MUSICAL COURIER
66
April 27, 19 2 2
organist, and he is. He possesses a versatile technic not only for manual but also for pedal work. Into his playing he puts his own personality. He gives his own interpretations.
Particularly beautiful phrasing and pedal work, effectively clean cut, marked the first number, “Prelude and fugue on B-A-C-H,” perhaps the most brilliant of the many organ compositions of Liszt. Mr. Yon’s playing of the Bach toccata and fugue in D minor was superb, original and different.
After the services Mr. Yon gave two encores, both his own works —the familiar “Echo,” and the other, “American Rhapsody”—into which the loved songs of the nation were woven. It ended with “The Star Spangled Banner.”
Ralph Leopold Heard in Washington
Ralph Leopold, American concert pianist, gave two recitals in Washington, D. C., on April 4 in the afternoon at the Army Music School at Washington Barracks, and in the evening soloist at a big public concert. Regarding his playing the Washington Times of April S wrote:
Mr. Leopold has a most subtle and fluent technic and a broad sweep that he showed in the chord passages of the “Rhapsodie” of Dohnanyi. The Friedman “Viennese Dance” he gave in good rhythm and with the delicacy of a Strauss waltz, while he was pianistic and graceful in the “Music Box” of Sauer and the “Etude Héroique” of Leschetizky. For encores Mr. Leopold gave, for the left hand alone, the nocturne of Scriabin, “Humoresque” of Rachmaninoff, that was spendidly contrasted and executed, and the “Papillon” by Olsen, a perpetual !notion of suave smoothness.”
Mildred Dilling Scores at Winston-Salem
On March 6, Mildred. Dilling appeared as soloist at the fourth annual concert of the Salem, N. C., college orchestra, Susan Webb director. That the harpist scored an emphatic success is verified by the following notice from the Winston-Salem Journal of March \2\
This was Miss Dilling’s first .appearance in this part of the south and her playing was a revelation of the possibilities of the harp in the hands of an artist. Her work was characterized by unusual beauty of tone, perfection of technic and ease of execution;' difficulties seemed not to exist and only those initiated to some degree into the intricacies of harp technic could realize the tremendous amount of skill that underlay this apparent simplicity. The fulness of her tone is a delight and she has absolute command of dynamic changes and all the varieties of tone possible on a harp, precluding any danger of monotony. It was not only beautiful harp playing; it was beautiful music interpreted by an artist whose charming personality and gracious manner endeared her to her audience and blended with her art into a satisfying whole that will long be treasured in the memories of those who were present.
Praise for Laura Littlefield in “The Messiah”
Laura Littlefield was chosen to sing the soprano role at a recent performance of Handel’s “Messiah” by the Worcester Oratorio Society, under the direction of J. Vernon Butler. It was Mrs. Littlefield’s first appearance as an oratorio artist in Worcester, and to judge from the following press excerpts, it was a highly auspicious beginning:
Miss Littlefield’s coloratura was facile and bright, at its best in “Rejoice Greatly.” Her “I Know That My Redeemer Liveth.” on the contrary, was warm and sympathetic, and with her, as indeed with the rest of the soloists, was evident at all times sympathetic
LAURA LITTLEFIELD,
soprano.
appreciation of the sense of the text, detail all too often neglected by oratorio soloists.—Worcester Daily Telegram.
The only new artist was Laura Littlefield, soorano, who sang most delightfully “Rejoice Greatly.” “I Know that My Redeemer Liveth” was sung by her in a warm sympathetic manner that pleased all.—Worcester Evening Post.
The new soprano, Laura Littlefield, revealed a voice of lyric quality capable of power and sympathetic interpretation. . . . The soloist displayed a facility of tone that proved her finished artistry. —Worcester Evening Gazette.
