MUSICAL COURIER
51
May 18, 1922
ing, as well as discretion in the artistic nuances, was heard at its best.
At the conclusion of the program Mr. Karle responded to the enthusiastic curtain calls. The audience was delighted with the singer and it would be a pleasure to his hearers to greet him again. —Oneonta Times.
other, giving with beautiful characterizaion of their individual charm . . . his own compositions.—Minneapolis Journal.
His playing of his own compositions made one forget every visiting pianist except Rachmaninoff.—Minneapolis Tribune.
Evelyn MacNevin Charms Canadians
Evelyn MacNevin, who recently gave a successful song recital in Aeolian Hall, New York, followed this with a recital in Toronto of which the press of that city wrote as follows:
Evelyn MacNevin of New York, formerly of Canada, attracted a large and representative audience to Masonic Temple last night to hear her first program in this country. She has־ already had distinguished success in New York. Miss MacNevin is a cultured musician. She is a good example of a young artist who has spent years in various phases of musical art; she has studied both violin and piano with good results. Her voice is a pure contralto which
(Continued on page 54)
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Palmgren revealed the authentic quality of genius, the unmistakable strain of creative power. . . . His brush moves with a master’s stroke.—San Francisco Chronicle.
A thoroughly interesting personality. . . . Mr. Palmgren is contributing something of real value to the art of music.—Minneapolis Daily News.
Rosa Ponselle’s Unusual Accompanist
Rosa Ponselle’s very successful recent recital in Symphony Hall, Boston, has already been noticed in this paper, but there was one feature which hit the Boston critics and which was not mentioned. That was the fact that in two of her numbers her accompanist, Stuart Ross, gave place to the Ampico. There was no announcement made of this feature in advance and the novelty proved a great delight to the audience.
The Boston critics treated the Ampico in this connection as it deserved to be treated, that is with the same consideration for its musicianly qualities as they have for those of a human accompanist. Philip Hale said in the Boston Herald: “Mr. Stuart Ross played the accompaniments except two which that wonderful invention, the Ampico, accompanied most musically and competently.” Boston’s other well known critic, H. T. Parker, specially mentioned the Ampico in the Transcript:
For a time in her concert in Symphony Hall last evening Miss Rosa Ponselle’s powers and performance had a dangerous rival in those of her accompanist—not the excellent Mr. Stuart Ross who served in that capacity through most of the evening, but the unseen player of “The Ampico.” In two numbers—the sentimental “Vissi d’Arte” from “Tosca” and Spross’ “Will o’ the Wisp”— Miss Ponselle and her piano were alone upon the stage. When she would begin each one of them she nodd'd gaily to the instrument and forthwith it did its appointed task, as the saying goes, with neatness and despatch.
Three other Boston papers also gave the silent accompanist—if one may so call it—special notice:
A novel departure was her singing to the Ampico accompaniment of “Will o’ the Wisp” by Spross, and the familiar aria “Vissi d’Arte” from “Tosca,” the registration and effect of the accompaniment being as near human as could be desired.
—Boston Traveller, April, 1922.
But the biggest number of the evening was her singing of “Vissi d’arte” from “Tosca” while the piano played her accompaniment brilliantly, accurately, precisely, without anybody at the keyboard. This piece of witchcraft was accomplished by the Ampico inside a piano, a feature of the concert which was not advertised, which surprised the audience and which astonished and delighted it. She also sang a spritely number called “Will o’ the Wisp” by Spross, with the Ampico.—Boston American.
In the song of Spross, “Will o’ the Wisp” and the “Tosca” aria she was assisted by the Ampico, the playerless piano, which like a well rehearsed musician, accompanied the singer as admirably as if a living man had been manipulating the pedals and keys.—Boston Post, April 10, 1922.
Karle Warmly Received in Oneonta
Theo Karle received a most cordial welcome in Oneonta, N. Y., recently, the following giving an idea of his greeting:
Not a few who were present last night had heard Theo Karle on the concert stage, and many had listened with delight to his reproductions on the Brunswick records. Their unstinted praise had awakened interest on the part of all lovers of the melodic art so that it was not to be wondered that every seat in the auditorium was occupied by an audience which was not only attentive but also appreciative and sympathetic. The singer gave the best of himself to his audience which was heavy in applause but not less so in that rapt attention which is higher than praise.
The program which began with a classic number was followed by songs by Holmes and by perhaps the most difficult selection of the evening “Cielo e Mar” from “Gioconda.” In this aria a voice of extraordinary power, of genuine appeal and unusual taste in phras-
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vocal powers, her tonal surety and firm grasp of tempi, _ and her ample range, but even more than these her winsome personality. Miss Harris caught the dreamy impulse of Elsa’s “Dream” and made one feel its inner sensitiveness and again she triumphed, and not alone she, for the orchestra shared with her the honors of the moment. There is no doubt hovering in the minds of those who heard this newcomer yesterday as to her future, and those who have her in training can well feel proud of their charge.—Los Angeles Evening Herald.
