, Wednesday evening, missed a rare evening’s enjoyment. It was my good fortune to be in Heavener and to listen to Miss Murdoch’s rendition of a very versatile program in English, French and Italian songs. This charming artist with such a pleasing personality, is a coloratura soprano with a wide range, splendid technic and wonderful epxression.
Her two most difficult numbers were “Ci ’est den Contrabandiers” from “Carmen,” and “Caro Nome” from “Rigoletto,” which were rendered with such ease that it was apparent to the many music lovers present that Miss Murdoch’s training has been of the highest order, as in fact it has been, for she has studied with the best masters in New York City.
Miss Murdoch won the hearts of the audience by the graciousness with which she responded to the hearty applause by singing many encores. Heavener is to be• congratulated on having an artist of such proven ability, and the writer considers himself well repaid for stopping off to hear this wonderful singer.
“Telmanyi a Genius”
Annie Friedberg received the following letter from Daniel A. Reed, director of the Columbia (S. C.) Stage Society after Telmanyi’s recent appearance there.
My dear Miss Friedberg:
You must have the satisfaction of having sent us a great concert. If there is any compensation in our delight—those who heard the recital—then know that we will carry the remembrance of last Thursday as long as we can recall any great music we have heard.
Telmanyi is a genius. He will be known much better before he leaves America, for his art is real and it cannot be mistaken. His program was much more interesting than that which any violinist has given us in recent years, and the Cesar Franck sonata was a glorious achievement for both Vas and Telmanyi.
Leo Ornstein Makes a Speech
Just before Leo Ornstein gave his epoch-making concert for two pianos in conjunction with Ethel Leginska in New York City on December 30, the pianist-composer was one of the principal speakers at the forty-third annual meeting of the Music Teachers’ National Association in Detroit. On December 28, Mr. Ornstein, before that notable assemblage of teachers of music, read an illuminating paper on “The Trend of Modern Musical Composition,” discussing the tendencies in composition since Debussy and Ravel, to the manifest delight of the large gathering. Mr. Ornstein was invited to read the paper by Osbourne McConathy, president of the Music Teachers’ National Association, who, in his invitation, declared: “Of all the American composers you are preeminently qualified to discuss this topic.”
Mollie Margolies Wins Mu Phi Epsilon Patrons
Kansas City, Mo., December IS, 1921.—Mollie Margolies, pianist, an important acquisition to the local musical profession, was heard December 9 in a Mu Phi Epsilon morning musicale.
In a program which contained compositions by Gluck-Sgambati, Gluck-Saint-Saens, Beethoven, Chopin-Liszt, Chopin, Amani and Schulz-Evler, she brought well developed gifts of a high order, the kind that make for finished piano playing.
Mrs. Raymond N. Havens, contralto, accompanied efficiently by Mrs. George M. Rider, assisted Miss Margolies with songs of Bach, Ferrata, Schneider and Hageman. Mrs. Havens, whose interpretations have breadth of style and depth of feeling, has an evenly developed voice of excellent quality.	F.
Middleton Touring Four States in January
Arthur Middleton, who has been on a western tour since the first week in November, is singing in four states in the same territory this month—California, Colorado, Texas and Kansas. ׳ Among the engagements which he is filling are appearances in San Jose and Atascadero, Cal.; Denver, Col.; Fort Worth, Dennison, Denton, Terrell, Dallas, Abilene, Amarillo, Tex., and Dodge City, Great Sand, Beloit and Kansas City, Kan., his tour continuing through the months of February and March. Many of Mr. Middleton’s dates are reengagements from last year in places where he was more than successful on his former appearances.
Capitol Theater Honors Krebs
The name of S. Walter Krebs appeared on every program of the Capitol Theater, New York, week of December 26, in the shape of his design, “America, We Live for Thee,” a triangular black and white, with the divisions-— “Management,” “■Cooperator,” and “Public,” and with the words “Work Together” in the center. His “American Red Cross Roll Call” (eight measures for trumpet), which has been officially adopted by the organization, appears this week on all the important'programs of Greater New York.
January 5, 1922
him back to acknowledge the homage, before he could retire for even the few moments preceding his second appearance. . . . Godowsky’s exhibition of the mastery of the pianoforte will not soon be forgotten. The amazing clarity of the runs, delicate as the play of moonlight on summer’s leaves, the impressive poise, the ease with which he accomplished technical intricacies—all increased the wondering admiration and the enthusiasm of the audience.— Norine Winter, in the Lansing Capital Times, December 9, 1921.
If it were made possible for millions to hear Godowsky instead of thousands it would mean more to the musical life of America in the course of a few years than all the instruction given, all the concerts heard in a decade. . . . His playing of the piano might well serve as a model for every serious student. But not only that the intelligence, the painstaking workmanship, the sheer genius displayed by this master of the piano would be inspiring to any artist no matter what his choice of art expression might be. . . . So much emphasis has been placed on the intellectual achievements of Mr. Godowsky that it might seem his work would be beyond the laymen’s comprehension or enjoyment. Ths enthusiasm expressed by this audience here would indicate that this was not the case. . . . Because the audience refused to leave and applauded continuously for some minutes the Chopin “Chanson Polonaise,” as transcribed by Liszt, was given as a _ closing encore. All the grandeur and the majesty of the polonaise came from the piano under Godowsky’s fingers just as if he were beginning the evening’s performance. . . . Only with a reserve power immeasurable, a marvelous resistance to fatigue, and a real worship for his art, could any master duplicate the concert which Godowsky offered to Lansing on Friday evening.—The Lansing State Journal, December 9, 1921.
