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MUSICAL COURIER
February 9, 19 2 2
January 5. This was called for the purpose of forming a civic music league, which would co-ordinate the efforts of all musicians in obtaining common ends. There is crying need here for an adequate concert hall, a musical library, a chair of music in the university, and some means of preventing overlapping of concert dates. A committee was appointed to draft a constitution, and it is thought that the league will soon come into being.	!. T.
Anna Pinto Active
Recent bookings for the young Italian-American harpist, Anna Pinto, include a recital at Tarrytown, assisted by Victor Biart, official lecturer at the New York Philharmonic concerts, Columbia University, etc. She was soloist with the Summerfield M. E. choir at Port Chester, N. Y.; in a joint recital with the organist Marcel Dupre at a mu-sicale of the Pleiades Club of New York, January IS; soloist for the Arion concert, Passaic, N. J.
A series of five dates have been booked at the Neighborhood Players’ Theater, New York, performing a requested program of Debussy compositions, including “8e Vent Dans,” “La Plain,” “Prelude,” “Danseuser des Delphes,” “Danse Sacre,” and “Danse Profane.” February 17 she will be at Flemmington, N. J., as soloist with the Vosseller Choral; 26, joint recital at the National Theater, New York; 27, soloist with the Irish-American Musical Society of New York.
Sarah Barasch at Cultural Amusement Club
Sarah Barasch appeared as soloist on Friday evening, January 13, at the Cultural Amusement Club in Brooklyn’ before an audience which packed the large auditorium. The young pianist played a group of Chopin numbers, comprising “Fantasie Impromptu,” as well as waltzes in C sharp minor and G flat major. “Le Rossignol,” Alabieff-Liszt, and “Etude de Concert” in D flat major, by Liszt. As an encore she played Wroblewski’s “The Babbling Brooklet.”
Detroit Appearances for Clemens
Within six weeks Clara Clemens made three important appearances in Detroit, Mich. One of these engagements was as soloist with the Detroit Orchestra, and another was in joint recital with her husband, Ossip Gabrilowitsch, when she opened the Statler Series inaugurated by the new Detroit Concert Bureau. The third engagement was when she gave one of her Brahms recitals for the Tuesday Musicale.
LENA DORIA DEVINE
Lampcrtl’s Method of Voice Production Metropolitan Opera House Studios
1425 BROADWAY. N. Y.	Tel. 1274 Bryanl
ORPHEUS CLUB’S PRESENTATION OF “IOLANTHE” LIKED IN WINNIPEG
Winnipeg, Canada, January 23, 1922,—A four-day présentât-011 of “lolanthe” by the Orpheus Club was the outstanding musical event here of early January. Large audiences attended all the performances, given in the Walker Theater, and accorded the company a cordial reception. The singing was good, the costuming artistic, the acting convincing, and the interpretation of the roles showed true understanding of the Puckish spirit of the immortal collaborators. Persons familiar with professional production of the opera both by the D’Oyly Carté Company in England and by De Wolfe Hopper and others on this continent, said that the club compared very favorably with any of these, and, in some cases, improved upon traditional renderings. There was indeed proof of the claim that Winnipeg contains some of the best amateur talent on the continent, to say nothing of the fact that the appeal of Gilbert and Sullivan is perennially strong and irresistible.
Bartley Brown, as the “highly susceptible chancellor,” was especially good, singing the breath taxing monologues with admirable ease and acting cleverly. F. H. Hughes was Strephon; Ruby M. Rice, Phyllis; Olive V. Quast, Queen of the Fairies; Mrs. A. Johnson was lolanthe; Arthur Mac-Fadyen and Norman E. White, the leading peers, and Chris N. Graham, the grenadier guard. Stanley Osborne was the musical director, and Syd Barnes stage director.
