46
January 19, 1922
MUSICAL COURIER
instructions• include a foreword to the teacher with minute details. It is an excellent book for home study.
D. Rahter, Leipsic
“A NEW SCHOOL OF STUDIES,” arranged for the piano by Richard Krentzlin. This series is in seven books, beginning with the most elementary study to the middle stages of technical work. There are so many editions of this nature on the market to-day that it hardly seems necessary to publish any new ones. In looking over this collection, it is difficult to determine whether it contains anything new that has not already been presented before. If studies of this nature were only edited along different lines, there might be an excuse for their existence.
G. Schirmer, Inc., New York
“PALAZZO PAGANI” and “LOVE’S CREED,” two lyrics for high voice, by Edward Ballantine. Two very interesting compositions, particularly the musical setting, which has much originality, placing them beyond the average concert song. “Love’s Creed” has a very appealing lyric by Lilia Cabot Perry.
“MINIATURE TONE PICTURES,” for the piano by Agatha Pfeiffer. This volume belongs to a series of children’s studies, and has been especially composed for the use of the pedal. It will prove to be a good teaching material.
White-Smith Music Publishing Company, Boston
“FANTASIE ON OLD HUNDRED,” a festival prelude or postlude; “EXULTATE DEO” (Grande Choeur) and “MAGNUS DOMINUS” (Offertoire)—three choice organ selections by John Herman Loud.
Joseph Williams, Ltd., London
“SERENADE,” for the piano and violin, by E. Markham Lee. A very simple and easy selection for beginners.
Murdoch, Murdoch & Co., London
“MATER ORA FILIUM,” for an unaccompanied double choir, by Arnold Bax. Everything that Mr. Bax composes has musical value.
Clayton F. Summy Company, Chicago
“FATE THE FIDDLER,” a short descriptive song, by Ernest A. Leo. Teaching or encore number.
“MIA CARLOTTA,” an Italian dialect song that is very humorous. Also a good encore. Can easily be used as a reading to music. Another number by Ernest A. Leo.
“CAPRICE” and “POEM,” two melodious studies for the piano, by Louis Victor Saar. Best suited for the studio.
FIVE RECITAL DUOS,” for two pianos. Teaching numbers for not too advanced pupils.
“POETIC THOUGHTS,” for the piano by Ed. Poldini. A collection of four short numbers. Desirable for teaching.
“THE TORRENT,” by L. Leslie Loth. An etude for practice.
“HIS SONG” (“Meditation”), from the suite, “In the Bottoms,” by R. Nathaniel Dett, and arranged for the organ by Gordon Balch Nevin.
MANY PROMINENT ARTISTS
WELCOMED IN PITTSBURGH
Philadelphia Orchestra Plays Again—Telmanyi, Rachmaninoff, D’Alvarez, Boswell, Leginska and Kindler Among Visiting Soloists
Pittsburgh, Pa., December 22, 1921.—Foremost among the musical offerings of the month again ranks the concert by the Philadelphia Orchestra. Mr. Stokowski played a well balanced Wagner program, and in its midst sandwiched the five orchestral pieces of Arnold Schonberg. There was no hissing but considerable merriment throughout the frank and eager audience.
On the afternoon of December 14 the Tuesday Musical Club presented the quaint mystery play, “Eager Heart”; carols and a Gloria were sung throughout the play and all the tableaux were effective. Clarissa Harold took the title role, and Mrs. E. B. Lee, Mrs. William F. Knox and Lou Mcllvain were in charge of the program.
The Friends of Music Society, who devote their programs to chamber. music entirely, opened the season Sunday, December 18, with the Flonzaley Quartet, which played the Ernest Bloch quartet in B minor and the Haydn, op. 64, No. 5. The well contrasted recital was up to the fine standard of these artists.
Rachmaninoff gave the only piano recital of the month, playing to a capacity house and receiving an enthusiastic ovation at the close of the evening.
