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51
MUSICAL COURIER
March 2, 1922

STEINWAY —a name that is spoken with the full pride of ownership —that carries with it the deep satisfaction of possessing the ultimate expression of man’s handiwork in Musical Art.
STEINWAY —a name that is cherished as a Family Tradition—that keeps afresh for the next generation the associations and fond remembrances which cluster around the home piano.
STEINWAY—supreme achievement of patience, skill and experience, founded on inborn Ideals of Artistry.
Catalogue and prices on application. Sold on convenient payments.
Old pianos taken in exchange. Inspection invited.
Steinway & Sons
STEINWAY HALL
107-109 East 14th Street, New York
unsurpassed by any of his contemporaries. Characteristically he saved these numbers until after he had completely won his au-audience by the perfection of his execution of Bach and Corelli.
Andre Benoist s accompaniment was such as the great violinist deserved. He had his just share in an ovation which set something of a record.
Kathryn Meisle’s Triumph in St. Louis
Recently Kathryn Meisle, American contralto, made her first appearance in St. Joseph, Mo., at the huge Auditorium in joint recital with Marcella Craft and Vera Barstow. Miss Meisle’s success was tremendous, as the following notice from the St. Joseph News-Press of February 4 testifies:
A voice of such beauty as that possessed by Kathryn Meisle is not heard twice in a lifetime. It has incredible depth which seems unfathomable and gives to its wondrous sweetness a back-ground full and rich. It is at its best in her lower register. She has a magnetic personality and seems to love to sing. Her appreciation of the enthusiasm of the audience was evident. She was recalled again and again. The loveliness of “O Don Fatale” from “Don Carlos,” and the encore, “My Ain Folk,” entr'enched her firmly in the regard of her hearers. The latter was touching in its simple appeal. “Dreamin’ Time,” by Lily Strickland, was like its name, and Frank La Forge’s setting of “Where the West Begins” was given with a vividness and warmth worthy of the music. “The Lilac Tree,” an encore, was so captivating that its repetition was insisted upon.
Max Gegna Acclaimed
Mag Gegna, cellist, who recently completed a. successful tour, has been the recipient of unusual praise by the critics.
MAX GEGNA
From such widely separated points as San Diego and Boston, Toronto and Dallas, come the appended notices:
Max Gegna is rated one of the best cellists of this country.—San Diego Tribune.
He played his program with a delightful tone, good technic and refined taste.—New York Herald.
Mr. Gegna’s playing asset is a lovely tone that pervades all his work. He is altogether a fine artist.—New York World.
The cello is a versatile and eloquent instrument in his hands.— New York Evening Mail.
Gegna draws a tone of delightful suavity and clear color, and plays• with the skill of a virtuoso.—San Francisco Chronicle.
Has a remarkably mellow, searching tone of brown gold, and his technic is admirable.—Portland Oregonian.
A player of great refinement and artistic skill.—Toronto World.
He drew, with supple fingers and bow, from the ample bosom of the cello as many moods as are in the human heart.—Waco Ne^vs Tribune.
Played with more than technical mastery; he has that and also the tone and rhythm that spell temperament.—Louisville Courier.
Is a cellist of the first rank.—Nashville Banner.
Exquisite mastery of the instrument brought him back for many encores.—Dallas News.
Gegna is said to rank among the greatest cellists of the world.— Lexington Herald.
Has finished technic and breadth of tone.—Boston Traveller.
His adept fingering and virile bowing revealed real beauties of cello playing.—Toledo Daily Blade.
Delighted audience so greatly that he was obliged to add extra numbers.—Toledo Times.
A cellist of astonishing virtuosity, fine tone and scholarly respect for his instrument.•—Louisville Herald.
