63
MUSICAL COURIER
“Real Music” in Hazel Bachschmid’s Voice
That Hazel Bachschmid scored a success when she appeared recently with the Washington Choral Society is evident from the appended press excerpts :
There is a lot of real music in her voice, and her high notes especially are worthy of commendation. In one of the numbers she took a high “D” with ease. Real drama was injected in her rendition of Inter Nos by MacFayden and The Valley of Laughter by Wilfred Sanderson was enthusiastically received. — William Moore in the Washington Times.
She was warmly received.—Washington Star.
Her MacFayden Inter Nos was a dramatic thing and well rendered. However, one would necessarily speak of Wilfred Sanderson’s The Valley of Laughter, which was very pleasingly characterized and gained no small applause.—Washington Post.
Mrs. Bachschmid has a beautiful soprano voice that is full of sweetness. She posseses art that is suave and appealing, and an appreciation in interpretation most gratifying. One of the most delightful singers of our city.—Jessie MacBride in the Washington Herald.
Mrs. Bachschmid will be heard in recital in Washington, D. C., on April 9, assisted by Charles T. Ferry, pianist, and William S. de Luca, flutist.
Patton “Outsoars״ the Written Score
Following Fred Patton’s appearance with the Reading Choral Society in a performance of Parker’s Hora Novis-sima, several of the critics eulogized him as per the attached criticisms:
All he sings is in fully related mood and makes the highest appeal to intellect and refinement. Vigor, celerity, veracity and elegance of vocal grandeur are included in everything he undertakes. True legato and the peak of faithful dramatic expressiveness are always marked in his heroic ring, and at times he outsoared the written score. He showed remarkable breath control and pungency of dramatic detail. —Dr. Walter Heaton, Reading Herald Telegram, March 15.
It was a pleasure to listen to his artistic interpretation of the bass aria Spe modo vivitur.—W. Richard Wagner, Reading Times, March
Mr. Patton sang his solo numbers with fine voice and artistry of interpretation.—Philadelphia Ledger, March 15.
Re-engagements the Rule for Mrs. Lawson
The many re-engagements filled during the season by Franceska Kaspar Lawson, soprano, speak well for her ability in concert, oratorio and song recital. In July she will sing for the third time at William and Mary College in Virginia and also during the same month for thé third time at the University of Virginia.
On March 6, Mrs. Lawson made her second appearance in recital in Doylestown, Pa., and the following day a headline in the Bucks County Daily News read: “Delightful Recital in School Auditorium Enjoyed by Large Audience.” After an appearance in Lambertville, N. J., March 8, the Lambertville Beacon eulogized Mrs. Lawson as follows:
As _ soloist, Mrs. Franceska Kaspar Lawson, famous soprano of Washington, D. C., with her exquisite voice and winning personality, thrilled her audience from the opening song, The Lass With the Deli-
(Continued on page 66)
GAY MACLAREN
“AMERICA'S MOST UNIQUE DRAMATIC ARTIST״
“It is distinctly a privilege to see and hear her.”—Wilmington {Del.) Journal.
Season 1922-23 Now Booking
Management: Caroline Evans
326 West 76th St., New York City.	Tel. 4616 Columbus
as per the accompanying salient paragraph covering Alfredo Casella’s appearance with the Boston Symphony:
He brought to the music perfect understanding, perfect sensibility, perfect communication. His tone was crystal clear, while grace and lightness of line made the final rondo gossamer elegance. Charm of sentiment played over charm of pattern. So went Mozart’s music in its own image upon the mirror that was Mr. Casella. Modernist he may be, arch-modernist, if blame or praise prefers the word. Yet before he is modernist, he is also musician of keen perceptions, subtle sensibilities, powers as sharpened and refined. Mr. Casella’s fingers brush anew the textures, mould afresh the gentle contours. It is as though a light hand reigned sportive fancy through the circlings of Mozart’s rondos. Akin is Mr. Casella’s. As he is musician to Mozart, so also is he pianist. Such union between composer and player, between music and medium, is as rare fusion as it is rare pleasure. “We also have heard Mozart,” it was possible, last evening for the listeners to say.
Dubinsky Scores Success in Rochester
Vladimir Dubinsky, the New York cellist, now soloist of the Eastman Theater Orchestra, Rochester, N. Y., was instrumental soloist for the Knights of Columbus concert in that city March 16. The press reports which followed his appearance were as follows:
In Mr. Dubinsky’s performance there were readily recognizable the attributes of wide experience and sound musicianship that are his. Mr. Dubinsky’s technical equipment is ample and his tone is both
VLADIMIR DUBINSKY
virile and musical. He was heard with special pleasure, his splos including Popper’s Hungarian Rhapsody, and several short pieces.— Times-Union, Rochester, N. Y.
