17
MUSICAL COURIER
January 2 6, 1922
Now Booking Spring Tour in Nova Scotia, Canada
Joint Recitals—Oratorio, Concert, and Solo Engagements with Orchestra Management:	THE BETTY TILLOTSON CONCERT BUREAU, 180 Madison Avenue, New York City
Betty Tillotson
Has Pleasure in Announcing that
MARION ARMSTRONG, Scotch Canadian Soprano ALICE MONCRIEFF, American Contralto N. VAL PEAVEY, American Pianist
AND
ADOLPH SCHMIDT, American Violinist
Will be exclusively under her management, during the Season of 192223־
Some Remarkable Tributes Received from the Press by These Artists MARION ARMSTRONG ALICE MONCRIEFF	N. VAL PEAVEY	ADOLPH SCHMIDT
American Contralto
Her art is mature, her technique is excellent and her voice is satisfying, particularly in the lower and middle registers.”—New York Herald.
There was a large audience for Alice Mon-crieff’s recital in Aeolian Hall yesterday afternoon. She sings with lucid charm. Her tones have certain silken graces, and she is particularly successful in expressing the spirit of a composition. She was at her best in the French group, which included Fourdrain’s “Marins d’lslande” and Fevrier’s “Petite Berceuse.” Her fine dramatic sense made vivid Bungert’s “The Sand Carrier,” helped by a most intelligible English translation, in which her diction was unusually crisp.—New York
Evening Mail.
Engaged Caldwell, N. J........Feb. 6
“ Chatham, Va..............Feb. 13
“ East Orange, N. J..........April
Hackensack, N. J,,, , ,January
Scotch-Canadian Soprano
. . . Miss Armstrong’s program was an interesting and well-chosen one which opened with a group of Italian songs, the familiar “Caro mio Ben” by Giordani, being a happy choice in which to display the sweetness of her voice. In the French group “Pleurez mes yeux,” by Massenet, was sung with charming effect, and Mary Turner Salter’s “Her Love Song,” was much applauded. After hearing Miss Armstrong sing her group of Auld Scotch Songs, of which there were six, one could not doubt her ancestry nor her ability to sing, not only Scotch, but any song which she chose to present.—N. Y. T elegraph.
It might have been a French vignette stepping out upon the stage of the same hall last evening, all in the shimmering white satin and rosebuds, with an old-fashioned bouquet in her hands. There was the charm of youth and freshness in Marion Armstrong’s voice, % and a real feeling for the text of her songs. Especially appealing was the quality of her voice in a group of “Auld Scotch Songs.”— Evening Mail.
Engaged Montreal, Can...........January
“	Batavia, N. Y..........January
“	East Orange, N.	J..	.January
“	Aeolian Hall, N.	Y.....April
Jordan Hall, Boston, Mass.,
March
American Violinist
REAL ARTISTS GAVE CONCERT Musical Treat
. . . It required only a few measures of the Grieg Sonata to realize that Messrs. Schmidt and Peavey were artists of the first class. They gave a fine reading of this interesting work. Mr. Schmidt, in his group pf violin solos, added further to the good impression he had made in the opening number. His tone in the “Melodie” by Guiraud was characterized by evenness, breadth, fullness and purity. In “Causerie,” by MacMil-len, played with the mute, he did some very effective double stopping, while the well-known “Liebesfreud,” by Kreisler, was very attractively rendered as to rhythm and style. In the last number, Sonata in A, in the characteristically chromatic style of Cesar Franck, with its ever-changing tonality, Mr. Schmidt sustained his part with much success. The two performers played it with great sweep and abandon, and succeeded in ending both movements with impressive and electrifying climaxes.—Jamestown Morning Post.
... In Aeolian Hall, Adolph Schmidt, violinist, and N. Val Peavey, pianist, gave a joint recital of sonatas by Sylvio Lazzari and Saint-Saëns. The two have perfected a considerable and pleasing degree of ensemble excellence, and their playing has always the further merit of sound musicianship.—The Brooklyn Eagle.
Engaged Aeolian Hall, N. Y....April 7 “	Jordan Hall, Boston..March 29
“	Hackensack, N. J......January
American Pianist
With a program of such character as was furnished there is no need for criticism—it was beyond that—but the memory of its quality is one that will remain.
Mr. Peavey was in good form and his playing delighted the audience. His masterpiece, however, was the Liszt “Hungarian Rhapsody, No. 12,” which he played con amore, sweeping the keyboard with master hand, and eliciting an enthusiastic recall from the audience.—Brooklyn Daily Eagle.
. . . The pianist, Mr. Peavey, played a Chopin group, in which he showed individuality and a technique that sustained his reputation as a noted musician. He responded to the applause given him by an extra number.—Toronto> World.
. . . N. Val Peavey is the Sandow of the piano. In his solos, he made it sound like a symphony orchestra. He is in every meaning of the term, “ a man pianist.” He revels in bravura passages, eats up technical difficulties, stirs the feelings and interests and excites by his vigor and impetuosity, and yet withal, in spite of his love for startling sonorous effects, he plays with musical feeling, as evidenced by his delightful accompaniments. His rendition of the Chopin Polonaise cpuld be likened to nothing but the irresistibility of the Cossack charge.
... Those present listened to a very delightful recital and those absent missed a musical treat.—Jamestown Morning Post.
Engaged Hackensack, N. J.........January
“ Aeolian Hall, N. Y.. .April 7 “ Jordan Hall, Boston..March 29
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