55
MUSICAL COURIER
January 5, 1922
musical ideas that could not be expressed by the ordinary chromatic system and that the present work is the outcome of. many experiments. In order to facilitate the notation he has invented a system of his own, with new signs to indicate that a note is raised or lowered by a quarter tone. It is entirely impossible to imagine how this music might sound, but it is fair to guess that it would be something like the playing of beginners who had not yet learned to play in tune. However, let us exercise our privilege of reserving opinion until, perhaps, some enterprising quartet has the courage to play it, if not for our edification and entertainment, at least for our amusement.
Chicago Opera Expected to Continue
Chicago, 111., January 3, 1921 (by telegram).—From an authoritative source the Chicago office of the Musical Courier learns that the present financial board of the directors of the Chicago Opera Association has not been able up to the present date materially to increase the number of guarantors for next season. However, the association is expected to continue. If the board of directors can agree with her on one point of difference which now exists between them, it is highly probable Mrs. Harold F. McCormick will undertake to make up the difference between whatever guarantee may finally be secured and the amount of the deficit.	(Signed) Rene Devries.
Siloti Recital, January 15
Alexander Siloti’s program, which will re-introduce the distinguished Russian pianist at his first recital in Aeolian Hall, Sunday afternoon, January IS, after an absence of twenty-four years, will contain Bach’s chaconne as arranged by Siloti after Busoni’s transcription and the Bach Society edition. Besides other Bach numbers Mr. Siloti will play in the first half of his program a Liszt group, a Chopin group and the Schubert-Tausig andante and variations.
Russian Opera Company Delights Portland
A telegram received by the Musical Courier, dated Portland, December 31, states: “Russian Grand Opera Company cooperative organization of ninety-six members arrived last week from the Orient. Played Russian and other operas here. Audiences enthusiastic. Company is leaving for San Francisco and East. Manager, Leo Feodoroff, delighted with America.”
Henry Hadley to Write “The Squaw Man”
It is reported that Henry Hadley will write an opera, “The Squaw Man,” around the famous play that has enjoyed such a phenomenal success for years and is now one of the “revivals” on Broadway. Mr. Hadley is one of the best known of American composers and is a musician of distinction. His opera, “Cleopatra’s Night,” was produced at the Metropolitan Opera House last year. Grant Allen is to write the libretto.
Elsa Warde Soloist at Hippodrome, January 8
Elsa Warde, well known soprano from the Oscar Saenger studios, will sing an aria and a group of songs at the concert arranged to celebrate the Golden Jubilee of the Holy Name Society, at the New York Hippodrome, Sunday afternoon, January 8.
Arthur Friedheim in Town
Arthur Friedheim has been spending his holidays in New York.
ficulty being acknowledged at the outset. He does it by means of the “portamento.” Just this bit is quoted as showing the author’s method. Rules of fingering, combinations of positions, double notes, all appear in the work, and the compiler has at the same time kept everything tuneful and melodious. Attractive studies are the exception, not the rule, and for this the young violinist should be grateful.
(M. Witinark & Sons, New York)
“PERHAPS” (Song)
By H. E. Van Surdam
Loren Palmer, managing editor of Collier’s Weekly, is the writer of the verse of this song, which suggests high endeavor, in the closing
“Always I see, as ends the day,
Some high endeavor lapse—
Yet fix my gaze ahead, and say ‘Some day, some day, perhaps’!”
Composer Van Surdam’s music is singable, melodious throughout, based on a comparatively simple plan, a straight song of three pages, beginning with ballad-like tunefulness, and proceeding to a close of greater swinging movement, with mild counterpoint in the bass. It goes from low C to top-line F, treble clef. “To my Mother and Paola.”
(Clayton F. Summy Co,, Chicago and London)
“ANDANTINO” (for Organ)
By Elias Blum
Many andantinos have been written and printed since the celebrated one by the Englishman Lemare, and organists everywhere find such music useful. Those who cannot improvise, but must play printed music, find short works of this kind just the thing. It is cheerful, pretty music, written for three-manual organ, but possible on one of two keyboards. The melody first sings softly on the Swell keyboard, is then shifted to the Great, attains climax, ending softly.
(White-Smith Music Publishing Co., Boston, New York, Chicago)
“JUST HEAVEN, AND I, AND YOU” (Song)
By Charles Wakefield Cadman
Impolite title! Well, read the text, and settle it for yourself. Charles F. Lummis wrote the verse, which deals with the sun, the morrow, the night, hereafter, and of course, love. In somewhat slow tempo the song begins with a cello-like melody in the bass of the piano, followed by violin-like right hand phrase, the song melody having the usual element of spontaneity characteristic of Cadman. Another element making for success is the emphasis of words and syllables, these invariably coming on long, high or accented tones. Cadman thinks of everything when he composes! And so the music sings naturally, spontaneously, with much expression, tenderness, and plentiful change of harmony. When he’s done he’s done, and no fooling! So the song ends, on either high or low note, as preferred. For medium and high voice.
