Josephine Hareld: pianist

              Josephine Harreld Pianist


figure




SEASON 1940-41



Centennial M. E. Church 19th and Woodland Friday October 18 at 8:15 P.M. Kansas City Mo. Branch N.A.N.M. Inc. Admission 50¢, 35¢, 25¢.




SKETCH



J
OSEPHINE HARRELD, young Negro pianist, was born in Atlanta, Ga.  Her musical training started at the age of three with lessons on the violin.  At ten, serious study of the piano was begun and continued under her father, Kemper Harreld, with occasional periods of instruction by the eminent pianist, Hazel Harrison, until her graduation from Spelman College at eighteen.




The year immediately following, she was graduated from the Institute of Musical Art, Juilliard School of Music, New York City, and spent an additional term in advanced work at this institution.  Here her piano teacher was Gordon Stanley.




The next year she was awarded the degree of Master of Arts with a major in music by Radcliffe College, Cambridge, Mass.  The summer of 1935, preceding her entrance to Radcliffe, was devoted to the study of piano at the Mozarteum Academy, Salzburg, Austria, and to attendance at the Salzburg Musical Festival.




Her training has been along broad cultural lines.  During college years her musical education was pursued along with a classical course with an English major, an interest that was continued at Radcliffe College by further excursions into the field of English literature under the noted Harvard professor, John Livingston Lowes.




Her musical studies at Radcliffe were Composition with Walter Piston, Musicology with Archibald Davison and Hugo Leichtentritt of the Harvard University faculty; work in piano was prosecuted at the Longy School of Music.




For three seasons the young pianist has concertized in thirty three states, representing every section of the country.  These recitals have included appearances at such diversified audience rooms as city auditoriums; churches; music studio auditoriums; an army post; the College Women's Club, Berkeley, California; the White House; and at many educational institutions.  During the spring tour of 1940, which extended to the Pacific Coast, she was presented on the campuses of several Texas colleges; of the University of New Mexico; of Scripps College, Claremont, California; at the International House, University of California, Berkeley; and in a special program for students of Stephens College and the University of Missouri at Columbia, Missouri.





Critical Comment From Coast to Coast



PHILADELPHIA




. . . a most musical performance.


The Evening Bulletin,
 June 8, 1940.




ST. LOUIS




A gifted pianist with an admirable technical equipment … There was a compelling performance of Beethoven's Sonata in C Major, Opus 53, and she played a Debussy group, 
La Cathedrale Engloutie,
 
Poissons d'Or,
 with subtle comprehension.


The Globe-Democrat,
 March 9, 1940.




PORTLAND, OREGON




. . . An unusual appreciation for the subtleties of tone, intuitive rightness in matters of rhythm, and a fortright championship of melody … Under her feathery fingers the Italian Concerto of Bach recalled the original instrument and reflected the orderly musical thought of its maker … no knowing listener came away from the hall without a healthy respect for the quality of her art and the skill with which it was fashioned.—
HILMAR GRONDAHL
.


The Oregonian,
 April 25, 1940.





THE WHITE HOUSE, WASHINGTON, D. C.



Miss Josephine Harreld, young colored pianist, gave us a short program of music after dinner last night.  She has power and a finished technique and plays with real feeling, which made every minute enjoyable to all of us.—


MRS. FRANKLIN DELANO ROOSEVELT
, in 
My Day,
 December 14, 1939.




KNOXVILLE




. . . versatility, imagination and authentic musicianship … incisive touch, expressive phrasing, elemental power … delicate tonal effects, amazing digital dexterity.—
MALCOLM MILLER
.


The Knoxville Journal,
 January 28, 1940.




CARBONDALE, ILLINOIS




. . . a very noteworthy performance (Beethoven's Sonata in C Major, Opus 53).  The fine gradations of touch and dynamics observed throughout the program were well controlled by a true artistic feeling and in an unfailing good taste.


The Daily Free Press,
 November 28, 1939.




ALBUQUERQUE




The artistry and poise of Miss Josephine Harreld, young colored woman pianist, delighted an appreciative Albuquerque audience for the second time … played expertly with restrained demeanor and musicianly technique.


The Albuquerque Journal,
 April 11, 1940.





FORT HUACHUCA, ARIZONA



The piano recital given by Miss Josephine Harreld here on the evening of April 5, 1940, was attended by some 350 persons, about one-fifth of the population.  In the opinion of our music lovers the program was excellently selected and was superbly played.  (Signed) L. D. 
DAVIS
, Colonel, 25th Infantry, Commanding.




ALBUQUERQUE




Miss Harreld's playing shows thorough training and unusual technical dexterity combined with a spirited and vital approach.


The Albuquerque Tribune,
 April 11, 1940.




ATLANTA




. . . revealed that she has the spark of genius … many times achieved orchestral effects with her playing … Her playing had so much character and appeal that I mentally prophesied as I listened to her that some day she would be the 
Marian Anderson of the Piano.
—
MOZELLE HORTON YOUNG
.


The Atlanta Constitution,
 October 29, 1939.




PORTLAND, OREGON




. . . singing touch … lyric quality of tone … her Chopin was all imbued with the melancholy grace and irresistible charm of music by 
the poet of the piano
 … at times one was astonished by her success in revealing hidden beauties of the work (Beethoven's Waldstein Sonata) … poise and assurance based on sound musicianship.—
SUSIE AUBREY SMITH
.


The Oregon Daily Journal,
 April 25, 1940.






CLEVELAND




I liked best her playing of the Waldstein Sonata of Beethoven with the sweeping sonority of its opening movement and the breathless prestissimo of its concluding Rondo.—
ORMOND
 A. 
FORTE
.


The Cleveland Herald,
 May, 1939.




OMAHA




. . . opened with three sonatas by Scarlatti showing clearness and fleetness of passage work, graceful embellishments, well-marked rhythms.  The Chopin group was poetic in nuance and delightful in ornamentation woven around an appealing melody. —
AUGUST BORGLUM
.


The Omaha World-Herald,
 May 14, 1939.




ATLANTA




. . . one of those rare musical treats … She has technique exquisitely controlled.  Her tone is clear and definite in the subdued as well as in the more dramatic phrases.  She plays with abandonment and imagination … Personality, stage bearing and playing are her three talents in one.  She has a charm to hold the listener. —
HELEN KNOX SPAIN
.


The Atlanta Journal,
 November 1, 1939.




WICHITA, KANSAS




. . . played not only with a technical facility and control remarkable in one so young, but with an understanding of the unique style and emotional content of each composer.  There was nothing abstractly impersonal or virtuoso about her playing.


The Wichita Beacon,
 December 4, 1939.




SPOKANE, WASHINGTON




From the moment she brought forth the strains of the difficult Italian Concerto by Bach, her opening selection, to her closing encore, Brahms' Intermezzo in A, Opus 118, the celebrated artist captured her audience.A brilliant, highly developed technique … sustained tonal effects … keen knowledge of interpretation . . .


The Spokesman Review,
 May 2, 1940.




CARBONDALE, ILLINOIS




. . . a serious musician of ability and taste, one does not hesitate to predict for her a career of importance.
—
ROBERT DUNN FANER
, Vice-President Carbondale Cooperative Concerts.