MUSICAL COURIER
52
January 5, 19 2 2
given by Mme. Ziegler, director, illustrated by her artist pupils.
Dickinson Lecture Recital in Troy.
Clarence Dickinson gave a lecture-recital in the Second Presbyterian Church, Troy, N. Y., on December 12, on “The Development of the Organ as an Instrument,” illustrated with lantern slides from pictures in ancient missals, frescoes and photographs; he played the following program : “Concert Overture,” Hollins; “Serenade,” Pierne; “Revery,” Dickinson; prelude and fugue in E minor, Bach; toccatina, Yon; “In the Church,” Novak; “Minuet,” See-boeck; “Berceuse,” Dickinson; “Rhapsody,” Sinding.
Ruby Gerard at the Town Hall.
Ruby Gerard, violinist, following some years of retirement, is again appearing as soloist in various concerts, not only in New York but also throughout the country. December 19 she was soloist at a lecture given by the Hon. John Ulrich, when she played works by Ogarew, Sarasate and others. Quoting from a circular, the following is printed; “Ruby Gerard scarcely needs any introduction to America’s concert lovers, for as Sousa’s solo violinist in his tours with his famous concert band across the continent, she established her reputation as a virtuoso of unusual brilliancy.”
Milton Schiebel Praised.
Milton Schiebel, solo baritone of the Port Chester (N. Y.) M. E. Church, and pupil of F. Reed Capouilliez, was specially engaged as soloist at the Norwalk M. E. Church recently. A local paper said: “He possesses.a voice full of promise and considerable range, sings with much feeling, and his diction is excellent.”
American Composers at City College.
The January recitals given on the organ of City College by Prof. S. A: Baldwin, Sundays and Wednesdays at 4 o’clock, have on them many compositions by American composers and by composers of foreign birth living in America. They are: Melchiore Mauro-Cottone, New York; Gordon Balch Nevin, Johnstown, Pa.; Pietro A. Yon, New York: Harry Benjamin Jepson, professor of applied music at Yale and organist of the university; Edwin Grasse, New York; James H. Rogers, Cleveland, Ohio; George A. Bur-dett, Boston, and Rudolf Friml, New York.
New Songs by Mabel Wood Hill
“Old English Lullaby,” although a song, is almost a dainty piano solo. “Alone” expresses in realistic fashion anguish of the soul, many augmented intervals producing unique effect. “The Hounds of Spring” is of course a spring song, very effective, and “Allah’s Tent” is full of dramatic periods. “Snow on the Hills” has chime effects, and Sara Teasdale’s “A Prayer,” built on the diatonic scale, is original and full of sustained melody, as is “Morgengebet.” Three songs, the texts by Tagore, and four others in folk song style, were heard on the private occasion herewith mentioned. Many of the Hill songs have already been published and others will soon-be out.
Rossi-Diehl’s Engagements.
Courty Rossi-Diehl, soprano and composer, whose songs have received attention in the Musical Courier reviews, has Several engagements to appear as soloist in New York and vicinity. Chief among these is one with the Knights of Columbus Choral, Hoboken; with the Royal Arcanum, Bogota, and in a Newark affair.
Flora Mora on Kindergarten Methods
Flora Mora, pianist, who gave a recital in Carnegie Hall two seasons ago and subsequently established the Con-servatorio Granados in Havana, has contributed a long article on kindergarten methods. Her long exprience as pianist and teacher (her father was also a professional musician) gives her authority on this subject.
New Jersey Organists’ New State President.
Mrs. Bruce S. Keator, who has been state president of the National Association of Organists for six years, has relinquished that position to Hermon B. Keese, and has issued a four-page circular containing pictures of herself, of her predecessor, Paul Ambrose (state president, 1910-191S), and of Mr. Keese, president-elect. Views of the five churches in which these rallies occurred from 1917 to 1921 are also given.
־ Gwyneth Hughes’ Recital January 7.
Gwyneth Hughes, from the Elizabeth Kelso Patterson School of Singing, will give an invitation song recital in
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Grasse Recital in Wilkes-Barre.
Edwin Grasse gave a combination recital all by himself in Wilkes-Barre, Pa., December 18, playing his own works, both original and transcribed, for organ, and violin pieces of his own and others’ composition, and held a large audience’s attention throughout the entire affair. Some of the works heard on this occasion were played by him at his Aeolian Hall (New York) recital a month ago, as well as at City College, in old St. Paul’s Church, Baltimore, and in the Berkshires last summer. In the course of a long notice of the affair the Wilkes-Barre Times-Leader said in part:
Though blind from his birth, he has showered more happiness in the world _ than many thousands of gifted people who have enjoyed all their faculties. The deprivation of one s-mse has with him made marvelously acute his other senses. In fact it is the judgment of all who have known his musical instinct and performance in detail, that he has the most amazingly delicate and acute ear among all the great people of the generation. He played while here a Bach toccata; the chorale, “Sleepers Awake;” his own transcription of Grieg’s “Last Spring,” the Liszt “Prelude,” a serenade and nocturne of his own, a short and winning little sketched by E. L. Turnbull, the “Tannhäuser” overture and his own organ sonata, No. 2. The violin selections included the Mendelssohn concerto, the Air for G string of Bach, concerto of Goldmark. His repertory is extensive enough for a number of programs. In fact after the formal scheme he went on playing ad libitum from Bach, his own works, the Largo of Handel, the vorspiel from “Lohengrin” and other numbers.
