53
MUSICAL COURIER
March 2, 1922
Reed Miller Scores at Williamsport
Seldom has an artist met with such a reception as was accorded Reed Miller, America’s noted tenor, who appeared last evening at the seminary in the artist course. Mr. Miller endeared himself to all lovers of music, and his singing brought forth highest tributes from the leading music critics of the city.
The Williamsport Sun, of February 4, said the above in praise of Reed Miller’s singing, while the Gazette Bulletin of the same date wrote:
Reed Miller, America’s noted tenor, whose name stands among the foremost in the vocal art, received an unsurpassed ovation at the Seminary last evening, where he appeared in the music course. Mr. Miller sang his songs in straightforward style, which carried conviction to his hearers not only concerning the purpose of the composers but also as to his own notions of the purpose of the song. He was unquestionably at his best. He left nothing to be desired and received the highest tributes from the music critics of the city.
Kerns Commended for Artistic Performance
Recently Grace Kerns appeared in concert in Newport News, Va., and scored more than her usual success, if one is to judge by the following paragraph that appeared in the Newport Daily Press after her performance:
Her voice displayed not only remarkable sweetness of tone, but in her rendition of that famous aria, “Depuis le jour,” from “Louise,” she revealed a perfect method of technic. Miss Kerns followed with a group of English songs and was forced to respond by continuous applause and gave as encore “The Little Damoselle,” by Novello. Newport News has never enjoyed a more artistic performance.
Praise for Lo Desca Loveland
According to the Aukland, N. Z., Herald of January IS, nature has undoubtedly endowed Lo Desca Loveland with a voice of unusual beauty and power, but her rendition of an attractive program proved not only the characteristics of an artist but genuine love of the art as well. The same paper further stated that seldom does one hear such finesse and warmth of tone in such a powerful voice, and that her diction in all languages is a treat. Miss Loveland is enjoying an exceedingly successful tour in Australia and New Zealand.
Another Kelly Pupil Heard
Margaret Powell, artist pupil of Thomas James Kelly, gave a successful recital of songs and arias for the Monday Club of Marshall, Mich., recently. She sang an aria from “L’En-fant Prodigue” of Debussy; “Deh vieni non tardar,” Mozart ; “Hymn to the Sun,” Georges: “Sheep and Lambs,” Homer; “Thoughts Have Wings,” Lehmann,” “Homing,” Del Riego, and “At the Well,” Hageman “She sang brilliantly, feelingly and withal satisfyingly and the audience manifested unqualified approval by according enthusiastic applause,” said one critic.
AUSTRALIA-NEW ZEALAND-HONOLULU
INTERNATIONAL TOURS, Ltd.
Capitalization $125,000 Head Office: Sydney, Australia
Organized solely for the purpose of bringing artists of international reputation to Australasia.
L. E. Behymer, Los Angeles—American Representative Frederic Shipman, Managing Director Hotel Astor, New York City, until March 1st.
difficult octave work was a display of brilliant technic. Mr. Gruen was recalled and played “Country Garden” by Grainger. The enthusiasm of the audience was not satisfied until Mr. Gruen gave us a fine rendtion of the “Water Lily” by our own MacDowell. The fourth group was headed by a composition by Mr. Gruen, which was fine in style and conception, treated from a strictly modern standpoint, and well received by the audience, which gave the young composr and pianist a well deserved ovation.—Boulder Daily Camera, Boulder, Cal., January 4, 1922.
Danise Triumphs Again
At the first performance this year of “Andrea Chenier” at the Metropolitan Opera House, Giuseppe Danise again proved himself one of the finest artists of that organization.
GIUSEPPE DANISE,
ibaritone, of the Metropolitan Opera.
New York reviewers were deeply impressed with the singing and acting of Mr. Danise, some of the comments being as follows:
The baritone’s part is strongly favored in “Andrea Chenier;” in fact, it is more of a baritone’s opera than a tenor’s. The part of Gerard is supplied with music of peculiar richness and attractiveness. It was taken yesterday by Mr. Danise with admirable results. His singing was extremely fine in voice and in style; in dramatic fervor and impressivenses, and his impersonation of the character was strongly and individually presented.—Richard Aldrich, in The New York Times.
Mr. Danise repeated yesterday that admirable impersonation of Charles Gerard which last year fully established his reputation in this city. In this role his art is excellent in almost every detail and greatly strengthens the impression made by the opera.—W. J. Henderson, in The New York Herald.