She has a voice that is both sweet and powerful; more, she has unusual feeling for the dramatic significance of what she sings, and is not merely a voice opening in vacuo, but a personality that reaches out to you, thoroughly coloring everything she does. The roundness and color of her high notes was what most impressed the reviewer.—Los Angeles Daily Times.
It marked the first engagement of this young artist after a period of intensive training of only eighteen months under Charles Bowes, vocal instructor, of Los Angeles. Miss Harris’ clear, vibrant soprano was somewhat of a revelation to those who knew of the brief period of study behind it, and was accepted by others as consummate artistry, no suggestion of the amateur being manifested by this young singer.—Los Angeles Examiner.
Elaborate Praise for Palmgren and Jaernefelt
Selim Palmgren and Maikki Jaernefelt came to America about a year ago and immediately won national recognition of the excellence of their musicianship and the great artistic merit of their separate and joint offerings. Palmgren is one of Finland’s most prominent and gifted composers and a pianist of brilliant attainment. Mme. Jaernefelt has long been recognized as one of Finland’s most famous singers and has been acclaimed throughout Europe as an artist of the highest order. Some excerpts from the American press here given show that they have been equally appreciated here.
(Maikki Jaernefelt) is heart and soul a sincere artist. She has a voice of large volume and of fine quality. . . . rare gifts and attainments.—New York Tribune.
An ardent and eloquent interpreter.—New York American.
Pleases at American debut.—New York Times.
New York could do with a great deal more of such singing. . . . sang with beauty of tone and proper feeling.—New York Globe.
Has the seriousness of Schumann Heink. She is worth as much as fifty unemotional, pretty voiced sopranos.—New York Evening Telegram.
Beauty of voice and interpretative art. Moments of high delight, particularly in a group of movingly beautiful songs by Palmgren.—New York Evening Post.
Hers is a striking personality.—New York Evening World.
A soprano of very rare ability. . . . Her voice of splendid timbre and of genuine quality, rich in color and delightfully pleasing. . . . She possesses a personality that wins you at once.— Warren Tribune.
Voice of genuine quality, rich in color and delightfully pleasing. Port Arthur, Canada, Daily News Chronicle.
Has a dramatic soprano voice of great power and feeling. . . . Her interpretation . . . thrilled the audience with its emotional appeal. She sings with imagination.—Morning Astorian.
A most artistic and refreshing musical event. . . . Her voice is of beautiful quality and she sings with unusually effective expression. She was recalled many times.—Portland, Ore., Journal.
Both Palmgren and Mme. Jaernefelt were cordially received. The event was one of the big concerts of a busy season.—Portland Oregonian.
Mme. Jaernefelt thrilled her audience.—San Francisco Call and Post.
Mme. Jaernefelt sang Caccini’s “Amarilla” admirably, and that is a thing very few singers can do. . . . One of her best songs was Lieurance’s “By the Waters of Minnetonka.” She put into it something like what the Scandinavian cow-girls put into their cattle-calls. It was charming.—San Francisco Examiner.
Palmgren played his own music excellently, and with full appreciation of its meaning and intent.—New York Globe.
Ranks next in significance after Jean Sibelius.—New York Tribune.
Was cordially greeted by an audience that filled Aeolian Hall.— New York Times.
The foremost of the younger composers of Finland. . . . a poet and magician of tones. . . . (The Sea) a fine and original musical utterance, big and noble in feeling and movingly splendid in expression.—New York Evening Post.
Fine musicianship and technic.—New York Evening Mail.
Impressive as pianist.—New York Evening Journal.
The composer, gigantic, was at the piano. He is a pianist with splendid rhythm and technic. ... a composer who has the power and concentration to speak with the large voice of the early gods.— Boston Post.
An emotional pianist. ... his playing was a joy. . . . masterly technic and vision. . . . “The Sea,” his own composition, was one of the most beautiful numbers.—Morning Astorian.
Palmgren paints in rare and exquisite colors. . . . They are like the pellucid pool in which one beholds the image of nature softened by the reflection. ... He was recalled many times.— Oregon Journal.
A new world genius worthy to have his name ranged side by side with those of the great composers of our day of ־ whatever nationality. ... A big composer of virile, strong imagination, a poet and interpreter of the grandeur of nature. . . . it is a pity he did not play more.—Portland Oregonian.
He expresses himself with real art.—San Francisco Examiner.
Mr. Palmgren’s noble pianism, which absolutely shuns the sensational or artificial, helped the performance of the concerto to an artistic rendering that made a very fine impression. Enthusiastically received, Mr. Palmgren had to play one extra number after the
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