MUSICAL COURIER
58
February 2, 1922
The junior pupils of Olga C. Prigge, piano, were heard in a recital program at the Norwood Library auditorium.
A concert given by several members of the choir of the Wyoming Presbyterian Church, under the direction of Sidney C. Durst, retiring organist, attracted attention.
The seventh musical service was given by the choir at the Church of the Advent, Walnut Hills, under the direction of Gordon Graham.
Selections from Handel’s “Messiah” were presented by members of the choir of St. Paul’s Cathedral, under the direction of Charles Gray.
A Saturday noon recital was held in the Odeon by some of the students of the College of Music, including pupils of Romeo Gorno, W. Knox, H. Schroeder and Mrs. Whitney.
Members of the Cincinnati Musicians’ Club and the Woman’s Musical Club celebrated “Twelfth Night” at the Walnut Hills Business Club in a novel manner. Costumes of the period of King Arthur’s Court were worn by a majority of the members. Walter Aiken, president of the Musicians’ Club, and Mrs. Philip Werthner, president of the Woman’s Musical Club, appeared as the King and Queen. There was a musical program and a number of novel features, A Phrygian rhapsody, which was written by Agnes Kumler, with music by Carl Hugo Grimm, was a feature.
“My Maid on the Bamboo Screen,” an original musical play, was given by the pupils of the Goldenburg School, at Emery Auditorium, recently under the auspices of the Syrian Temple Shrine. It was offered under the direction of Mrs. William Smith Goldenburg and Tillie Hahn.
Martin Reed, a former graduate of the Cincinnati Conservatory of Music, has returned to his Alma Mater to occupy a place on the faculty in the piano department. He was graduated under Frederic Shailer Evans.
_ The music committee of the Evanston Welfare Association gave a pleasing program at the school auditorium. The Evanston Symphony Orchestra was heard under the direction of Leonard Harrison.
The St. Cecilia Choral Club, composed of young men and women of upper Vine street, held its initial concert at St. Francis’ Auditorium for the benefit of the new organ fund of the church. The chorus was trained by Frank Mahler.	W. W.
Fine Concert at Cincinnati Conservatory
Pier Adolfo Tirindelli, conductor of the Cincinnati Conservatory of Music, recently presented his organization in an excellent program. Constantly growing in strength, both in number and in the power of their playing, the students of the orchestra appeared three times as a solo body and three times as the accompanying medium to the. soloists. There was a youthful warmth of tone, an alertness and responsiveness to the conductor, quite unusual in a young body of players, equally confident in the Hansen symphonic suite, the Wagner, Sibelius and Grainger numbers, and lastly in the splendid playing of Tschaikowsky’s symphony in E minor. Three fine soloists appeared. Florence flyers, a pupil of Thomas James Kelly, gave a smooth interpretation of a Mozart aria from the “Marriage of Figaro.” Her voice is a warm limpid soprano, artistically handled and reflecting in its color and shading genuine musicianship. Rubin Phillips, pupil of Jean tenHave, played the Wieni-awski concerto in D minor. Mr. Phillips has a natural technical facility, to which he brings a warmth of feeling and a personal interpretation which mark a talent that will bear watching. The Liapounow piano concerto was brilliantly done by Marion Wilson Hayne, a pupil of Marguerite Melville-Liszniewska. This young artist is gifted with all the essentials of the successful pianist, a round tone, of depth and quality, a facile technic and a deep sense of musical values.	B. G.
“Singers Have American Groups, Why Not the Pianists,” Asks Harold Morris
At his recital on Wednesday afternoon, January 11, at Aeolian Hall, Harold Morris, the pianist-composer, gave over group three of his program entirely to compositions by American composers. The first number was a minuetto by John Powell; “Seguedilla,” by Albert Stoessel; prelude in B minor, by Marion Bauer (this is a new composition from this well known musician) ; prelude in E minor, by Frederick Jacobi; “The Irish Washerwoman,” by Leo Sowerby, and the “Adagio Elegiaco” and “A Doll’s Ballet,” by Harold Morris.
Mr. Morris said that the custom today was for singers to include in their concert program a group of all American songs. The idea has become so popular that there is hardly a program that does not contain at least four compositions by well known American composers. He believes that the same thing should apply to the pianist, and at his recent recital gave seven numbers, two of them very new and all by well known composers. The group met with instant success, and he believes that in the future one will find more piano compositions used than has been the custom.
Many Dates for Niessen-Stone Artists
Artists from the New York vocal studios of Matja Niessen-Stone are to be found in concert, opera, etc., as tbe following engagements testify: Marthe Vennat scored a decided success when she made her debut at the Opera of the Khedive in Kairo, Egypt, as Gilda in “Rigoletto.” Other roles which she is booked to sing there are Traviata, Lucia, Rosina and Butterfly. Zilla Simpson has been well received during her engagement at the Imperial Theater in Montreal. Grace Foster sang recently at a musicale at the home of Mrs. J. Finley Shepard and was greatly complimented upon her voice and work. On January 19 Lillian Cutler appeared at one of the Masonic Lodges in New York and on January 29 she sang at an entertainment for the Laurier Musical Club in Brooklyn. Ruth McIntosh also took part in the last mentioned affair, and won much praise for her interpretations of several arias and songs. Ethel Gordon scored a success at a concert in the Abraham Lincoln School in Elizabeth, N. J. Evelyn Siedle has been engaged as contralto soloist at the Burgan Reform Church in Jersey City, and W. F. Setzer has reported his engagement as tenor soloist at the First Unitarian Church, San Francisco.
