All Sources > Manitou Messenger (DA-MM) > The Manitou Messenger (1916-2014) > 1923 > No. 13, Vol. 37
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Article TitleMUSIC
SourceThe Manitou Messenger (1916-2014),  No. 13,  Vol.037, December  11, 1923, page(s): 4
Place of PublicationNorthfield, United States
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Displaying a high degree of dramatic ability, wide versatility, and technique coupled with a voice of unusual depth and richness, Cameron McLean, Canadian baritone, showed himself a recitalist of high calibre in his concert at St. Olaf Thursday evening.

His native Scotch songs were features of the program, although he presented several from other sources, Italian, American, Russian and German. One negro spiritual was also included. In all these his low tones were especially good, his voice being mellow and well suited to the type of song he chose. It was pleasing, but not especially brilliant.

Three numbers composed the first group, all of which were of an operatic spirit. II Lacerato Spirito, from Verdi, was the selection chosen to open the concert and was, perhaps, the best of all from point of technique and power. Where E'er You Walk by Haendel and Arnold's Flow Thou Regal Purple Stream, the other two numbers in this series, were uniformly good, rendered with exceptional tonal qualities and sympathetic spirit. Technique of a high order was displayed in the execution of some rapid chromatic progressions.

Night, by Strauss, opened the second group, after an encore, Lungi dal Caro Benne, by Secchi, which followed the first group, and was of the same spirit of the first division. It was an unabrupt introduction, however to several numbers of less importance artistically. Grieg's Thy Warning Is Good followed the light, jingling The Mouse Trap, by Wolf, the two differing widely, one being a dramatic analysis of recitative passages, and the other a less satisfying, but well received, tuneful, song. The satirical The Song of the Flea, written by Moussorgsky concluded the group.

Characteristically Scotch folksongs comprised the next division of the program. All were sung in a plaintive, restrained manner, with feeling that was jealously guarded by the arist. Hame, an appealing bit from H. Walford Davis, introduced a series that included Wi' A Hundred Pipers by Whiting, marked by rhythm and crescendo effects, in which the baritone started with a whisper of extremely pure tone; and The Pipes O' Gordon's Men by Hammond; Mary O'Argyle by Nelson! and A Ballynure Ballad by Hughes. The encore, Annie Laurie, met with appreciative applause.

Less satisfying than the preceding numbers were those included in the fourth group—The Heart of a Rose, by Charles H. Cuppett, sung for the first time, The Gospel Train, a negro spiritual by Burleigh, Goin Home, from the Largo New World Symphony of Dvorak-Fisher, and Winter Storms, of Bryceson Treharns.

Of sympathetic and unobstrusive nature was the work of Mabelle Howe Mable at the piano. As a matter for especial commendation was her complete subordination to the spirit of the artist.


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