Donahue a Credit to Los Angeles
Lester Donahue, pianist, appeared with the Los Angeles Orchestra, Walter Rothwell, conductor, at the pair of concerts on December 2 and 3, playing the Rimsky-Korsakoff concerto. Mr. Donahue, who through the early part of the winter has been in the West, will return to New York in mid-January and will be the assisting artist on tour through the large eastern cities with the Duncan Dancers later^ in the season. On his way west in October he gave a recital in Omaha and appeared jointly with Rosa Ponselle at Columbus, Ohio, scoring his usual success on both occasions. The Los Angeles papers had the following to say of his playing and the concerto:
The audience seemed glad to welcome Rimsky-Korsakoff’s “One Movement Concerto” for piano and orchestra, and enthusiastically glad to welcome the virtuoso, Lester Donahue. It was a virile and musicianly performance and the beauties of the composition were enhanced by elegant handling.—Los Angeles Herald, December 3, 1921.
In Lester Donahue, modest, immature appearing young pianist (one of our unheralded home crop), Philharmonic patrons had the honor to discover a new genius when he played the Rimsky-Korsakoff concerto for piano in C minor, at the regular concert yesterday afternoon. With the first singing tone, later the cadenza and figuration, in the forte passages in octaves, and his deft authoritative fingering of difficult chords, Mr. Donahue gaye impressively. He plays with vigor, poise, sure technical maturity. He warms his piano. It glows with color. Always, whether it be forte or pianissimo, his pianistic speech is fluent, vital and highly touched with magnetic charm. He is modest and humble in his work, and to date has no mannerisms, therefore he should go a long way. He is another good excuse for Los Angeles to become a really musical city.—Los Angeles Evening Express, December 3, 1921.
The soloist was Lester Donahue, whose rendition of the Rimsky-Korsakoff concerto for piano and orchestra met with a warm reception from the audience. ... He displayed the same glittering technic which his friends here already know and admire, and an added poise and proficiency, and a more thorough appreciation of music fundamentals than he has shown at earlier appearances.—Los Angeles Examiner, December 3, 1921.
Jules Falk Meeting with Success on Tour
Jules Falk is meeting with success in his present tour of the middle West. Excerpts of comments from the Wisconsin papers of the opening of the tour are reproduced herewith :
Jules Falk appeared in Plankinton Hall, Tuesday, this being the third time we have had the pleasure of hearing him. His׳ program included a great variety of numbers, and as is always the case with this artist, several unfamiliar to even the more seasoned concert goers.
The opening number, a suite in G minor, by Eccles, again impressed us with the clean, smooth bowing, and flowing cantilena that is charactertistic of Mr. Falk. His musicianship is sound, and there is a steadiness and lack of sensationalism about him that is most grateful. His tone is vibrantly mellow. In the intricate passages of the various compositions there was sureness and complete control of his flying fingers, which, in its continuous bravura, makes heavy demands upon the agility and firmness of the artist’s digital dexterity.
A new concerto was that of Cecil Burleigh, in A minor. Mr. Falk gave it a fine reading, there was ample opportunity for the warm big tone which is his. Mr. Falk lengthened the program by a number of encores in response to enthusiastic applause.—Milwaukee Sentinel.
Magnificent violin playing—The Wisconsin Stete Journal, Madison.
Mr. Falk introduced much that is new in the literature of the violin to his audience and played with faultless precision. . . . Mr. Falk has attained a degree of perfection not recalled in any other violinist of recent memory. He was rewarded with encores that amounted almost to a demonstration.—Sheboygan Press-Telegram.
Mr. Falk is a violinist of considerable reputation, and the alumni were successful in having a huge audience present to hear this artist. . . .
His kit is full of all the niceties that go to make up a well rounded and polished technic, especially the harmonics and bcw-ings. His tone is rich and .warm.—Kenosha Evening News.
Rudolph Gruen Holds Audience Spellbound
When Rudolph Gruen played recently in Findlay, Ohio, he received the most favorable comments of the press, as the appended show:
The youthful pianist, Rudolph Gruen, had the audience spellbound with his marvellous command of־ the keyboard, together with the soul of music he put into his selections. _ His delicacy of touch, his perfect artistry and his mastery of technic were above reproach. —Findlay Courier.
In Mr. Gruen was heard a pianist whose playing may be said to be genuinely beautiful. In his work at the keyboard his finely intelligent fingers are fleet and his tone possesses rare charm.— Findlay Republican.
Patterson Sings to 3,000
Two recent engagements of Idelle Patterson were at Springfield, Mass., and Parkersburg, W. Va. After the former appearance, the soprano’s managers were in receipt of the following letter from the general secretary of the Young Men’s Christian Association, under whose auspices the concert was held :
Idelle Patterson appeared on our program at the Municipal Auditorium, Sunday afternoon. Her work was greatly appreciated by the audience which on this occasion numbered upwards of 3,000 people. She held the audience from the start to finish. Although