59
MUSICAL COURIER
February 22, 1923
to reviewing the recital in the Daily Sentinel. The account reads in part as follows:
She has a voice of great clarity and sweetness and her training has made her equal to the demands of the most elaborate compositions. With this brilliance, she has also the ability to sing simpler songs in a sympathetic fashion that gives equal pleasure. Her soaring E flat in the Indian Bell song from Lakme will linger in The Avalon as an echo of her voice for a long time to come. The encores she sang will be remembered as well—The Frog Who Went Courting, The Last Rose of Summer, Swiss Echo Song, folk-lore ballads that generations have loved, which will be remembered for generations to come.
It was characteristic of her gracious personality that she interrupted her program after the first number to give the assurance that, from the standpoint of the singer, the acoustics of the new house were perfect.
From January 5 to January 23 Miss Gates filled eleven engagements in Idaho, Utah and Colorado. This month she is booked for concerts in the Northwest and Canada.
Critics Agree on Onegin’s Art
St. Paul and Minneapolis, the Twin Cities, maintain, after the fashion of twins, a friendly rivalry, which sometimes extends into the field of music. But St. Paul and Minneapolis are agreed on the superlative voice and art_ of Sigrid Onegin. After Mme. Onegin’s recent recital in Minneapolis, Wilbur W. Judd, in the St. Paul Pioneer Press, endorsed the unusual encomiums awarded to Mme. Onegin by his critical confreres of Minneapolis. Here are a few characteristic excerpts from Mr. Judd’s review:
Tlie fame of Sigrid Onegin, the new Swedish contralto of the Metropolitan Opera, which these many weeks has been echoing from coast to coast, drew into her presence at the University Armory Tuesday evening an audience that packed the barnlike interior like the proverbial sardines in a tin box. Such critical encomiums as this singer has received might have seemed to be a handicap; few mortals can maintain their equilibrium on such a lofty pedestal;
(Continued on Page 63).
GAY MACLAREN
“AMERICA’S MOST UNIQUE DRAMATIC ARTIST”
“Miss MacLaren’s art is unique. . . . She is a sort of living phonograph record.״—St. Paul Dispatch.
Season 1922-23 Now Booking
Management: Caroline Evans
326 West 76th St., New York City.	Tel. 4616 Columbus
of Improved Music Study for Beginners, Inc.
DUNNING SYSTEM
ENDORSED BY THE LEADING MUSICAL EDUCATORS OF THE WORLD
Los Angeles, Jan; New York City, Aug. 1
HARRIET BACON MacDONALD, 825 Orchestra Bldg., Chicago; Dallas, Texas, June; Cleveland, Ohio, July 2; Chicago, Aug. 6.
MRS. WESLEY PORTER MASON, 5011 Worth Street, Dallas, Texas.
LAURA JONES RAWLINSON, Portland, Ore., 61 North 16th St., June 19, 1923; Seattle, Wash., Aug. 1, 1923.
VIRGINIA RYAN, 828 Carnegie Hall, New York City, March.
ISABEL M. TONE, 469 Grand View Street, Los Angeles, Cal., April 16 and June 18, 1923.
MRS. S. L. VAN NORT, 2816 Helena St., Houston, Texas.
MRS. H. R. WATKINS, 124 East 11th St., Oklahoma City, Okla.
ANNA W. WHITLOCK, 1100 Hurley Avenue, Fort Worth, Texas.
Normal Clas.e. a* follow•:—
MRS. CARRE LOUISE DUNNING, Originator, 8 West 40th Street, New York City.
MRS. ZELLA E. ANDREWS, Leonard JEANETTE cutRR״EY. ™,LLJR’V 50 Bldg., Spokane, Wash., January.	Erlon Crescent, Rochester, N. Y.
Al l IE E BARCUS 1006 Colleae Ave TRAVIS SEDBERRY GRIMLAND,
AVt.' WoiThfS. 1006 C°"ege Ave•׳	dressPhCUifto"nn Texas!* b°°k'etS *“־
ANNA CRAIG BATES, 732 Pierce ,DA GARDNER, 15 West Fifth Street, Bldg., St. Louis, Mo.; classes held Tulsa, Okla.
monthly throughout the season. CARA MATTHEWS GARRETT, “MIs-MARY E. BRECKISEN, 354 Irving	sion Hills School of Music,” 131
Street, Toledo, Ohio.	West Washington, San Diego, Calif.
MRS. JEAN WARREN CARRICK, MRS. JULIUS ALBERT JAHN, Dallas 160 East 68th St., Portland, Ore., Academy of Music, Dallas, Texas. March.	MAUD ELLEN LITTLEFIELD, Kan■
DORA A. CHASE, Pouch Gallery, 345	*as City Conservatory of Mu»lc,
Clinton Ave., Brooklyn, N. Y., Feb.	1515 Llnwood Blvd., Kansas City,
ADDA C¿ 9״DY136■׳ XU!, ?a״?USl7 CLARA B. LOCHRIDGE, 223 N. Fifth Ave., Belief ontai ne, Ohio, Miami, c, Mavfleld Kv
¡־la■׳ u F®bruary•' Wichita, Kansas, CARRIE VuNGER LONG, 608 Fine March; Columbus, Ohio, June.	Arts B|dg.׳ Chicago, III.; classes
BEATRICE S. EIKEL, Kidd-Key Col-	monthly through the year except
lege, Sherman, Texas, January.	Feb. and Mar. In Indianapolis.
