Transcribe

Transcription Page

Deborah Florence Glassford Letters and Memorabilia

Letters written to Deborah Florence (Leighton) Glassford of Vancouver by men serving overseas, including some cards, programs and memorabilia. Learn more.

*All transcriptions are provided by volunteers, and the accuracy of the transcriptions is not guaranteed. Please be sure to verify the information by viewing the image record, or visiting the BC Archives in person. 

BC Archives MS-0089

Current Page Transcription [edit] [history]

and artistic temperament of the latter, helping greatly to convey the composer's idea, coupled with the interpretation of the artist.

The program bore testimony to the seriousness of Mr. Elman as an artist, and also his exceptional ability to present the highest class of music to the unprofessional hearer. Every number was received with the greatest enthusiasm, and he was compelled to appear again and again in response to recalls.

At 8.15 Mr. Elman and Mr. Gordon appeared on the stage, and were received with prolonged applause. The first number was a Concerto in G Minor by Vivaldi-Nachez, opening with an allegro movement. The movement then passes into adagio, and then a second transition is made back into the allegro movement.

The next number, "Symphonie Espagnole," by Lalo, opened with the allegro non troppo tempo, shifted to the andante, displayed brilliantly effective quality in the third section, a largo, and closed with an allegro movement of unusual inspiration.

At the termination of this number Mr. Elman responded with an encore, "Oriental-Anani," an original composition which was accentuated with the author's own individuality, and gripped his audience with realistic power.

The third program number, "Sonata II., in E Major," by Handel, was brought out with exquisite genius. The four movements, adagio cantabile, allegro, largo and allegro non troppo, were each distinguished equally in dramatic fervor. Following this number, an encore, "Seranata," by D'Ambrozio, was given.

The fourth number was a suite of four selections, chosen to display special versatility. They were: (a) "Deep River" (paraphrase), by Elman; (b) "Tango," by Albaniz-Elman; (c) "Romance from 'Cello Concerto," by Schumann-Vogrich; (d) "Hungarian Dance No. 7," by Brahms-Joachim.

The differences were striking. The "Deep River" number was in slow tempo, deep, resonant, and produced a mental picture of the majesty of mighty waters as vividly as would their physical presence.

The tango was of extraordinary refinement, with a lilting dance measure and a daintiness and sweetness reminding the hearer of a Paderewski minute. It has been rarely heard by music lovers here, but its appeal was instant. The audience insisted on interrupting the suite with such prolonged and tempestuous applause that Mr. Elman responded by repeating the number.

The 'cello concerto romance that followed was a marvel of deep and dignified chords that placed the player definitely in the class of high artists, and again the applause could not be retrained, but interrupted the group for several minutes.

The closing selection of the suite was perhaps the most dramatic of the evening, a swirl of dazzling dance movements, ending with a burst of vigor and a triumphant final note that brought to the mental image of the more sophisticated the high, uplifted

BC Archives, MS-0089 Box 1 File 1 GLASSFORD, Deborah Florence (Leighton). Vancouver Correspondence inward, cards, programs and memorabilia, undated and 1914.

Current Page Discussion [edit] [history]

Image 3 of 582