MUSICAL COURIER
62
April 12, 1923
rich tones filled the room with the roll of an organ; and the sweetness and intensity of her pianissimo and sustained tones was equally praiseworthy.—San Antonio, Tex., Express.
More Laurels for Grainger
Percy Grainger, who has concertized in all the principal cities of Holland, has been the recipient of numerous press comments from leading newspapers, of which a few additional tributes are here appended:
It was a happy reunion at the Grainger recital. The hall was completely filled—a proof how many loyal friends Grainger has won by his art. What always amazes in his playing is its dashing quality— “dashing” in the best sense of the word—a youthful vitality that is not content with agogic abstractions and dynamic triflings, but expresses itself “with the keen tenseness of a mighty bow.”—De Maas-bode, Rotterdam, November 18, 1922.
Free from all artistic “pose,” Grainger approaches all he plays with a simplicity, at once earnest and blithe. He attacks all problems with an “open visier,” with a knightly honesty, but also with a mighty intensity. A certain gracefulness is never absent from even his most forceful manifestations and it is remarkable how the singing quality of his tone never deserts him, whether in loudest forte or most fragile pianissimo. His Bach was a most impressive beginning and an example of the motto “he came, he played, he conquered.” In works by Balfour, Gardiner and himself he presented a colorful bouquet of Anglo Saxon music—sweet-smelling flowers of his homelands.—Rotterdamsch Nieuwsblad, Rotterdam, November 20, 1922.
His personality is surprising, his pianistic facility is amazing, and his conception of the music he plays full of an intensity of human feeling that does not fail to reach the listener. It was of the greatest interest to hear his interpretations of Bach and Brahms, to enjoy the charms of his Chopin playing and his deeply reverent rendering of Grieg’s Ballade.—Dagblad, Rotterdam, November 20, 1922.
Grainger’s finger and arm technic is admirable; his pedalling as transparent as clear water. His whole musical attitude is controlled and convincing to a degree. A Grainger recital is a splendid piece of artistry.—Utrechtsch Dagblad, Utrecht, November 21, 1922.
Percy Grainger’s audience could not fail to be impressed by the fact that they had before them an expression of great personality. His playing arouses admiration by the great vitality with which it is informed, by the richness of his truly orchestral tone, by the fire of his enthusiasm.—Utrechtsche Courant, Utrecht, November 21, 1922.
What is so compelling in Grainger’s playing is its strangely im-provisational quality. This was very apparent in his Brahms. His Grieg was equally masterly and given with the rare spontaneity above mentioned. His forte is under complete control and his gradations from this to passages of lyrical gentleness are surprisingly beautiful. Grainger feels every phase of what he plays with such artistic sincerity, and this is the source of the intense impression that he creates. We must not neglect to mention the graceful euphony of his Chopin Barcarole in which he enticed the most exquisite whispering from his glorious Steinway.—Nieuwe Haarlemsche Courant, Haarlem, November 10, 1922.
In a truly sublime manner Grainger rendered Chopin’s delicious Barcarole. His conceptions are remarkable for the restraint which is present in even his most emotional moments, and which prevents, in his case, those tonal excesses that mar the work of so many otherwise fine pianists. It is unnecessary to mention the brilliance of his astounding technic or the way in which it is always made subservient to truly esthetic ends. Grainger is a noble artist and his recital was a rare feast of beauty.—■Haarlemsche Courant, Haarlem, November 10, 1922.
Grainger’s wide artistic knowledge and development was apparent in the great variety of the program presented. His success was great. The audience was large and thankful.—Leidsche Courant, Leiden, November 27, 1922.
Grainger’s art is riper than formerly;, but as fresh and unaffected as ever. His wholesome emotionality, his sense of beauty, that no one will forget who ever heard him play, have gained in depth and warmth and his renderings touch the most tender strings of the human heart. Nathaniel Dett’s Juba Dance was full of life and wit, and Grainger’s own Colonial Song gave great pleasure. — Nieuwe Apeldoornsche Courant, Apeldoorn, November 22, 1922.
Percy Grainger awakes admiration by his transcendental playing, which bears the stamp of true greatness. Everywhere in his playing we note euphony of sound and delicate tonal control; everywhere the most perfect clarity for the ear and for the mind; everywhere a splendid perspective of the formal architecture of the music. All this constitutes an artistic delight of a high order. Grainger is a great player, swayed by the most• sensitive emotions.—Zutphensche Courant, November 3, 1922.