The Art Society’s offerings were both of unusual interest. Telmanyi’s classic playing of Schubert’s “Rondeau Brillante” and the Bach G minor sonata made us wish to hear him soon again. Marguerite D’Alvarez more than fulfilled promises. Her lovely contralto was very effective in a group of modern Spanish songs, and the “Seguidilla” from “Carmen” had to be repeated to satisfy the insistent audience. Mme. D’Alvarez was equally at ease in her English songs and particularly charming in Mana-Zucca’s “The Top o’ the Mornin’.”
Ernest Lunt. director of the Mendelssohn Choir, offered two novelties in his latest concert—Kurt Schindler’s “The Miracle of Saint Raymond” and Percy Fletcher’s “The Deacon’s Masterpiece.” Alfred Boswell, pianist, assisted the chorus, offering a group of solo numbers ranging from Bach to Chabrier.
Ethel Leginska and Hans Kindler pleased a large audience when they appeared December 5 in joint recital. The Brahms sonata was a fine cornerstone to the program, and Miss Leginska played her own “Scherzo” and “Gargoyles of Notre Dame.”	J. F. L.
Byrd Pleases Seattle Critic
The Seattle Daily Times commented at length upon the playing of Winifred Byrd in that city recently, but only a few selected lines are reproduced herewith : “She was warmly received. .	.	. last night’s audience liked her,
if the demand for encores is an indication. .	.	. Miss
Byrd plays with masculine strength and in her style there is much that reflects the instruction and guidance of her former teacher, the late Teresa Carreno, the brilliant Venezuelan. . . . Many times Miss Byrd was recalled.”
A Busy Week for Frank Cuthbert
Following a successful performance of “The Messiah” with the Pittsburgh Mendelssohn Choir on December 27, Frank Cuthbert appeared in Montreal on January 7. He sang “The Messiah” again with the London Choral Society on January 9, and the following day he appeared in Toronto. January 12 found him in Cleveland, and two days later he gave a joint recital with Lenora Sparkes in Pittsburgh.
Marie Sundelius to Sing at Middletown
Marie Sundelius will shortly interrupt her singing activities at the Metropolitan long enough to appear in concert at Middletown, Conn.
REVIEWS AND NEW MUSIC
(Continued from page 43)
churches possess, so the registration is marked in a general way, with out definite directions. The list of thirty-two pieces contains works by Backer-Grondahl, Beethoven, Bull, Cui, Forster, Goltermann, Grieg, Haydn, Jensen, Kretschmer, Liadow, Mendelssohn, Pierne, Rubinstein, Schubert, Schumann, Tartini, von Weber, and Welsh melodies. The Russian, Cui, is represented by four pieces; Schubert by four, and Schumann similarly, and a practical point is that composers’ works are all grouped together. There are sure to be many useful pieces in the lot, for they are of medium difficulty, with pedaling to match.
(Oliver Ditson Company, Boston, New York, Chicago, London)
“SNOW FAIRIES״ (Song)
By Cecil Forsyth
A dainty musical picture, words by the composer, with lightly sung syllables of music, describing the snowflakes, the filmy earth and sky, the elf-winds, star-light, silence, dreams, the fairies trip and throng, all the accompaniment being in the treble clef, but ending softly down low in the bass. A snow-scene with fir tree ornaments the cover page. For high or medium voice.
(Oliver Ditson Company, Boston, New York, Chicago, London)
“THY HAND, BELOVED” (Song)
By Charles Fonteyn Manney
A fine song of love. Sustained chords, syncopated effect, lead into plain eighth notes in the accompaniment with a big climax where triplets accompany the melody, ending softly. This composer knows life, love, sorrow, joy; “To Mrs. Edmund H. Talbot,” and the cover page says “Sung by Bernard Ferguson.”
(Wilhelm Hansen, Copenhagen)
FIFTEEN TWO VOICED and FIFTEEN THREE VOICED INVENTIONS and LITTLE PRELUDES AND FUGETTAS By Bach
Fifteen two-voiced and fifteen three-voiced inventions— little preludes and fugettas, by Bach. There are a great many of us who love music and love Bach and practice them both in an amateur way, rarely penetrating, however, on account of lack of inclination to practice, beyond the two-voiced inventions—possibly some of the three-voiced ones, if we are ambitious—or the little preludes and fugues. For such of us there is nothing more convenient than two volumes just issued by Wilhelm Hansen, Copenhagen, one of which contains the two-voiced and three-voiced inventions and the other the little preludes and fugettas. They are edited by Ignaz Friedman, who is as much of a Bach student as he is a pianist, and this is saying a great deal. The text is finely engraved and clearly printed. The fingering and figuration are noted with extreme care and precision and whenever necessaray there are short and illuminating footnotes. These two volumes are a distinct addition to the tremendous mass of Bach editions.
