MUSICAL COURIER
February 9, 19 2 2
47
Vocal Teacher and Coach
Consultation by Appointment
Studio: 25 West 86th Street
NEW YORK CITY
Phone: 8107 Schuyler
ft CURCI
the Organ Guild, the Rotary and City clubs and various musical organizations.
Beethoven Club Holds Memorial Services for Mrs. Hill.
Memorial services in memory of Mrs. Napoleon Hill, who was one of the charter members of the Beethoven Club and president for eight years, also the founder of the Junior Beethoven Club, and until a few years ago a very active member, who died here January 8, were held by the Beethoven Club Wednesday morning in the Woman’s Building concert hall. Mrs. J. F. Hill, president of the club, in a few well chosen words, spoke of the life of Mrs. Napoleon Hill and her untiring efforts for the musical uplift of Memphis. “Come Unto Me,” from “The Messiah,” was sung by Mrs. Owen, followed with a beautiful tribute, written by Mrs. J. M. McCormack, a former president of the club and co-worker, and read by Mrs. W. J. Hon. Sallie Leake, a protege of Mrs. Hill’s and the last president of the Junior Beethoven Club during Mrs. Hill’s administration, paid a fitting tribute to Mrs. Hill in a brief talk. This was followed with a duet, “Whispering Hope,” bv Mrs. O. H. Muehler and Mrs. E. S. Worden. Dr. C. H. Williamson, a close friend and Mrs. Hill’s pastor for many years, told of her varied philanthropic activities, closing his remarks by singing her favorite hymn, “God Will Take Care of You.” Just before the benediction, a negro music teacher, Julia Hook, who was aided by Mrs. Hill in developing the musical ability of the negroes of Memphis, brought in a beautiful floral tribute in memory of her benefactor.
Walter Chapman Returns for Recital.
Walter Chapman, who taught piano here for two years before going on the concert stage, played last Saturday before one of the largest and most enthusiastic audiences ever assembled in the Goodwyn Institute. In presenting Mr. Chapman, Mrs. Jason Walker, local manager, was warmly congratulated, and the ovation he received was gratifying. Memphis really claims Mr. Chapman as her very own, although he is from a nearby Mississippi town, and his “home-coming” is always eagerly anticipated. The program was quite modern, including the Cadman sonata in A major, which had never been heard here. Three selections by Korngold and Chopin’s polonaise in A flat major brought forth thunderous applause.
Municipal Symphony Orchestra and Choral Society to Give Initial Concert.
The first municipal concert of the season, with Leon Rains, as assisting artist, and Arthur Nevin, director, will be given soon. Artists to appear later are Cecil Arden and Zelina De Maclot, soprano, and others to be announced.
Notes.
Joe Cleta Howe, who has been with the Dunbar Opera Company during the past season, is the guest of her parents, en route to Chicago, where she will begin rehearsals for a spring tour.
Ralph Dunbar, producer of the Dunbar Opera Company, is in the city for the purpose of securing an engagement for summer opera. An Auditorium will in all probability be erected in Overton Park.	J. V. D.
Arthur Middleton Scoring on Tour
According to the Denton Daily (Denton, Texas,) Mr. Middleton attracted a capacity audience for his engagement there, the responsiveness of which attested to the reputation of this genial American artist. Another Texas concert was in Fort Worth, at which time the Record stated that in the face of unfavorable weather one of the largest crowds of the season turned out to hear Arthur Middleton, who sang his way into the hearts of the appreciative audience. “Middleton a revival for low-spirited humans,” was the verdict of the Beacon after the baritone’s concert in Wichita, Kans. Another recent very successful appearance was in McPherson, Kan., when one of the papers said that it seems an assured fact that concerts of this class will soon make McPherson a recognized music center in the state.
Mr. Middleton is at present on a long concert tour, and everywhere he is being well received both by his audiences and the critics.
Pavloska to Sing in Tacoma
Irene Pavloska, mezzo soprano of the Chicago Opera Association, will give a recital in Tacoma, Wash., on May 2.
Knew Him,’’ published by D. Appleton & Co. Other works on this subject include “Theodore Leschetizky,” by Comtesse Angele Potocka; “The Method of Leschetizky,” by Malwine Bree; a book on the Leschetizky method, by Marie Prentner,. and one. by Marie von Unschuld. There is also an article regarding him in Annette Hullah’s “Series of . Living Masters of Music.”
