The Bismarck Tribune Newspaper, March 27, 1923, Page 6

| NOTICE OF MORTGAGE FORECLO- SURE SALE Notice is Hereby Given, That de- fault hus been made in the terms and conditions of that certain mort- gage, made, executed and delivered by Fred J. Huguet and Anna Huguct, his wife, as mortgagors, to The Nor- thern Trust Company, a _corpora- tion, mortgagee, dated December 28th, 1917, and filed for record in the o of the Register of Deeds of Burleigh Courty, North Dakota, on the 27th of February, 1918, ut 2:00 P and duly recorded in Book “15 Mortyages, on page 215, and assigned by the said mort- gagee to The Fidelity Mutual Life Insurance Company, a corporation, of Philadelphia, Pepnsylvahia, by an instrument in writing dated the 6tn day of May 1918, which said ass' ment was filed for record in the office of the Register of Deeds of rleigh County, North Dakota, Robert Ga miraculous death when the 16-pa transport feet to earth on rough ground in gn- | had gage und the front in the cit in the aft April, due upon le satisly County of lows, to-wit: i. The Northeast quarter (NE%) of | of mor Section Twenty-four (24) in h, 1918, at 1:30 P. M ded in door of of Bism ty of Burleigh and 5 Dakota, at the rnoon on the 10th day of The premises described in nd which will be sold io} gag ¢, are situ Burleigh North Dakota, and described as fol-) i and! Brooklyn, NY ley Smith wa at Book page 283, the court house in the Coun- | ute of North of two o'clock hour the amount » on the date such din the ite of Tw even i and Town-| and exp killed and six other | “fo Without nillo (inse:) pe from} enger army | yd 2000 26 crash Lieutenant Stan- | ad. Gara-| pit, alone injury. Merid n (77), | \ or| the years id by assignee | ‘1 th the costs | poration, of MDELITY MUTUAL LIFE IN- ANCE COMPANY, i} Assignee Dakota, ) PIERCE, TEND TAMBA Attorneys for Assignee of Mort- | | rage Trip 25c. Philadelphia, Ya. Heard on the new EL RECORDS AR: ah rf t ae MENGELBERG ~ New Record by Caruso—Four Records from “William Tell”—Kashmiri Song by Werrenrath The Spring awakening re- memories of “the golden voic tarnate on a record just released. It yields us another curious link with the past, impressing us anew with the im- mortality of great musical artistry recorded safely for all time. Thi est record of Caruso’s is a very one, a solemn strain, in minor sung by a lover who looks in at the window at the figure of his dead be- loved, and calls upon the players of bal to play louder. The is attributed to Giovanni esi, the great Italian composer of the eighteenth century, but more probably is by legrenzio Ciampi. The William Tell revival by the Metropolitan Opera Company, in whose halls this opera had not been heard since 1894, is the occasion -ef four records from the last of Rossini’s thirty-seven operas. While the ques- tion as to whether this opera is, as it was once considered, Rossini’s greatest, is as yet unsettled, and while his style was purposely changed in composing “Tell,” many of the airs are essentially Rossinian and delightful. The first of the new Records is by Mme. Alda, the “Selva Opaco” (Deep- shaded Forest), in which Matilda daughter of the tyrant Gessler, tells of her love for Arnold, It is a gently- Sowing, somewhat pastoral melody, sung in Alda’s flexible, clear, flutelike soprano, the famous “Resta Immobile” (Think Not, Nor Stir 2 Limb), is re- corded admirably by Giuseppe De Luca. It is the memorable scene where Tell warns his son to stond steady while his father shoots the apple otf his head. You can feel the steadying effect on the singer himself, as the melody proceeds —a manly number sung in heroic style. At the close he calls upon the boy to think of his mother. ‘The great trio from Act II, “Troncar suoi ds” (His Life Buasely Taken), makes a superb record, with Giuseppe De Luca, Jose Mardones, and Giovanni Martinelli taking the pledge to the tigher principle for w Arnold's father, the village patriarch, died, Arnold's amazement (the tenor part) develops into a magnificent lyric cry, the number has great climactic mo- ments of superlative beauty and power. Martinelli, who takes the part of Arnold in the opera, sings the last of quartet of records, “O muto asit deb pianto” (Oh, Blessed Abode), an im- assioned lyric in which he, yields to Ris own sorrows, over the little home which had been the home of his father, who died for the cause. It is pitche very high in the tenor range. so Rossini was one of the laziest of famous musicians. He rarely arose before