January 18, 1923
have secured such remarkable success for others they fell certain that they can be developed to their utmost.
In addition to private instruction, Mme. Valeri will conduct two Repertory-Interpretation Classes each week at the Conservatory. Judging from Mme. Valeri’s success in Chicago in the summer of 1920,' it is well assured that her Master Class will again be overcrowded.
Josef Lhevinne.
Mr. Lhevinne’s Repertory Classes are limited to ten active members each, representing the finest pianistic talent. In the classes of 1919-1920 and 1920-21 were found students from almost every state in the Union, from Canada and even from Mexico.
Repertory or Teachers’ Classes.
The active players are called in rotation to play before the Auditor Class, their renditions being critically commented upon by Mr. Lhevinne. A feature of surpassing interest are the illustrative performances of these compositions by the master himself. This course usually comprises the majority of the master-works of piano literature. In
VALERI
DELIA M.
JOSEF LHEVINNE
addition to illuminating criticisms on artistic interpretation, members of the above classes will have the invaluable privilege of receiving information from one of the greatest masters of technical achievement on subjects like the following:	Methods of Technic, Relaxation, Hand Position,
Close and High Finger Action, How to Gain Power, Thé Value of Firm Fingers, How to Find the Bottom of the Keys, Balance of Muscles, Advantage of Small or Closed Hand Position, The Elbow Angle, Power in Octaves, etc., Phrasing, Long Lines, Weight Adjustment, Use of Wrist and Elbow, Pedaling, Straight, Syncopated, Staccato, Chord Pedaling, Balance of Muscles in Pedaling, How to Practice, for Brilliancy, Tone, Quality, Speed, etc.
The repertory class of playing members is especially to be commended, because it combines the benefits of private instruction with those of public ' performance, confidence and repose being indispensable requisite for success. The classes will be conducted mainly in the early afternoon in order to allow the student the privilege of morning study. Prospective^ students are strongly advised to prepare a list
of compositions both classic and modern. Auditor classes___
the listening students will have all privileges of hearing the rendition of the various compositions, together with Mr. Lhevinne’s criticisms. As there will be two separate reper-' tory classes, auditors will have the choice of engaging in either twenty or ten lessons.
William S. Brady.
Mr. Brady’s career as a master of the voice has been one of extraordinary success and a significant fact is that his material and artistic achievements are based on genuine merit. A brilliant array of young artists, such as Carolina Lazzari, Marcella Craft, Dorothy Jardon, Grace Wagner, Anne Roselle, Kathryn Meisle, John Steel, Miriam Arbine, Jenny Schwarz-Linder, Kate Condon and others, testify as to (Continued on page 60)
8	MUSICAL COURIER
MASTER GLASSES OF THE AMERICAN
CONSERVATORY SUMMER SESSION OF 1923
To Be Held June 25 to July 28
former and only visit in Chicago in 1920, the demand for instruction was so tremendous that she was obliged to devote even part of Sundays to accommodate her pupils.
Josef Lhevinne, Delia Valeri and William S. Brady have kindly consented to award a free scholarship each to the most deserving student, which scholarship will be awarded in open competition.
Delia Valeri.
Delia Valeri of New York City is one of the foremost vocal teachers of today, and has gained her reputation through the remarkable successes of her many artist-pupils who are before the public today, either as members of the leading opera companies such as the Metropolitan and Chicago Opera companies, etc., and also among the foremost ranks of the concert field.
Among the leading artists who have studied with Mme. Valeri and strongly endorse her work as a teacher are Margaret ‘Matzenauer, Melanie Kurtz, Clarence Whitehall, Clara Clemens Gabrilowitsch, Frieda Hempel, Elinor Brock, Susanne Keener, Dorothy Francis, Maude Fay. For many years Mme. Valeri’s studio , in New York City has been crowded with talented students; knowing that her methods
The coming summer session of the American Conservatory will exceed in scope and importance every previous one. Besides the eminent faculty of 100 members, the following artists of world-wide fame have been engaged to conduct master classes: Josef Lhevinne, the Russian pianist; William S. Brady and Mme. Delia Valeri of New York City, generally recognized as among the most noted teachers of voice; George H. Gartlan, director of Public School Music, New York City; Jacques Gordon, brilliant violinist and concertmaster of the Chicago Symphony Orchestra, and others to be announced.
Josef Lhevinne, Delia Valeri and William S. Brady, besides giving private instruction, will conduct Repertory-Teachers’ Classes specially designed for professional pianists and singers, for teachers and advanced students. It is superfluous to emphasize the far reaching significance of these classes in connection with the student’s future career. This has been conclusively evidenced by the fact that the Repertory-Teachers’ Classes of Josef Lhevinne and those of Mr. Brady were crowded to overflowing by eager students from all parts of the country.
Regarding Mme. Valeri, it might be stated that on her

ETHEL
LEGINSKA
SOME THIS SEASON’S CRITICISMS FROM EUROPE—LONDON, IN RECITAL AND WITH GOOSSENS ORCHESTRA; FLORENCE, IN RECITAL; AND BERLIN WITH THE BERLIN PHILHARMONIC ORCHESTRA.
piece of Dresden china. It was thoroughly enjoyable to listen to a pianist playing a concerto and being concerned not to produce too much tone. In the presence of such beautiful phrasing and balance one regretted that those who came after Mozart enlarged the mould, but vulgarized the form. ALTOGETHER LEGINSKA MADE IT CLEAR THAT IN ADDITION TO BEING A PIANIST OF DISTINCTION AND CHARM, SHE POSSESSES A MUSICAL NATURE, BOTH ORIGINAL AND CULTURED.”—London Morning Post, Nov. 27, 1922.