MEMPHIS NEWS ITEMS
Memphis, Tenn., January 21, 1922.—Francis Macmillen, American violinist, who was heard here in recital about ten years ago, making a favorable impression, returned to Memphis last week in the first of a series of three concerts, und r the auspices of the Beethoven Club. A delightful program was given. Henry Ridout was the splendid accompanist. There was a note of sadness about the program, when Mrs. J. F. Hill, the club’s president, announced the death of Mrs. Napoleon Hill, who was a pioneer in the work of the Beethoven Club more than twenty-five years ago—holding the office of president from 1895 to 1903. At first it seemed hard to give the concert when, at the suggestion of one of the active members, Mrs. W. J. Hon, chairman of the Junior Beethoven Club, which was founded by Mrs. Hill, it was decided that the recital could be made a beautiful and fitting tribute to the life and work of the honored ex-president and charter member of the club. With the audience standing, Mr. Macmillen played, at Mrs. Hon’s request, Shubert’s “Ave Maria.”
Clarence Eddy Dedicates New $35,000 Organ.
Upon the completion of the new $35,000 organ in the Scottish Rites Cathedral, it was planned to bring to Memphis from time to time the prominent organists of the world for recitals, absolutely free to the public, and also to have free monthly recitals by local organists. The organ is a four manual and is in six divisions. There are three consoles—•four thousand pipes. It is one of the three largest organs in the south, and Memphians are justly proud and deeply appreciative of the generosity of the Scottish Rites members.
The formal dedication service of this instrument was made Tuesday evening, when the first of a series of five recitals was given by Clarence Eddy. The program opened with a Bach toccato and fugue in D minor, and included various selections demanding the use of many of the sections of the instrument, and proving himself a master artist. Dr. P. M. Farrington, baritone, with Mrs. Farrington at the piano; Mrs. J. L. McRee, soprano, and Mrs. T. P. Ramsey, contralto, both accompanied by Mrs. G. B. McCoy; C. M. Saner, tenor, with Miss Steger at the piano, were the local assisting artists.
At Wednesday night’s recital, the second of the series, Mrs. David L. Griffith, soprano, and the Cortése Brothers, harpist and violinist, were the local attraction. Mrs. Griffith was never in better voice and was compelled to respond to a double encore. A harp and violin fantasie and a group of harp numbers, by Angelo Cortése, were warmly received.
At the third recital, Mr. Eddy added to the laurels of his previous appearances, the local artists sharing honors. Elsa Gerber, contralto, sang and was accompanied by Ernest Hawke. Mr״. Sam Bowen, soprano, who has recently returned to Memphis after a year’s study in New York, delighted the audience with three selections. Mrs. Lunsford Y. Mason, who is one of the gifted musicians of Memphis as well as accompanist, was at the piano. A male chorus, Shrine Chanters, gave two songs under the direction of Ernest Hawke, responding to an encore.
The fourth recital opened with Bach’s toccato in F major, given by Mr. Eddy, which was perhaps enjoyed more than any of its predecessors. Local artists on the program were Milton C. Knowlton, baritone (Mrs. McCoy, accompanist), and Mrs. Robert E. Lee, soprano (accompanied by Mrs. Arthur Bower, who proved such a splendid accompanist for Marguerite Namara, Monday evening). A violin solo by Gaspard Pappalardo, was accompanied by Mrs. Pappalardo.
At the fifth appearance of Mr. Eddy, when only Scottish Rite members and their families could attend, a request program was given. Mrs. David L. Griffith,' soprano, and the Cortése brothers again assisted, receiving even a greater ovation than on the previous occasion. The organ was used in conjunction with the harp and violin accompaniment. In addition to this, Mr. Eddy played “Southern Fantasie,” by Ernest F. Hawke, local organist, as a courtesy to the Organ Guild.
During Mr. Eddy’s stay in the city he was entertained by
Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
“La Dame Blanche.”
“Is there not an old opera ‘La Dame Blanche’ that met with quite a success when it was played in Paris in 1825, nearly a hundred years ago? Is it ever sung now?”
Of “La Dame Blanche,” it was said in 1875: “This dramatic tone poem is unique in its kind, and forms now, after a lapse of half a century, an attraction on every operatic stage.” It is said the overture was written in a single evening with the assistance of Adam and Labarre, two of the composer’s pupils, Boieldieu writing the introductory section, and the others the remainder. It survived until ;very recently in France; in fact, it is probably to be heard occasionally still. Also in Germany it was still performed fifteen years ago.
Music in Books.
“In nearly every novel I have read in the past six months or more, music has occupied a very prominent position. Either there has been a wonderful .prodigy, or a great artist as one of the principal characters, so realistically described ־ as to be recognized at once. Do you think artists like this kind of publicity?”