noon, and if, when he did awake and found the day un- propitious, he often would turn over and sleep another twenty-four hours. It is said that once, after writing part of a deautiful duet for an opera, the sheet of paper on which he was writing fell to the it beside the bed in which he vas wsiting, and blew out of his reach, Too lazy to get up and get it, he wrote another melody for the rt, so that there are two duets lor this part in the opera, and sing- eva can choose the one they like best. soe little soprano melody orsakow's weird opera “The Snow Maiden” in which she her- self expresses the desire td visit the earth make: charming record by Lucrezia Bori. “I Know the Song of the ig Ps odd, age little erie, accompanied by an oboe against wood- wind cherds. 's voice flutters like @ bird seeking freedom, rising towards the climax and» descending in long sweeps of tone. ia so 8 Farrar Sings an Emotional Song ie hardly a record for light and nt humanity. “Ye Who H if This more Ai ? Yserne Alone” by ackaloaiy wi susceptible appeal to those ly te music. It has a slow, infinitely ten- der melody, with a violin wandering chearal harmony as the aynioe Broerege iss farras intérprets it wi lue rdinary beauty and One of the most beautiful of modern English songs is Werrenrath’s to sing on a new April record. “Kashmiri Song” (Pale Hands 1 Loved), is the type of song that has never received half the popular appreciation it ought to have had. It makes one of the reatest baritone records we have ever eard Werrenrath sing, A Great Instrumental Program There’s something furiously ecstatic about Cortot’s piano record of Weber's “Invitation to the Walts.” Without preliminaries he breaks into the first crashing dance theme, continuing with- out a break to the end. This is not as many believe, a “slow waltz”—it never has been. But it gives the sense of the old waltz, which was not an easy, glid- ing dance, but a swift, half-delirious whirl, It is played with a crisp, clean touch, ‘ing is the time for Hugo Kreis- les cello to make a record of brother Fritz’s “I'm In Love” from the latter's light opera, “Apple Blossoms.” Fritz himself accompanies Hugo at the piano, making a delightful record. Willem Mengelberg and New York Philharmonic Orchestra complete this month the monumental recording of Liszt's Preludes which they began in January, The third and fourth parts are played in two separate records. For ail its massive size, the work is al- most porely lyric, being like a giant song for the orchestra, Most students of the viclin vAll recognize ka Morini’s record of Syendsen’s “Romance in G,” but most of us wo! It sounds something like Grieg! It is a difficult piece, every- thing being “straight, bowing,” without pyrotechnics of any sort. It'is a won- derful display of ‘ski, and lovely to ear. Olga Samaroff’s latest record is the “Noe in E flat,” one of the best of Chopin's piano compositions, and one of the most beautiful. To attempt to describe it seems almost desecration. It has been compared to a love sony without words, and it doesn’t nee words to seveal its beauty, see Some singers keep raw eggs in their dressing rooms and swallow one or two during each perform- . ance, Some prefer lozenges or just plain white vaseline, Still others prefer a glass of wine for the same 5 believe this to: be neficial to their throats. Feodor Chaliapin, however, preter huge thermos bottle filled accompanies him on every trip to the theatre. He is never without tea in his dressing room and dur- ing concerts and operatic \perform- ances. alet_ always stands in the wings with half a dozen lunps of sugar in-one hand and a glass of the steaming liquid in the other, ready to hand them to the singer the minute he-leayee the stage. On with these Dance Records Again the signs grow more unmise takable that the waltz is staging 2 come-back. There are five of them on the latest Victor releases, five waltzes to eleven fox-trots. a ‘The first of the waltz numbers is by the Troubadours, “After Every Party,” a fine smooth waltz with plenty of strings, introducing a few bars! “Good-night Ladics.” The Great White Way Orchestra divides honors on this record with a good standard fox-trot, “Don't Be Too Sure,” somewhat light and swinging. ‘The Benson Orchestra of Chicago makes a couple of geographical fox- trots which have the’ grace of ty’ ing oP tunefully to the suggestion in their name. “Down in Maryland,” actually does include a phrase or so reminiscent of “My Maryland,” which