Musical côuriëü
February 2, 1922
63
“Music s Master T ranslator
OTEINWAY the medium through which great artists paint music pictures with sweeping stroke and careful detail— the piano which faithfully translates each individual conception of the composer’s thought.
To hear a master-piece on the Steinway is to hear it in the full bloom of beauty and depth of meaning. And to portray one’s individual emotions on this superb pianoforte is to come to a full realization that art has blended perfectly with the manufactures.
Such is the Steinway piano of international renown.
einway
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OPINIONS OF THE PRESS
Miller has it tenor voice of wide range. The applause and encores were splendid tributes to the ability of both singers, and evidence of the deep appreciation of the entertainment.—Glens Falls Post^Star,
DeKyzer in Port Chester
Marie deKyzer, soprano, is very popular in Port Chester, where she sings several times annually—in concert, recital, and as special soloist of Summerfield M. E. Church, P. W. Riesberg, organist and director. She was soloist at the eleventh annual Scottish concert a fortnight ago, when the Item referred to her singing as follows:
Marie DeKyzer, the soprano soloist, gave an especially beautiful interpretation to her folk songs. Miss DeKyzer has a very full smooth voice, and her control is subtle and delicate. The simplicity and beauty of her singing is rare. “Robin Adair” and an encore, O Where, and O Where Is My Highland Laddie Gone?” were es-pecmlly charming. “Crooket Bawbee,” the duet by Miss DeKyzer and Mr. Cumming, was most enjoyable because the voices blended so very well.
House Sings Samson in St. Louis
Ernest Colvin, the critic df the St. Louis Star, wrote the following paragraph in his paper after Judson House’s recent appearance in that city as Samson in “Samson and Delilah,” given in oratorio form by the Pageant Choral Society with great success:
Incidentally in the few phrases of this song (“My Heart at Thy Sweet Voice”) m which the tenor joins, either in an interlude or in a duet, Judson House, who had the part of Samson, did his best singing of- the night. Mr. House has a powerful voice which he had no difficulty in hurling against a heavy orchestration. In the duets with Delilah and in the final prayer as Samson pulls down the pagan temple, he sang with a genuine ring and his final high tone sounded forth with the clarity of a bell.
San Antonio Pays Tribute to Mary Jordan
The recital given by Mary Jordan at San Antonio, Tex., January 7, drew an audience that filled Beethoven Hall to its capacity. Among the comments of the press on Miss Jordan’s singing of an interesting and exacting program were the following:
Miss Jordan has a contralto voice of velvety beauty and her artistry and charm play no small part in making her one of the most adored singers of the day.—News.
The note of authority with which she sang last evening was one of the most interesting and delightful features of the program.—Express.
Patton “Tempts to Extravagant Praise”
After his recent appearance in concert in Pittsburgh, it was the music critic of the Dispatch that wrote the following about the singing of Fred Patton :
He is written a bass in the program, but he is really a low baritone, his voice of remarkable range and so rich in pure musical qualities, so mellow, so appealing in all that makes for great and perfect expression, marvelous of timbre and facile modulation, that one is tempted to extravagant praise.
And from what the other critics wrote, it may be gathered that they, too, were “tempted to extravagant praise.”
Dilling to Play at Cosmopolitan Club
Mildred Dilling, harpist, and Mona Gondre will give a joint recital^ at the Cosmopolitan Club, 135 East 40th street, on the evening of February 14.
The following letter, which is an aftermath of Miss Dill-ing’s success in Pittsburgh, speaks for itself:
...	Pittsburgh, Pa., January 7, 1922.
Miss Mildred Dilling,
Foremost American Harpist,
New York, N. Y.
My dear Miss Dilling:
May I give myself the pleasure of telling you what a great success you were at each of the four concerts you have played for me already this season. At each of the four places the people were most enthusiastic over your very beautiful playing, your attractive stage manner and your very interesting personality. I congratulate you on making such a tremendous success.
It is not a great distinction to be selected as one of the three artists of a group of sixteen (all very fine artists) to return to Carnegie Music Hall of Pittsburgh for the second year on the same concert course? The demand was such that the people were anxiously awaiting your concert of the Popular Course. I hope you may be able to come to us often.