Vladimir Dubinsky, cello soloist, revealed the possibilities of his instrument in his staging of the works of such Russian composers as Glazounoff, Rimsky-Korsakoff and Davidoff. In his second appearance he played a medley of Irish songs in delightful fashion, and gave Casella’s Neapolitan Serenade, and the Hungarian Rhapsody by Popper, with pleasing effect.—Rochester Democrat.
Mr. Dubinsky showed his virtuosity in two groups, the first of selections by Russian composers, Glazounoff, Rimsky-Korsakoff and Davidoff; and the second, a varied collection of Irish folk songs, a serenade by Casella, and Popper’s Hungarian Rhapsody. His playing was a decided contribution to the success of the evening.—Rochester Journal.
Mr. Dubinsky also appeared twice, compassing a wide range of numbers and closing with an impressive performance of a Hungarian Rhapsody by Popper. Previous impressions of Mr. Dubinsky’s exceptional technical equipment and artistic qualities were confirmed by his playing last night.—Rochester Herald.
DUNNING SYSTEM
ENDORSED BY THE LEADING MUSICAL EDUCATORS OF THE WORLD
Normal Classes as follows:—
MRS. CARRE LOUISE DUNNING, Originator, 8 West 40th Street, New York City. New York City, Aug. 1
MRS. ZELLA E. ANDREWS, Leonard
Bldg., Spokane, Wash.
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; Classes beginning first week in June; second week in July.
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.
ISABEL M. TONE, 469 Grand View Street, Los Angeles, Cal., April 16 and June 18, 1923.
MRS. S. L. VAN NORT, 2815 Helena St., Houston, Texas.
MRS. H. R. WATKINS, 124 East 11th St., Oklahoma City, Okla.
ANNA W. WHITLOCK, 1100 Hurley Avenue, Fort Worth, Texas.
JEANETTE CURREY FULLER, 50 Erlon Crescent, Rochester, N. Y.
TRAVIS SEDBERRY GRIMLAND, Memphis, Tenn.; for booklets address, Clifton, Texas.
IDA GARDNER, 15 West Fifth Street, Tulsa, Okla.
CARA MATTHEWS GARRETT, “Mission Hills School of Music,131 ״ West Washington, San Diego, Calif.
MRS. JULIUS ALBERT JAHN, Dallas Academy of Music, Dallas, Texas.
MAUD ELLEN LITTLEFIELD, Kansas City Conservatory of Music, 1515 Llnwood Blvd., Kansas City, Mo.
CLARA B. LOCHRIDGE, 223 N. Fifth St., Mayfield, Ky.
CARRIE MUNGER LONG, 608 Fine Arts Bldg., Chicago, III.; classes monthly through the year.
ALLIE E. BARCUS, 1006 College Ave., Ft. Worth, Texas.
ANNA CRAIG BATES, 732 Pierce Bldg., St. Louis, Mo.; classes held monthly throughout the season.
MARY E. BRECKISEN, 354 Irving Street, Toledo, Ohio.
MRS. JEAN WARREN CARRICK, 160 E%st 68th St., Portland, Ore., March.
DORA A. CHASE, Pouch Gallery, 345 Clinton Ave., Brooklyn, N. Y.
ADDA C. EDDY, 136 W. Sandusky Ave., Bellefontaine, Ohio; Summer and Fall Classes—Columbus, Dayton, Cincinnati and Beilefontaine, Ohio; Atlanta, Ga.
BEATRICE S. EIKEL, Kidd-Key College, Sherman, Texas.
INFORMATION AND BOOKLET UPON REQUEST
April 12, 1922
After his first concert at the Claridge, the Egyptian Gazette, one of the most important papers of Egypt, said in the issue of February 23:
Mr. Nicolay is so well known to music lovers that to say that his concert at the Claridge Hotel attracted a large and appreciative audience is superfluous. . . . Mr. Nicolay opened the program with the grand aria of Philippe from Don Carlos, which was followed by the Air du Tambour-Major from Thomas’ Caid, and he sang the music with fine dramatic effect. Two Greek numbers sung were evidently greatly to the taste of the audience, which was largely composed of the Greek community. Mr. Nicolay delighted his audience with the Calumnia aria from Rossini’s Barber of Seville. The basso also sang the aria from Bizet’s Fair Maid of Perth and the ever popular Toreador song from Carmen, while later he sang the aria of Figaro from the Marriage of Figaro. The concert from all points of view was a great success.