Stopak Soloist with Toronto Orpheus Society
After his recent appearance as soloist with the Orpheus Society of Toronto, Canada, Josef Stopak was the recipient of the following paragraph in the Saturday Night of that city:
The violinist, Josef Stopak, made his debut at this concert. In . style he reflects the elegance of Thibaud; and his tone is singularly pure and lovely, an asset enhanced by the exceptional quality of his instrument. His technic is finished and authoritative in the fullest degree. In cantabile passages the suavity of his utterance is entrancing, and his rhythmical intuitions are subtle and appealing. He played many short numbers, including two Kreisler transcriptions, an appealing “Melodie,” by Guiraud, and the equally charming “Serenade” by Arensky, winding up with one of the less familiar dances of Sarasate, which he rendered with infinite ease and delicacy.
Dicie Howell Gives “Superb” Recital
On March 27 Dicie Howell gave a recital in Lock Haven, Conn., of which the press commented as follows:
Splendid recital at Normal School by Dicie Howell. One of the finest musical attractions that has been offered local music lovers in many months, was the superb song recital given by Dicie Howell, noted concert soprano. A large number of music lovers greeted the singer with an enthusiasm that forced her to respond to repeated encores. Her voice is pure, of exquisite quality, and unusual power, and in her program she showed a versatility and an unerring artistry that made her recital here not only one of the leading events of this season, hut of many seasons.
physical and personal magnetism, a fact which makes itself felt unmistakably bv her audiences. . . . Resonant, rich, wonderfully appealing and flexible, her voice makes every number she offers a thing of joy and beauty.—Cedar Rapids Republican and Times.
Baltimore Lauds Maude Albert
Maude Albert was recently heard for the first time in Baltimore, upon which occasion she scored an emphatic success as the appended excerpts will testify:
Maude Albert, who has not -hitherto given a recital in Baltimore, sang at the Little Lyric yesterday afternoon when she was heard in an unusually beautiful program that included not only one or two of the older classic songs, but also a group of lieder, some modern rrench songs and a variety of songs in English. She also gave the great contralto aria from Verdi’s long forgotten “Don Carlos.” which concert singers delight in and which she sang in the grand style and with fine brilliance at the end of her recital. .	.	. Mme.
Albert revealed herself as an artist of very high distinction, as a serious and intellectual interpreter, who conveyed, simply and directly, the mood of the particular song which she happened to be giving at the minute. Her voice is rich and clear and flexible, and marked by great beauty .of tone; and she sings, moreover, with admirable style and always with fine authority.—Baltimore Evening Sun.
That Mme. Albert is an unusually well-equipped singer nobody who heard the recital could gainsay. Mme. Albert possesses practically every qualification that belongs to the status of an exceptional artist. The voice is a true contralto and not one of those which sometimes: pass for contralto on account of a few low notes. The organ is a pure and unadulterated contralto, and even in the upper register ;of her extensive range the contralto quality was ever present. Her varied conception of the songs presented is intensely artistic, her interpretation shows true musical feeling and the voice itself is of beautiful rich quality and full of color.—-Baltimore News.
A Future Predicted for Ethyl Hayden
_ Accompanying are some examples of the manner in which Ethyl Hayden has been lauded by the press during recent months:
Beautiful to look upon, she is no less lovely to hear. Her voice is transparent and with a ..technic that is amazing for one so young. That she has a future is a foregone conclusion.—Pittsburgh Sun.
Stop, Look and Listen is the sign of Ethyl Hayden. I give that g;rl one more year, and then she will be swinging around the con-
Apcda Photo
ETHYL HAYDEN,
soprano.
cert circuit “in big time company.” She has voice, beauty and intelligence, the three virtues in singing, and she employs them in everything she does.—Pittsburgh Post.
Her ability to hold the interest of an audience throughout a long program, yet without the tenseness which snaps when the last number is ended, was easily noticeable.—Pittsburgh Telegraph.
The best example of vocal art that we have had this year, in my opinion, was found to one sids of the beaten track of commercial concerts, in the song recital given for the President’s Day of the Tuesday Musical Club. Ethyl Hayden, who presented it, has a lovely lyric soprano voice which she manages with rare skill and delicacy.—Pittsburgh Gazette-Times.
Her lovely voice, her exquisite gown, and her charming self formed an artistic unity as rare as it was ravishing.—Montclair T imes.
Miss Hayden’s voice is an unusually beautiful one.—New York Times.
Miss Hayden has a clear, flute-like voice.—Boston Globe.
