MUSICAL COURIER
44
February 1, 1923
Courier, the humble opinion of this reporter as to the great merits of Huberman, nothing more concerning his second appearance need be written at this time, only that the audience was as large and as effusive in its .approval as when he appeared last week, and that once more he charmed by the sincerity with which he rendered compositions by Bach, Lalo, Chopin-Sarasate, Chopin-Huberman and Brahms-Joachim.
Activities of an Arthur Burton Pupil
Arthur Burton’s professional pupil, Arthur Kraft, tenor, who is now located in New York, will give five recitals this week, appearing in Bryan and Golian (Ohio), Cold-water (Mich.), Kokomo (Ind.), and in Chicago at a musi-cale at the home of Mrs. Mathiessen.
Chicago Musical College Notes.
The Chicago Musical College gave a concert in the Recital Hall, Steinway Hall, Friday evening. The program was presented by students in the piano, vocal and violin departments. Rose Lutiger Gannon, of the faculty, gave a program before the Swedish Club last Sunday. Kathleen Ryan, student of Mrs. Gannon, sang at the Jewelers’ convention, January 22, and last Wednesday at a concert in Michigan City, Mich. Kate Gordon, student of Anna Ring Clauson, will play for the radio concerts January 30. Alline Stosberg, vocal student of the college, as well as Mark Love and Grace Strassburger, students of Dr. Fery Lulek, have been engaged to sing at the presentation of Fabiola at the Auditorium. Ethel Silverberg played Thursday at a reception given by the Little Presbyterian Church. Felix Borowski lectured Saturday morning at the Chicago Musical College on the life and works of Johann Sebastian Bach.
Everett A. Parker Heard.
Everett A. Parker, who hails from St. Paul, Minn., appeared here at the Woolley Memorial Church on January 26, in a piano and dramatic recital. Mr. Parker, a student of the Warren School of Music, of St. Paul (of which Minnette Lake Warren is director), played the Bach invention in F major and the Mozart sonata in C major in the first part of his program; then read excerpts from Hamlet. Later he played numbers by Rachmaninoff, MacDowell, Chopin and Liszt and recited the Blacksmith’s Story by Olive, Cremation of Sam McGee by Service and All’s Well that Ends Well. The recital was under the auspices of the Woman’s League.
Cecilian Opera Club.
The Cecilian Opera Club of the Church of St. Thomas the Apostle presented uncommonly well Robin Hood at the Aryan Grotto on Sunday and Monday evenings, January 21 and 22. The opera was under the direction of Rev. A. L. Girard. All the roles were finely handled, especially praiseworthy being the singing and acting of Marie Doyle, who appeared as Lady Marian Fitzwalter, in which she revealed great ability as an operatic singer and met with much success at the hands of an enthusiastic audience. Jack Tebo, who staged this production of Robin Hood,, is also worthy of comment; likewise, William Vowels, musical director and conductor. William J. Hayden disclosed a fine voice in the title role and Joseph Herbert could, if he so wishes, now enter the musical comedy field, as his Sheriff
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Reprint from Chicago Tribune, Sunday, January 21, 1923
CHICAGO COLLEGE OF MUSIC
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All Branches Musical and Dramatic Art. Opera, etc.	1234 KIMBALL HALL
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PADEREWSKI HOLDS CHICAGO
SPELLBOUND WITH HIS PLAYING
Marie Novello’s Initial Recital Presages Many Future Engagements—Orchestra Hall Sold Out for Josef Rosenblatt— Great Demonstration for Josef Lhevinne—Huberman Achieves Another Triumph—Everett Parker Heard— Cecilian Opera Club Presents Robin Hood—Conductor Stock Revises Schumann Symphony and Gives It a Notable Performance with His Orchestra; Josef Hofmann the Soloist
by the fast tempo at which she took the number. She also impressed by the beauty of the tone she drew from her instrument and even her crashing dynamics were melodious to the ear. In the Chopin B flat minor sonata she had full sway to disclose her splendid technical equipment, besides demonstrating anew imaginative power. The balance of her program included numbers by Poldini, Palmgren, Paderewski and a group of Chopin, which unfortunately could not be heard By this reporter, but from authoritative sources it was learned that the further the recital progressed the more demonstrative the audience grew and the more insistent were the demands for encores. The recital was under the management of F. Wight Neumann, on the same Sunday afternoon.