Mme. Niessen-Stone was requested to arrange an evening of music at the East Side Y. M. C. A. for wounded ex-service men on January 28.
VINCENT D’INDY DIRECTS
CINCINNATI ORCHESTRA
Beethoven and Wagner Program at Seventh Symphony
Concert—Bachaus Soloist at Matinee Musical Club—
St. Lawrence Choir Gives Concert—Fourth “Pop” Concert—Notes
Cincinnati, Ohio, January 9, 1922.—'The music lovers of Cincinnati and vicinity were given a musical treat when they heard the recent concert given by the Cincinnati Symphony Orchestra, under the direction of the well known French composer and director, M. Vincent d’lndy, at Emery Auditorium, on the evening of December 27. On this occasion Mr. d’lndy was formally introduced to the audience by his friend and warm admirer, Eugene Ysaye. The greatest interest centered in his directing his own compositions.
As a director Mr. d’lndy is original and has confidence; hence, the effects produced are gratifying. One of the prominent parts of the concert was the director’s own composition, the symphonic poem, “On the Shores of the Sea.” He also gave an impressive reading of the other scores on the program, such as the “Evening Serenade,” in D major, by Mozart; “Music While the King Dines,” by De La Lande, and Monteverde’s overture to “Orpheus.” Beethoven and Wagner Program.
The popularity of the Cincinnati Symphony Orchestra is never lagging and the character of the concerts given by this notable organization of musicians is such as to keep the public in the very highest pitch of interest. The seventh concert of the symphony series, which was recently given at Emery Auditorium, was made up entirely of numbers by Beethoven and Wagner. This announcement was sufficient to arouse a wide interest, and as Mr.' Ysaye is very familiar with the works of these two masters, he gave the audience a notable concert, and the impression left was a lasting one. The opening number was the well known and ever popular overture, “Coriolan,” by Beethoven, delightfully played. This was followed by the Beethoven symphony No. S in C minor, one of intrinsic beauty. It was an inspiring number and aroused considerable applause.
The remainder of the concert was made up of Wagner numbers—the prelude and “Good Friday Spell,” excerpts from “Parsifal;” “Siegfried’s Rhine Journey” from “The Twilight of the Gods,” and the “Venusberg” from “Tannhäuser.” The orchestra gave an impressive rendition of these selections, and the concert as a whole was happily chosen.
Bachaus Soloist with Matinee Musical Club.
The second program of the series to be given by the Matinee Musical Club of Cincinnati, attracted a large audience to the Hotel Sinton. The program, as selected by Wilhelm Bachaus, who was the soloist of the occasion, was much enjoyed, and gave ample evidence of the place that he is making for himself as a pianist. He demonstrated that he is an artist of more than common merit. His program included numbers from Brahms, Beethoven, Chopin and Liszt. In all he proved himself to be a real musician, and the impression was a very favorable one.
St. Lawrence Choir Gives Concert.
Under the direction of J. Alfred Schehl, the members of the St. Lawrence Choir, composed of men and boys, gave a pleasing concert at Emery Auditorium recently, it being the first of the present season. The program was varied and included a number of old Christmas carols, which were rendered in a delightful manner. A number of the compositions were given a capella. Solo parts were sung by Robert J. Thuman, Herman Dittmaan, James Hughes, Jerome Biedenharn and Raymond Holthaus. The accompaniments were played by Theodore L. Romberg. Fourth “Pop” Concert.
The fourth of the series of popular concerts by the Cincinnati Symphony Orchestra was given at Music Hall on January 1, under the direction of Ralph Lyford, in the absence of Eugene Ysaye, the regular director. The soloists on this occasion were three well known and popular members of the orchestra, and all of them acquitted themselves with honors. As an orchestral director, Mr. Lyford is much at home, having directed the summer opera at the Zoo Garden here during the past two seasons. He is original in his interpretations and obtains fine results. The program included a number of well known and ever popular compositions, such as the “Peer Gynt” suite No. 1, and the “Coppelia” suit of Delibes. The solo parts included a beautiful rendition of the incidental solo in the “Ave Maria” of Bach-Gounod, played by Karl Kirksmith, the principal cellist of the orchestra; the berceuse from “Jocelyn,” played by Gustav Labrecht on the French horn, and the incidental violin solo in the “Meditation,” from Massenet’s “Thais,” by Emil Heermann, concertmaster. The concert was also marked by the playing of Mr. Ly-ford’s prelude to his own opera, “Castle Agrazant,” a very pleasing work.
Notes.
The Norwood Musical Club recently celebrated its twenty-fifth anniversary, the occasion being devoted to a dance and card party, which was much enjoyed.
Mme. Marguerite Melville-Liszniewska,' of the faculty of the Cincinnati Conservatory of Music, has returned to her class, after having been detained in Washington and New York, where she gave a number of recitals.^
John Byrne, of Paris, France, is in Cincinnati, visiting his relatives. He was a visitor at the Cincinnati Conservatory of Music during the holidays. He is a former pupil of the conservatory, but has been living in Paris for the past ten years, where he has gained a reputation as a singing master.
William Morgan Knox, violinist, of the College of Music, has begun his special classes in ensemble music, repertory and normal classes.
John A. Yoakley, Cincinnati organist, who has served in the above capacity for the past seventeen years at the Plum Street Temple, has resigned. In recognition of his past services he was presented with a gold watch by the church officers and members of the choir.
Lillie Finn gave a piano recital at her studio recently, presenting her junior pupils in the afternoon and her senior pupils in the evening.
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