Concert program for a joint recital by Maria Kurenko, coloratura soprano from the Moscow Opera, and Vicente Ballester, baritone from the Metropolitan Opera Co. Mr. Myron Jacobsen was at the piano. Vicente Ballester performed works by Barrera and Calleja, Jose Serrano, Gaetano Lama, Franco Leoni and A. Walter Kramer. Maria Kurenko performed works by Meyerbeer, Massenet, Leoncavallo, Verdi, Arne, Myron Jacobsen, Strickland and Dargomigsky. The two singers came together to close the program with arias from G. Rossini's "Barbiere Di Siviglia." The program for this concert was printed inside an issue of The Elwyn Forecast (vol. II, no. 12, October, 1925), "advance news of coming Elwyn attractions." A portrait of Hulda Lashanska is on the cover. Included in this issue of The Elwyn Forecast is a brief program for a performance by the Gershkovitch Symphony Orchestra featuring cellist Felix Salmond. They performed on October 26.
Collections with this item
THE ELWYN FORECAST ADVANCE NEWS OF COMING ELWYN ATTRACTIONS ELWYN CONCERT BUREAU - WOLFSOHN MUSICAL BUREAU Broadway Building, Portland, Oregon. Main 5991 Vol. II_OCTOBER, 1925 No. 12 Hulda Lashanska THIRD EVENT NOVEMBER 11 Elwyn Artist Series Municipal Auditorium Season 1925-1926 Portland's Unexcelled Concert Course 1O Supreme Events 1O [Next Attraction] Mme. Matzenauer Contralto Feb. 23 Gershkovitch Symphony Orchestra Felix Salmond Soloist — Mon. Oct. 26 San Carlo Opera One Opera March 3-6 *Thamar Karsavina and Ballet March 19 Hulda LaShanska soprano Nov. 11 Olga Samaroff Pianist April 5 Toscha Seidel Violinist Nov. 30 *Roland Hayes Tenor April 7 Moiseiwitsch Painist Jan. 21 Edward Johnson and Joan Ruth April 26 *New subscribers have a choice of either Hayes or Karsavina or by paying one-tenth additional may include both events. Special Announcement FELIX SALMOND "The Fritz Kreisler of the Violoncello." —Baltimore Evening Suh "He is of the elect among virtuosi." —Deems Taylor in N. Y. World "Mr. Salmond's high reputation is well deserved." ... —Phillip Hale in Boston Herald In Concert PYTHIAN HALL (YAMHILL AND PARK STREET) Sat. Eve., Oct. 31 IN CONJUNCTION WITH Portland Chamber Music Society FELIX SALMOND Violoncellist It is seldom that a city the size of Portland has the rare good fortune of having a chamber music society of real outstanding merit. In the Pipes-Conrad-Hutchinson Trio we possess such an organization. Add to this combination Felix Salmond the eminent virtuoso, who will thrill Portland concert goers when he plays the Lalo concerto with the Gershkovitch Symphony Orches- tra, and the concert will be one that all will enjoy. A number of our patrons have asked if it would not be possible to have Mr. Salmond give a recital as it is so seldom we have, a Salmond or a Casals in our midst. The con- cert on Friday Eve., October 30, will feature Mr. Salmond in concert numbers, a sonata as well as the ensemble numbers or the society, The acoustics of the Pythian Hall are excellent, the capacity is, how- ever, about 800, so we advise our subscribers to make their reserva- tions promptly. A special price con sistent with the Elwyn attractions at the Auditorium will prevail. The lower floor is $1.50 and the balcony is $1.00. ELWYN CONCERT BUREAU Phone MAin 5991 Broadway Bldg., Portland, Oregon. The capacity of Pythian Hall is limited so it is ad- visable to mail or tele- phone for your reserva- tions without delay. Rachmaninoff WOULD CHARGE $3000 Such a price would bring you this master to play on your piano in your home. Mason & Hamlin with the AMPICO No need to have the artist in person if you but possess this incompatable piano with the AMPICO— the master te-enacting mechanism! For it plays at yout will the music of the great artist — plays it exactly as the master himself played it. And the sonorous tone for which the Mason & Hamlin is famous gives you the music exactly as the artist would have you hear it. The musical instrument for those who recognize the best—and are determined to possess it. Wiley B. Allen Co. The home of the AMPICO in the Mason & Hamlin PHONOGRAPHS 