April 13, 1922
MUSICAL COURIER
42
of mood varied. O'ne was the “Ah lo so,” from “The Magic Flute, ’ the other “Con vezzi,” from “II Seraglio.” The warmth, the color, the life of the singer’s voice inspired us. Every tone was tinted with a beautiful feeling, so that we followed the melody as one would watch rosy clouds floating in the sky. Herself, Macbeth was like an old-fashioned bouquet. She brought a refreshing Frenchiness to the stage with her. The impression of herself, her voice and her art were captivating.—The Daily Times, March 18, 1922.
Florence Macbeth, soprano soloist for the day, was in magnificent voice and her clear lyric tones were heard with delicacy and the perfect nuance of traditional rendition in the two Mozart arias from the “Magic Flute” and “II Seraglio.” Her beautiful stage presence and charming, unaffected manner enhanced the really classic charm of her work. Later in Rimsky-Korsakoff’s “Coq d’Or” number, the “Hymn to the Sun,” she repeated her earlier triumphs. —The Examiner, March 18, 1922.
Havens’ Brilliant Success with Boston Symphony
The following press notices covering Raymond Havens’ recent appearance as soloist with the Boston Symphony Orchestra in Providence, indicate that Mr. Havens added one more to the successes which he has won with the same orchestra in other cities :
The Boston Symphony Orchestra, with Raymond Havens, formerly a resident of this city, as soloist, played here for the fourth time this season at Infantry Hall last evening. There was the usual large attendance.
There was much interest shown in the appearance of Mr. Havens. His many friends had reason to be pleased over his showing and gave him a big reception at the conclusion of his brilliant performance of the Liszt concerto.
Although Mr. Havens has played on other occasions as soloist with the Boston orchestra, it was his first appearance with that organization in this city. As a boy Mr. Havens showed great talent for his instrument. Always a hard and conscientious student, his progress was steady and success was the natural result. For several seasons Mr. Havens has held a prominent place among the young American pianists.	.	...
The Liszt concerto, No. 1, is not a work which might be called ideal for the display of alhround pianistic ability. But it gives the player occasional opportunity to show other qualities than brilliance. There are moments when a singing tone and legato passages are in order. On these occasions Mr. Havens showed his sense of tonal values and gave conclusive evidence of his musi-
RAYMOND HAVENS, pianist. ־
cianship. His technical ability is equal to any demand. His .runs and difficult passage work were given with splendid ease and certainty. His tone is full and musical and does not lose its attractive quality in the midst of technical display or when power is necessary.
The latter portion of the concerto is the more interesting. The musical development brings stirring passages for both solo instrument and orchestra. The piano effects were brought out with compelling fire and the work was concluded with tremendous power and spirit.
Mr. Havens returned several times to acknowledge the applause accorded him.—Providence Journal.
The Liszt concerto E flat major, a prodigious work, with Raymond Havens as the soloist, came midway in the concert. Mr. Havens, although well known in many other cities as soloist with the Boston Symphony, made his first appearance with the orchestra in Providence on this occasion. His performance of the concerto created a sensation. He produces a tone of extraordinary beauty, his chords have a noble sonority even in the loudest passages, he has a sense of rhythm that is striking and his interpretation was that of a master. It was distinguished playing. It would indeed be difficult to recall a finer performance of the work here. At the end of the concerto a wave of prolonged applause swept through the great audience and Mr. Havens modestly bowed his acknowledgments. Three more recalls came ere the applause ceased.— Providence Evening Tribune.
Theo Karle Scores in Dayton
Theo Karle, who recently has been appearing with the Cleveland Symphony Orchestra under the direction of Nikolai Sokoloff, was received with enthusiasni by Dayton admirers. Among them Penelope Perrill, of the Dayton Daily News, wrote:
Theo Karle, who has not been in Dayton for several seasons, sang three numbers; the first the aria from “La Gioconda” with a literal translation of the words that the audience might follow. Mr. Karle’s tenor is robust and resonant; a voice that soars into the empyrean with ease, and carries with it the loveliness of perfect sound. The encore, “O Paradiso,” from ‘ L’Afncaine (Meyerbeer), was exquisitely sung, as indeed Mr. Karle always does sing, with assurance and absolute control.