It is a pleasure to write you what the music critics of the prominent city papers recordede after your concert last evening— ‘ She held her audience enraptured,” “Miss Dilling is a dexterous and agile fingered priestess of the arpeggio shrine, who fills her harp with dynamics and makes it interesting,” “No word of praise here could add to the warmth of Pittsburgh friendship for Miss Dilling.” I congratulate you again on these fine criticisms. You recall last year I had you for one concert and this season for four—it looks like next year I will need many Dilling concerts.
Sincerely yours,
(Signed) James A. Bortz.
Fall River Admires Richard Burgin
Richard Burgin’s recent success in Fall River, Mass., was referred to by the Fall River Herald as follows:
January 1, 1922, at a concert of the Boston Symphony Orchestra the Empire Theater at Fall River, Mass., was filled, and many were unable to obtain seats. The program was made up of the symphony No. 4 in E minor, op. 36, Tschaikowsky; “Carnival in Paris,” Svendsen; Spanish symphony for violin and orchestra, op. 21, Lalo, and overture to “Tannhäuser,” Wagner. The soloist of the afternoon was Richard Burgin, concertmaster of the orchestra. It is the first time he has played here as soloist and he more than fulfilled expectations. Richly endowed, both technically and temperamentally, he gave a vivid and glowing interpretation of Lalo’s Spanish symphony. Only three of the five movements were played. At the close of the symphony, Mr. Burgin was recalled several times. During the playing of the “Carnival in Paris” and the “Spanish Symphony” Mr. Theodorowicz acted as concertmaster.
Carl Schlegel for Ann Arbor Festival
Through the agency of M. H. Hanson, Carl Schlegel has been engaged by Charles A. Sink to sing the role of Wolfram in “Tannhäuser” at the Ann Arbor festival next May. Mr. Schlegel’s experience at the Metropolitan Opera House should secure him a genuine success.
Early February Dates for Stanley
During the first ten days of February, Helen Stanley is booked for recitals at the University of California, Los Angeles, and also a public recital the following day; Tacoma. Wash.; Portland, Ore., and Yakima, Wash.
“Adoration” Were given with distinction, and ”TraV’ln’ to de Grave” caught the audience at once;—Milwaukee Sentiiteh
Mr. Thomas proved himself a singer of intelligence and sound training, a lytic tenor who should achieve success in concert. The soloist, logically, has specialized in romantic songs* a field in which he is entirely at home and most enjoyable to hear. His most impressive work was in Lotti’s “Pur dicesti, a bocea bella,” which requires the most careful handling of its florid phrases. In it, the flexibility of the tenor’s Voice, its fine lyric quality and the intelligent phrasing used by the singer were most in evidence. There was slight trace of faulty diction in any of the tenor’s work. He is worth hearing again.—Milwaukee Journal.
The club was fortunate in having obtained the service of Ralph Thomas, tenor, as soloist. There was a richness and warmth of tone in his offerings which is indeed rare. His enunciation and interpretative ability drew round after round of applause. Had there been no other offerings on the program, the evening would have been noteworthy.
His aria, “Ella mi fu rapita” (from “Rigoletto”), revealed a wonderful technical grasp and feeling. This was followed by “Pur dicesti” (Old Italian), and revealed the art of a master.—Milwaukee News.
Verdict of the Press on Grace Kerns
Recently Grace Kerns appeared as soloist with the Pittsburgh Mendelssohn Choir in “The Messiah,” and, according to the Dispatch “surpassed” in the part. Extracts from the some of her notices are reproduced herewith:
Miss Kerns has an extremely pleasing voice that s?ems to lend itself particularly to the singing of such work as “The Messiah.” It is doubtful if she is surpassed in such a part.—Dispatch.
Miss Kerns must have a throat lined with silver or platinum or something precious, which enables her to produce such pure tone and conjuring half voice.—Sun.
Her pure voice was managed with great intelligence and delicacy of detail.—Gazette-Times.
All of the soloists were well received, and particularly Miss Kerns, who sang most intelligentlyy and handled the difficult passages with ease and assurance.—Chronicle.
Miss Kerns’ singing of the coloratura air, “Rejoice Greatly, O Daughters of Zion,” was enchanting in its tone and easy movement. —Post.
