50	MUSICAL COURIER
VIENNA NOW BOASTS WITH PRIDE OF THE
“MOST BEAUTIFUL THEATER IN THE WORLD”
Famous “Redoutensaal” of the Former Imperial Castle Transformed into an “Opera Intime”
January 2 6, 1922
and it is expected that in this domain the new stage will supply an initiative to creative endeavor.
Surely Vienna has sacrificed much, but not its love of true and noble art. Not only does it produce new blossoms of culture; it also possesses the men who can transform their ideas into deeds.	Ludwig Karpath.
Kansas M. T. A. Convention
The annual convention of the Kansas Music Teachers’ Association will be held in Wichita, February 22-25,^ 1922. An unusual program of interest to all teachers of music and public school music supervisors has been arranged, containing among other things the following: Piano recital and lecture by the French pianist, E. Robert Schmitz; lecture by Edoardo Sacerdote, of Chicago, on “The Musical Equipment of Today’s Singers and Teachers”; solos by Laura Reed Yaggy (violinist), Iliff Garrison (pianist), Mrs. Lucius Ades (pianist), Cora Jean Dick (soprano), Mar-celle Privat (contralto), Achille Fioramonti (tenor), Frank Fraser Siple (tenor), Albert Haberstro (bass), the Lyric Glee Club of Wichita; Ladies’ Five Piano Ensemble; proposed concert by the Wichita Symphony Orchestra; meeting of the Kansas Chapter of the American Guild of Organists; demonstration of the Haywood system of class vocal teaching; also Wichita public school mixed choruses, glee clubs, orchestras, bands, instrumental classes, folk games and other public school music demonstrations; round tables in piano, voice, violin; discussion of music credits, local clubs, district associations, missed lessons and various phases of public school music.
All Kansas music teachers are eligible to active membership in the association and are invited to attend this meeting. The officers of the association are Paul R. Utt, Ottawa, president; Walter McCray, Pittsburg, vice-president; Henry V. Stearns, Topeka, secretary. Otto L. Fischer, Wichita, is chairman of the program committee.
Gallerie Intime Attracts Art Lovers
The Gallerie Intime continues to gain in favor with those who seek to give intimate recitals or exhibitions in artistic and refined surroundings.
The Goodrich Trio, composed of girls from the Chaffee School, playing violin, cello and piano, gave a delightful recital there Thursday evening, January 12, and was heard by a large gathering of people from both the art world and the social world. Numbers by Ganne, Drigo, Arensky, Tschaikowsky, Saint-Saëns and Brahms were beautifully rendered.
The same evening opened a new exhibition of paintings by prominent American artists. This showing will continue through the remainder of the month of January.
An unusual feature of the evening, and one which should be encouraged more, was the relation of the arts, the combination of paintings and music. During intermissions in the program the guests had the opportunity of walking around and viewing the exquisite paintings. The atmosphere here is conducive to one’s best efforts.
The musical Sundays are to be repeated during February.
The Gallerie Intime is also available for those who wish to have an audition with managers, at a very moderate fee. The acoustics there are excellent.
Many fine recitals are scheduled to take place during the next few weeks.
to the new room. Here every forte disturbs. The softest pianissimo may be heard in the most distant corner of the hall, so perfectly have the acoustic problems been solved by the architects.
The best forces at the management’s command were rallied for this performance. Mmes. Schöne and Born,
FRANZ SCHALK,
who during Strauss’ absence is sole dictator of the Vienna Opera. Under Ms regime a new auditorium for intimate opera has recently been added to the Opera’s domain and opened with a genuinely Mozartean “Figaro” under his direction.
Messrs. Mayer and Duhan sang the principal roles. The orchestra had the genuine Mozart timbre. It was a worthy inauguration of the charming new house of the muse.
The plans of the management for the new home of the muse include such things as “Don Pasquale” and “Fra Diavolo.” Delicious little ballets, too, are to be produced,
Vienna, December 27, 1921.—Vienna has a new operatic theater. That is—it is not really new, but ancient, and it is not a theater either, in the ordinary sense. _ But as a public place of amusement it is brand-new and it gives all the intents and purposes of a theater, an opera intime—being perhaps the smallest and surely the most beautiful home of opera in the world. It was opened yesterday with a model performance of Mozart’s “Figaro,” performed by the forces of the big opera house, under whose aegis the new-old theater will operate.
To make a long story short—everyone who has been in Vienna knows the majestic Hofburg, the immense imperial palace, which now, that the Hapsburgs no longer live in it, would seem to be calculated to “eliminate” the housing problem at one stroke. Many of its extensive rooms have already been put to various useful purposes, but the^ most gorgeous of them all, the famous Redoutensaal, -which in imperial days was opened only on sanctified occasions, when some visiting foreign potentate was to be given a musical treat, has been invisible to ordinary mortals’ eyes.
