MUSICAL COURIER
51
May 4, 1922
received, as was also her encore “One Fleeting Hour,” with violin obligato.
Mary Trist, the pianist, carries the heavy end of the program, as she plays for every number during the two hours, save one. We have no hesitancy in saying that as an accompanist she is one of the finest we have ever heard. An accompanist can make or mar a program. Miss Trist’s work shows an abundance of temperament. She knows just when to form a perfect colorful background and just when to burst into a brilliant foreground. She played in a masterly way Chopin’s op. 49, and although it is a long, difficult number, her finale showed the same strength as the opening movement.—Yates Center (Kans.) News, February 17, 1922.
A Musical Treat Given by Ethelynde Smith
The Wolfville, N. S., Acadian of April 7 had the following to say in reviewing a recent song recital given by Ethelynde Smith:
There was a good attendance at the recital given by Ethelynde Smith under the auspices of the University Conservatory of Fine Arts, and the pleasure of those present was evidenced by the pro-
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demands made upon it by his interesting and varied program. He played beautifully too, especially in the deliciously melodious second half of Chopin’s F minor fantasia.—Henry T. Finck, in the New York Post.
Lyell Barber Continues to Score
The following are recent press notices of Lyell Barber, pianist :
He held the audience breathless before it burst into a storm of applause.—Washington Star.
Has excellent technic, good tone, and a penchant for impressionistic modern works.—Winnipeg Free Press.
Mr. Barber did some technically dazzling things with the keyboard.—Holyoke Transcript.
Displayed magnificent technic and played with ease and forcefulness. A leader among American pianists.—Canton (Ohio) Daily News.
His playing was excellent and he was enthusiastically applauded. —Springfield Republican.
Is a real musical find. No pianist has earned or received a warmer greeting.—Montgomery Advertiser.
Hayden’s New York Recital a Delight
That Ethyl Hayden, the soprano, scored an unqualified success at her recent debut recital in New York is proven conclusively in the appended press excerpts:
Her singing provided one of the surprises and genuine delights of the season.—Tribune.
Her voice is well worth hearing for its pure, flute-like quality. —Evening World.
Ethyl Hayden revealed herself as a full-fledged artist and a delightful one.—American.
All in all, she is one of the most promising appearances that have recently been noted in the New York musical world.—Times.
(Headline)—Miss Ethyl Hayden Makes Immediate and Pronounced Success.—Herald.
Her voice is one of rare beauty, and showed signs of excellent schooling.—World.
. . . this young woman has one of the finest natural voices one has come upon at recitals in many a day. The voice itself is a stream of clear, pure, powerful, beautiful tone.—Journal.
Josef Konecny’s Winter Tour a Big Success
In spite of the somewhat adverse season, the winter tour of Josef Konecny, Bohemian violinist, and his assisting artists, has ended with flying colors, with a total of 142 concerts to their credit since the beginning of September. The following press comment is from one of their most recent concerts:
Yates Center has had a few really big musical treats, several good ones, and many more ordinary recitals, but the concert on Monday night by Josef Konecny and assisting artists, was without a single exception the finest ever heard here. Mr. Konecny comes from a race which has produced many great violinists, and was a student of Sevcik, of Vienna, the teacher of Kubelik, and possesses a technic which is very similar to Kubelik’s, and with a warm, colorful interpretation which is all his own. All his numbers were good, and by the way, they were selections rarely heard on the ordinary program. His more pretentious work was Ernst’s concerto in F sharp minor. Even those of us who are uneducated musically—and many of us are—were strongly stirred by the depths and beauty of his art. Quite often when there is one brilliant member of a musical company the others will be mere assistants, but in this instance the pianist and soprano were artists of the same rank.
Esther Louella Lash is a beautiful woman, warm and friendly, and wins the audience at once. Her voice is wonderfully clear and sympathetic, and of a wide range. Her higher notes are as pure and true as a silver bell, and oh, joy of joys, her articulation is above reproach. She also has the measure of her audience, knows what to sing and when to sing it Her best number was the aria from “Mignon” “I Am Titania.” A beautiful little lullaby written by her husband, who is a choir director in Chicago, was very warmly
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Harriet Bacon MacDonald, 825 Orchestra Bldg., Chicago; Dallas, Texas, June; Cleveland, July; Chicago, August.
Carrie Munger Long, 608 Fine Arts Bldg., Chicago, 111.; classes held monthly through the year.
Mrs. Wesley Porter Mason, 5011 Worth Street, Dallas, Texas. Laura Jones Rawlinson, Dunning School, 252 West 74th Street, New York City, January 3; Portland, Ore., June 17, and
Seattle, Wash., August 1.