Namara Pleases Washington
When Marguerite Namara appeared in Washington recently she received the full approval of the critics, some of the comments being as follows:
An enthusiastic audience greeted Marguerite Namara, soprano of the Chicago Opera. Mme. Namara is a great favorite in Washington and her admirers never had better cause to applaud her every number than yesterday, for she was in superb voice, every note clear, pure and true, while she displayed anew that charming method which never obtrudes as “method.” Her program provided a wide range of songs, including the “One Fine Day” aria from “Butterfly” and the “Jewel Song” from “Faust,” while among the most enjoyable of the shorter numbers were Grieg’s “Le Reve,” Kreisler’s arrangement of “Loch Lomond,” Sibella’s “La Girometta” and Hageman’s “The Well.” Despite insistent applause, Mme. Namara gave only two encores—the brilliantly interpreted “Gavotte” from “Manon,” for which she happily played her own artistic accompaniment, and Martin’s “All for You.”—Washington Post, February 4, 1922.
Marguerite Namara has a limpid and pure soprano voice, of lovely timbre, good range and even throughout; she sings with much ex-
and^ Delilah,״ given in oratorio form by the Pageant Choral Society with success:
Nevada Van der Veer had the mezzo-soprano role of Delilah, the only solo part of the opera which gives the singer a real opportunity in lyric song. The voice of Mme. Van der Veer is sweet and appealing; warm, vibrant, resonant as that of a deep contralto in the lower register, bell-like in the upper. Her many solos—especially in the second act—were sung with rare expression, distinct enunciation and smooth legato. The only aria in the opera that is often heard on the concert stage, “My Heart at Thy Sweet Voice,” was given as artistic an interpretation as one is likely to hear.
More Praise for Hess and Reuter
What the Chicago Press of February 1 had to say regarding the first of two programs of cello sonatas given in Chicago by Hans Hess and Rudolph Reuter and sponsored by Mr. Hess, the prominent cellist, is appended herewith:
Mr. Hess brings a beautiful tone from the cello and Mr. Reuter has a genuine love for chamber music, so they made an excellent pair for such a program ... a broad vigorous reading to the Brahms, variety of tone color and rhythmic elasticity. The sonata by Clarence Loomis was interesting in itself and very well played. . . . richness of tone in the sustained passages and brilliance in the _ decorative figures . . . their playing was excellent and in spirit of the music.—Karleton Hackett in the Chicago Evening Post.
Two well known young artists, whose reputation extends beyond these doors, Hans Hess, cellist and Rudolph Reuter, pianist, gave a joint recital in Kimball Hall last night before an approving audience that filled the hall to capacity. This pair of well matched musicians was heard in the Brahms E minor sonata and a sonata in C major by Clarence Loomis . . . the two recitalists played well together and both have a dignified and scholarly attitude toward their joint mission.—Herman Devries in the Chicago American.
Hans Hess, cellist, and Rudolph Reuter, pianist, each played with excellent understanding of what the other was about. Each has a well-grounded skill and a routined ability to present musical ideas in a way which musicians like . . . soundness of taste, smoothness and vigor of execution, variety of tone and color, with fine balance between the two instruments. The Loomis sonata, dedicated to Mr. Hess and played by him in New York last year, the audience was exceptionally cordial in receiving.—Chicago Journal.
Rudolph Reuter, pianist, last evening at Kimball Hall co-operated with Hans Hess, cellist, in bringing forth a new sonata, one by Clarence Loomis. . . . Both artists did justice to the work and they received cordial recognition from the audiences. The Brahms E minor sonata was played excellently.—M. Rosenfeld in the Chicago Daily News.
One of the interesting features last night was a sonata composed by the Chicagoan, Clarence Loomis, and dedicated to Hans Hess . . . the work had an excellent performance at the hands of the two learned and expert players.—E. Moore in the Chicago Tribune.
Rockford Critics Laud Arthur Kraft
Arthur Kraft’s recent appearances in Rockford, 111., where he is a great favorite, brought forth the following praise :
Arthur Kraft is a singer of songs, a lieder singer par excellence. Let other tenors storm the operatic heights! Kraft takes his place among the best of lyric tenors. He proved again to Rockford music lovers that he is not only a singer of excellent voice, but also a musician of discrimination, as his program selections evidenced. Beginning with the Bach song, he inspired his audience with the confidence that finished artists give one to feel. His tones are clear, his soft tones have a vibrancy that carries them to the far corners of the hall, his enunciation is good.—Rockford Republic.