This marvellously beautiful apartment, the ultimate expression of pomp, wealth and majesty, soon after the revolution attracted the attention of prominent art cranks, such as Prof. Alfred Roller, the head of the Vienna Opera’s scenery department, who saw in it an ideal place for the performance of “chamber opera,” in the milieu that Mozart and his contemporaries must have imagined. The upper half of the hall is lined with mirrors, the lower half with priceless tapestries. It is twenty-two meters long, eleven broad and twelve high. It seats comfortably 600 persons. (As a mere detail it may be added that a parquet seat costs 7000 crowns.)
Prof. Roller, entrusted with the structural adaptation of the rooms has sought to leave the architecture untouched. He has built up a stage as a separate entity, with a circular top, which allows the insertion of “practical” windows and doors. For the rest, variably colored screens at the back “auparavents” and modern lighting' take the place of scenery in the old-fashioned sense. It is the “conventionalized stage,” upon which things are merely indicated, and the whole is a salon stage—a house theater on the finest and most magnificent scale.
During the performances the great hall remains lighted, receiving its brilliant light from the great lustres glittering in the myriad colors of prismatic glass. The stage itself has its footlights, of course, and every modern lighting device as well.
A performance on this intimate stage presents new problems and difficulties. The performers are in close proximity to the audience and this demands extraordinary finesse in acting and singing. This first “Figaro ” per-formalice necessitated no less than thirty rehearsals with an ensemble that has played the piece innumerable times. The orchestra was a small selected body, of course, and the recitatives were accompanied by the harpsichord, played by Director Schalk himself, who led the performance.
The singers, accustomed to the dimensions of our huge opera house, had to keep their voices down, and it will take some time before they adapt their dynamics accurately
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
Pbone: Bryant 7233
New York City
MISSOURI
FLORENCE E. HAMMON State Normal Teacher Private Lesson! and Graded Clast Work Seven Assistant■
Musical Art Bldg.	St. Louis
NORTH CAROLINA
IRENE WEAVER Piano and Cla«• Work Normal Teacher	Franklin
Abilene
NELLIE HALL Friburg Apt., No. 2,
TEXAS
FOREIGN
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
EMIL DANENBERG Pianoforte Instruction Pupil of Teichmuller (Leipzig)
The Albany,	Hong Kong
CHINA
SIGHT READING.................................................
SIGHT SINGING................................־ ״ ” !.־!!!!!!!!"!!!״..! .Harmon?za“on
PART	.........................................Musical Memory, Repertoire
RHYTHM. .	.......................Grou[>s׳ Repet״i0nfangTble
By EFFA ELLIS PERFIELD, 41% West 45№ Street.

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.)
218 S. Wabash Ave.,	Chicago
MISSISSIPPI
INDIA
Calcutta
MRS. MARK ELDREDGE
Yazoo City
OLIVE BEAMON Piano Instruction Normal Teacher
NELL E. HANKS
Accompanist and Piano Instruction Pupil of Heinrich Gebhardt 274 Weit 71it St., N. Y. Phone : 10028 Col.
DOROTHY LOU IRVING Councillor for Mach-a-Wa-Mach Camp 323 W. 83rd St., N. Y. Phono: Schuyler 943
RUTH JULIAN KENNARD Piano and Class Lessons 609 West 115th St., N. Y.
Phone: Morn. 5530
WINIFRED KENNER 287 Mill Street
Poughkeepsie,
IDIS LAZAR
Concert Pianist and Teacher 50 Morningside Drive, Apt. 42, New York Phone 7770 Cathedral
GLADYS MURGATROID Piano and Class Work 861 Sterling Place, Brooklyn Phone: Prospect 5542
ELSA K. PETERSON Kirpal-Lindorff School of Music 140 Barclay St., Flushing, L.l. Phone : 1887 M.
221 E. Madison Street,
MARIE A. PLATE
425 West 21st Street,	New York City
Telephone Watkins 7265 222 Roberts Ave.,	Yonkers, N. Y.
С. KATE BEACOM Piano and Class Work 621 E. 29th St.,	Brooklyn
Phone : Kenmore 1297
NEW YORK
MRS. R. F. BEARDSLEY Piano and Class Work Pupil of Xaver Scharwenka 331 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 Popil 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 93 Junction Ave.,	Corona, L. I.
Phone: Newtown 4158
HELEN PARKER FORD Organist and Coach—Piano Instruction 106 So. Broadway,	White Plains
Phone : 1231