M TJ SJ C. A T, COTI R 1ER
38
Government to leave have recently passed through here. Among these was the composer, Nikolai Medtner, who has now gone to Berlin; Mme. Leschetizky, professor of singing at the Petrograd Conservatory, a daughter of the famous piano pedagogue and of Mme. Essipoff ; also the latter’s husband, the tenor Voskresensky, and others.
Soloist and Conductor Split in Public.
Berlin, December 15, 1921.—All musical Berlin is excited over an occurrence said to be without precedent in musical life. Busoni, who is giving a cyclical performance of six Mozart concertos, came to odds with the conductor of the orchestra, Gustav Brecher, in the general rehearsal. The pianist’s tempos were somewhat free, of course, and Brecher asserted that in the previous rehearsal he had played the movement quite differently. Words passed back and forth, and finally the conductor put down his baton in the middle of the movement and walked off, leaving Busoni and a small audience of musicians and admirers alone. The concert next day was conducted, without any rehearsal whatever, by Marienhagen, an assistant conductor.
New Reznicek Work Pleases Critics.
Berlin, December 10, 1921.—A new orchestral work by E. N. von Reznicek has just had its first hearing in a concert of the Staatskapelle under Furtwëngler. It is called “Tragic Tale,” has variations for grand orchestra and bass solo, is after the poem by Chamisso, and it introduces a novel feature by having a bass voice sing the verse which is the motto of the piece, at the end as an epilogue. The tenor of the work is tragi-comic and the critics praise its charm, the fantasy and genuine musicianship of the composer, pointing to many beauties in the score, but advising the composer to cut the epilogue.
Operatic "Esther” Produced in Kiel.
Kiel, December 10, 1921,—“Esther,” a music drama by Hans Albert Mattausch, has just had its première in the Municipal Theater of Kiel. After the conclusion of the second act the whistling of some unsatisfied member of the audience somewhat dampened the success of the piece, which, however, was unquestionably reëstablished at the end of the performance. The libretto is by Ernst Heinrich Bethge. Although of no special merit as a literary creation, it is well adapted for musical illustration. The underlying idea is the familiar biblical tale. As a music drama, however, the work does not answer all requirements. The music is lyric and even, rather than dramatic and plastic, thus giving the effect of excessive uniformity. It is what one calls “good,” but misses what would seem very (Continued on page 57.)
National Opera Club Musicale and Ball
The annual Christmas fete, operalogue and ball of the National Opera Club of America, Katharine Evans von Klenner, founder and president, held at the Waldorf-Astoria Hotel, December 29, was a gala affair. The stage decorations, with illuminated Christmas trees; the national colors, white and gold banner of the club, the marble bust of President von Klenner, the festal evening attire of the audience, all conduced to make the affair brilliant.
The president was in high good humor. Christmas carols were sung by the National Opera Club Choral of mixed voices, including a new carol (manuscript), “Christmas Bells,” with obligato “ding-dong” bass by Conductor Sapio. Havrah Hubbard delivered his operalogue on “Hansel and Gretel” in such realistic fashion that Marie Mattfeld, guest of honor, had all she could do not to run on the stage and sing it—so she said in a short address. She gave several humorous instances of her experience with Bella Alten in the opera, and held attention through her kindly utterance and sentiments. Ferdinand Greenwald was at the piano for the chorus singing, and Edgar Bowman for the operalogue.
Dancing followed. Thomas N. Nixon was the chairman of the evening.


! Three New Volumes of Grade II | Descriptive Teaching Matter
By Charles Wakefield Cadman	A
[ A VISIT TO GRANDMA’S (10 Pieces) | 1 SATURDAY IN TOWN <1	<••־־■־״״
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Liszt’s Granddaughter Plays in Public.
Berlin, December 10, 1921.—An interesting concert took place here last night, when Franz Liszt’s granddaughter, Mme. Daniela Thode, played a selection of her grandfather’s works in the new grand hall of the Berlin University for the benefit of the Bayreuth Fund of the Richard Wagner Academic Society.