Mr. Grasse has a facility of technic that would he remarkable enough in anyone, but to witness his brilliant manual and pedal manipulation, the constantly changing tone groups, the play of solo voices with deftly selected balance in accompaniment, the musical impulse in the rubatos, and dashing, confident style, the play of the plastic phrase-making, and through all the impressive interpretive revealment of a mind, at home among the masters, an instinct that easily comprehends and reveals the content of the great pages of music writing, a grasp both of technical resource of the modern organ and of vivid tone coloring—all these things fascinated his audience. Then, too, the audience was held with his tone and fine dignity of interpretation^ and of phrase eloquence in his violin playing, as the golden lines of melody flowed from his rare old Stradivarius instrument. It is as violinist that he has long been acknowledged, and herein he has a big repertory of the works that are recognized as necessary equipment for one of exalted station among the artists.
Women’s Philharmonic Society Musicals.
An attractive program was given, at the last musicale of the W. P. S., December 18, in Studio 824 at Carnegie Hall, by Helen Thomas, soprano, who sang two groups of songs by Cadman, Hageman, Terry, Massenet and Fourdrain. ending with such a superb rendering of the “Jewel Song” from “Faust” that she was obliged to give two en״ores. Lavar Jensen, pianist, who, by the way, should be heard more frequently in recital, played a sonata, on 81 (last movement), by Beethoven; also “Seguedilla,” Albeniz; “Autumn” and “Waltz,” Moszkowski; E flat rondo, Hummel, and D flat nocturne, Chopin. Both artists were urged to repeat the recital in the near fuure. Tosephine Stoudard deserves special mention for her artistic work as accompanist. The president, Elsie Cannass, spoke of Moszkow-ski’s impoverished condition to the audience, and with the suggestion that a musical society on whose programs his compositions have frequently figured should help the fund, everyone responded, and a goodly sum was realized and sent to Rudolph Ganz. The chorus of the society is being reorganized under its new leader, Mrs. Motel Falco. Ada Heinemann and Mrs. David Graham were on the reception committee, with Mrs. Motel Falco hostess and Kate J. Roberts chairman of press.
Blind Pupils Give Christmas Affair.
The New York Institute for the Education of the Blind issued invitations to a Christmas entertainment in the Assembly Hall, Ninth avenue and Thirty-fourth street, consisting of organ, piano and other solo numbers, with mixed choruses, duets and recitations. Frances Sievert played Merkel’s “Christmas Pastoral” in a way to do credit to anyone. Christopher Cerone played MacDowell’s “Told at Sunset” with accuracy and sentiment. Some folk tunes for piano were nicelv played by six little ones named Tetter, Zawellska, Brown, Crimins, Butler and Hasselberg. Pupils of the lower school sang a “Santa Claus” song with true pitch. Simper’s “Break Forth Into Joy,” for mixed chorus, with Theodore Taferner at the organ, was very well done. The well known “Prayer of Thanksgiving,” with Thomas Manzi at: the organ, was effectivelv sung, and the various readings and stories brought happiness to the large aud-ence, which manifestly enjoyed the affair as much as did the two hundred blind listeners. Needless to say, everything was performed from memory.
Amy Grant’s “The Blue Bird.”
Amy Grant’s charm of person, voice and speech art was never more apparent than in “The Blue Bird,” an ooera bv Wolff, presented by her as a recital at Aeolian Hall December 29, Lawrence Schauffler being at the piano. She recited the story, with dramatic action, in interesting and artistic fashion, her assumption of the characters being most vivid. Her golden gown sets off her personality. The Duo-Art piano reproduced the prelude and “Departure of the Children” and the introduction to act two and “Dance of the Stars,” all played by the composer, and an interested audience applauded the affair in appreciation of its excellence.
Johns Recital at Ziegler Institute.
An interesting program of songs by Louis Edward Johns was presented December 20 at the Ziegler Institute of Normal Singing by May Schiller, soprano, and James Snedden Weir, baritone. Miss Schiller, interrupted in her operatic career in Germany at the outbreak of hostilities, sang with a beautiful soprano voice Mr. Johns’ “Bend Forevermore Above Me,” “The Vine Blossoms,” “Ave Maria,” “The Rainbow,”׳ “A Lake and a Fairy Boat,” “The Valentine,” “Love That Is True,” “Little Boy Blue and Robin Redbreast.” Particularly effective was Mr. Johns’ setting of the “Ave Maria.”
Mr. Weir’s sonorous baritone voice was highly pleasing in “At Parting” and “Rough Wind that Moanest Loud.” Other numbers were “From Night to Light,” “The Judgment Day,” “Fare Thee Well, “From Afar” and “The Knight’s Return.” Mr. Johns played the accompaniments to his songs effectively.
The seventh of the Tuesday musicales at the Ziegler Institute took place on January 3, and consisted of a lecture
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