INFORMATION AND BOOKLET UPON REQUEST
LUCY GATES IN DRIGGS, IDAHO,
en route to fill a concert engagement. Miss Gates is to he seen in the hob-sleigh and her accompanist is on skiis. As the soprano aptly puts it: “In this Teton Valley it is skiis, hoh-sleighs or snowshoes for getting around!”
the unbiased opinion of her listeners may make possible. She is sincere and has the “goods,” so to speak, and ultimate success depends entirely on her own efforts.—Yonkers Statesman.
A large audience gathered yesterday afternoon in the auditorium of Phillipsburgh Hall to hear the recital given by Miss May Hughes. The recital marked the first of a long list of engagements hereabouts for Miss Hughes, who bids fair to take an important place in the musical world. Her voice is clear and natural and she sings in a modest, unassuming way with no sign of affected gesture, which is the most common fault of ambitious musicians. Particularly commendable was her rendition of The Last Rose of Summer which was given as an encore and met with a tremendous ovation from the audience.—Yonkers Herald.
More Grainger ,Comments from Holland
Percy Grainger, who scored triumphs in all the important cities of Holland last fall, has been lauded by the leading critics of that country. A few press comments are herewith appended:
Grainger might well be pleased at the great interest aroused at his recital last night. In works by Bach-Busoni, Brahms, Chopin, Grieg, Gardiner and Grainger he proved himself to be the same great original artist that we revered before the war. His great power was as impressive as ever, his broad musicianship and complete self-control as admirable as of yore. He played Grieg’s Ballad with the convincing accent of a true Grieg-apostle.—Nieuwe Courant, The Hague, November 22, 1922.
Grainger’s art was truly refreshing. Everything he touches becomes, under his hands, pithy, winsome, and of popular appeal. A check-full house responded to the energetic Australian with thunderous applause.—Het Vaderland, The Hague, November 22.
To hear Grainger is to admire Grainger. Everything he plays is vitalized by conviction. What a joy to hear such renderings of Brahms’ A major Intermezzo and Chopin’s Barcarole. His Bach playing was masterly and his presentation of Grieg’s Ballad a true delight. Grainger’s great gifts were fully revealed in his own Colonial Song and Country Gardens. The thunderous applause of the large audience brought forth a harvest of encores.—Haagsche Courant, The Hague, November 17.
De Kyzer Heard in Moline, 111.
Marie deKyzer, soprano, was guest-artist for the Moline, 111., Woman’s Club January 14. The next day the Dispatch said in part:
Beautiful to look at, possessed of a voice of gold which glints with beautiful color tones, with a personality which at once won her big audience, Marie DeKyzer, noted American soprano, who came from New York to sing to members of the Moline Woman’s Club, delighted them all on Saturday afternoon by her wonderful program, to which she added several encores. . . . This group gave opportunity for a display of the lyric and dramatic possibilities of her beautiful voice. The Alleluja revealed a quality of voice which was all prayer and praise, and nowhere was the coloratura quality more apparent than in the Handel number. Responding to the great enthusiasm of her audience she sang Homing (Del Riego) as an encore. . . . The third group was received with wild acclaim. Sunset (Alexander Russell), Robin Adair (old Scotch air sung with unusual understanding), Pale Moon (Logan), and Tally Ho (Leoni).
Gadski Creates Furore
Johanna Gadski’s recent appearance with orchestra in San Francisco, Cal., roused the critic of the Call and Post to eulogize her as follows:
It is doubtful if any singer ever created such a furore here as Johanna Gadski, and she certainly gave one of _ the greatest feasts of song the writer has been privileged to hear in many years experience.	,.
There were only two programmed numbers for the great diva.
. . . The audience simply went wild over the Tannhäuser aria and continued applauding for fully ten minutes.
After the final number people swarmed around Gadski and she sang encores until it seemed that she must have reached the limit of human powers, beginning with Shubert’s marvelous Erlking and ending with Franz Gruber’s Silent Night, which was given in such splendidly rounded tones, such force and expression, as to be incomparable.
Lucy Gates Opens Avalon Theater
On the day following Lucy Gates’ opening of the new and beautiful Avalon Theater in Grand Junction, Col., Merle M. McClintock devoted about two columns of space
Grainger is the “Australian Achilles.” He is a heroic virtuoso. His appearance, his touch, his technic—all are heroic, but sympathetically heroic. He never falters. He says what he has to say and then goes his way. What he says has often a poetic character but nev.r of maudlin melancholy. Great success and innumerable encores.—Avendpost, The Hague, November 17.