Miss Hayden sang the songs with remarkably clear enunciation. —Boston Herald.
Miss Hayden sang .several groups of songs that received the full approval of the audience.—Newark Call.
She won immense favor.—Newark Star Eagle.
Miss Hayden has a voice ... of rare sweetness and purity which thrills the heart and delights the ear.—Roselle Citizen.
Pietro A. Yon Thrills Large Audiences
Pietro A. Yon, eminent organist-composer, who recently appeared in Binghamton (N. Y.), and Scranton (Pa.), was acclaimed by press and public in both cities. Regarding his appearance in Binghamton, the Morning Sun of that city had the following to say:
An exceptional privilege was enjoyed by the audience which filled St. Mary’s Church last night when a musical program of a very unusual nature was given by a great organist, and by the choir directed by James J. Case. The organist, Pietro A. Yon, is a master musician, an ingenious composer as well as a finished performer. His work was both impressive and engaging. His skill as a composer was strikingly demonstrated in his closing number, “American Rhapsody,” in which “My Maryland,” “Dixie,” the marching song, “Tramp, Tramp, Tramp,” the negro spiritual, “Deep River,” “Hail Columbia,” and “The Star Spangled Banner” were combined in a melodious and harmonious whole. These widely contrasting songs were brought together in one composition through the exercise of master craftmanship. The suggestion of an inspired touch was present in all of the compositions played by this organist.
The Scranton Republican likewise eulogized Mr. Yon’s art. An excerpt from that paper is appended:
To those who have been wanting an opportunity to hear the ־ famed Pietro Yon, the concert of organ music which he gave- last -evening at Marywood College was a superb treat—that means, to everyone who heard it. Yon has been heralded as a master
OPINIONS OF THE PRESS
(Continued from page 62)
Hess. Mr. Hess showed from the first number to the last that he is a master of the cello. He plays with great delicacy of feeling. He draws from his instrument a rich, full tone, and with his finished technic and genuinely musical temperament, he reveals exquisite beauty in everything that he plays. One could not fail to he impressed by the simplicity and sincerity of his many qualities which won his audience from the very start. It would be difficult to select special numbers from the varied program, but the sonata by Corelli, the adagietto by Loomis, and the Boellmann variations were among those distinguished by the fineness of the technic that the artist used to emphasize their beauty. To Juul Rosine must also be given the highest praise for the exceptionally finished and attractive manner in which she played the accompaniments. She is a gifted pianist and her work was one of the distinctive features -of the evening.—Waterloo Times-Tribune, March 21, 1922.
Elsie Baker’s Personality and Voice Win Favor
Elsie Baker, American contralto, has just recently returned from one of her tours, and the press notices which she brings with her give evidence of the great favor she
ELSIE BAKER,
American contralto.
has found everywhere with her audiences. Demands for her time are so frequent that she could be on the road all the time, but she stops at home in New York occasionally for a few weeks of rest and recreation, and to make phonograph records. Some excerpts from the press follow:
Elsie Baker was heard with enthusiasm by a large audience. : . . Miss Baker won the audience at once in her opening number which was made even more attractive by her charming personality. Into each song she brought bits of humor, pathos or dramatic catches as the nature of the selection demanded. Possessing a remarkable contralto voice, rich in tone and depth, Miss Baker seemed at her best in the heavier pieces where the deep resonance of her voice took on add.d color and warmth.—Sioux Falls Press.
Holding the audience breathless in admiration, the strains of “Homing,” Del Riego, sung by Elsie Baker, brought to a close a delightful program. . . . She sang in a manner which displayed th; wonderful range and power of her voice.—Brockton, . Mass., News.
Miss Baker is a singer of finish and experience. Her voice is of wide range and is even through all the registers. Her dic'tion is excellent, her taste unfailing, and her musicianship and versatility were fully equal to all the demands of a diversified and exacting-program.—Manchester, Iowa, Press.
Winning favor by the charm of her personality and her rich contralto voice, Miss Baker gave color and warmth to her varied program.—Sioux Falls Argus-Leader.
A rare contralto voice such as this singer possesses is indeed a gift of the gods. In addition to it . she has been endowed with great