Mr. Danise, the baritone, who established himself at the Metropolitan in the part of Charles Gerard, repeated his former success.—Frank N. Warren, in The New York Evening World.
AMERICAN ACADEMY of DRAMATIC ARTS, Founded 1884
FRANKLIN H. SARGENT, President
The leading Institution for Dramatic and Expresslonal Training In America. Connected with Charles Frohmann’s Empire Theater Companies. For Information apply to Secretary, 155 Carnegie Hall, New York.
Florence McManus
(Mrs. George McManus)
SOPRANO
30 Central Park South New York City
Well Known Pianist
SECOND RECITAL Carnegie Hall, New York March 13
( All Chopin Program)
MALKIN
HAENSEL & JONES, Managers
STEINWAY PIANO
M
A.
N
F
R
E
D
SOPRANO
Direction: J. H. FITZPATRICK, Windtor-Clifton Hotel, Chicago, 111.
(Ç)ftgnfCDltStf ERNEST BLOCH, Musical Director
3146 EUCLID AVE., CLEVELAND, OHIO Mrs. Franklyn B. Sanders, Executive Director
ovation after ovation. Of the trio, only Mr. Hess was a stranger to the audience, but he quickly found a place in its hearts for his wonderful cello harmonies that seemed to come in dark, rich measures from his instrument.—Davenport Times, January 23, 1922.
A program that was full of variety and peculiarly characteristic in its four numbers of as many different masters and composers of chamber music, that was tuneful and melodious and made extremely interesting through artistic musicianship,־ was the first offering of the Chicago Trio (Ludwig Becker, violinist; Hans Hess, cellist, and Rudolph Reuter, pianist), at Sunday’s Twilight Musicale. Mr. Hess is new to Davenport audiences, but his playing Sunday, especially in the Brahms trio which gives the cello the leading part, showed him to be an artist of exceptionally pleasing gifts which have been developed to a fine artistry and understanding of things musical. The warm greeting tendered him in appreciation of his work was also a welcome to the city’s list of visiting artsts— Davenport Democrat and Leader, January 23, 1922.
Connecticut Likes Marie deKyzer
Marie deKyzer sang about a fortnight ago in Willimantic, Conn., with such success that she was at once re-engaged for next season. January 27 she sang at a concert in Spring-field, Mass., and was re-engaged. February 1 she appeared at the Women’s Club, East Orange, N. J., and February 27 she sang at a Stamford, Conn., concert.	Such de-
lightful successes show her a singer of peculiar ability to please. Two notices from Connecticut read as follows:
With her beautiful, rich soprano voice, Marie de Kyzer won instant applause from a large audience gathered at the Windham High School auditorium, Monday night, to enjoy the first annual concert under the auspoces of the Willimantic Rotary Club.
Generous in her numbers, always ready to give her delighted audience an encore, Miss de Kyzer won her way into the hearts of the music lovers of this city as no_ other singer has done. Miss de Kyzer’s program was varied, giving her audience opportunity to hear her in practically all types of song. Her program consisted of a group of four songs interpreted in the manner of an artist who has won the praise of practically every paper in the country. At the close of her second group of songs Miss de Kyzer sang “Carry Me Back to Old Virginny.” In this song she sang with the accomplished art and technical skill which have won their way into the hearts of people in the south, demanding her reappearance in cities in the southland on several occasions. Following her closing group of four numbers, by special request she sang “Waters of Minnetonka” (Lieurance) and at the insistent demands from the audience returned, and in closing, beautifully interpreted “Field of Ballylair” (Maley). The entertainment was one of the best held in the city in recent years and both entertainers will be welcomed on their return.—Norwich Bulletin.
... was a great success and the large crowd attending was simply delighted with the merits of the artists. In Miss de Kyzer the audience heard a talented singer with a beautiful rich soprano voice and, by her singing last night, she has certainly won a warm place in the hearts of local music lovers. Her program was varied and consisted of three groups of songs. At the end of each group, she pleased with several encores. After־ she sang “Alleluja,” she favored with “Carry Me Back to Old Virginny.” At the close of her last group by special request, she sang “Waters of Minnetonka” by Lieurance, and after repeated encores from her audience, she beautifully interpreted “Field of Ballylair” by Maley.—Willimantifc Chronicle.