De Horvath Heard in Harrisburg
Cecile de Horvath played recently for the Harrisburg, Pa., Wednesday Club, after which she received the following tribute from the critic of the Harrisburg Telegraph:
The opening number, “Hark! Hark! the Lark” (Schubert-Liszt) played by Mme. de Horvath was peculiarly appropriate. This young woman’s interpretations might almost be called “personalities,” so genuine are they and so completely do they express her forgetfulness of everything but the harmonies she creates. It would be difficult to decide in which of her selections she was at her best unless it might be Liszt’s “Tarantella,” which afforded opportunity for the display of her brilliant technic and fingering, alternating with the delicate shading of romantic pathos.
Many Concerts for Walter Mills
Walter Mills, baritone, sang recently in Bloomfield, N. J., for the Teachers’ Association, and just previous to that appeared in New Hampshire and Connecticut. The Beethoven Society specially engaged him for the second musicale of its season, at the Hotel Plaza, New York, when he sang arias and songs by Verdi, Thomas, Franz, Forsyth, Russell and Huhn, besides encores. Recently he was heard at the Women’s College, Easton, Pa., and just before that in a “Period Recital” at the home of George Mellick, Plainfield, N. J. Following his Bloomfield appearance the Independence Press of that city said of his singing:
Walter Mills, baritone, gave two groups of songs, the first entirely in Italian. In these one felt that the enunciation was almost good enough to overcome the inevitable disappointment in the choice of the foreign pieces. “Vittoria! Vittoria!” was sung so triumphantly as to make the language comprehensible to the low-brow listener. In the second group and in his encores, Mr. Mills unbent more and by his careful enunciation and the power and resonance of his voice gave great pleasure. “Silence,” a lyric written by Sara Teasdale, was delightfully rendered, and every Stevenson lover wished that he might hear “Requiem” right over again. “The Bell Man,” by Cecil Forsythe, based on the old custom of crying the hours through the night, and a charming little encore about “The Lilac Tree” were the favorites of the audience.
4,000 Hear Beddoe in “The Messiah”
Daniel Beddoe, the well known tenor, of Cincinnati, Ohio, is on tour in the West and is meeting with his usual artistic success. Recently Mr. Beddoe sang “The Messiah” in Milwaukee (his ninth successive time with the Arion Society), and an audience of over 4,000 gathered in the Armory to listen to the oratorio. Appended are three of the tributes which the tenor won from the critics on the day following this concert:
Mr. Beddoe, one of the nation’s leading oratorio tenors, brought to his task the confidence and understanding of years. His voice is ample and rich, handled surely and with ease. His singing was a great contribution.—Milwaukee Journal.
Daniel Beddoe’s delightful tenor had ample opportunity in the well known arias, “Comfort Ye, My People” which opened the oratorio, while “Thy Rebuke Hath Broken His Heart” was an exquisite gem of vocal art.—Milwaukee Sentinel.
Daniel Beddoe, veteran singer of the tenor arias, was irresistible. “Comfort Ye” and “Every Valley” were admirably sung, but nothing could have been finer or imbued with a nobler feeling than his singing of “Thy Rebuke Hath Broken His Heart,” and “Thou Shalt Break Them” was sung with a dramatic power.—Wisconsin News.
Miller and Van Der Veer Bring Joy
Recently Nevada Van der Veer sang in Middletown, N. Y., under the local auspices of the Girls’ Glee Club, whose president, Mary McShane, afterwards wrote to this contralto’s managers as follows:
Mme. Van der Veer made a deep impression upon her audience. It is the opinion of those who are really competent to judge that she is by far the finest vocalist who has ever visited us here. Mme. Van der Veer has a voice of wonderful beauty, and her great interpretative skill and artistry made her fine program of songs a joy to her listeners.
Her visit to Glens Falls, N. Y., brought fine results, for all the listeners, critics and papers waxed enthusiastic in her praise, Reed Miller, her tenor husband, sharing in it. One who was there wrote in the leading paper as follows :
Nearly 1,500 music lovers attended the recital given by Nevada Van der Veer and Reed Miller in the Armory, January 12, and were delighted by their program. Mme. Van der Veer possesses a beautiful contralto voice of rich tone and deep expression, and Mr.