Miquelles Win Favor at Fall River
The Fall River Evening News published the following account of the recent appearance of the Miquelles in that city:
The talented Renee Longy-Miquelle, pianist, and her equally talented husband, Georges Miquelle, a cellist in the Boston Symphony Orchestra, delighted a large and appreciative audience at their appearance before the WOman’s Club, Monday afternoon.	Mrs.
Edgar G. Durfee, chairman of the music department, presided.
Mr. and Mrs Miquelle, the latter the daughter of the well known oboist of the Boston Symphony Orchestra, rendered the following well chosen program in a finished manner: sonata in G major, Samatini; (cello solos) allegro appassionato, Saint-Saëns; Ko-mance,” Faure; tarantelle, Popper; (piano solos) Fileuse, Mendelssohn; gavotte, Gluck-Brahms; toccata, Saint-Saëns; sonata in A minor, op. 26, Grieg.	,	,
Temperamentally suited, the two artists, for they are that, played with a sympathy which, added to fine technic and thorough musical feeling, produced a charming and satisfying effect on the music lovers present. Mr. Miquelle is young and new to most, but the discriminating who heard him yesterday believe that he will receive increasing serious consideration as a great cellist. Un hearing a player for the first time, one listens critically for technical faults, but Mr. Miquelle is true enough a musician to use technic only as a vehicle for the interpretation of the composer’s thought, and plays so easily that one knows only that he is producing beautifu tones without effort. It would be hard to say that he excelled especially here or there, since all was. exquisitely done.
Mrs Miquelle proved not only her ability as an accompanist of intelligence, but also a soloist of brilliancy both m technic and interpretation. It is not often that these can be found in the same individual. The numbers selected offered opportunity to judge of her power to overcome technical difficulties, and to convey musical thought. Her pedal work and clear enunciation of tone were noteworthy.	. ,	,
The first group, with its rich harmony, emphasized the simple themes to be found in the “songs of the people” of the eighteenth century. In the opening movement, Mr. Miquelles rendering showed his masterly love of his instrument. The delicate nuances of light and shade of the second movement were artistically brought out as well as the sparkle and vivacity of the finale. Mrs. Miquelle did’ more than assist in this number, and yet her accompanying was not obtrusive, as it was not in the three cello solos that followed.
not ODtrUSlVC, as ll waa livi u!	,	,	.	• ,
In the “Appassionato” of Saint-Saëns both cellist and pianist showed their ability to play in harmony of spir
showed their ability to play in narmony ui spirit, the subtle changes of the composer’s fancies being vividly brought out by both as one. The “Romance,” with its -singing theme and syncopations, was charming, while the gaiety and abandon of the dance spirit was so vivid in the tarantelle that it was contagious. In this number the unison of rhythm of the two players was especially fine. J he applause called for an encore.	,	...	_
The third group gave splendid opportunity for those that love music as such to enjoy themselves. The ever lovely spinning song of Mendelssohn found delicate and realistic interpretation at Mrs. Miquelle’s hands. One could see the picture as the busy wheel
fleBrarhms’d familiar “Gavotte” lost nothing from the fact that it was familiar, since the player’s clear, bell-like tones and clever enunciation of the happy themes made it refreshing. The toccata increased the conviction that Mrs. Miquelle is not a novice, for it required more than ordinary gifts and training, demanding, as its name suggests, the whole keyboard for the range of its fancy, ihe intricate fingering alone, to say nothing of the fortissimo passages of massive chords and arpeggios, required a master, and Mrs. Miquelle was noticeably at ease. That her work was admired was evident from the approving nods, and enthusiastic applause whicn received an encore.	.	,	......	..
