47
MUSICAL COURIER
February 2, 19 2 2
was also sung last year by Giovanni Martinelli at all his concerts. Theo Karle recently sang in concert Mr. Roxas’ “Stornelli.”
Marie Tiffany’s Sense of Humor
Marie Tiffany, soprano of the Metropolitan Opera, is a bit of a wag as well as an able and popular singer. After her recent appearance in “Louise,” somebody asked Miss Tiffany whether it was she who was making a noise like a sewing machine in the workshop scene.
“Why not?” retorted Miss Tiffany. “I’m a Singer.”
Arthur Hinton’s Piano Concerto
The Arthur Hinton piano concerto, that piece of “red-blooded and bouncing music,” so styled by the editor in chief of the Musical Courier, and now frequently being played in England’ by Katharine Goodson, proves, upon investigation to be a publication appearing in the catalogue of J. Fischer & Bro., New York.
A Lansing Recital for Hackett
Arthur Hackett, tenor, will give a recital February 10 at Lansing, Mich.
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OUR FIRST FLAG
A Short Cantata for Mixed Voices By E. S. Hosmer
Price, 40 cents postpaid
This is a spirited and tuneful little work, as well adapted to use by high schools as by choral societies. Though the music is easy to sing it is inspiring; and in union with the patriotic text possesses the power to thrill. How our flag came into being, and how Betsey Ross made one for the first time is told in an impressive style which endears it anew and impresses it more firmly in heart and memory.
OLIVER DITSON COMPANY 178-179 Tremont St., Boston 10
Order of your local dealer
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antly in C sharp major. “A la Señora Amelia Cocq de Weingand.” The scherzo is of another sort, á la Mendelssohn, and like the Leipsic classicist, of short quick phrases, with a melody-trio, singing in octave-chords, and repetition of the first phrases, ending brilliantly. Interesting music! “Al señor Daniel Garcia Guerrero.”
Mozart Society Charities
Mrs. Noble McConnell, founder and president of the New York Mozart Society, originates and carries out various public entertainments which bring large sums of money and untold benefits to the East Side Clinic for Children, besides the annual charity dinner given to the clinic patients, both at the Astor Hotel. January 24 the annual Mozart Clinic Pageant Bal Masque and Carnival occurred in the grand ballroom of the Hotel Astor, and this affair, needless to say, was a tremendous success. The chairman of the ball was Mrs. S. Gardner Estabrook, and the chairman of program was Mrs. William H. Hara-don. The hundred-page program had in it many advertisements of leading business firms, but also pages representing money, with the pseudonym of “A Friend.” Handsome full-page pictures of President McConnell, Mrs. Benjamin Adriance, Mrs. Estabrook, Mrs. E. Bassford Schmalholz, Governor and Mrs. Edward I. Edwards, with Mrs. McConnell (the picture of the three having been taken at the Governor’s mansion, Seagirt, N. J., last September) ; Mrs. F. Macdonald Sinclair (“with heartfelt gratitude for her donation of $500 to the East Side Clinic”) ; Mrs. Emma F. Seaman, Mrs. William Maynard Haradon, of the clinic building at 325 East 84th street, with a letter of commendation on the splendid work done there, signed Dr. Adolph Lorenz; Thomas W. Bentley, Mrs. Robert H. Davis, Lillian D. Schwoerer, August C. Schwenk, M. D., chief of the medical department of the clinic; Mrs. Donald Alexander Green and “the youngest member of the New York Mozart Society” (her six months old baby. Rogers Hepburn Green) ; Ruth Shepley; Kenneth W. Buel, M. D., chief of the surgical department of the clinic; Frederick A. Muschenheim, proprietor of the Hotel Astor, etc.
The program of the evening contained the names of all chairmen of committees, said chairmen- being in charge of the various booths, where all manner of articles were sold. Dorothea Weir, dancer, was seen and admired at the opening nine o’clock festivities; at ten o’clock there was a favor dance; at eleven o’clock a romance dance and at twelve o’clock President McConnell, as Marie Antoinette, with her ladies of the court, led the grand pageant for awarding of prizes. These were given for the most picturesque, the most original, and the most humorous costumes. The boxes were filled, there were many, beautiful and notable costumes to be seen, and music by Nicholas Orlando and orchestra of twenty pieces kept things going until early morning hours.
Roxas’ Songs Popular
Emilio A. Roxas’ song, “Welcome Love,” was recently sung with success by Aureliano Pertile at one of the Metropolitan Sunday evening concerts. This beautiful song
AMERICAN ACADEMY o! DRAMATIC ARTS, Founded 1884
FRANKLIN H. SARCENT, President
The leading Institution for Dramatic and Expresslonal Training in America. Connected with Charles Frohmann’s Empire Theater Companies. For Information apply to Secretary, 155 Carnegie Hall, New York.
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Eminent Conductor—Teaching,
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Stadio : 315 West 98th Street, New York City
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Well Known Pianist
SECOND RECITAL Carnegie Hall, New York March 13
( All Chopin Program)
MALKIH
HAENSEL & JONES, Managers
STEIN WAY PIANO
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5 Direction: J. H. FITZPATRICK, I Windtor-Clifton Hotel, Chicago, 111.