Also notable was the production by the choir of Holy Trinity Church, the previous week, of two groups of ancient carols sung for the first time in Canada. They have been performed in England only about four times, and Winnipeg feels rather proud that it should be the first city in Canada to hear them. This privilege is due to the enterprise of Hugh C. M. Ross, B.A., F.R.C.O., the new organist of Holy Trinity Church. The first group of carols was taken from the ancient Coventry nativity play by Rutland Boughton. The composer spent a great deal of time absorbing the spirit of the ancient carols, and the result is a beautiful combination of the ancient melodies with a web of interweaving counterpoint. Outstanding features were haunting minor cadences, unusual rhythms, and a general old world flavor. The words of the second group were taken from the Sloane MS., A. D. 1386, but the tunes were written in 1912 by Dr. Terry. However, he, too, caught the old world spirit admirably, and his carols had many of the same characteristics. Other unusual carols were sung by the two soloists, Mrs. C. Estey and W. H. Henderson. “The Song of the Virgin Mother,” Edgar Bainton, is a translation of a Spanish carol, and “The Three Holy Kings,” by Gliere, was a weird Russian composition. There was also a setting of Thomas Hardy’s poem, “The Oxen.” Interest was such that the carol service was repeated the following week, and again at a meeting of the Men’s Musical Club, held January 14.
An open meeting of the Women’s Musical Club, January 9, presented E. Robert Schmitz, French pianist, whose hearers were delighted with, his rendering of modern numbers..
Important developments in the musical life of Winnipeg are expected to result from a meeting of musicians held
Personal Address: CONGRESS HOTEL Chicago
Management: EVANS &. SALTER 506 Harriman National Bank Building Fifth Ave. and 44th St, New York
HOMER SAMUELS. Accompanist MANUEL BERENGUER. Flutist Steinway Piano
VOCAL INSTRUCTION 135 Wc»t 80th Street, New York
TEL. 3786 Schnylei Consultation only by appointment
JOSEPH REGNEAS
'baritone
THEO.-TENOR
Studio: 22 West 39th Street	New York
Tel. 3701 Greeley
MARION GREEN VAN TORE
Lydia Lindgren
Soprano
CHICAGO OPERA
I! Available for Concert Engagements
Season 1921-1922
HARRY H. HALL, Manager—GABRIELLE ELLIOT, Associate, 101 Park Avenue New York
Students prepared for tire
Church Service and Recital Work
BY
WILLIAM C. CARL, Mus. Doc.
At the GUILMANT ORGAN SCHOOL
Send for Information	17 East Eleventh Street, New York City
every detail—singing, acting, and stage business—and she was heartily congratulated upon the success of her work. Georgia Stark as Yum Yum, Mabel Roberts as Pitti Sing, and Arette Manter as Peep-Bo, made a fascinating trio as “Three little maids from school.” Stephen Welz disclosed a beautiful voice in portraying Pooh Bah. James Sandeford was highly successful as Ko Ko, and the love sick Nanki-Poo was well impersonated by Martin Dankers.
Returning from a holiday visit to Eastern points, the well known piano virtuoso and lecturer, Richard Buhlig, gave the third of a series of piano recitals on Friday evening. These recitals are of intense interest to the serious student of music, proceeding as they do in chronological order. During his absence, Dr. Aloxis Kail substituted for Mr. Buhlig, giving the analytical lecture preceding the symphony concert.
The Zoellners gave their customary artistic presentation of a charming program on Monday evening, playing a Beethoven quartet, Goossens’ suite for two violins and piano and the Gliere quartet. The beautiful performances of these artists are among the high lights of Los Angeles musical events.	J. W.
PORTLAND NEWS NOTES
Portland, Ore., January 21, 1922.—On January 9 Mme. Schumann-Heink sang to a capacity audience at the Public Auditorium. More than four hundred persons were seated on the spacious stage, proving that musical Portland loves the great contralto. Lieurance’s “Indian Love Song,” and “To^ a Messenger,” by La Forge, were so enthusiastically received that, they had to be encored. Arthur Loesser, the efficient accompanist, played several delightful solos. Mme. Schumann-Heink, who received a thrilling welcome, will return to Portland next September to sing for the American Legion. This concert was managed by Steers & Coman.