Amfricanitis in German Theaters.
Berlin, December 13, 1921.—“The Cowboy,” “The Tip,” “The American Girl”—such are the titles of some of the recent German operettas and comedies. It is easy to see which is the “most favored nation” here.
Over-Supply in “General.Musical Directors.”
Berlin, December 14, 1921.—The title-mania, which is so characteristic of Germany, has not decreased in the least in this democratic age. It has only changed its field of action, and “Generalmusikdirector” seems to be the rage just now. According to the Allgemeine Musikzeitung, they are bred by the hundreds. Every community of 1,000 souls thinks it most important to appoint one, and every neorepublican mayor believes himself fit to make such an appointment.
International Union of Authors and Composers.
Vienna, December 13, 1921.—The Viennese Society of dramatic authors and composers has just joined hands with the Paris Société des Auteurs, which signifies the first important step in the direction of an alliance of Austrian, French and Italian authors.
A New Kalman Operetta.
Vienna, December 13, 1921.—“Die Bajadere,” a new operetta by Emmerich Kalman, will have its première at the Karl Theater in Vienna. It will also be played in the Métropole Theater in Berlin early in February.
A New Musical Instrument.
Leipsic, December 13, 1921.—Dr. Otto Schaefer of Hamburg has invented a new keyboard instrument in which the strings are set into vibration through the agency of an electro magnet. This instrument, which in a sense combines the attributes of the piano and the organ, will have the amazing quality of responding to the fingers throughout the entire duration of their pressure, thus giving not only a continual tone, but subjecting it to dynamic nuances. Thus crescendi and decrescendi will be possible upon each chord or single tone. This will naturally create new technical difficulties. One may go even so far as to say that this invention will require an entirely new technic. At any rate, the possibilities this instrument offers are enormous. Mr. Schaefer has so far built only parts of this Schaefer Klavier, but the fact that several big firms have offered to undertake the building of it, shows quite sufficiently the practicability of the invention. Any music with a continuance of tone (organ music, string quartets, etc.) can be played on this instrument.
Fritz Reiner Resigns Dresden Post.
Dresden, December 8, 1921.—The report that Fritz Reiner, first conductor of the Dresden Opera, has resigned his post, has just been confirmed. The public and one section of the press are greatly agitated over the news, for in Reiner Dresden loses by far its most gifted musician. Reiner was engaged under the old régime and had the status of a state official. The refusal of the socialist ministry to grant him sufficient leave of absence to fill his engagements in Vienna and Rome (where he is to conduct German opera at the Costanzi) brought about a split, and Reiner’s resignation was accepted with a public declaration of regret and appreciation on the part of the government.
Another Attempt to Produce Real Fiddles.
Dresden, December 12, 1921.—An interesting experiment was tried here at a concert by the Pozniak Trio, which introduced some new string instruments of the Koch pattern (violin, viola and cello), built in Saxony after the models of Professor Koch, who spent several years in trying to achieve in his instruments a resemblance in tone to the old Italian Stradivarius and Guarnerius (“the homogeneity of material”) and who succeeded in the end in attaining some amazing results in this respect. In the opinion of connoisseurs present at the occasion, the Koch instruments are worthy of wide notice. At this recital they were used in compositions by Bach, Schubert and Volkmann.	N.
Musical Courier Correspondent’s Work Acclaimed.
Bochum, Germany, December 8, 1921.—“The Four Seasons,” a suite for grand orchestra by Dr. Herman Unger, of Cologne, has been successfully performed for the first time in a symphony concert of the municipal orchestra here. Dr. Unger is the Musical Courier’s correspondent in Cologne.
Hamburg Opera Again Without Head.