Grainger’s place is amongst the greatest of the great. His delicate pearly touch is as impressive as his titanic power. Examples of Ravel’s and Debussy’s impressionistic music were exquisitely rendered, and the two Liszt numbers revealed the rarest pianistic gift. In spite of years of absence a large public was gathered to hear Grainger, and the applause was so enthusiastic that he did not escape without a string of encores. His concert was a veritable triumph and deservedly so.—Overysselsch Dagblad, Zwolle, November 11, 1922.
Nicolay Scores in Egypt
Constantin Nicolay, the well known basso, is now singing in Alexandria, Egypt, where Pavlowa, the dancer, is appearing at the same time and where the Grand Opera Company of Cairo is giving performances of Gioconda, Rigoletto, Mefistofele, Traviata, Lorely and Francesca da Rimini.
SODER-HUECK
EMINENT VOICE TRAINER AND COACH OF the following prominent singers:	George Reimherr, Walter Mills. Marion
Lovell, Ellie Marion Ebeling. George Rothermel, Elsie Lovell-Hankins. Hard-grave Kirkbride, Bernard Schram. ete.
From Tone Production to Artistic Finish METROPOLITAN OPERA STUDIO 1425 Broadway. New York Phone:	4119 Penn, and 2634 Penn.
NEW
YORK
OPINIONS OF THE PRESS
(Continued from page 53)
YEATMAN GRIFFITH
Teacher of FLORENCE MACBETH, Prima Donna Coloratura; LENORA SPARKES, Lyric Soprano, and other prominent Artiata. Studios: 318 West 82d St., NEW YORK CITY. Tel. Schuyler 8537
Lillian Pringle a Highly Praised Cellist
One seldom sees so many favorable press notices as those concerning the Chicago cellist, Lillian Pringle, who, originally a Steindel pupil, later went through a course under Hekking in Berlin. These notices were mostly won in the course of her recent trip, covering some 20,000 miles, through the United States. From North to South, East to West, came a chorus of praises for the young cellist which must have gratified both the artist and her manager. Only a few are reproduced below, for there are literally hundreds of them, creating a desire to meet and hear this artist, for such these notices prove her to be.
She played in Europe before her return to America, appearing before royalty, in concerts and recitals, with orchestras, etc. Such appearances gave her the routine and confidence on which her present successes are built, based as it is on thorough musicianship, poise, and pleasant per-
E. Roelilk photo.
LILLIAN PRINGLE,
cellist.
sonality. She holds her audiences, and if youth and earnestness of purpose count for anything, she is sure of a big future. The press comments follow:
She delighted with her playing of the cello. She is an artist with soul and heart.—Wheeling (W. Va.) Register.
A cellist whose mastery is worth hearing; her cello tone is sonorous, mellow and beautiful.—Portland Oregonian.
A cellist possessing a richly colored tone, fine rhythm, technical skill and warmth of imagination.—Nashville Tennessean, February 6.
Her wonderful playing possesses a breadth of conception and a mastery of execution rarely found in lady cellists.—Chicago Daily Journal.
She exhibited wonderful reserve of technic. — Birmingham Age-Herald, February 4.
Miss Pringle, who appeared in Cincinnati last year, strengthened the good opinion formed of her art at that time. Her full, rich tone and skilful technic was apparent in her performance.—Cincinnati Enquirer, June 7.
She is well equipped in technic, and she gaye a splendid performance of the Kol Nidrei. Her tone was vibrant, rich, and she played with such abandon and flexibility and firmness of bowing. Her group displayed her versatility. Miss Pringle is a cellist of intelligence and real merit.—Wilmington (Del.) Morning News, February 8.
She has taste and finish in execution to a remarkable degree, and to these adds a breadth and power of tone, a wonderful depth of feeling and fine technic.—Chicago Times-Heraltf.
Miss Pringle at the beginning of the Popper Vito proved herself to be a well equipped player of the cello. Her performance of the numbers allotted to her was marked by enthusiasm, a facile technic and a tone of richness and color. Miss Pringle and Sig. Salvi played several numbers together, which made one desire for a program played entirely by them.—The Des Moines Register.