in turn had “done a Homer” from “O Tannen- baum.” “Georgia Cabin Door” on the reverse can’t help but Jug in something from “Marching Through Georgia,”: = railroad bell, and a strain from “Old Black Joe.” For some real pure jazz, jazz in the Nth degree, jazz so jazzy it defies analysis, we commend two new records Virginia “ -Da is a coc of all that’s jazz, and introduces Got to Cool My ss Now.”” fe May Be Your is contra-indicated for hen- Ma: pecked husbands, + & The story is told of Liszt as well as Rubinstein: Playing at a pri- vate concert in the presence of the reigning monarch, he was asked why he suddenly ceased. He sent a@ message to the effect that wouldn’t be polite to play while Hié Majesty was talking. see Two waltzes by the Whitemans will delight those who have felt their lack, and two on one record is almost too good to hope for. “Mellow Moon” popular style, with some unusual effects achieved by free and deft use of wood- wind instruments. “Wonderful One” has the true waltz swing and the “catch” on the third beat of the bar which lifts you on your toes. Here's a ji one-step,” a novelty on ancther record by Paul Whiteman and’ his Orchestra, It's “American Boy of Mine,” a type of fox-trot, bris and peppery, with sug- gestions of patriotic melodies. There __ interesting | shifts of rhytum, ‘Clinging Vine,” which the Great White Way Orchestra plays on the reverse, is a medley fox-trot, with a bold lively ies of melodies. The Virginians pull some weird stpif on .another record of their own. ‘Aggravatin’ Papa” is a “tutti” number where everything goes at once. “Aunt Hagar’s Children Blues” is a wild one, the first bars revealing the sound of a childish voice, followed by saxophone, clarinet ,and flute effects, after some beautiful statements of rhythm by the piano. All is violent contrast in this tae from Beeth ‘The “Fate” motiye from Beethoven’ Fifth Symphony is borrowed for new fox-trot of the same name by t! Whitemans. ‘They ‘are decent about and violate no feelings. Or the side, the sume organization ‘plays “ Lady of the Evening” from frving B lin’s “Music Box Revue.” It's a fin example of soft,: elaborate dance or- chestrg scoring. 2 Two waltzes complete the bill, the first “Honeymoon Chimes,” a full-har- monied slow waltz with big chimes in it, International Novelty Orchestra plays it. “Waltsing the Blues” isa tricky piece, introducing Victor Ardén and Phil Ohman, masters of: ragtime, each with his own piano, with an or- chestra in the back ground. It might be a ‘“‘finawly-hop” in the waltz, and if you give ear closely you'll hear “Love's Old Sweet Song.” - see _ Though Gounod based some of bis earlier works, notal his ope on the most worldly of themes, his later life turned to- wards works of a religit char- acter. At the time of his “Joan of Arc” Mass he declared his inten- tion of composing in the cathedral or Bee i is. Koes on the st where Joan “a the ‘coronation of Charles a F 8 < 1 of Mortgagee. ! ALBIN HEDSTROM, | Sheriff of Burleigh County, North SON, CUPLER & Fargo, North Dakota, B-1-8-15-22-29-44-; PHONE 1—100— For Prompt Efficient TAXI SERVICE Each additional passenger 10c. RUSSELL BRYAN in? ETF he may be the coming brains of your business Look over the young executives who direct the retail ' and the manufacturing businesses of New York. _ A suprisingly large percentage of them have reached their goals by advocating advertising, by directing the advertising.and by making the advertising work. If yours is a business which doesn’t advertise, don’t close your ears to the story of your young men. Help them to think it out — listen to their plans and their hopes. Add the counsel of years of experience-to the minds of the men who are planning the future of your business. Did you ever.expect that iron could be advertised pro- fitably? Few advertising men did. Did you ever ex- pect to eat trade-marked grape-fruit? It is an accom- "plished fact at thousands of breakfasts this morning. Did ‘you ‘ever think the dairymen could profitably use the forces of publicity, or that a barbershop could grow to twenty-five, largely by the power of the-written word ‘and.an ideal of service. ‘ The coming executives realize that.a business exists, in the last analysis, -in ‘the minds of jits customers, ch rather than in four-walls and a roof, and, perhaps, that is why they are the coming executives. fe ¢ ‘atlo: F by the Bismarck Tribune, 1 rican. Association of Ads PY NGS GANGRENE DTOUUUUEUUUH UAE NE REET EERE een ee eee