Hamburg, December 13, 1921.—Professor Wytemal, of Vienna, who was appointed director of the Hamburg Opera only a few weeks ago, has suddenly withdrawn from the post, stating as a reason that he is too old (he is fifty-eight) to adapt himself to the Hamburg milieu. He has never been away from Vienna. This withdrawal was rather unexpected and caused considerable comment in the local press.
MlLDENBURG, WAGNERIAN SOPRANO, TURNS STAGE MANAGER
Munich, December 10, 1921.—Anna Bahr-Mildenburg, formerly one of the most famous Wagner singers, and at present professor at the Academy of Munich, has recently succeeded in putting some new life into the hitherto indifferent performance of “The Ring.” The new staging by Leo Pasetti and Adolf Linnebach is in very good taste and differs, pleasantly from the old, stereotypic forms. The whole production was successful and attracted wide attention in the press.
Permitted to Leave Russia.
Reval, Esthonia, December 7, 1921.—A number of Russian musicians who have received permission of the Soviet
FOREIGN NEWS IN BRIEF
Gunsbourg for Ten Years More.
Monte Carlo, December 1, 1921.—Raoul Gunsbourg has just been reappointed director of the Monte Carlo Opera until December 31, 1932. Gunsbourg is at present engaged upon an opera entitled “Lysistrata,” which is to be produced in the course of the ensuing season here.
Klose Made Honorary Doctor.
Berne, Switzerland, December 1, 1921.—Friedrich Klose, the composer, who is a native of Switzerland, has had the title of Doctor, Honoris causa, conferred upon him by the University of Berne. The same title was given to the Bernese composer and conductor, Fritz Brun.
Breslau Opera to Close Its Doors.
Berlin, December 14, 1921.—The Breslau Opera, one of the best in Germany, is about to close its doors for lack of means. This is very significant of the influence which the recent political and social upheavals had on the artistic world. Musical life especially is suffering under these conditions and is at this moment going through a regular economic crisis. This is due to the fact that the local governments and municipalities, as well as the middle classes, which largely supported musical institutions, are now facing great financial difficulties. Perhaps it is somewhat hard for the average American reader to realize what the loss of an opera house means to a large German city. It is ever so much more than the loss of a mere pleasure abode. The entire German press is full of grave comments upon the event, as an evil foreboding for the future.
Max Rosen Going to Poland.	«
Berlin, December 13, 1921.—Max Rosen, as the result of his recent success in playing the Tschaikowsky concerto under Oscar Fried, has been engaged to play the work under the same conductor in Warsaw and Lodz, Poland, in January. On January 6 he plays it with the Bliithner Orchestra of Berlin in Essen. On a date still to be announced he will appear under the baton of Weingartner in Vienna.
Reparation Commission Please Note !
Berlin, December 13, 1921.—Alfred Lichtenstein, the well known German flute player, is said to have received from a “princely” Maecenas an eighteen-karat gold flute with a mouthpiece bearing a monogram which contains eighty-seven diamonds, eighty-eight rubies and seventy-two sapphires.
MIKAS
PETRAUSKAS
Lithuanian
Tenor and Composer ---------Mid-Winter Tour----------
January 1—Boston, Mass.
3—	New Britain, Conn.
4—	Waterbury, Conn.
7—Binghamton, N. Y.
9—Scranton, Pa.
10—	Philadelphia, Pa.
11—	Baltimore, Md.
14—	Cleveland, Ohio
15—	Detroit, Mich.
17—Grand Rapids, Mich.
20—	Kenosha, Wis.
21—	Waukegan, Wis.
22—	Rockford, 111.
23—	Aurora, 111.
25—Chicago, 111.
28—	Brooklyn, N. Y.
29—	Worcester, Mass.
Personal Address:
769 Broadway, South Boston, Mass.
-----Soprano--------------״
A Voice of Extraordinary Charm and Appealing Quality
For Concert Dates Address
ANNIE FRIEDBERG
Metropolitan Opera House Bid j., New York
ARMSTRONG
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