148 FIFTH STREET RADIOS The Elwyn Concert Bureau Presents Maria Kurenko COLORATURA SOPRANO, MOSCOW OPERA and Vicente Ballester BARITONE, METROPOLITAN OPERA CO. IN JOINT RECITAL AUDITORIUM Saturday Evening, October 17th, at 8:25 Mr. Myron Jacobsen at the Piano Ellison-White Conservatory DAVID CAMPBELL, Director A Well Established Conservatory of Music and Allied Arts Courses Offered in Voice, Piano, Violin, 'Cello, Wood Wind Instruments, Organ History, Theory, Harmony, Composition Speech Art—Stage Craft Orchestra, Opera School, Ensemble Dunning Classes, Musical Kindergarten, French Accredited Instructors Graduate and Normal Courses Students May Register at Any Time For Appointments and Information Call Registrar telephones EAst 1626 i&ff-SsZSSS EAst 5363 EAST TENTH STREET N., at WEIDLER Gershkovitch Symphony Orchestra FELIX SALMOND, 'Cellist—SOLOIST Monday Evening October 26th Program I. Kalinnikov—Symphony No. I in G Minor I. Allegro moderato II. Andante commadomente III. Scherzo IV. Finale—Allro Mto Intermission 2. Naprawnik—Melancolie—Op. 48 No. 3 (stringed orchestra) A. Liadow—Music Box—Op. 32 (Arranged for piccolo, 2 flutes, 3 clarinets, harp and glockenspiel) 3. Lalo—Concerto in D for violoncello Felix Salmond, Soloist 4. Glazounow—Symphonic Poem (Stenka Razine) MRS. FRED L. OLSON The Teacher Who Sings and the Singer Who Teaches Phone Broadway 2501 Exponent of and Recommended by Yeatman Griffith STUDIOS 207-8-9 FINE ARTS BUILDING JACQUES GERSHKOVITCH Conductor PIANOS Baldwin Howard Hamilton Kohler & Campbell RADIOS Atwater Kent Radiola PHONOGRAPHS Victor Cheney Edison Brunswick Hyatt Music Co. 386 Morrison Street Phone Main 6896 The CHICKERING "America's Oldest and Noblest Piano" THE PIANO OF THE MASTERS The golden beauty of tone is the charm of the Chickering Piano. Its tone is full, rich and resonant and particularly pleasing to the discriminating musician. The Ampico in the Chickering gives you the art of the masters of the keyboard. You sit and listen to the most beautiful music of the ages rendered by the Ampico as perfectly as though the artists were present in person. G. F. Johnson Piano Co. 410 Morrison Street The Ampico Victrolas Radio Cheney Pianos Program 1. a. Ay, Ay, Ay Creole Song b. Ganadinas Barrera and Calleja c. El Pano (Folk Dance of Murcia) Arr. by Kurt Schindler d. La Alegria del Batallon (Soldier Song) Jose Serrano vicente ballester II. a. "Shadow Dance" from the Opera Dinorah Meyerbeer b. Air de Manon Massenet c. Serenade francaise Leoncavallo d. Bolero de Vespres Siciliennes Verdi maria kurenko III. a. Come le Rose . Gaetano Lama b. The Birth of Morn Franco Leoni c. The Last Hour A. Walter Kramer vicente ballester MORRISON STREET BETWEEN FOURTH AND FIFTH Gershkovitch Symphony Program Notes Symphony No. 1, A Minor Allegro Moderate, Andante, Scherzo, Allegro Moderato Basil Sergewich Kalinnikoff (Born on January 13, 1866, at Woina in the government of Orloff, Russia; died at Yalta on January 11, 1901.) Kalinnikoff, the son of an official in the Russian police service, received his education at first at the Orloff Theological Seminary where he conducted the choir. He was very poor so he journeyed to Moscow in the hope of bettering himself; also to obtain a fuller instruction in music. He arrived there in 1884, and entered the Music School of the Philharmonic Society, where he studied the Casson and took lessons in composition of Ilyinsky and Blaram-berg. His career at this school was a brilliant one. He was graduated in 1892. In 1893 he was appointed assistant conductor to the Italian Opera in Moscow. In the course of a year symptoms of consumption began to develop. His privations had told upon him. He was forced to leave his position and go to South Russia. The remaining years of life in Crimea were spent in composition. The Symphony in A Minor was performed for the first time at Kieff in 1897. Alexander Wino-gradski conducted. It has been played in Moscow (1898), Petro-grad (1898), Berlin (1899), Paris (1900) and many other cities. It is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, Bass