Kraft’s voice shows tonal development. Always a favorite with Rockford audiences, Arthur Kraft again demonstrated his claim to the title of artist in the concert last evening. Those who had been enthusiastic over his singing before, were gratified at his gain in power and quality. _ The tenor’s voice is sweetly appealing or dramatically compelling in turn, the choice of his songs lending a pleasing variety to the program.—Register Gazette Rockford.
Enthusiastic applause greeted Arthur Kraft, tenor, when he appeared in concert last evening. Mr. Kraft’s voice has gained in breadth and quality since his appearance here last winter, and he gave a group of songs־ of varied character that served to demonstrate his remarkable high pure tones and shading. The charm of the lyric sweetness of his voice was dominant throughout, lending a dreamy sentiment to the love songs that greatly pleased the large audience. The last number, “Song of the Open,” by LaForge, under whom Mr. Kraft has been coaching for the past three summers, displayed his growth in dramatic vocal expression.— Rockford Morning Star.
William Beck’s Recent Success in “Tristan”
When William Beck appeared recently with the Chicago Opera Association in the rble of Tristan, he elicited flattering comments from the Chicago press, both as to his singing and his acting. The following excerpts give some idea of his reception:
William Beck sang and acted Kurvenal like the great and genuine artist he is. He drew a sympathetic figure of Tristan’s old servant and his beautiful voice poured forth in opulent and melodious fullness.—Herman Devries in the Chicago American, January 14, 1922.
William Beck, who has a fine regard for the Wagnerian spirit, was a splendid Kurvenal.—Chicago Daily Journal.
William Beck, whose voice_ is warm and resonant, an excellent Kurvenal.—Karleton Hackett in Chicago Evening Post.
William Beck, a well known fine artist, sang Kurvenal very praiseworthily. It is a very sympathetic role, presented with excellent vocal qualifications and with commendable dramatic force. A real, fine success for Mr. Beck.—Morris Rosenfeld in Chicago Daily News.
William Beck made a fine hit as Kurvenal.—Edward Moore in Chicago Daily Tribune.
Mr. Beck made a very sympathetic Kurvenal; he sang with a large and beautiful voice. He is a fine artist.—Paul Martin in Journal of Commerce.
Spalding an Aristocrat of Musical World
The accompanying salient paragraphs appeared in the Paris edition of the New York Herald of December 4, 1921, and tell in no uncertain terms of the success scored by Albert Spalding at his recital in the Salle Gaveau:
During his recent tour in Holland the Dutch critics spoke frequently of the aristocracy of Albert Spalding’s manner. The American violinist is indeed one of the most thorough aristocrats of the musical world in person, in manner and, above all, in his conception of his art.
At Salle Gaveau last night Mr. Spalding began his program with Corelli’s sonata in D major, and revealed in it the sobriety, the sureness and the beauty of tone of which he is capable. It was as if he had chosen to win his audience by its intelligence before appealing to its emotions. In the “Sicilienne et Presto” from Bach’s sonata in G minor for violin, and in Enesco’s sonata No. 2 in F minor, Mr. Spalding showed the same technical perfection, the same depth of feeling, the same well-poised restraint.
Mr. Spalding’s own pieces, “Castles in Spain” and “Lettre de Chopin,” constituted the real treat of the evening. Infinitely delicate, superbly finished, they revealed a gift in composition perfectly in keeping with his talent as a violinist, “Castles in Spain” is particularly beautiful, rich, colorful and full of poetic fantasy.
In “Valse Caprice,” by Chabrier, and Sarasate’s “Romanza Andaluza” and “Zapateado” the violinist gave proof of a virtuosity