Her work stands out in bold relief, being of the very highest order, and having won praise wherever she appeared. She handles the cello in a soulful way, swaying her audience as she wills.—Chicago Morning Times.
She scored in her rendition of Variations Symphoniques.—Wheeling (W. Va.) Intelligence.
She is well equipped in technic, and she gave a splendid performance of the Kol Nidrei.—Nashville Tennessean.
A storm of applause greeted the appearance of the cellist, Lillian Pringle. From the very first note of Kol Nidrei she indicated her mastery of technic and the skillful delicateness and charm of her playing. The variety of her selection of numbers lent an unusual amount Of versatility to the recital.—Utica Daily Press.
She is an artist of rare ability as was evidenced by her rendition of Popper’s Hungarian Rhapsodie. The young lady has a technic that is almost faultless, and her fingering and bowing proves her a master of the instrument.—Tacoma, Wash., Daily Ledger.
With her excellence of bowing and interpretative faculties, she brought more than ordinary interest with her difficult Saint-Saëns concerto splendidly played.—Dayton, O'., Daily News, February 11.
An accomplished cellist, playing an instrument the tone of which is seldom equaled and rarely excelled, caught the heartstrings of a Memphis audience last night, and swept them through the gamut of human emotions with the intuition that makes an artist great.—Lillian Pringle’s art expressed itself first in her unusual translation of Kol Nidrei, and again in her descriptive group, which enthralled the hearts and emotions.—Commercial Appeal, Memphis, Tenn.
Miss Pringle simply captivated the audience. It is seldom one hears a lady cellist bring from this fine instrument the full quality of tone heard at last night’s concert.—Morning Albertan, Calgary, Canada.
The cellist was deservedly the favorite after the first notes of the beautiful Kol Nidrei which she interpreted with sympathy. Her deep
RECITALS IN ENGLISH, FRENCH, ITALIAN AND NORWEGIAN 561 West 143rd Street, New York City. Tel. 2970 Audubon
DR. CHERUBINO RAFFAELLI
From Royal Conservatory, Florence, Italy TEACHER OE SINGING AND PIANO 602 West 137th Street, New York City Telephone Audubon 5669
COLORATURA
SOPRANO
Opera and Concerts
ALLABACH
Personal Address : 710 Madison Ave., Toledo. O. Management: LOUIS BRAND
R
A
C
H
E
L
OPERATIC and CONCERT TENOR Graduate, Royal Conservatory of Music MILANO, ITALY
125 East 37th Street New York
GIUSEPPE BOGHETTI
Vocal Studios: 1710 Chestnut Street Philadelphia, Pa.
Professor of Choral Music, Columbia University Address 39 Claremont Ave.
Hall
Waller
Henry
Williams. BRADY
TEACHER OF SINGING
Studio: 137 West 86th St., New York. Tel. Schuyler 3580
CHARLES SANFORD SKILTON
COMPOSER and ORGANIST
Lawrence, Kansas
University of Kansas
MARIE SUNDELIUS Soprano
With the Metropolitan Opera Co.
Exclusive Management:
HAENSEL & JONES,	Aeolian Hall, New York
Edwin Franko Goldman
CONDUCTOR THE GOLDMAN BAND
"A Symphony Orchestra in Brass” Colombia University Concerts
Personal address: 202 Riverside Drive, New York
J. FRED WOLLE
ORGANIST
Management: THE WOLFSOHN MUSICAL BUREAU,
712-718 Fisk Bldg., New York
o f* niTID yC Voice Placement a LI Vs \^Uil\lVlI< and Opera Class
Address: 54 West 82nd Street. New York	Telephone 5880 Schnyler
DAN BEDDOE
TENOR
Voice Culture—Recitals and Oratorio
Cincinnati Conservatory of Mnsic Cincinnati, Ohio
New York College of Music
114116־ EAST 85th STREET
Carl Hein—Directors—A. Fraemcke All courses will continue during the summer.
SUMMER MASTER CLASSES
under the supervision of AUGUST FRAEMCKE, Piano Dept.; HANS LETZ, Violin Dept.
GEORGE S. MADDEN
BARITONE
Master Singer Concert, Recital and Oratorio
“He displayed to advantage his excellent diction and artistic sensibility.”— New York American.
GEORGE H. LAWSON, Manager
267 Macon St. Brooklyn, N. Y. Phone 7992-W Decatur