(Enoch & Sons, London, New York, Paris, Toronto)
“CHANSON NEGRE” (for Piano)
By C. Chaminade
The black person in the composer’s mind is evidently not our American negro, but rather the native-born African, for the music is appropriate to such. Also, the cover page shows African negroes playing a sort of xylophone, tom-tom and Eastern instrument; it is in green and yellow, on white background. Considered as native African, this piece, then, is true to form, full of many rhythmical, unusual combinations. One notes most of all the reiteration of a “pedal-bass” for many measures, the principal melody being most pronounced. The second theme has syncopation, repeated in octaves, with repetition of the first melody, and a “bang” for an ending.
(Universal Edition, Vienna)
THREE STRING QUARTETS (Miniature Scores)
By Alois Haba, Alfredo Casella and Zoltán Kodaly
As examples of modernistic daring these quartets are of interest. Whether or not they are musically interesting, or even possible, is a question that it is perhaps best to leave to others to determine. Tastes differ. Certainly to those who enjoy dissonances, not to speak of discords, the Casella and the Haba quartets will be a joy and a revelation. The Kodaly quartet is much less modern than the other two. Haba has constructed his entire work on the quarter tone principle. In a preface he says that he has for years had
REVIEWS AND NEW MUSIC
Music
(G. Schirmer, Inc., New York, Boston)
“THE MOTION PICTURE ORGANIST” (for Organ)
By Firmen Swinnen
Within sixty-one bound pages (paper), Mr. Swinnen, the well known organist of the Rivoli Theater, New York, includes^ twelve pieces for organ by contemporary composers, as follows:	“Caress-
ing Butterfly” (Barthelemy), “Danse Orientale” (Lubomirsky), “Indian Legend” (Baron), “Indian Wail” (Dvorak), “In Sight of the Oasis” (Maurice Baron), “Melodie” (Friml), “Orientale” (Cui), “Romance” (Rubinstein), “Scenes from an Imaginary Ballet” (Coleridge-Taylor), “Serenade” (Chaminade), “Serenade” (Rubinstein) and “Twilight” (Cesek). It will be noted by the picture-player that this as a collection covering many characteristic moments in the screen life; and no less will the recital and church organist find here many useful pieces. Especially interesting and well transcribed are the Oriental and two Indian pieces, lending themselves well to organ transcription. The music is printed in the usual three staves, for manual and feet, and each work is provided with explicit directions for the choice of stops, the organist being expected to have a three-manual organ. Professor Swinnen’s wide experience as organist, and his practical nature as player, all find echo in the arrangements, for everything is thoroughly sensible, and not difficult to perform.
(G. Schirmer, Inc., New York, Boston)
ALBUM OF SONGS BY STEPHEN C. FOSTER Edited by Harold Vincent Milligan
This volume of seventy pages (paper cover) consists of a collection of twenty favorite songs, edited by Milligan, who has done so much to make known that “first American composer,” Hopkinson, including in these not only the well known “Old Black Joe,” “My Old Kentucky Home,” “Old Folks at Home,” etc., but also these lesser known:	“Open Thy Lattice, Love,” “Uncle Ned,” “Nellie
Was a Lady,” “Nellie Bly,” “Gwine to Run All Night,” (or, “De Camptown Races”), “Dolly Day,” “Ah, May the Red Rose Live Always,” “Sweetly She Sleeps,” “Massa’s in de Cold, Cold Ground,” “Old Dog Tray,” “Hard Times, Come Again No More,” “Jeanie With the Light Brown Hair,” “Come Where My Love Lies Dreaming,” “De Glendy Burke,” “Little Belle Blair,” “Nell and I” and “Katy Bell.”
The songs by Foster occupy a unique place in America’s world of music (one might say the most affectionate place) for wherever Americans get together, there “Swanee River,” “Old Black Joe,” etc., are heard. They were composed at a time when the foreign influence was almost unknown, for it was not until steamship traffic with Europe was developed that our countrymen hied themselves to Europe to study music. The very first song in this volume, “Open Thy Lattice, Love” (words anonymous), was composed about 1844 and is of the simplest nature, with only tonic, dominant and sub-dominant chords. The minstrel Foster knew how to write plain melody, else his songs would not have lasted as they have. “Katy Bell,” the last song of the lot, was composed about 1863, in the midst of the Civil War, when things looked dark indeed for the North.	It has a mixed chorus	to follow	the solo, as have several of the	other songs, while	yet	others have a two-part (soprano
and alto) refrain. Those who	seek	songs of	early days, appropriate
to National	holidays, will find	this	collection	very suitable.
(G. Schirmer, Inc., New York, Boston)
A PRACTICAL METHOD FOR VIOLIN By Nicolas Laoureux
This work, translated from the third French edition by Dr. Th. Baker, is in use in leading French, Belgian, Hollandish and German conservatories. It is in four volunus, encompassing the following plan:	(I) elements of bowing and left hand technic; (II) the five
positions, and their employment; supplement, twenty-eight progressive studies, preceded by preparatory exercises; (III) school of bowing, studies by Kreutzer, Fiorello and Rode; (IV) virtuosity of the left hand, exercises in the form of legato scales, arpeggios, double-stops, etc.