There is a certain kind of musician who is perfectly happy whenever his name is mentioned, no matter how unknown the paper may be. A “splendid” notice in the paper of a country town not even on the musical map is treasured and shown with as much pleasure as if it had been written by the best New York critic. It must be said that there is much sad rubbish written in books about music. Some trivial song or composition that the author has fancied, is quoted and praised, sung or played on every occasion and then lauded to the skies. One novel not long ago fairly “raved” about a well known opera, giving a description of the singing and acting that only served to show the ignorance of the writer. It is only fair to say the majority of the readers were not any better informed, so enjoyed these ravings. Hearing the two bands playing at a Fourth of July celebration, vociferously applauded by the majority, a musician asked why there was such a discord and received the astonishing reply:	“Why, we tuned our bands at different pitch so
folks would know we had two bands playing.” _ As a rule those who write of music in novels know little of the subject.
Is Paris a Musical City?
“When we have discussions in our club which leave the subject unsettled, we always, turn to the Musical Courier as our referee. Now we have a rather heated discussion as to music in Paris. Some think because there are several nçted composers there, that music must be in a flourishing condition. But just as many think there is not much music in the French city, nor is it always of the best quality. Please help us.”
As far as quantity goes, there is plenty of music in Paris, but the average quality is not very high. The state theaters for music —the Opéra and O'péra-Comique—are, unfortunately, so under the control of politics that not one performance in ten is up to a high level. (Perhaps conditions at the Opéra-Comique may improve under the artistic leadership of Albert Wolff, who is a fine musician, conscientious, and the foe of politics in music.) ״ Of concerts there are a plenty. As far as the orchestral ones go, Paris has three fine orchestras—the Lamoureux, the Colonne and the Pasdeloup—but none of the respective conductors (Chevillard, Pierne and Rhene-Baton) are in a class with numerous conductors outside of France. Of course the solo recitals vary in value with the artists, native or foreign, giving them. France herself has today no more first class executive artists than can be counted on the fingers of two hands.
The First Carmen.
“Can you tell me where •I can obtain the information as to who first sang Carmen in this country? I have heard the credit given to so many that I should like to know who was . the pioneer in that character.”
There were almost two “first” Carmens in America. The opera was produced by two separate organizations, one in New York, one in Philadelphia, on succeeding evenings, or only two evenings apart— the exact dates cannot be verified at the moment. In New York, Minnie Hauk (still living at Lucerne) was the Carmen; in the other, Clara Louise Kellogg.
About Josef Suk.
the Austrian composer r
sometning oi josepn----, .— ------
Joseph Suk, violinist and composer, was born at Krecovic, Bohemia, January 4, 1874. The son of a school teacher, he received his first musical training from his father; then entered the violin school of the Prague Conservatory where he studied the instrument with Bennewitz, and composition with Antonin Dvorak, whose daughter he married. He joined the Bohemian String Quartet as second violinist in 1892 and at last reports still occupied the post. Among his compositions are piano quartet, piano trio, piano quintet, string quartet in B flat major (op. 11), string quartet in D flat major (op. 31, 1911), fantasy for violin and orchestra (op. 24), symphony No. 1 in E major (op. 14), symphony No. 2 Asrael, (op 27), symphonic poem “Praga” (1905)., dramatic overture, “Serenade” for string orchestra (op. 6), music to the fairy play “Raduz i Mahulena” (a “fairy suite” published as op. 16), music to the dramatic legend “Pod jabloni” (“From the Appletree —for alto, mixed chorus and orchestra, Prague, 1902) piano pieces, choruses, duets. He also edited the posthumous works of his father-in-law, Dvorak.
Books About Leschetizky.
“I have been advised to write to you concerning the Leschetizky method of piano playing. I am desirous of securing either a book on this method or a life of Leschetizky.
A very interesting book dealing with Leschetizky by one who knew him and has been able to give an intimate picture of the great maestro and his work is Ethel Newcombs Leschetizky as I
RECITAL CONCERT ORATORIO
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DANIEL MAYER Aeolian Hall, N. Y.
H. B.TURPIN at the Piano BALDWIN »!ANO
* FANNING Baritone
I “Who has made the greatest success of all the American singers this Summer.” I	—London Sunday; Times
Scottish Xcnop
(Of the Royal Operas, at Stockholm, also Covent Garden, London, and the Chicago Opera Company.)
Enroute With Scotti Opera Company, September 12th, to October 31st.
Available for Concerts from November 1, 1921—May 15, 1922 Exclusive Management: R. E. JOHNSTON Paul Longone, Aeaoclate 1451 Broadway, New York City
HISLOP
JOSEPH
MIN THOMPSON EARL MEEKER
PIANIST	BARITONE
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