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3146 EUCLID AVE., CLEVELAND, OHIO Mrs. Eranklyn B. Sanders, Executive Director
VIRGINIA GILL Lyric Soprano
“A Voice of Distinctive Charm”	Now Booking for Season 1921-1922
CONCERT—ORATORIO—OPERA
Address ! 1014 Division Street_־	_ Camden, New Jersey
FAUSTO CAVALLINI
Leading Tenor with Scotti Grand Opera Company
Address: care ALFREDO MARTINO, 329 West 85th Street	New York
Author of the book “The Mechanism of the Human Voice.” Former teacher of ROSA PONSELLE. Teacher of FAUSTO CAVALLINI, leading tenor with Scotti Grand Opera Co.; IRENE WELSH, leading soprano with the Italian Lyric Federation. Send for leaflet
329 West 85th Street New York
MARTINO
REVIEWS AND NEW MUSIC
{John Church Company, New York, Cincinnati, London)
“MY BABY” (Song)
Verse by B. M. Kaye Music by Mana-Zucca
The charming young pianist and composer marks this taking lullaby “op. 67,” which shows how prolific she is. Quantity, however, does not always mean quality, but it can be said of this song that it is sweetly simple, right to the point.
Simplicity is the keynote of the first stanza and of the refrain, which, however, at the bottom of the page brings in a little side-note melody syncopated and accented. The second refrain has the same melody as the first, but with a highly “modernistic” harmonization of the accompaniment. The composer says right there; “The song may end here if the second refrain is too difficult.” One should keep posted, however, as to this “modernization” movement and get acquainted with such harmonies. For high and low voice.
(John Church Company, Neto York, Cincinnati,_ London)
“NICHAVO!” (Song)
Verse by Helen Jerome, Music by Mana-Zucca
“Nichavo” is a Russian word meaning “Nothing matters,” or “I should worry,” or ““wot t’ell” as Chimmy Fadden used to say, and is pronounced “Nitch-e-voh,” with accent on the last syllable. The song is very original, with many queer twists and turns, some of them essentially Russian, and one period (page six, marked “tenderly”) of distinctly Italian opera effect. Queer intervals abound in the song, which is, however, full of rhythm, easy to sing, and these intervals give character to the song. It ends presto with the exclamation on high tone of this death-defying “Nichavo,” the harmonies ironic, sarcastic, with bang 1 bang! chords. This song is possibly quite the most characterful Mana-Zucca has ever composed, and shows her at her very best and most interesting period. “The Big Brown Bear” is another, full of humor, and these songs, all of them, will serve to carry her reputation far and wide.
(John Church Company, New York, Cincinnati, London)
“SHOLOM ALECHEM” (Song)
Words by Minna Staigman, Music by Mana-Zucca
There is both English and Hebrew text to this song, which, translated, means “Greetings,” or “Peace Be With You.” It is real Hebrew music of the old sort, with queer intervals, augmented seconds, slow, affecting, expressive, wailing in spots, but interesting throughout. Minor chords pervade the song, and a portion sounds as if Leah was singing to her own harp-playing of rolled chords. Dramatic at the close, and dedicated to Rosa Raisa. In three keys.
(Oliver Dilson Company, Boston, New York, Chicago, London)
“IN AUTUMN” (Song)
By Werner Josten
If one is looking for the modern American extremist in composers’ songs, here is a fair sample, for it is full of dissonances, all of which are calculated to express distress, as do the words, originally by von Eichendorff, printed in this song, in the original German, and also in Charles Fonteyn Manney’s English translation. Chords of the seventh follow each other in regular proximity, and such chords as can be manufactured of five succeeding tones, such as A-B-C-D-E, D-E-F-G-A, etc., are common. With lugubrious minor bass-chord it ends, echoing the closing text
Once more from out the distant past they’re bearing Thoughts of my love again. ...
But for the grave, despairing, I. languish In my pain.
Now if composer Werner Josten can write such harmony as this he can surely write melody, so it is hoped that “Spring Night” and “The Magic of Spring,” both belonging to this set, will soon be received.
(G. Schirmer, Inc., New York)
THE COMPLETE SCALES (for Piano)
By Emil Liebling
This work of fifteen pages contains all the major and minor scales, in single notes, thirds, and in both forms of the minor mode, an entire page being devoted to each scale, and closing with the chromatic scale, with various fingerings, and in major and minor thirds and sixths. The compiler has been dead (Chicago) some years, and it is noted with interest that the work was first copyrighted by the Chicago Music Company in 1880, forty-one years ago. The copyright was renewed in 1908 by Mr. Liebling, and this edition bears the date 1917. All this is mentioned as showing the lasting quality of the Liebling scale-book. The much beloved teacher and composer provided the work with explanatory notes, and two pages are given over to “How to Practice the Scales.” In this he mentions smoothness in continuous playing, finger-stretch, and velocity, and needless to say what is printed is in the nature of the very highest authority, for Emil Liebling was a master-pianist of his day.
(G. Schirmer, Inc., New York)
“TWO HUMORESQUES” (for Piano)
By Enrique Soro
Soro is a Chilean pianist and composer, said to be a very important person in South America, and judging from the several works received and reviewed, this must be the case. His music is altogether unusual, combining more or less Spanish flavor with original harmonies and rhythmic combinations. This does not place him in the so-called “futuristic” school, for their password is “mud”! With his originality he combines definite musical form, respecting all that has gone before, and very great vigor of stvle.
A set of pieces is recalled, in which “Impressions of New York,” “Las Campanas” (The Bells), “Danza Exotica,” are perhaps the best, although “Tempo de Gavotta” and “Danza d’Amore” (printed in America three years ago) are likewise interesting. These “Humoresques” are “Ca-priccio Number 2” and “Scherzo Number 3.” The first-named is an allegro vivace with interlocking octave and chord-passages, running into a fluent melody for the right hand which soon attains climax, impassioned, forceful, dramatic. The first figure is repeated and, after a snatch of the second melody, it closes with loud chords, triumph-