Virginia Ryan, 1115 Washington Street, Waco, Texas, June 12. Mrs. Stella H. Seymour, 1219 Garden Street, San Antonio, Texas. Summer class opens June 5.
Mrs. Ura Synnott, 824 No. Ewing Ave., Dallas, Tex.
Una Clayson Talbot, 3068 Washington Blvd., Indianapolis, lnd. Isabel M. Tone, 469 Grand View Street, Los Angeles, Cal., June 19 to July 22, 1922.
Mrs. S; L. Van Nort, 2815 Helena St., Houston, Texas, Sept. 19. Mrs. H. R. Watson, 124 East 11th St., Oklahoma City, Okla., January 15, March 15, and May 15.
Anna W. Whitlock, 1100 Hurley Avenue, Fort Worth, Texas. Mattie D. Willis, 1922—Waco, Texas, Jan. 9; New York City, June 26-Aug. 14, Sept. 20 and every month thereafter. Address 617 S. 4th St., Waco, Texas, or 915 Carnegie Hall, New York City.
Mrs. Carrie Louise Dunning, Originator, 8 West 40th Street, New York City.
New York City, Sept. 22; Los Angeles, Jan. 25, 1922.
Anna Craig Bates, 732 Pierce Bldg., St. Louis, Mo., June 1, 1922.
Mary E. Breckisen, 354 Irving Street, Toledo, Ohio. Detroit, Mich., June, 1922; Toledo, Ohio, July, 1922.
Mrs. Jean Warren Carrick, 160 East 68th St., Portland, Ore., June, September and March.
Adda C. Eddy, 136 W. Sandusky Ave., Bellefontaine, Ohio; Columbus, Ohio, June, July; Bellefontaine, Ohio, September.
Beatrice S. Eikel, Kidd-Key College, Sherman, Texas.
Jeanette Currey Fuller, Rochester, New York.
Ida Gardner, 15 West Fifth Street, Tulsa, Okla.
Cara Matthews Garrett, San Marcus Academy, San Marcus, Texas; San Antonio, Texas, on June 5 and July 17.
Addye Yeargain Hall (Mrs. Wm. John Hall), Musical Art Bldg., St. Louis, Mo., or 145 West 45th St., New York; New York City, June 19; Buffalo, N. Y., August 1; Jefferson City, Mo., Sept. 11.
Mrs. Julius Albert Jahn, Dallas Academy of Music, Dallas, Texas.
Maud Ellen Littlefield, Kansas City Conservatory of Music, 1515 Linwood Blvd., Kansas City, Mo., May 22, June 26, July 31.
Information and booklet npon request
the list of prize winners. Miss Nadworney comes from New Jersey. Of Russian parentage, she won immediate response with Gretchanin off’s “My Native Land,” sung in Russian. Here is an eerie quality of spiritual understanding that gets the very essence of music, and the voice is luscious and warm, with a resonance that she holds in her great climaxes. And she sings in big form too, holding vibrancy alike in her soft passages. . . . Dramatic feeling should fit this little artist for stage or recital. She gave with exquisite pathos the Leroux “Le Nil,” with the Oriental depth of the odalisk in the warmth of her refrain, and the face that in different quality yet is as individual and quaint as that of the little Galli-Curci. Lightly, with velvet tone and true esprit, she gave with high artistic appreciation a gypsy song of Paisiello, and for an encore the delightful “Girometta” of Sibella. A group in English completed her program with a Cadman encore.
Namara Scores with St. Louis Symphony
The appended are rather exceptional press tributes given to Marguerite Namara on her spring tour as soloist with the St. Louis Symphony Orchestra:
Marguerite Namara, the beautiful soloist of the evening, made a gorgeous picture in her handsome mantilla and completely captivated the audience with her first aria, “Ah, fors e lui,” from “La Traviata.” Repeated encores brought her back to sing with orchestral accompaniment “From the Land of the Sky-Blue Water,” by Cadman. Mme. Namara was still more fascinating in her second group of songs— “A Memory,” composed for and dedicated to her by Mr. Ganz, and “At the Well,” by Hageman. Again the audience refused to accept a formal acknowledgment of its pleasure, and the gracious singer enchanted all with a charming interpretation of the “Jewel Song,” from “Faust.” Mme. Namara’s voice is a full, rich soprano, and she sings with all the fervor, freshness and opulence of youth. As one of the leading sopranos of the Chicago Opera Association she has had much success, and is accorded a place among the finest by the critics of the metropolitan cities. Certainly she has won many friends in Texas and will be welcome back at an early date.—Fort Worth, Tex., Record, March 29.