“Her playing of a Mozart concerto was noteworthy for its technical qualities and its charm of style, while HER PERFORMANCE OF THE LISZT HUNGARIAN FANTASY WITH THE ORCHESTRA WAS REMARKABLY BRILLIANT.’—London Daily Chronicle, Nov. 25, 1922.
“HER PLAYING MADE US HEARTILY GLAD TO SEE HER BACK. She was always remarkable— even wonderful; her art now (to judge from performances of a Mozart concerto and Liszt’s Hungarian Fantasia) is even more refined and sensitive.”—London Evening News, Nov. 25, 1922.
“Leginska at Queen’s Hall last night RE-ESTABLISHED HERSELF AS ONE OF THE MOST DELIGHTFUL OF PIANISTS.”—London Daily Mail, Nov. 25, 1922.
“She played Mozart’s major Concerto with the utmost refinement and purity of style, and Liszt’s Hungarian Fantasy with glowing temperament and triumphant technique, WITH A VIRTUOSITY WHICH FEW CAN EQUAL.”—Berlin Borsen Courier, Nov. 22, 1922.
“HER MOZART IS FULL OF SILKEN TENDERNESS, very charming and simple in expression, technically sound and soft as velvet.”—Berlin Borsen Zeitung, Nov. 22, 1922.
“As an executant, she possesses a technique of the first order, extraordinary and crystal-clear agility, sweetness and power of tone as needed, consummate skill in detaching or sustaining notes, as well as in the use of the pedal. Most important of all, however, she brings out the sense, the meaning, and the beauty of all the compositions she plays. It would be impossible to imagine a more striking or brilliant performance of the B major Nocturne of Chopin than we heard last night, nor yet anything more exquisitely fantastic than her rendering of Ravel’s Waltzes, nor an interpretation more perfect in style than that of the Bach ‘Prelude and Fugue’ in C sharp major. THE VERY LARGE AUDIENCE APPLAUDED WITH THE GREATEST ENTHUSIASM EVERY PERFORMANCE OF LEGINSKA.”—Ildebrando Pizzetti, Florence La Nazione, Nov. 1,1922.
“Leginska, as usual, played extremely well. She gave us real delight in the finely-chiseled perfection of her technique, in the beauty of her tone and the fascinating momentum of her rhythm. These were the qualities which came through so wonderfully in her playing of the Mozart Concerto with orchestra the other day—qualities which, added to a quite unusual colour-sense, REMINDED US CONTINUALLY OF RAOUL PUGNO.”—London Daily Telegraph, Dec. 11, 1922.
“SHE PRODUCED SOME FAULTLESS PLAYING OF BEETHOVEN, BACH AND CHOPIN. It penetrated their secrets and gave an intimate account of them. Her execution was fluent and her tone well graded and guarded. Leginska has the unusual power of uttering a forcible climax without becoming inarticulate.”— London Morning Post, Dec. 11, 1922.
“Ethel Leginska, at Aeolian Hall, gave us some piano-playing of a high order—light, vivacious, and poetic; A FAIRY OF THE PIANO!”—London Daily Mail, Dec. 11, 1922.
“This lady plays the piano extremely well. So well, indeed, that I put HER WITHOUT HESITATION AMONG THE FIRST THREE OR FOUR ENGLISH PIANISTS. To give such a good account of a Mozart concerto and Liszt Hungarian Fantasy on one evening is something of a feat. The styles of the two works are completely different, and to play both so well betrays a musical capacity and an understanding beyond the common.”—F. Toye, London Sunday Express, Dec. 3, 1922.
“A pianist who can give an equally brilliant and authoritative account of a Mozart Concerto and a Liszt Fantasy is one to whom we must raise our hats. That distinguished musician, Ethel Leginska, returned to London last week after touring Italy and Germany, and at Queen’s Hall took such a part, with Mr. Eugene Goossens’s Orchestra, in the performance of Mozart’s A major Concerto and one of Liszt’s piano Rhapsodies that WE CAN ONLY ENDORSE WHOLEHEARTEDLY THE HOMAGE OF HER LARGE AUDIENCE. That same ‘Hungarian Fantasy’ we may hear, perhaps, in the course of a year, played brilliantly as Leginska played it; but not so often is Mozart interpreted with such charm, such faultless phrasing, such unerring sense.”—London Daily Telegraph, Nov. 27, 1922.
“Her playing of the solo part of the piano Concerto in A was well matched in precision and brilliancy by the work of Mr. Eugene Goossens and his orchestra in the accompaniment. If one substitutes ‘silken’ for the current slang-word ‘velvety’, the effect of her touch and treatment is nearly suggested. THERE WAS NOT A WRINKLE ANYWHERE.”—London Sunday Times, Nov. 26, 1922.
“In the Mozart Concerto in A Leginska played with a delicacy that suggested at times she was handling a
LEGINSKA APPEARS IN A NEW YORK RECITAL AT CARNEGIE HALL ON FEB. 20, AND IN BOSTON ON FEB. 10; A FEW OPEN DATES THIS SEASON STILL AVAILABLE. NOW BOOKING FOR ALL OF NEXT SEASON IN RECITAL AND CONCERT.
STEINWAY PIANO
| Exclusive Management: HAENSEL & JONES Aeolian Hall, New York
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