The Portland Symphony Orchestra gave its third “pop” concert of the season on January 13, conducted by Carl Denton. Encores were demanded and granted:
Mordaunt A. Goodnough, prominent Portland pianist, was soloist with the Salem (Ore.) Symphony Orchestra January S, playing Mendelssohn’s G minor concerto for piano and orchestra. His encore was Chaminade’s “Air de Ballet.” According to a Salem newspaper, Mr. Goodnough’s artistic work was thoroughly enjoyed by a large audience. The orchestra, which is three years old, is making excellent progress under the direction of John R. Sites.
Kathleen Parlow, violinist, with Theodore Flint as accompanist, and' Paul Althouse, tenor, with Rudolph Gruen as accompanist, gave a brilliant concert on January 16 at the Public Auditorium. Mass Parlow opened the program, displaying considerable virtuosity. Mr. Althouse, who sang most acceptably, was heard in a group of French songs and several arias. Miss Parlow and Mr. Althouse aroused much enthusiasm. They were presented by the Elwyn Concert Bureau of Portland, Oliver O. Young general manager.
The tenth annual performance of “The Messiah” by the Portland Oratorio Society took place on January 15 at the Public Auditorium. It was a fine choral achievement. The soloists were Goldie Peterson Wessler, soprano; Mitylene Fraker Stites, contralto; J. MacMillan Muir, tenor, and John Claire Monteith, baritone, all of Portland. Joseph A. Finley conducted with his customary skill. The accompanists were Ethel Meade, pianist, and William Robinson Boone, organist.
On January 19 the Eurydice Club, a new chorus of women’s voices, gave its first concert in the ballroom of the Multnomah Hotel. E. Bruce Knowlton directed.
Rex Underwood, head of the violin department of the school of music of the University of Oregon, is giving a series of lectures on orchestral instruments at the Public Library.
Mrs. Mischa Pelz has been appointed director of The Melodians, a newly־ organized chorus of women’s voices.
Mordaunt A. Goodnough is occupying his new studio, Suite 602, Eilers Building. He has a large class of piano students.	J. R. O.
Astoria (Ore.) Items
Astoria, Ore., January 18, 1922.—A continuous ovation was tendered Mme. Schumann-Heink on the occasion of the recital which she gave under the auspices of the Friday Musical Club, assisted by Arthur Loesser at the piano. Her program opened with “Ah Rendimi,” of Rossi, and included the Armida aria from Handel’s "Rinaldo,” “Ah Mon Fils” from Meyerbeer’s “Le Prophete,” and two song groups by Lieurance, Ward Stephens, La Forge, Louise Reichardt, Schubert, Charles Huerter and closed with the Bolero of Ariti. In response to a special request, Mme. Schumann-Heink also added “The Rosary” and “Stille Nacht.” Mr. Loesser contributed numbers by Chopin, Rachmaninoff and Liszt as his solo offerings.
Siloti to Play with New York Symphony
Alexander Siloti, Russian pianist, will appear as soloist with the New York Symphony Orchestra at the pair of concerts in Carnegie Hall, February 16 and 17, playing the “Wanderer” fantasy in C for piano with orchestra (Schubert-Liszt), according to Liszt’s indications, with Albert Coates, guest conductor, directing.
Middleton Singing in the West
Arthur Middleton, since his New York recital at Aeolian Hall early in the season, has been singing in concert extensively in the West. This month he is booked to appear in the states of Nebraska, Montana, Washington, Oregon and Idaho.
Amy Neill to Make European Tour
Amy Neill, the violinist, will sail for Europe on the Cedric on February 25 for an extended concert tour.
FAMOUS TENOR
In Europe
Season 1921-22
Personal Representative : Arthur Spizzi
1482 Broadway, New York
LAZARO