33
solos,” while the Press-Guardian commented:	“Mme.
Brocks-Oetteking soared over the fluted notes of the songs of the masters that seemed to dwindle into the distance and echoed over the distant hills.” All in all, the singer made a most agreeable impression.
On January 30 she sang at the Arts Assembly, and on February 23 she will give a program at the Y. M. C. A. In addition to this, Mme. Brocks-Oetteking has been singing at some private recitals, and during March and April she will appear out of town.
Leginska and Kindler First Joint Recital
The first joint recital in New York by Ethel Leginska and Hans Kindler will take place at Aeolian Hall, Thursday evening, February 23. The program will contain several classical numbers as well as compositions by Leginska and Ornstein.
Althouse on Tour
Paul Althouse, tenor of the Metropolitan Opera Company, continues his present successful concert tour of the West. Last month he sang in the State of California, with an appearance with the orchestra in San Francisco on February 1.
MUSICAL COURIER
sers refuse to die. They haye realized the necessity of banding to-gether and fighting for the right of each individual to secure a fair a.nd free presentation of his work. It is out of such a collective will that the International Composers’ Guild was born.
The aim of the International Composers’ Guild’ is to centralize the works of the day, to group them in programs intelligently and organically constructed, and, with the disinterested help of singers and instrumentalists, to present these works in such a way as to reveal their fundamental spirit.
The International Composers’ Guild refuses to admit any limitation, either of volition or of action.
The International Composers’ Guild disapproves of all “isms:” denies the existence of schools; recognizes only the individual.
Hanna Brocks-Oetteking Pleases Paterson Audience
On Monday evening, January 23, at the auditorium of P. S. 6 in Paterson, N. J., Hanna Brocks-Oetteking, soprano, made her first appearance in that city and was enthusiastically received by the good sized audience. Mme. Brocks-Oetteking appeared on the program with Lydia Sacker, violinist, and Anita H. Fontaine. Her numbers were a group in French by Fourdrain, Rabey and Korsakoff, whose Hymme au Soleil,” from “Coq d’Or.” she rendered charmingly, and four English numbers by Kriens, Burleigh, Lieu-rance and Crist.
In referring to the singer's work, the Sunday Chronicle said: ‘,Mme. Brocks-Oetteking rendered some delightful
February 16, 19 22
3 Triumphs in 3 Days
Mildred Bryars—contralto
[The music critics of the New York dailies constitute the jury in the appended extracts from criticisms which have appeared in our local newspapers. Many concerts and operas are given in the metropolis, and the following day the critics agree or disagree on the merits or demerits of the performer. However, on most occasions the writers do not agree, and this department is run for the purpose of reproducing some of the flat contradictions, showing that, after all, the review constitutes but the personal opinion of the critic who covers the performance,—Editor’s Note.]
Erna Rubinstein, Violininst, February 3
Evening Journal She merely played the outside of the music (Mendelssohn concerto) ; the veritable Mendelssohn eluded her.
World
She lacks emotional depth as yet.
Tribune
She played the Mendelssohn concerto with fine breadth of style, only slightly marred by sentimentality.
Tribune
Her pose and bearing indicate greater maturity than the figures, and so does her playing of the violin, for that is the playing of an artist ripe in knowledge and feeling.
Evening Journal
There was not a glimmer of sentiment, not even the touch of sentimentality one could easily ־ forgive a young girl.
World
She is at least free from any taint of sentimentality.
Rosa Raisa in “Jewels of the Madonna,” February 3
Evening Journal It (Maliella) is perhaps the best thing she does and she did
World
Rosa Raisa, as Maliella, sang both well and badly—. Her intonation, uncertain at times, deserted her entirely at the end of her mocking scene with Gen-naro, so that she took her final high note painfully flat. Her really good dramatic conception of the part was spoiled by her unfortunate habit of watching the conductor, to the destruction of all illusion.
it at the top of her bent last evening.
CLASS OF SERVICE I SYMBOL Telegram |	WESTE1»UN10N	Form 1204 CLASS OF SERVICE » SYMBOL
Day Letter Blue		Telegram Oay Letter Blue
Nljjht Letter N L II none 0( these three symbols awxars after the check (number 0f words) this is a telegram. Otherwise its character is indicalod by the	teüÄIram	Night Message Nile Night Letter n L 1( nono of these three symbols wraraatterThe check (number 0(
	NEWCOMB CARLTON, president GEORGE W. E. ATKINS. riRST VICE-PRESIDENT	wise !Is character is indicaied by the symbol a op earing after the check.
FEBY 2 I922
WALTER ANDERSON
1452 BROADWAY NEW YORK N.Y.
BRYARS WAS A DELIGHT BOTH TO THE EAR AND THE EYE HER AMNSRIS WAS THRILLING SHE WAS ALL YOU REPRESENTED AND SOME MORE.
BRUCE A CAREY ELGAR CHOIR HAMILTON ONT.