Josef Rosenblatt at Orchestra Hall.
Josef Rosenblatt, also on the same afternoon, brought out one of the largest audiences of the season, selling out Orchestra Hall. Rosenblatt is a wonder among singers, as he defies every vocal law, singing tenor arias as well as coloratura and basso songs, and in all registers he is in his very domain. The uncontestable beauty of his voice, exquisite pianissimo?, splendid phrasing and his clarion-like top notes brought down the house, which, throughout the recital, gave way to its enthusiasm. After the concert an army of his admirers blocked the sidewalk around Orchestra Hall and policemen had to disperse the throng. The tenor cantor was ably assisted by Josef Winogradoff, baritone, and Abrascha Kenovsky.
Graveure Cancels Recital.
At the Studebaker Theatre, Louis Graveure was scheduled to give a song recital under the management of W. Wight Neumann, but at the eleventh hour, due to a slight indisposition, the baritone was compelled to cancel his recital and money was refunded to the ticket purchasers.
Josef Lhevinne.
On Tuesday evening, January 23, Wessels & Voegeli presented at Orchestra Hall that very satisfying pianist, Josef Lhevinne, another master of the keyboard. A very large and most demonstrative audience was on hand. Lhevinne’s appearance here are so numerous that by stating that all his disciples were delighted with the manner in which he played his extensive and interesting program will for this time suffice, as a lengthy review would only be a duplication of superlatives.
Bronislaw Huberman.
On Wednesday evening, January 24, Bronislaw Huberman reappeared at Orchestra Hall, where the previous week he had won one of the most spontaneous successes scored by a violinist here. His second engagement was as satisfying and an added attraction'to his program was the sonata for piano and violin by Ottorino Respighi, which on this occasion had its first hearing in this community. With the assistance of his accompanist, Paul Frenkel, the work was given a delightful reading, and though the number impressed only moderately, the playing deserved more than passing comment. Huberman’s beautiful tone and sure technic made out of the sonata much more than is really contained in it. Having set forth in last week’s issue of the Musical
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Chicago, January 27.—The Chicago Civic Opera having closed its season, the recitalists have now the musical field practically all to themselves until the much-expected and well advertised Russian opera season in February. Thus, all the recitals which took place on last Sunday were well attended.
Paderewski.
The wizard of the keyboard, Ignace Paderewski, held forth in piano recital at the Auditorium on Sunday afternoon, January 21, and as foreseen, the theater was jammed to greet the famous Polish artist at his first recital in this city in many a season. In splendid form, he played all his program masterfully and the audience on one occasion rose to its feet as one man to pay this unusual tribute as a homage and also as a mark of gratitude for the great enjoyment derived from his wonderful playing. It would be puerile for this reporter to go into detailed review of the splendid rendition he gave the Beethoven and Chopin groups, as everything Paderewski did on this occasion was perfection itself. It was wonderful playing such as only Paderewski at his best can produce. The recital started a few minutes after three and at six o’clock it was not over, so insistent was the audience in asking for additions to the printed program. Wessels and Voegeli managed this concert.
Marie Novello.
Marie Novello’s first recital here was so much enjoyed that many reappearances are already predicted. Beautiful to look at, well gowned, she made a picturesque appearance on the stage of the Playhouse and won the hearts of her audience as soon as she sat at the piano. Her program was well built to bring out all her resources as a fine interpreter of the classics as well as of the modern composers. She opened her program with a well executed reading of the Debussy La Cathedrale Engloutie. In the andante and rondo capriccioso of Mendelssohn she disclosed fleetness of fingers
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