April 20, 19 2 2
MUSICAL COU EI ER
62
other song did. Mme. Jaernefelt responded graciously to several
enSelim Palmgren by no means 190k second place in the concert though a person of quieter personality to the audience, and an artist that it takes, perhaps, more of a musician to appreciate. ־ He is an emotional pianist and played as if he loved it. It is a joy to hear some one play the piano who gives his audience musical thoughts instead of merely musical alphabet. His tones were rendered exquisite by his masterly technic and by his vision of the music. It is hard to realize that the beautiful music played by Palmgren was composed mostly by the man himself, even though he is* a wonderful pianist. “The Sea,” his own composition, was one ot his most beautiful numbers, a piece descriptive of the waves of the sea breaking into foam and beating the rocks in the sunshine and in the shadow.
More Norfleet Trio Successes
The Norfleet Trio has returned from its tour through the South, going as far as Texas, and winning fine success everywhere. Unforeseen circumstances were conquered in good natured fashion, and it is safe to say it will be long remembered. Several notices follow:
That the Norfleets made a distinct and favorable impression upon their initial appearance here is certain. An originality of conception hard to associate with these young southerners of gentle personality is combined with a vivid poetic imagination and ample technical
The program consisted of three classical trios—Schubert, Smetana and Beethoven—which were invariably well performed. ׳!he audience was enthusiastic in its appreciation from first to last, ana
CATHARINE NORFLEET,
pianist of the Norfleet Trio. (Mishkin photo.)
insistent in demands for encores at the end. This is evidence that the wind is blowing from the right quarter with fair weather ahead, as far as the future of good music and the welfare of the Norfleet Trio is concerned.—Austin (Texas) Statesman, March 13, 1922.
The Norfleet trio—Helen, pianist; Catherine, violinist, and Leeper, cellist—gave a pleasing and enjoyable program under local management of the Juvenile Harmony Club. Probably it was the most difficult concert these young artists ever played, for they made a quick trip from their last engagement in order to arrive here on time for the concert, and were so unfortunate as to have their baggage separated from them on the way and to arrive here without any music and wardrobe. After a lively search among the musicians of the city, enough music was found for them to give their concert in a wholly delightful manner. The audience was small, but made up for numbers by appreciation, and heartily encored the musicians, especially in the solo numbers, “The Music Box” (piano) and “The Rooster and Hens” (violin).—Ft. Worth (Tex.) Record-Sun, March 11, 1922.
The Norfleet Trio is making a crusade for chamber music, and the players—Helen, Catherine and Leeper Norfleet—are touring this section of the country giving concerts of chamber music in cities both large and small for the development of this kind of music. The programs presented by the trio are of an exceptional character and have won distinction for this band of musicians.
Last night’s program opened with two Schubert numbers. In these selections the theme came out with great melody and sweetness. The piano work in the scherzo was splendid, the accompaniment being dainty and buoyant. The second group was a number of dances which were interesting for their descriptive qualities. The violin work in the Hungarian Dance (Brahms) was enjoyable, the double stops being particularly good. Menuet (Beethoven) was an old favorite, beautifully rendered. “By the Brook,” with its delightful ripples, was very descriptive. The ensemble was clean and the muted string tone was very appealing. “Valser Gentile (Nevin) was a bit laborious for a rhythmic rendition of this lovely waltz, but the following number, “Molly on the Shore” (Grainger), was splendid, as were “The Swan” (Saint-Saëns) and “The Little Shepherd.” The trio succeeded in bringing out a tremendous sweep of melody and great rhythmic beauty in Mendelssohn’s trio. Here the violoncello played with delicate feeling, a pulsating, throbbing trend that displayed the soulful sincerity of the player.—Orlando (Fla.) Sentinel, March 2, 1922.
