MUSICAL COURIER
March 16, 1922
Graffman an Addition to American Musical Field
Vladimir Graffman is a marked addition to the American musical field. He is now concertmaster of the Minneapolis Symphony Orchestra. He was born in Wilna, Russia, July 26, 1893.
When Vladimir became thirteen years of age, his ambition and ability demanded a greater teacher than could be found in his native city. He set out for Petrograd with fifteen rubles in his pocket, having decided to study with Leopold Auer. Among a large group of contestants he was the winner of a free scholarship at the Conservatory of Petrograd, from where, after studying for five years with Auer, he graduated in 1913, previously having travelled on concert tours in Russia and Siberia.
Following his graduation he devoted himself to concert work, appearing in more than 100 cities in Russia. In 1916 he was offered the directorship of the Conservatory of Omsk, together with the professorship of the violin. For
VLADIMIR GRAFFMAN,
Russian violinist and concertmaster of the Minneapolis Symphony Orchestra.
three years he taught, having a large master class and also organizing a symphony orchestra which he conducted. Mr. Graffman showed marked success in bringing the higher gospel of musical teaching to the less versed students of Siberia and Omsk, located far from the center of Russian musical activities. He then turned his ambition toward the role of soloist, which took him on a concert tour as far as Vladivostok, and other parts of the far East.
With the assistance of Jascha Heifetz, Mr. Graffman obtained passports to the United States coming by way of China and Japan, in which countries he gave numerous and successful concerts. He made his American debut in San Francisco in May, 1920. His series of engagements were hailed as a signal success for the artist. In New York, Mr. Graffman appeared in recitals and as a soloist with the Russian Symphony and other orchestras. As concertmaster of the Minneapolis Symphony Orchestra, Mr. Graffman has established himself as an artist of the first rank, appearing as soloist with the orchestra, and in recitals in Minneapolis, Rochester, and other points in the Northwest.
In all of his concerts Mr. Graffman has the assistance of his sister, Diana Graffman, a pianist of unusual merit.
Katherine Noack Fiqué as Santuzza
Katherine Noack Fiqué was the outstanding musical artist who appeared at the benefit performance under the auspices of the New York City Federation of Women’s Clubs in Town Hall, on March 7.
Mme. Fiqué, assisted by Mathilda Radlauer and Arthur Bauer, was heard in a scene from “Cavalleria Rusticana.” In the portrayal of the role of Santuzza, Mme. Fiqué combined the characteristic appearance, the passionate acting and the dramatic vocal fervor which the part demands. Carl Fiqué gave valuable assistance with his masterful piano accompaniment.
Cora Chase, who was scheduled to sing an aria from “The Barber of Seville,” was unable to sing, owing to having been ill for several weeks, but, in order not to disappoint the audience, opened the program with “The Star Spangled Banner.” In addition to the above the committee offered many other features, comprising Indian songs, boy tumblers, Tony Sarg movies, group of English dances, Indian dancers, songs by Harry Murray, scene in a moving picture studio, a playlet entitled “Lucky Scarecrow,” and piano solos by Jose Echaniz.
D’Alvarez to Sing in Flonolulu
Marguerite D’Alvarez, en route to Australia, will give a concert in Honolulu on Saturday afternoon, May 27. The S. S. Niagara״ on which she and her assisting artists will be passengers, will delay its departure until 4 p. m. in order to give time for a matinee concert. On May 18 she will sing in the Capitol Theater, Vancouver, B. C., the concert being scheduled to begin at the unusual hour of 11 p. m, as no hall large enough is. available at the ordinary concert time. The following night, at midnight, she sails for Honolulu.
concerto, which Fritz Kreisler played here a few weeks before; the “Hindoo Chant,” of Rimsky-Korsakoff; a can-zonetta, by Godard; a “Valse Caprice,” by Wieniawski; a Gluck “Melodie” ; a gavotte, by Lully ; a minuet, by Mozart, a polonaise by Laub. Her extra numbers included several of the pieces made familiar by Kreisler.