In all probability Mr. Nicolay will again be a member of the Chicago Civic Opera Company next season.
Rudolph Reuter in Europe
Seldom does an American artist little known to the critics of music-jaded Europe meet with the immediate and unbounded success that fell to the lot of the American, Rudolph Reuter, on the occasion, of his first European tour. Thus far he has played in Denmark, Germany, Austria and Hungary, and later in the season goes to England and France.
According to the Berlingske Tidende, Copenhagen’s largest and most prominent paper, Mr. Reuter “came, played and conquered at one stroke.” Long notices of enthusiastic content appeared in all of the Danish capital’s newspapers, and, therefore, he went back for a second recital within three weeks of his first one. A third concert takes place in April. Denmark is what is known in Europe as a “valuta” country, that is, its money is practically on a par with its pre-war value—and, in consequence artists visit it in hordes and the Danes are spoiled by having an overabundance of the very best. Under such conditions the extraordinary success of Mr. Reuter is still more worthy of note.
In Vienna the critic of the largest daily, the Neue Freie Presse, exclaims: “In Rudolph Reuter we discovered a pianist of really stupendous virtuosity,” and that at the end of the program there was “an ovation.” That critic’s views were shared by his colleagues. Mr. Reuter played a second time in Vienna in March. In the Hungarian capital he played three times, and offers of a Balkan tour have had to be refused on account of conflicting arrangements.
Aside from these successes, Mr. Reuter was received by public and press of Dresden, Leipsic and Munich with great enthusiasm, the critic of the Miinchener Neueste Nachrich-ten writing “that was a lovely, fluent, relaxed, well-sounding, virile, energetic and gripping performance, not to forget the delicate and scintillating virtuosity that accompanied it.”
The Sonntagzeiturig wrote that “the elegant and versatile pianist achieved a great success.” In Berlin, the musical capital of Europe, Mr. Reuter is appearing at least six times this season, once with orchestra, in a chamber music concert of his own and four recitals. Of the many extraordinary notices it may be necessary to quote only one from the Allegemeine Musikzeitung, a paper known for its sharp and critical attitude. Herein Mr. Reuter is called “an unusually harmonious combination of musician and virtuoso, of interpreter and technician. Whether in Schubert’s sonata, played so beautifully as to merit all emulation, whether in the ticklishly difficult Brahms-Paganini Variations, or the Debussy-like sound-plays of the Griffes piece, his deep intelligence, fastidiously fine taste and variety of tone color, and his unusually careful technical polTsh serve to bring out the peculiar physiognomy of each style. Here we find great manual dexterity actually in the service of cultured musicianship. The many listeners as well as the critic departed with feelings of upright admiration and gratitude.”
Mr. Reuter_ went to Berlin last October and has already gained an enviable following wherever he has appeared. His tours for the next season will take him all over the continent as well as to England and Scandinavia. B. L.
Grace Kerns a Favorite in Reading
Grace Kerns was one of the soloists when the Reading Choral Society gave a performance of Parker’s Hora No-vissima on March 14. The accompanying press excerpts tell of her success on that occasion:
I was glad to hear Grace Kerns again, for her integrity coupled with her charm of manner and undoubted aptness makes of her a singer whose outpourings live in the memory and abide in the heart. She showed ־ a delightful harmony of power and resource coupled with a striking spark of scintillating brilliance. A certain echoing wistfulness tints her tones with enticing musical virtues.—Dr. Walter Heaton, Reading Herald-Telegram, March 15.
Miss Kerns, a favorite in Reading, has sung here several times. She has a fine soprano voice and sang with soulful effect. She gave the aria Oh, Country Bright and Fair, with a luscious tone and received much deserved applause.—W. Richard Wagner, Reading Times, March 15.
The soloists all sang most effectively, the voice of Miss Kerns, with its beautiful quality and perfection of intonation, being especially fine. —Philadelphia Ledger, March 15.
H. T. Parker Writes on Alfredo Casella
H. T. Parker, of the Boston Transcript, whose initials H. T. P. have been interpreted to mean Hard to Please by those malcontents who have suffered at the point of his pen, can on occasions write in glowing praise of an artist,
GIACOMO
RIMINI
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March, April and May 1923
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Note: They dote their season with the Chicago Opera Co., February 24th
ROSA.
RAISA
GREAT DRAMATIC SOPRANO
The Phenomenal Pianist
Season 1923-1924 in America
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Aeolian Hall, New York
Steinway Piano	Ampleo Records
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