May 24, 1923
MUSICAL COURIER
62
OPINIONS OF THE PRESS
living pianists who could give such a virile performance of the Schumann number; it is equally certain that from the standpoint of intellect none could surpass her. There was tenderness and dramatic intensity, pathos and passion, serene beauty and a massive dignity, and the facility with which the artist wove the severed parts into a coherent and convincing whole represented the highest type of musicianship.—Minneapolis Morning Tribune.
Miss Hess played as one has always heard her, with an irresistible suggestion of the music seeming to pour forth by no apparent means. —Winnipeg Evening Tribune.
It is evident that she herself uses her splendid technic only as a means to an end, that there is never a display of virtuosity for virtuosity’s sake and. never a sterile patch to serve as a bridge until an idea appears. It was all the expression of a woman whose playing is nothing but music, and music that glows with romance and warm temperament, fine reserve or abandon.—Manitoba Free Press.
Mary Potter Returns from Four Months’ Tour
Mary Potter, contralto, has finished a four months’ tour as soloist with the Boston Symphonic Quartet, covering the States of New Hampshire, Connecticut, Rhode Island, West Virginia, Virginia, Pennsylvania, and including the cities of Washington, D. C., and Buffalo, N. Y. In every city where she appeared she won encore after encore, and the newspapers praised her with avidity so that her scrap-book is filled with flattering reviews. This is perfectly understandable to those who know and admire her fine personality and beautiful voice. One of these qualities alone sometimes wins an audience, but when both are combined, there is instant success.
From this mass of newspaper material are selected a few notices, as follows:
Miss Potter’s singing was truly wonderful and her rendition of Mah Lindy Lou, A Lullaby, Hard Trials, The Old Road, and Tally-Ho, was faultless.—The Morning Irontonian, January 31.
Of Miss Potter not too much can be said. She had a voice which caught the attention of everyone. .	.	. One of the features of her
program was the perfect enunciation. Miss Potter sang selections of nearly every kind, her real power was in interpretation, and she possessed a pleasing personality that kept her listeners with her at all times. She was heartily applauded and was forced to give repeated encores.—Concord Evening Monitor, January 2.
Miss Potter, a native of Richmond, Va., is a very handsome young artist of stately and impressive appearance and charming stage presence. She possesses a full, rich mezzo-contralto voice of great natural beauty and wide range, over which she exercises a really remarkable power of control. Her articulation is perfect and each number was sung with the .utmost ease and grace.—Farmville, Va.
O'ne of the richest contraltos ever heard in Latrobe was brought forth in the charming person of Mary Potter. .	.	. She has a
voice of notable richness of quality, and remarkable ability to produce
MARY POTTER
full wide compass. . . . These, added to her charming personal presence, made last night’s entertainment one of rare enjoyment.— Latrobe Bulletin, February 6.
Miss Potter fairly charmed her audience with her marvelous and melodious contralto voice. .	.	. She sang the aria from Saint-
Saëns’ Samson and Delilah in a colorful and masterly style. The encore brought Indian Love Song, by Lieurance. For her second group Miss Potter sang Mah Lindy Lou (Strickland), A Lullaby (Wild), and Hard Trials (Burleigh), a negro spiritual, all delightfully given. .	.	. Her last group included The Old Road (Scott), Tally-
Ho (Leone), and the Spring Song of the Robin Woman, by Cadman. In the last number Miss Potter ascended to vocal heights and, although a contralto, reaching high G with ease. She was compelled to repeat it.—Chronicle and News, Allentown, Pa., March 8.
Mary Potter won instant and lasting favor with the audience with her splendid contralto voice and charming personality. Her numbers were all heartily applauded, and when she sang Love’s Old Sweet Song for an encore the delight of the audience passed bounds.—The Evening Gazette, Port Jervis, N. Y., January 13.
Van der Veer and Miller Praised
Some of the press criticisms which followed recent appearances of Nevada Van der Veer and Reed Miller are appended:
Mme. Van der Veer was warmly welcomed for her solo group; and again, as in 1922, she triumphed with that voice of hers which, in range and quality and which as she employs it, has its analogue in the cello when Casals makes the instrument utter the luscious tones and emotional transport that he alone can bring forth from the cello. “Glorious” is the only word with which to signalize the purity and richness and thrall of the high, mezzo tones of Mme. Van der Veer. —Halifax Herald, April 10.