Eastman Faculty Concert.
A “Musical Novelty Night” was given on the evening of February 6 in the series of faculty concerts of the Eastman School of Music in Nazareth Academy. Marjorie Truelove, pianist; Lucille Johnson, harpist, and Minerva Campbell, soprano, were the artists who took part. Miss Truelove amazed and delighted the audience with her improvisations on six themes suggested by the audience, a feat seldom attempted in public. Although some of the themes suggested were ill adapted to a demonstration of this nature, Miss Truelove developed them with an originality and imaginative charm that made them seem effective. She also played Debussy’s “Suite Bergamasque,” Chopin’s A flat major and B major nocturnes, and a quaint little number by John Ireland.
Mrs. Campbell sang folk songs with appropriate costumes for each group. She gave first a group of Irish songs and then a group called “Drolleries from an Original Doll House,” consisting of dainty songs by Crist and Griffes. Five compositions, ranging from Bach to Saint-Saëns, were played by Miss Johnson there were the “Bouree” of Bach, French folk songs by Grandjany, and an etude de concert by Tourneur, under whom she studied in Paris, for her first group. Later she played Saint-Saëns’ “Fantasie” and an “Impromptu Caprice” by Pierne.
Chamber of Commerce Glee Club Sings.
One of Rochester’s newest musical organiations made its first public appearance on February IS when the Chamber of Commerce Glee Club sang before a select audience in the Chamber Assembly Hall. This body is made up entirely of men who, are members of the Chamber. Although they have appeared occasionally at private functions they had never before given a full evening’s program. W. Stanley Hawkins, who has had considerable experience in the army camps and elsewhere, is leader, and to him is largely due the admirable results that have been accomplished. The singing of the club revealed a fine tone and a precision of attack that surprised the audience. The program included such difficult music as Grieg’s “Land Sighting,” with incidental solo, by Norman Reddick; Mark Andrews “Sea Fever” ; Dudley Buck’s “The Nun of Nidaros,” with incidental solo by Charles Vickers ; “In Vocal Combat,” another Buck number "The Hand Organ Man,” by Othegraven ; a new piece, “Farewell,” by E. Cutter, and Tosti’s “Goodbye.” The solo artists were Pierre Augieras, the eminent French pianist and member of the Eastman School faculty, and Rebecca Cutter Howe, a young lyric soprano of Buffalo, both of whom were warmly received.
Bonnet Delighted with Work in East-man School.
Joseph Bonnet, head of the organ department of the Eastman School of Music, has left town, for a brief concert tour in Canada, contracts for which were made before he took up his duties at the school. Before starting, Mr. Bonnet expressed himself as unqualifiedly delighted with his work in Rochester and said, he is greatly encouraged to believe that it will be fruitful in results.
“One thing is a special delight to me,” he said. “I can demand practice and know that I am not asking pupils to endure hardships and try the impossible. The equipment in the organ department is superb. Here are studios affording the student every comfort and each equipped with a fine practice organ admitting experience with the important mechanisms of the modern instrument. No more cold churches in which frozen fingers make real technical practice impossible. No more seeking the city over for even such unsatisfactory opportunities. There is no reason why an organ student of the Eastman School having time should not practice his or her full quota under ideal conditions. I am coming back as soon as I complete this short tour to go on with a work that interests me as fully as any I have ever engaged in. The possibilities here seem to me very great.”
Tuesday Musicale Program.
Members of the Tuesday Musicale gave an interesting recital on the morning of January 31 in the regular season series. The program was featured by the Schumann quintet, op. 44, played by Ernestine M. Klinzing, pianist; Effie Knauss, first violin; Hazel Dossenbach, second violin; Julia Brizee Rockwell, viola ; William Carman, cello. There were solo selection by Miss Klinzing on the piano, by Louise E. Shadd, soprano, and Jessica Cole, contralto, accompanied by Lorimer Eshlemen.