Marguerite Namara, the soloist for the evening performance, proved to be the most popular artist who has sung before an Austin audience in many moons, and her beauty, graciousness and superb voice called for long and continuous applause. After two encores she was recalled a half dozen times to bow and smile graciously to the audience. “A Memory,” composed by Ganz, dedicated to her, was one of the best numbers, while the “Jewel Song,” from “Faust,” was remarkably done. “From the Land of the Sky-Blue Water” was one of her English encores and but added a touch of individuality to her program.—Austin, Tex., Daily, March 31.
Mme. Namara captivated the audience with her charm and sincerity at the performance last night. It is a rare voice indeed that not only impresses an audience with the freedom and ease of its tone production, but also with the individuality of its timbre as well, and both these qualities are present to an extraordinary degree in the lyric-coloratura soprano of Namara. She was received with great applause and her renditions were the evening’s pleasantest episodes. Her voice, of extensive range, has sympathetic charm, and a tone with gratifying beauty of enunciation. Mme. Namara is most expressive of the prevailing mood of her interpretations. She has painted each song upon her tonal canvas and in such manner as gives vital force and expression to her vocal pictures. Port Arthur, Tex., Daily, April 2.
Marguerite Namara fairly captivated her audience, both with her beauty and her splendid singing. Mme. Namara lived up to her heralded fame as a singer, and when she concluded her first aria from Verdi the audience realized that she possesses the richest lyric voice that has been heard in Austin during the past five years. She responded to an encore with an aria from Massenet, and in response to the applause of her audience she sang her first English number of the evening, which was ,,From the Land of the Sky-Blue V ater, by Cadman. Mme. Namara sings at perfect ease, and the facility with which she reaches the upper register and the perfect accentuation of her notes are remarkable. Best of all, she understands what her audience likes and proceeds to respond to it.—Austin, Tex., Statesman, March 31.
Namara, who sang ״An, iors e iui irom ^
winning her audience by her beauty, she impressed them with• the luscious quality and warm beauty of the exceeding flexible voice she possesses and the distinguished art that molds it into a perfect instrument. Mme. Namara was given an ovation at the children s concert in the afternoon, receiving recall after recall, and granting four encores.—New Orleans Daily, April 5.
The exceptional vocal artistry of Mme. Namara aroused the large audience to the pitch of enthusiasm excited by any artist of the year. Mme. Namara in her aria, “Ah, fors e lui from Traviata, rivaled Mr. Ganz as artist and in her success with the audience. The difficulties of this coloratura aria were encompassed with surprising ease by this gifted soprano, and the many dramatic contrasts m the selection were brought out splendidly. Mme. Namara has a voice of great beauty throughout its entire range and of particular brilliancy and volume in its upper register, and she has it under perfect controL In addition she has a charming stage presence which won over her audience from the beginning.—New Orleans Times, April 4.
Mme. Namara has a lyric soprano of most ingratiating quality and nf remarkable carrying power. It is a beautifully trained organ homogeneous throughout its long range, and has been brought to a^splendid noint of flexibility. Mme. Namara s trill is lovely in its purity, her roulades are clean and smooth; her intonation is absolutely faultless^ Her entire singing is characterized by ease and refinement of taste. She sang at the matinee performance the Jewel Song from Faust which was so well received that she gave three encores,
The “Gavotte” from “Manon.” At the evening concert she sang t e “\h fors e lui” aria from “La Traviata,” and, as encore, Mr. Ganz’ impressive song “A Memory.” Mme. Namara s success was unequivocal.—New Orleans Item, April 4.
Alexander Gunn in Europe
Alexander Gunn, American pianist, whose recitals in New York and Boston were highly praised by the leading critics, sailed for Europe on the S.S. Patria, March 21. He stopped at the Azores, in Palermo, spent some time in Italy and Spain, and will be in Paris three months, studying and playing. He expects to return to America about September 1, and is sure to be heard at important affairs next season. Two press comments follow.
Mr Gunn has true strength and also delicacy and charm of touch. He' has the various and essential acquirements of a pianist. Fortunate man, 'he has the gift of imagmation.-Phdip Hale, Boston
Herald.	______
“Hans von Bulow, who knew all about It, said that it is expected of a pianist that he should, first of all, play correctly, then beautifully, then interestingly. Alexander Gunn, who gave a recital last night in AMlfan Hall, played correctly; his technic was quite to ■he
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