Contrary to the principles of violin teachers, this teacher goes direct from the first to the third position, finding it simpler and easier. He has provided numerous exercises to do this, this dif-
EFFA ELLIS PERFIELD DIRECTORY OF TEACHERS
MUSIC COURSES
DICTATION.........................................Inner Ear, Eye and Touch Feeling
SCALES...................................................................Ten Kinds
IMPROVISING...............................................Constructive, then Creative
MODULATION...................................No Patterns, only Constructive Material
PEDAGOGY...............Inner Feeling, Constructive Reasoning and Self Expression Drills
SIGHT READING...................................................Harmonic and Melodic
SIGHT SINGING..........................................................NoJt do r.e
PART SINGING................................................ •: • v/ ’ • •Harmonization
ROTE SONGS.................................................Musical Memory, Repertoire
RHYTHM .	...........................Groups, Repetition, Pause
harmony! !!!!!!!!!!!!!!!!!!!!!!.............................................. Tangible
Phone: Bryant 7233
By EFFA ELLIS PERFIELD, 41У, West 45th Street, Mew York City
MISSOURI
FLORENCE E. HAMMON State Normal Teacher Private Lessons and Graded Class Work
St. Louis
Seven Assistants Musical Art Bldg.
NORTH CAROLINA
IRENE WEAVER Piano and Cl a** Work Normal Teacher	Franklin
NELLIE HALL Friburg Apt., No. 2«
TEXAS
FOREIGM
AUSTRALIA
CLAUDE KINGSTON Organist, Collins Street Baptist Church 70 Park St.,	Melbourne
CANADA
CARA FARMER Piano and Class Lessons, Demonstrations Certified Normal Teacher Mothers’ Creative Music Course 750 Bathurst,	Toronto
CHINA
EMIL DANENBERG
Pianoforte Instruction Pupil of Teichmuller (Leipzig)
The Albany,	Hong Kong
INDIA
Calcntt¡
MRS. MARK ELDREDGE
ALICE M. SPAULDING Piano, Coaching and Accompanying Scientific Muscular Pianoforte Technic Individual and Class—All Ages 234 West 74th St., N. Y. Phone: 9284 Col.
MABEL COREY WATT Examining Normal Teacher Directress of Music Flatbush School Four Assistant Teachers 94 Prospect Park W.,	Brooklyn
Phone: South 3688 J.
NEW JERSEY
ETHEL Y. THOMPSON President, Roseville Music Club Individual and Class Lessons 11 Pittsfield Ave., Cranford
GEORGIA
MARTHA E. SMITH
Class and Piano Lessons—Normal Teacher Demonstrations
11 Druid Place,	Atlanta
ILLINOIS
FELICIA TURNER
Examining Normal Teacher (One of Two in the U. S.)
Chicago
218 S. Wabash Ave.,
MISSISSIPPI
OLIVE BEAMON Piano Instruction Normal Teacher
Yazoo City
221 E. Madison Street,
NELL E. HANKS
Accompanist and Piano Instruction Pupil of Heinrich Gebhardt 274 West 71st St., N. Y. Phone: 10028 Col.
DOROTHY LOU IRVING Councillor for Mach-a-Wa-Mach Camp 323 W. 83rd St., N. Y. Phone: Schuyler 943
RUTH JULIAN KENNARD Piano and Class Lessons 609 West 115th St., N. Y.
Phone: Morn. 5530
WINIFRED KENNER 287 МШ Street
Poughkeepsie, N. Y.
IDIS LAZAR
Concert Pianist and Teacher 50 Morningside Drive, Apt. 42, New York Phone 7770 Cathedral
GLADYS MURGATROID Piano and Class Work S61 Sterling Place, Brooklyn Phone: Prospect 5542
ELSA K. PETERSON Kirpal-Lindorff School of Music 140 Barclay St., Flushing, L.I. Phone: 1887 M
MARIE A. PLATE
425 West 21st Street,	New York City
Telephone Watkins 7265 222 Roberts Ave.,	Yonkers, N. V.
NEW YORK
C. KATE BEACOM Piano and Class Work 621 E. 29th St.,	Brooklyn
Phone : Kenmore 1297
MRS. R. F. BEARDSLEY Piano and Class Work Pupil of Xaver Scharwenka 333 West 85th St.,	New York
Phone: 8265 Schuyler
EMMA BECK Piano and Harmony
Individual and Class Lessons. Interviews 124 W. 12th St., N. Y. Phone: 3715 Chelsea
RUTH CARLMARK Accompanist and Piano Instruction Pupil of La Forge-Berumen Studio 836 Washington Ave.,	Brooklyn
MRS. M. L. FISH Piano Instruction and Class Work Box 523 Mt. Kisco	Phone: 386
OLGA FISHER Piano and Class Work V3 Junction Ave.,	Corona, L. 1.
Phone: Newtown 4158
HELEN PARKER FORD Organist and Coach—Piano Instruction 106 So. Broadway,	White Plains
Phone : 1231