Mme. Van der Veer is not new to Halifax. Last season won her a permanent place in the affections of music lovers here. She received a cordial welcome, and sang as always in a voice as rich and smooth as velvet, with an artistry that left nothing to be desired.־—; Halifax Morning Chronicle, April 10.
Mme. Van der Veer was even more satisfying this year than last, in solo, duet, trio or quartet. It is an old story to speak of the
Agnes Claire Brennan Makes Fine Impression
Agnes Claire Brennan, pianist, coach and teacher, has invariably won enthusiastic press comment wherever she has appeared in recital. She has a personality which puts her at once in sympathy with her audience and her artistic playing calls forth unstinted words of appreciation. Although Miss Brennan is very busy in her New York studio, teaching a large class and coaching many vocalists in interpretation, style and finish, and she spends some time at Marymount College, Tarrytown, N. Y., where she is an
Photo by Mishkin.
AGNES CEA IRE BRENNAN
artist-instructor, still she finds time to give a recital herself now and then to satisfy many requests.
The New London Daily Globe said of her, following a recital in New London, Conn.:
Her program was one of great difficulty and required not only technic but also complete sympathy in the player. She possesses both to a remarkable degree. Her touch is strong and yet delicate and she gives color to her work. Her power, too, deserves special notice. .	.	. Her work was finished and clean with the real musicianly
touch.
The New London Day, after noting that Miss Brennan “held her appreciative audience spellbound,” added:
She possesses the unusual qualifications of having an almost perfect technic, absolute control over her instrument and lastly a sympathetic rendition. .	.	. The selections were given a rare charm as she
interpreted them.
After a recital at Marymount College, the Tarrytown Daily News commented on her interesting program, which was “well arranged and varied, and one that served to display her ability both technically and artistically.” It spoke of her “excellent technical equipment and true understanding of the classics,” “adaptability to moods,” “sympathetic, singing tone,” and “energy and vigor in her playing, which she combines with poetic feeling.”
Other press notices have included the following:
Miss Brennan has a distinctly individual style and characterization which create a remarkable impression; in addition she possesses unusual technical ability and expression.—Catholic Standard Times, Philadelphia.
Her brilliant interpretation of Brahms, Chopin and Beethoven aroused considerable enthusiasm.—Brooklyn Tablet.
Miss Brennan possesses uncommon power and skill and has an excellent singing tone. There was remarkable rhythm in her playing of Chopin’s polonaise and her intelligent interpretation of Beethovens sonata was much applauded. The artist displayed great energy and vigor combined with rare poetic feeling.—lne Catholic News.
A Bach prelude and fugue, played with thermodal clarity and warmth of tone. . . . Splendid technic and scholarly interpretatmn. . . . Insight and understanding. . . . One who strives to give what the composer intended should be given—unclouded with conceits of the performer. ... She played with verve and dash heroic, with technic sure and certain, and left her audience spellbound. —Tarrytown Daily News.
Out-of-Town Critics Praise Myra Hess
■ The appended are further indications of Myra Hess’ sue-cessful receptions on tour:
She was the veritable living soul of the music she played. Harrisburg Telegraph.
.	. The amazing thing is that the artist made her audience
visualize the whole procedure by her fairy like, gossamer touch. .	.	. Words are almost inadequate to express her rendition ot the
Chopin group.—Harrisburg Patriot.
Miss Hess’ interpretation, her soft touch, her wonderful left hand work, and her staccato chords all showed the technic of an artist and the soul of a true musician. . . . All in all, the least we can say of Miss Hess is that she is the personification of music.—Harrisburg Evening News.
liss Hess playing was not oniy aengimui t	״?■>»	,
sfreshing relief, with that element of surprise which adds glamor enhances pleasurable content.—St. Paul, Minn., Dispatch,
Keen intelligence, warmly tinted by imagination, a healthy virility d a faint exotic suggestion which is possibly due to the unrestrained iividualism of the artist, were the noticeable features of the recital ¡t night.—Minneapolis Daily Star.
Myra Hess revealed herselt as one ot tne greatest mie! picic!* u״״׳ r instrument heard here in many a day. Cmnparatiyely unheralded, r art seemed all the more miraculous, especially as it was illumined th the glow of temperament that warmed and sparkled at the same !e.—Minneapolis Journal.
predict will steadily There are very few
Miss Hess, a pianistic figure that we venture to grow in the esteem of musical America. .	.	•
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SOUSA AND HIS BAND
JOHN PHILIP SOUSA, Conductor
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