Spontaneity and infectious rhythms are still among the chief ingredients of Grainger’s splendid pianism, and with these, and his marvellously controlled powers of expression he is able to work his listeners up to a'high pitch of enthusiasm. His mastery of his instrument is complete, keyboard and pedals are under equally perfect control. The great pianist was applauded with the greatest enthusiasm and was recalled again and again.—De Residentiebode, The Hague, November 17.
Percy Grainger may well be congratulated on a totally “sold-out” Diligentia Hall, after an absence of nine years; especially when we recall the sparseness of the audience at the recitals of other outstanding artists. Grainger is a sunny virtuoso, a pianist with an enticing, sensitive charm all his own. His Bach playing was highly interesting—perhaps the most splendid presentation of the entire evening.—Nieuwe Eeuw, The Hague, November 23.
Percy Grainger made his joyous re-entry last night into the Diligentia Hall, the scene of so many of his triumphs of former years. The Bach-Busoni Chaconne gave Grainger a splendid chance to show his architectural qualities and he used these opportunities to the full. Pure in style, clear and beautiful in phrasing were his renderings of Brahms, Chopin and Grieg. Several encores, characteristically Anglo-Saxon of type, were given in response to the stormy applause of the enthusiastic public.—Dagblad voon Zuid-Holland, The Hague, November 17.
Whatever Grainger played—whether Balfour, Gardiner, Chopin, Bach or Grieg—in all these works he held a strong grip upon his audience, by means of his phenomenal technic, by means of the clarity and exquisiteness ■of his tonal gradations, and above all by the emotional sincerity with which he essays each type of music. Throughout the whole program he was the recipient of the heartiest applause.—De Rotterdammer, Rotterdam, November 21.
This young, energetic and diversely devebped artist is of a type quite unique among the ranks of the pianists. Perhaps it is the open-hearted honesty and simplicity of his artistic methods, the complete lack of all artificiality in this sympathetic pianist that exerts from the platform so powerful a magnetism upon his audience. The hall was crowded and the applause frenetic.—De Maasbode, Rotterdam, November 19.
Miinz Wins Triumph in Indianapolis
Mieczyslaw Miinz, the young Polish pianist, who surprised New Yorkers by his finished art, was recently heard in Indianapolis, where his playing aroused much enthusiasm. The following criticism is taken in its entirety from the Indianapolis News of January 20:
It is not likely that Indianapolis will hear such piano playing again this season as it heard at th; Murat, Friday afternoon, when Mieczyslaw Miinz, Polish pianist, gave a recital under the auspices of the Matinee Musicale. Miinz plays like one of the great masters. It seems that he must be in some way the reincarnation of those musicians of a begone day, about whom there is such a halo of glory. Few of the present day pianists of first rank play any better. He is, indeed, like the realization of an ideal, for his art is as nearly perfect as art can be.	,
It is incredible to find one so young—he looks as if he had scarcely attained his majority—who does such magnificent work. His technic has reached that point where it does not seem like technic at all; it is comprehensive enough to include any difficulty set down by the composer. His hands are large and his fingers long, so he can accomplish mechanical feats with ease. In fact, he sits at the instrument almost casually, evidencing no penchant for parading his gifts. He simply plays.	.	.
His tone is full of color and its shading ranges from the most delicate pianissimo to the biggest fortissimo. Yet, no matter how high his tone may become, it is never loud, never raucous. It has nothing but music in it. His phrasing, too, is a thing of great beauty. He plays as a singer sings. He realizes the value of accentuated melody, of slight pauses and dramatic stops, _ of long, sweeping phrases. There is, however, no ostentatious display of virtuosity. The music is within him, and he reveals it in the manner of a prophet. It is something of an experience to hear him.
Rio Pupil Scores Success
May Hughes, a pupil of Anita Rio, made a successful debut recently in Yonkers, two of the critics reviewing the recital in part as follows :
Miss Hughes is fortunate in having a voice that carries well and needs no enlistment of effort.
Perhaps the most refreshing aspect of Miss Hughes public rendition is the fact that her stage presence is unaffected and ingratiating. The natural inference would be that she would be self-conscious. If she were, it was not apparent either in her voice or demeanor. Miss Hughes has a sound foundation for a genuine career and the attributes she has yet to learn are those which only experience and
GIACOMO
RIMINI
POPULAR ITALIAN BARITONE
EXCLUSIVELY FOR CONCERTS
March, April and May 1923
Management: R. E. JOHNSTON, 1451 Broadway, New York Associate«: L• G. BREID AND PAUL LONGONE MASON & HAMLIN PIANO	VOCALION RECORDS
Note: They close their season with the Chicago Opera Co., February 24th
ROSA.
RAISA
GREAT DRAMATIC SOPRANO
The Phenomenal Pianist
Season 1923-1924 in America
Exclusive Management: DANIEL MAYER
Aeolian Hall, New York
Steinway Plano	Amplco Record#
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