The final group opened with a slow movement, rich with the harmony for which Grieg is famed. From the stately sustained rhythm of the opening measure, the players developed a carefully worked up climax, through the fugue movement to unison, then back to the original theme. When one hears those play m whom musical thought and feeling are innate, he realizes that music is the voice of the gods. Certainly such harmony as these two artists produced is not heard every day. That they are true musicians was shown finally in the last number, the allegro ־ agitato being in complete contrast to the first movement of the sonata. The cellist s tones and bowing were tested to the full, and. the pianist s nimble fingers flew with her thoughts, as they ranged from the difficult agitato theme at the beginning through the singing theme of the middle and back to the agitato finale.	...	״rav
To say that the afternoon was all too short is but another way of saying that the coming again of Mr. and Mrs. Miquelle will be eagerly anticipated by those who distinguish between musicians and entertainers.
Bland Pupil in Important Position
Edith Gaile, soprano, who has been studying for the past two years with John Bland, has been appointed soloist of the First Presbyterian Church, New York, Dr. William C. Carl organist. Miss Gaile succeeds Vera Curtis.
Another Tribute for Schumann Heink
Ernestine Schumann Heink, who appeared in Indianapolis recently in recital, scored one of her most substantial sue-cesses on that occasion, as may be seen by glancing at the following press notices:
Ernestine Schumann Heink, that great musician and dynamic personality, evoked the usual admiration and enthusiastic response from a large audience. Mme. Schumann Heink again demonstrated that she is not only a singer of great natural endowments who stands the assaults of time, but also gave an impressive exhibition of the technical equipment that makes an art of a natural human
expression asure t0 hear and realize the accuracy of this singer’s attack, her control of tone and breath and of all the resources that make her a fine interpretive artist She knows her business so superlatively well that even those unfamiliar with the technic ot vocalism must be aware of the ease with which she works.
Two Wagnerian arias brought a thrill of delight to an audience unaccustomed of late years to hear these beautiful	¿5
addition to the Erda song from “Rhemgold and,*he Tristan and Isolde” number, there was the aria, Ah, rendimi, from Mitrane In these songs the woman who recently has been best known as a Hed״ singer, renewed her hearer’s delight in her finished artistry as an operatic interpreter. The Schumann Heink, who believes in giving the public what it wishes, believes also in upholding the high taditions of her art, and it was as a serious artist that she sang the arias and the Schubert, Brahms and Strauss songs, which
maTheU“Sapphiseche Ode” and “Aller Seelen” were particularly weH sung, with that smooth legato tone that must be capable of variation of folor for full effect. Nor was there lack of feeling and dramatic sense of Schubert’s “Der Wanderer” which preceded them. Indian: apolis News, March 20, 1922.
To all concert goers, even those not primarily interested in music׳ the contrasting personality of visiting artists is ever an interesting feature. Some artists charm purely by the mastery of their art,, the intellect is satisfied. Others add to their skill, warmth and emotion which create a bond of sympathy and understanding between the artist and listener. It is this power which gives Schumann Heink her great and continuous hold upon the public. may come and singers may go, but this wonderful diva holds the hearts of the people of our time as no other prima donna has
eVNotd°oneiy by her music, but also by that marvelous human touch with her audience, she has endeared herself to the American ^foik and has been the far-reaching # influence in raising their musical standards. By sheer personality, she lifts the layman to the heights of her classical programs.	.	,	, ״ . T...
h The program ranged from opera arias to the simple lullaby. In all of these numbers, her rich, deep voice and her interpretive ability and histrionic power added to that splendid poise and st g presence, held the audience, as always, to the final note, Indian apolis Star, March 20, 1922.
Macbeth Charms Los Angeles
Florence Macbeth greatly enhanced her already splendid reputation as a concert artist at Los Angeles, as seen by the following press reports:
I suppose none of us has heard Mozart sung quite as pleasurably in agesPas Miss Macbeth sang him yesterday. She gave two arias
“Yes, Its a Steinway״
JSN’T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? ‘‘It’s a Steinway.״ Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words “It’s a Steinway״ will mean more and more to you, and again and again, as you continue to enjoy through life the companionship of that noble instrument, absolutely without a peer, you will say to yourself: “How glad I am I paid the few extra dollars and got a Steinway.״
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