The splendid ensemble, the self-effacement and entire technical triumph of the Norfleet Trio won the emphatic approval of the small but appreciative audience that greeted the first appearance in Dallas, Tuesday night, and again at the children’s matinee concert, Wednesday afternoon. It appeared under the auspices of the Mickwitz Club.	, , ״ . ,״
There were times when the three players sounded like a iull orchestra. It	was	the	second	sensation	in	novelties that	Dallas
has had this season, the first being the Russian grand opera. The mere externals of their work, the overwhelming richness in instrumental effects, are a sensation in themselves. These artists are glorious as a trio and again an impeachable unity. .	.	. Their
playing of the Schubert trio in B flat was masterly and won the unstinted approval	of	all	ardent chamber	music lovers.	More
exquisite or more perfect ensemble playing than was put into this, as well as the Smetana trio, could not be imagined. The lighter numbers of the last group of their evening program was also given in fine style.	,	;	,
Helen Norfleet, with her marvelous support at the piano, proved that she is a well graced pianist, a musician of refined and cultivated tastes.	, ״	. „
In the most	virile chords	of	Schubert	and	delicate runs of Bee-
thoven, she created dazzling effects with fingers and wrists, which never once blurred a passage nor smeared a phrase. Throughout the evening, her remarkable playing proclaimed her a faithful ex■
Schumann Heink Wins Greatest Triumph in Cleveland
James H. Rogers, in the Cleveland Plain Dealer of March 29, said the following about Schumann Heink:
Mme Schumann Heink never has sung in Cleveland before a greater audience than the one that gave her a royal welcome in Masonic Hall last night. Every seat was sold, even to the cha rs in the box which serves as organ loft. The stage was packed, with means of egress entirely cut off on one side) and a of song lovers stood throughout the evening behind the topmost row
^The11 vastness5’of the assemblage was in itself a tribute. There is something motherly about Mme Schumann !cornel grandmotherly, too—and everybody loves her for it. She on the stage and beams good will and affection on all and sundry, and all and sundry respond in right hearty fashion.
So a recital by the famous contralto is material for a human interest story, as well an occasion for discourse on the vocal art, as exemplified in her performance. For everybody is stirred by a valiant spirit that bids defiance to the encroaching y£^s•	t!tl
But let no one overlook the fact that along with her many titles to respect as a big-hearted woman, she is also a great artist one of our greatest, a world figure in the realm of music. If it_ was Mme. Schumann Heink’s personality and the remembrance of the many evenings of beautiful song she has vouchsafed us that caused her to be greeted with tumultuous applause when she first appeared, here was no like warrant needed to account for the enthusiasm with which her offerings were received.
Her voice was in capital estate, rich, full-throated and wonderfully well controlled. And how does this voice compare with the voice of yore, when in America music, heavenly maid, was young.
To our notion, the difference in quality, if indeed there be any, is negligible. There is still that astonishing, one might say almost startling lowest register, with its amazing resonance; and in the medium and upper ranges there is clear and telling vibrance.
As we read recently, Mme. Schumann Heink declares that she has no intention whatever of retiring. And for our part, we see absolutely no reason why she should. She is inimitable, unique.
The singer’s list included an old Italian aria, two or three excerpts from operas of Wagner—Mme. Schumann Heink has long been hailed as one of the most illustrious exponents of the Wagnerian music drama—a liberal selection of German songs, three songs bv American composers and an Arditi bolero.
Mero “Peer of Greatest of Men Pianists”
Yolanda Mero met with immediate success in San Francisco when she appeared there recently both in recital and as soloist with the San Francisco Orchestra. The following glowing tributes voice the opinions of the dailies ot that city regarding her art:
As if to refute the assertion that a woman can not play Chopin, Mme. Mero presented a group of the master s compositions in a manner before which de Pachmann would have bowed. Her interpretations had all the poetry, the delicacy, the profound penetration necessary for the expression of the great romanticist s thoughts upon the keyboard. Later the artist played a Brahms intermezzo with utmost delicacy, and sent her hearers into an ecstasy of appreciation with her rendition of Liszt’s second rhapsody. Mme Mero was a pupil of Liszt, and is a country woman of Liszt and there can be no doubt that not only is she endowed with tile Hungarian musical genius, but she has studied the transcendental powers of Liszt with In ardor which has made her an authority empowered to give his great message to the world.—San Francisco Bulletin, March -1.
Yolanda Mero was the interpreter of the piano voice in the Abbe’s (Liszt’s) tone poem, and read the work with an ardent e'?4ueni|: Like the master whose themes she wove so dexterously, Mme Mero evidently believes that technic is the servant of emotion, for there was not a moment when she allowed virtuosity to dominate feeli g, or allowed fiery impetuosity to break from restraint and run into
m HerS°cmidtroildof Udykamics is firm and perfectly assured, “d she performed the difficult feat of maintaining tonal beauty the,J"os] vertiginous passages. Familiar as this concerto is, I have never heard played so poetically, and at the same time with such electrifying “elan.’׳T-Ray C. B. Brown in the San Francisco Chronicle, March 18.