Tuba, a set of three kettledrums, triangle, harp and the usual strings. As Mr. Philip H. Goepp says in his interesting notes: "this Symphony begins with a theme that is individual from the first bar and has moreover in a brief range a touch of ancient (or barbarous) mode. The Slav is stamped upon the first page of the score. "For once a young Russian composer showed not a trace of the strong influence exerted by Tschaikovsky and Rimsky-Kor-sakoff, but Glinka or Dargomy-zhski if at all. His cautilena is tender, broad and flowing. Young crimson blood courses through the work. All is serene, radiant, permeated with the joy of living, a fact the more remarkable when one considers that the composer was in the grip of his dreadful malady when writing the symphony. II. a) Meloncolie (Op. 48 No. 3) E. Napravnik (for stringed orchestra) Edward Napravnik, a Bohemian living at St. Petersburg, born in 1839, wrote the operas "Nyni - Novgorod", "Harold", "Boubrovsky" and "Franches-ka". He was the conductor of the Russian Imperial Opera House for a number of years prior to the Revolution. b) Music Box (Badinage Valse) A. Liadoff (arranged for piccolo, 2 flutes, 3 clarinets, harp and glockenspiel) Anron Liadoff, born April 29, 1855, in Petrograd, Russia. The pupil of Rimsky-Korsakoff in Petrograd Conservatory, after graduation of which he was invited to teach harmony and composition in that institution. Program Continued IV. a. Where the Bee Sucks Arne b. You Brought Me Flowers (Eng. Ver. by Deems Taylor) Myron Jacobs en c. Oh! My Lover is a Fisherman Strickland d. Russian Song Dargomigsky maria kurenko 8 Minute Intermission V. a. Aria: "Largo al Factotum" vicente ballester b. Aria: "Una voce poco fa"..... maria kurenko c. Recitative and Duet: "Dunque io Son" maria kurenko and vicente ballester From 'Barbiere Di Siviglia" G. Rossini The Piano is The Steinway from the warerooms of Sherman, Clay & Co. The Artists are under the management of Wolfsohn Musical Bureau, Inc. James, Kerns & Abbott Company Printers Bookbinders Lithographers Ninth and Flanders Streets, Portland, Oregon Program Notes—Continued III. Concerto in D Minor For Violoncello solo with orchestra. E. Lalq (1873-1892) Lalo, a descendent of a Spanish family which settled in Flanders during the 16th century, became famous at the age of 65, with the production of his Opera "Le Roi d'Ys" at the Opera Comique in Paris. Previously he had met with various and cruel disappointments, largely because he refused to compose in the popular style of the day, or to flatter and fawn upon those who controlled the portals to a public hearing. Even at his death there were no funeral orations upon him in the newspapers. But nearly all the French composers of renown were present at his burial, and paid tribute to a composer of the highest talent and character. He was born at Lille. His education in music was mostly private, although he spent a brief period at the Paris Conservatoire. His violoncello concerto was first performed at a Pasdeloup concert in Paris, December 9th, 1877, with Adolphe Fischer, to whom the work was dedicated, as soloist. The scoring is for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, kettledrums and strings. An analysis follows: 1. There is a brief Prelude (Lento D Minor, 12-8), beginning with a series of resolute and fortissimo phrases in strings and woodwind, punctuated by vigorous chords in the full orchestra. The solo instruments enter with recitativo passages, which lead to the main body of the move- ment. (Allegro maestoso, D Minor 12-8). The pompous first theme is heard at once in the solo violoncello, to which also falls the more tranquil second theme in F Major. The working out of these themes demands rapid and brilliant virtuosity from the soloist. The movement ends with a fortissimo return of the material of the Prelude. 2. In this Intermezzo, two contrasted themes are alternately employed (Andantino con moto, G Minor, 9-8; and Allegro presto, M Major 6-8). The melodic development is given to the solo instrument. 