(Oliver Ditson Company, Boston, New York, Chicago, London)
“OLD LAVENDER” (for Piano)
By Charles Huerter
The Syracuse composer and teacher, Huerter, turns out the most graceful waltzes, seemingly by the score, all different, yet all the same in their gracefulness, Viennese spirit and spontaneity. There is elegance, expressiveness, tenderness in every one of them, all combined in the most inimitable manner, a la Victor Herbert, or Friml. This is not a dancing waltz, no more than the Chopin waltzes or the big concert waltzes by Moszkowski, but song-like, with sweet lingerings on high notes. The fingering is marked, and details of expression will enable even an unsentimental player to get the flavor. “For Miss Leona Babcock,” who should be proud of it!
John Church Company, New York
“THE MESSAGE OF THE ANGELS,” an Easter song, by C. B. Hawley, to words by Rt. Rev. L. R. Brewer. Written for high and low voice. A number that has been extensively used.
Chappell & Co., London
The following ballads are from Chappell-Harmes, of New York, published by the London house:
“GERALDINE!” a love ballad for baritone voice. It is easy to sing and has good flowing melody. Music by Robert Coningsby Clark; words by W. E. Henley.
“WERE I A BUTTERFLY,” another love ballad. The music is by Liza Lehmann, with words by Lady Strachey. Excellent number for either tenor or baritone.	.
“VO'GA, VOGA, GONDOLIER,” music by Robert Coningsby Clark, with words by Lady Lindsay. This is written in waltz time and should be sung delicately. A serenade. Good encore number.
“FAIRY LULLABY,” with words and music by Goger Quilter. A dainty little slumber song.
M. Witmark & Sons, New York
“IN A LITTLE TOWN NEAR BY.” The lyrics are by Amy Ashmore Clark, who is very well known for her charming poems. The music is by Florence Turner-Maley and dedicated to George Reardon, baritone. A song that has all of the tenderness and melody that “A Little Grey Home in the West” has. In fact, it has the possibilities of becoming as popular. It will have a big sale.
Enoch & Sons, London and New York
“A PAGE’S ROAD SONG.” A new ballad, by Ivor Novello, that has enjoyed very good success in England before being introduced over here. It has been sung by Dame Clara Butt extensively.	m .... „	,, ,
“DANCE, LITTLE FRIEND.” The lyric is by Rose Fyleman and the music is by Herbert Brewer. Written in three keys, for any voice. A graceful number and with the light accompaniment, full of melody, should make a good concert number.
Carl Fischer Company, New York
“A LOVE DREAM” (Ein Liebestraum), a violin and piano number by Richard Czerwonky. This selection is in_ no way difficult. The piano accompaniment is very simple with the violin carrying the melody. Should be played slowly and dreamily. Good practice or recital piece for students.	.	,	_ ״	_
“INTERMEZZO IN A FLAT,” for the piano by Felix Deyo. A fragment in fifths. Excellent for students.	T^T,-,T,k.
“RHYTHMIC-MELODIC VIOLIN METHOD FOR BEGIN-NERS,” by John Grolle. This volume is for class or individual training with general instructions both to teacher and pupil, !here are numerous illustrations that will prove valuable. lhe general
THE HIGHER TECHNIQUE OF SINGING
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*‘The Practical Psychology of Voice,” pub. G. Schirmer Complete vocal method Studio: 50 West 67th Street
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BARITONE, METROPOLITAN OPERA COMPANY
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A instant* j Caroline Hooker SYMPHONY CHAMBERS, BOSTON
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CARL BEUTEL
American Pianist and Composer CONCERT AND LECTURE RECITAL
Manarement: JOHN WESLEY MILLER. 1400 Broadway. New York City
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