Huberman Acclaimed in New Phase of His Art
Bronislaw Huberman, in his third New York violin recital, showed another phase of his art by playing for the first time in this country Ottorino Repighi’s sonata in B minor for piano and violin, with Paul Frenkel at the piano. The critics hailed the sonata as an interesting addition to the violin repertory, and lauded Mr. Huberman as its interpreter. The rest of the program, which included works by Bach, Tschaikowsky and Lalo, also won high praise. Said Deems Taylor in the New York World:
It is beautifully written for the violin, and Mr. Huberman played it with flawless technic, admirable tone color and a self-effacing dignity that did much both for the music and the player. The piano part is both important and difficult, Paul Frenkel played it, as he played all the accompaniments, like an artist.
The New York Tribune published this comment:
Mr. Huberman played its as he did the rest of his program, with elegance and a high degree of technical facility. The same grasp and perfection of detail were in Mr. Huberman’s playing of an unaccompanied Bach adagio and fugue. He is one of the most distinctive violinists heard this season.
Then Katherine Spaeth, in the New York Evening Mail, showed her enjoyment:
Mr. Huberman realized the possibilities admirably, playing with that highly musical discernment and appealing variety of tone that may be counted on from this versatile violinist.
Grena Bennett in the New York American wrote:
Its performance was spontaneous, scholarly and a tonal treat.
Josef Konecny Wins Kansas Tributes
Josef Konecny, Bohemian violinist, and his concert company, are meeting with constant success on their Western tour. Concerts given recently in Concordia and Parsons (Kan.) brought forth the following press eulogies:
Last night the music lovers of Concordia were given a real treat when Josef Konecny, celebrated Bohemian violinist, played in recital at the Presbyterian Church. . . . Konecny is yet a young man, but his performance last night was proof of the mastery of technic which has gained for him a most enviable reputation. He is not an emotional artist. He is an intellectual, and in his work there is a delicacy of perception, and a fineness of feeling that could find expression only in the subtle artistic control which Konecny has attained. He was at his best in Ernst’s difficult concerto in F sharp minor which gave scope for his unusual powers. His rendering of Haiser’s “Cradle Song” and of “The Swanee River” was altogether delightful, but in Randegger’s “Bohemian Dance” there was a touch of real color and of rather unexpected abandon.—Concordila (Kan.) Blade-Empire, February 2, 1922.
VIRGINIA GILL Lyric ¡Soprano
**A Voice of Distinctive Charm״‘¡	Now Booking for Season 1921-1922
CONCERT—ORATORIO—OPERA
Address: 1014 Division Street	Camden, New Jersey
From the first number, Konecny gripped the listeners with an admiration only natural after his skillful exhibition of artistic interpretation, and flawless technic. In his playing of the gavotte from the sixth sonata by Bodi, violin alone, he exhibited that rare ability to still hold his audience without accompaniment, and in his encores of well known favorites his artistic treatment was all that could be desired.—Daily Republican, Parsons (Kan.) February 6, 1922.
FAUSTO CAVALLINI
Leading Tenor with Scott! Grand Opera Company
Address: care ALFREDO MARTINO, 329 West 85th Street	New York
Telegram Attests Meldrum’s Troy Success
After John Meldrum’s (pianist) appearance in concert in Troy, N. Y., on February 13, his managers, Haensel & Jones, were in receipt of the following telegram from the local manager under whose direction the successful performance was given:
Meldrum captivated audience by his sincerity, artistry and personality. He will go far in bis profession. Encores demanded and given.
Author of the book “The Mechanism of the Human Voice.” Former teacher of ROSA PONSELLE. Teacher of FAUSTO CAVALLINI, leading tenor with Scotti Grand Opera Co.; IRENE WELSH, leading soprano with the Italian Lyric Federation. Send for leaflet
329 West 85th Street New York
Rudolph Gruen Endorsed by Critics
The following is a recent press opinion received by Rudolph Gruen on his tour with Paul Althouse:
The next group was three piano numbers played by Rudolph Gruen, who made a “hit.” The scherzo B flat minor of Chopin was played with fire, good technic, arid proved a popular introduction to the audience for the pianist. The Spanish caprice, a showy and brilliant solo, was given a clear and effective reading. The third number, Liszt’s Hungarian rhapsody No. 6, was well played and the