WALTER ANDERSON
FEBY 3 1922 1452 BROADWAY NEW YORK N.Y.
MILDRED׳BRYARS WAS A VERY GREAT SUCCESS WE HOPE TO HAVE HER HERE AGAIN SOME TIME
GEORGE, C CARRIE MENDELSSOHN GLEE CLUN ST THOMAS ONT
CLASS OF SERVICE	SVMB'QL
Telegram	
Oay Letter	Blue
Night Message	Nite
Night Letter	N L
If none of these three symbols *»ears after the check (number of wonts) this Is a telegram. Other-wise its character is indicated by the symbol aooesrlng after the check.	
WESTEJÜI UNION telÜram
GEORGE W. E. ATKINS, first vi
NEWCOMB CARLTON, PRESIDENT
CUSS OF SERVIGI
»iw it. character ts indice':d by the «ymbd eppearmg «ft« Cn check.
WALTER ANDERSON
J|CEim.*T 5* WEST 45TH STREET, NEW YORK *SB*
FEBY 4 1922
145a BROADWAY NEW YORK N.Y.
MISS BRYARS SUSTAINED HER REPUTATION AND MORE THAN JUSTIFIED YOUR RECOMMENDATION BY HER DELIGHTFUL RECITAL YESTERDAY
JESSIE HII.T,MAN EREDONIA MUSIC CLUB
New York
1452 Broadway
Exclusive Direction
WALTER ANDERSON
Maria Ivogun, Soprano, February 7
T ribune
Her performance of the Mozart aria was a model of tastefulness and appreciation of the composer’s style.
Herald
Miss Ivogiin decorated Mozart with some flights into her bird-hke upper scale. They did not appear to belong to the style of the music, but style is somethin now almost out of style.
Globe
On those topmost notes it (her voice) merely tinkles.
Globe
Mme. Ivogiin again disclosed a voice of small volume and great compass, which would be far more effective if not produced so far back. As she now emits it, the voice lacks resonance and color.
Oliver Denton, Pianist,. February 7
ITerald
He is a pianist whose interpretations are characterized by grace and sentiment rather than by breadth.
Evening Journal Her voice rose to the highest E natural without effort, and then she trilled on this perch with a limpid purity of tone and pitch that was astonishing.
Evening Mail
A voice of rare beauty and power.
American His interpretations were more notable for vigor than artistic restraint and for brilliancy and dash to the near exclusion of poetry and refinement.
Herald
He is a pianist who possesses much beauty of tone and considerable range of technic.
Evening Mail
A fine spirit . . . lyric tone . . . poetic conception . . . depth of interpretation.
Sun
.Mr. Denton played Busoni’s piano arrangement of the Bach toccata and fugue for organ in D minor—with too much carelessness of technic.
Evening Journal . Oliver Denton, an American pianist, not notable for engaging touch or imaginative insight.
Ida Geer-Weller, Mezzo-Contralto, February 7
Ml. w 11 $un ■	,	. Evening World
Miss Wellers voice a rather A good voice of modest powerful one.	volume.
Magdeleine Du Carp, Pianist, February 8
Trtbune	American
Miss Du Carp again charms Her reading lacked grace and wRh poetic quality of playing	poetic insight.
(Headline). She was content with laying greater emphasis upon .	. . finesse and poetic
interpretations.
International Composers’ Guild Concerts
Three concerts are announced by the International Composers Guide for this season, the first on February 19, and the other two on dates to be announced later.
The first concert will be given with the co-operation of Greta Torpadie, Andre Polah, Louis Gruenberg and Carlos Salzedo, who will give compositions by Whithorne, Gruenberg, Malipiero, Casella, Ireland, Flonegger and Goossens.
At other concerts works by the following composers are announced:	Berners, Bliss, Goossens, Kodaly Ravel
Schmitt, Stravinsky, _ Whithorne, Bax, Berg, Cotapos’ Kramer, Salzedo, Satie, Schoenberg and Varese.
In explanation of its work the Guild issues the following manifesto :	6
, TM ¡composer is the only one of the creators of today who is denied direct contact with the public. When his work is done he is thrust aside, and the interpreter enters, not to try to understand the composition but impertinently to judge it. Not finding in it f¡	the conventions to which he is accustomed, he banishes
ligibie	Programs, denouncing, it as incoherent and unintel-
In every other field, the creator comes into some form of direct contact with his public. The poet and novelist enjoy the medium
railed W P3g?: „thf. pai,nter and sculptor the open doors of a gallery, the dramatist the free scope of a stage. The composer must depend upon an intermediary, the interpreter	P
. 1J. ls true t!134 response to public demand, our official organ-izatmns occasionally place on their programs a new work surrounded by established names. But such a work is carefully chosen from the most timid and anaemic of contemporary production
SfabSOlU.t-ely Ullheard the composers who represen? the true .spirit 01 our time.
Dying is the privilege of the weary. The present day compo-