3. An Introduction (Andante B flat Minor, 9-8) consists of a recitative for the soloist accompanied by sustained notes in the violoncellos and contrabasses. The main body of the movement (allegro vivace, F Major, 6-8) is a brilliant rondo on these themes. —Notes by Richard L. Stokes. IV. Stenka Razine—Symphonic Poem A. Glasounov (Notes from the book by Lawrence Gillman) Alexander Glasounov was born in Petersburg, August 10th, 1865—now living and is director of Leningrad Conservatory of Music. Stenka Razine (or Razin) was a Cossack rebel and outlaw, who flourished in the seventeenth century. In the legend selected by Glasounov for musical treatment, Stenka Razine is portrayed as the hero of an incident which is related by the composer as follows in an explanatory note Program Notes—Continued (in French) prefaced to the score: "The Volga, vast and calm. For long years the region about the great river dwelt in peace then suddenly there appeared the terrible Ataman (Cossack chief) Stenka Razine who, at the head of his ferocious horde began to sweep along the Volga, devastating and pillaging the towns and villages along its banks. His ship was splendidly adorned, his sails were of silk, his oars were gilt. In the midst of a tent of cloth of silver, reclined the Persian princess, Stenka Razine's captive and mistress .... On a certain day she fell into deep thought, and addressing her master's comrades, began to tell them that she had dreamed a dream, in which it had been revealed to her that Stenka Razine would be cast into dungeons and that she herself would perish in the wave of the Volga. The dream of the princess came true. Stenka was surrounded by the soldiers of the Tsar. Seeing that the day was lost Stenka said: "Never, during all the thirty years of my raids, have I offered the Volga a gift. Today I will give it what is dearest to me among all the treasures of Earth" and with these words he hurled the princess into the waves. The fierce band began to sing in honour of its Ataman, and all hurled themselves upon the soldiers of the Tsar. Glasounov's music is based on three main themes. We hear first the melancholy chant of the bargemen on the Volga—by it the Volga is typefied. The theme is announced by the oboe, against tremolos of the strings. Stenka, himself, is next portrayed by a theme that is brutally forceful and savage. Then follows a gracious and dulcet melody (sung 'pp' by clarinet, with accompaniment of harp, flutes, bassoon and horn) in which the princess is suggested. By his vivid dramatic juxtaposition of these themes, Glasounov suggests the progress and culmination of his tonal narrative. The score bears the date line St. Petersburg, 1885. Chickering-Ampico—G. F. Johnson Music Co. The Elwyn Forecast is published prior to each concert for the benefit of our subscribers, so that they may have the information regarding programs. We will gladly mail The Forecast to any address in Portland or vicinity if you will notify us. There is no charge for this service. TELEPHONE MAIN 5991 Elwyn Concert Bureau, Broadway Bldg. THE INSTRUMENT OF THE IMMORTALS THE PIANO IS THE Steinway Perhaps the most remarkable tribute to the worth of any instrument lies in the bare list of the names of the great artists who have chosen the STEINWAY for use and ownership—■ Hundreds of names . . . pianists, singers, violinists, composers, conductors—names that are famous the world over—Paderewski, Rachmaninoff, Hofmann, Cortot, Grainger, .... Kreisler, Enesco, Zimbalist . . . Farrar, Calve, Schumann-Heink . . . Stokowski, Stravinski, Damrosch. These and a long roll of other celebrities have selected the Steinway to fulfill every demand of the technician and every impulse of the artist. There is a Steinway awaiting you here, of just such quality of tone, touch and durability required for concert work, to fit into your home. Convenient terms; and your old piano will be acceptable in partial payment. Sherman,Clay & Co.
- 12 pages
Rights & Usage
Public domain (this work is believed to be free of known restrictions under copyright law).
October 17, 1925
Add new comment