Notes.
Marta Milinowski, pianist, gave a recital for the benefit of the Vassar College endowment fund on January 28, playing a program of Grieg, Bach, Beethoven, Whitfield and Dohnanyi.
A musical program was given at the home of Mrs. Samuel L. Ring, at 197 Culver Road, for the benefit of the dormitory fund of the American Hebrew Union College, under direction of Mrs. Ring and Mrs. Leo A. Beir. Those who took part were Harry Rosenthal, violinist; Mrs. Harry P. Cohen, contralto; Jennie Levin, pianist, and Isadore Drex-ler, flutist.
A Salamanca guest recital was given before the Tuesday Musicale on February 14 by Frances Curry, soprano; Esther Maroney, pianist, and Minnie Clemons Stern, accompanist.
Marguerite Castellanos Taggart gave a recital of folk songs before the Alliance Française on February 18.
The following pupils of Raymond Wilson, piano teacher at the Eastman School of Music, appeared in recital recently: Mary Dealing, Gladys Boag, Helen Kirlakowski, Elizabeth Gillespie and Ruth Northrup.
Pupils of Frank Kistner and Arthur G. Young gave recent recitals.	H. W. S.
Heimel Pupil Applauded
George Wichner, violinist and artist pupil of John Heimel, created a fine impression at a recent concert given under the auspices of the Evening Mail in the public school at Wood-side, Long Island. Young Wichner played “Ballade et Polonaise,” Vieuxtemps; “Valse Bluette,” Drigo; “Gypsy Dance,” Nachez, and Wieniawski’s “Kuyamiak,” the last as an encore. He was ably accompanied by Lillian Rosenthal.
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ROCHESTER HEARS HEIFETZ,
HUBERMAN AND MORINI
Eastman Faculty Concert—Chamber of Commerce Glee
Club—Bonnet Delighted with Work in Eastman School —Tuesday Musical Program—Notes
Rochester, N. Y., February 24, 1922.—Three great violinists, one of them a stranger here, contributed to the February musical events of Rochester. The first, and the one who had never been here before, was Bronislaw Huber-man, who appeared in Convention Hall on the evening of February 1 in the Paley-Damon concert series. He was heard by an enthusiastic audience, although he made rather an unimpressive start in the Lalo “Symphonie Espagnole,” lapsing distinctly from the pitch. He recovered immediately afterward, however, and for the rest of the program played with commanding technical skill and poetic beauty. He played also a Bach adagio and fugue in C major, unaccompanied; the Tschaikowsky “Souvenir d’un Lieu Cher”; a transcription by Arthur Hartmann of a largo by Vivaldi; an arrangement by Wilhelmj of Wagner’s “Albumblatt,” and Paganini’s fantasy, “La Clochette.” He was called back for numerous encores. Paul Frenkel was the accompanist.
On February 16 Jascha Heifetz reappeared before a Rochester audience for his first concert in several years, and was greeted by an audience that overflowed onto the stage and most of the available standing room. He rewarded the• audience by playing a notably fine program, starting with the Bruch concerto in G minor. Then came a "Rondo Capriccioso,” by Saint-Saëns; the “Aid de Lensky,” from Tschaikowsky’s opera, “Eugene Onegin,” arranged by Auer; a Tschaikowsky valse; “Perpetuo Mobile,” of Reiss; “Walter's Prize Song,” from Wagner’s “The Mastersingers,” and the “Introduction and Tarantelle” of Sarasate. This concert was in the Furlong series.
The third notable violinist was Erika Morini, who appeared in the V. W. Raymond series on February 28 before an audience larger than the one that greeted her a year ago. Her playing won a storm of applause and many demands for extra numbers. She played the Mendelssohn
LYELL
Pianist
2nd New York recital Oct. 18, 1922
2nd Chicago recital Nov. 19,1922
touring
November — December
Exclusive direction
WALTER ANDERSON 1452 B’way	New York