Mme. Mero has been called the greatest woman pianist, "?{!;A6 showed herself equally the peer of the greatest of men. ®S” hei would be, perhaps, the most comprehensive word to desmbe he work, which combines great dynamic power exquisite: tone color in the shading and melodious rhythm, in the development of Eisz volved cadenzas It was a beautiful duet between the pianist and iSrorcheslra -Charles Woodman in the San Francisco Call and Post.	______
Milwaukee Acclaims Lhevinne
That Josef Lhevinne amazed and delighted his audience at his recent recital in Milwaukee is shown from the following excerpts culled from the newspaper criticisms:	_
Tt was half oast six Sunday afternoon when Josef Lhevinne
mmmmum
LS^im^nTnt^o 3Srprto* dScAb¿ Tn ^ords.-Morning Sentinel.	_____
״s smtJi
The audience had gone ^u^־"iad• M h Lhevinne’s phenomenal these noisy demonstrations, of course. mr. liicvuu! y
poetry of interpretation.—News._
3 sss FSS
but splendidly equipped m all phases. Journal.
Palmgren and Jaernefelt on Pacific Coast
The following excerpts from the Morning Astorian Astoria Oregon8 indicate the success that is being won by Selim Palmgren and Maikki Jaernefglt on their joint
in concert last ^nmg ^fore 1 ^as an event q{ unusual m0.
is1';!;,״“'¿ ',rssir»r!ng"“;״di«,.. •if»«.
appeal.	• lf • woman of striking and strong personality׳,
n־Th£' “Soring Song,” composed by Selim Palmgren, her husband, showed the pure and remarkable tone of her voice as perhaps no
YEATMAN
Teacher of FLORENCE MACBETH, Prima Donna Coloratura; LENORA SPARKES, Lyric Soprano, and other prominent Artists. Studios: 318 West 82d St., NEW YORK CITY. Tel. Schuyler 8537
KERR
Q A S S BARITONE
RECITALS IN ENGLISH, FRENCH,
ITALIAN AND NORWEGIAN 561 West 143rd Street, New York City. Tel. 2970 Audubon
u.
s.
DR. CHERUBINO RAFF AELEI
From Royal Conservatory, Florence, Italy TEACHER OF SINGING AND PIANO 602 West 137th Street, New York City	Telephone Audubon 5669
SCHILLIG
8 East 34th Street. New York
OTTILIE
Recital
Concert — Oratorio Management: Wolfsohn Musical Bureau
COLORATURA SOPRANO
Opera and Concert
Personal Address : 710 Madison Aye., Toledo, O. Management: LOUIS BRAND
ALLABACH
OPERATIC and CONCERT TENOR Graduate, Royal Conservatory of Music MILANO, ITALY 125 East 37th Street New York
GIUSEPPE BOGHETTI
Vocal Studios: 1710 Chestnut Street Philadelphia. Pa.
Professor of Choral ^lusic, Columbia University Address 39 Claremont Ave.
Waller
Henry
William S.
TEACHER OF SINGING Studio: 137 West 86th St., New York. Tel. Schuyler 10099
CHARLES SANFORD SKILTON
COMPOSER and ORGANIST
University of Karr»•	Lawrence. Kan.a.
MARIE SUNDELIUS Soprano
With the Metropolitan Opera Co.
Exclusive Management:
HAENSEL & JONES.	Aeolian Hall. New York
Edwin Franko Goldman
CONDUCTOR THE GOLDMAN CONCERT BAND "A Symphony Orchestra in Bras.”	Columbia Univer.lty Concert.
Personal addre.s: 202 River.ide Drive. New York Far ontside booking! apply Royer DeBrnyn_1540 Broadway. New York
Tllerman
Y JMl contralto
570 West 156th Street, New York City
Phone 8197 Audubon________
5: COLLEGE OF MUSIC
New Building—114-116 East 85th Street
Founded for the Higher Education in all branches of Music Conducted on the same plane of the European foremost conservatory. Over 40 eminent instructors.
Piano Department.AugUS‘ Carl' Hdn Bean
Vocal Department.. -־„•,i•־ pij C n !
Harmony, Counterpoint, Composition. .Rubin Goldmark, Dean Vocal Students have exceptionally good opportunity for Grand Opera and acting.
Catalog on application.
Terms reasonable.
SEASON 19 22-23
NOW BOOKING TRANSCONTINENTAL TOUR
LADA
For Routes. Terms, etc.. The Lada Management
295 Madison Ave.. New York
ESÜÉ
GEORGE S. MADDEN
BARITONE
Master Singer
Concert, Recital and Oratorio
“He is an example of the George Henschcl School of Singing.”—N. Y. Times.
GEO. H. LAWSON, Manager
267 Macon St., Brooklyn, N. Y.
Phono 7992-W Decatur