41
MUSICAL COURIER
February 16, 19 2 2
IDELLE PATTERSON.
the soprano, who will give her annual New York recital at Aeolian Hall on Thursday evening, March 23. Last year a capacity audience heard Miss Patterson at Carnegie Hall on November 13, and at that time she made such an excellent impression with ‘■The Queen of the Night” aria from "The Magic Flute” that she has been requested to program it again at her forthcoming recital. In 1920 the soprano made her first appearance at the Lockport American Music Festival, and such was her success that she was re-engaged for last year’s festival, which was held at Buffalo. Miss Patterson also has been re-engaged for the 1922 event.
(Photo by Edwin F. Townsend, New York.)
Maier and Pattison in Final Appearance
Guy Maier and Lee Pattison make their final appearance in New York this season at Town Hall on Saturday afternoon, February 25, when they will give one of their recitals of music for two pianos for the benefit of Vassar College Salary Endowment Fund. They will play for the first time the Godowsky paraphrase of Weber’s “Invitation to the Dance,” the Brahms variations on a theme by Haydn, the Saint-Saëns “Rouet d’Omphaie” and other numbers by Arnold Bax, Stravinsky, Schubert, Hill and Chabrier.
(which had״ first hearing), by Mraczek, and to Strauss’ “Don Juan,” as a closing number. The Mraczek work is written along modern lines, noisy and at times melodious and colorful in its shifting moods.
Sunday Evening Club Concert a Triumph for Edgar Nelson.
A very enjoyable concert was the outcome of Wednesday evening, February 7, at Orchestra Hall, when the Chicago Evening Club Choir of one hundred voices, with Edgar A. -Nelson (conductor), Jessie Christian (soprano) and Joseph Bonnet (organist) as soloists, appeared before a large and enthusiastic audience. It would seem that Edgar Nelson was the central figure in this array of talent, as the choir’s excellent singing was developed to its present status by him, and his conductorship demonstrated beyond doubt his perfect mastery and musical instillation. He has attained adhesiveness to a marked extent and has inculcated the sense of pitch so that with or without accompaniment they are never off the key. Their quick response, delicacy of shading, balance and all points necessary to fine ensemble work proved Mir. Nelson’s firm control at all times and therefore unstinted praise must be accorded both. All the chorals were well delivered, particularly “Praise Ye the Lord” (Randeg-ger), “Pilgrims’ Chorus” (Wagner), and “Great Is Jehovah” (Schubert), which closed the program, all of which brought out the resources of this body in bold relief.
Miss Christian, coloratura soprano, was adequate in the obligato work in several numbers with the choir. In her solo, “The Bell Song” from “Lakme,” she distinguished herself and was so enthusiastically applauded as to necessitate the adding of encores. Joseph Bonnet, that master of the organ, again demonstrated the power and resources of the instrument in the several groups played by him. Mr. Bonnet’s playing has been reviewed many times before and the same things heretofore said are deserving of repetition. All of his renditions proclaimed his position in the organ world and this last effort reaffirms every statement uttered in his favor. He was a great feature of this concert. A profound musician, a master of Bach, the rendition of whose fantasie and fugue in G minor revealed many true beauties of this composition, and his handling of the toccata (fifth symphony) by Widor showed him in another vein—quite as alluring if not more so, while his own composition “Rhapsodie Catalane”—introducing a pedal cadenza—served to bring out his great and difficult pedal work which transcends in point of technic and speed.
Clara Clemens in Recital.
In a well balanced and interesting program of songs Clara Clemens made her reappearance in Chicago Thursday afternoon, February 9, at the Playhouse, after an absence of two years. Mme. Clemens, who is the daughter of Mark Twain and the wife of Ossip Gabrilowitsch, was listened to by a large audience, which applauded enthusiastically everything she did. The program began with a group of six Wolf songs (sung in English), followed by two Strauss numbers, Loewe’s “Edward,” a French group (Garat, Chausson, Perilhon, Duparc and Bizet), two from the pen of her illustrious husband—“Farewell” and “Near to Thee”—and a closing group by Rubinstein, Arensky and Moussorgsky.	Jeannette Cox.
Scholarship Fund. The dance followed the “very light opera.”
Columbia School Notes.
The _ mid-season series of concerts in the school recital Imll will be given every Thursday night for the balance of the year. On Thursday night, February 9, pupils of Walter Spry, George Nelson Holt, Clare Osborne Reed, Ludwig Becker, Gertrude H. Murdough and Louise St. John d tSrerVe't aPPear^■ Dene Hosking, a graduate of the Public School Music department, has been appointed supervisor of music at McKeesport, Pa., and has reported there for duty.
The Spry Scolari, an organization composed entirely of present and past pupils of Walter Spry, held its regular meeting in the school last week. The program was given by several of the members studying with Mr. Spry.
A recital was given February 9 in the Playhouse by two members of the faculty—Ethel Jones, mezzo, and William G. Hill, pianist.
A Studio Tea was given by Olive Kriebs, in the director’s room, on February 4. A short program was given by her piano pupils. Genevieve Osborne, who is studying voice with Lillian Price, sang a group of songs.
The semi-monthly studio program of Louise St. John Westervelt took place in the school on January 28. The program was given by Elizabeth Houston, contralto, and Georgia Herlocker, soprano.
Two New Teachers for Chicago Musical College
Summer Master School.
Two new teachers have just been engaged for the Chicago Musical College Summer Master School. Victor Kuzdo and Mme. Genevra Johnstone-Bishop are distinguished representatives of their respective fields. Victor Kuzdo is widely known in the east as one of the principal exponents of Prof. Leopold Auer’s teaching. His success as a violin instructor in New York has been of enviable kind and that and the unqualified endorsement of his work by Prof. Auer will cause many violinists in the middle west to flock to his studio in the Chicago Musical College this summer.
Mme. _ Bishop, who has been living for some time in California, will also officiate as guest teacher at the college. Equally famous as instructor and as singer, she has been in great demand in the west, and the news of her coming to Chicago will certainly be of interest to the numerous students who availed themselves of her skill during her residence in Chicago.
Bush Conservatory Symphony Orchestra Conducted
BY CzERWONKY.
March 21 will see the launching of another great new educational activity of the Bush Conservatory, Chicago, in the concert given at Orchestra Hall by the Symphony Training School Orchestra of the institution, under the capable direction of Richard Czerwonky. The creation of an orchestral training school has long been an ideal of President Bradley. In Richard Czerwonky, the violinist, conductor and composer, he has found the musician of mature art and skill and the conductor necessary to get results. Mr. Czerwonky and Mr. Bradley are both enthusiasts on the need for training young American musicians to fill in future years the stands of all the great symphony orchestras of the United States.
“There is in America quite as much fine musical talent as there is in Europe,” said Mr. Bradley to a representative of the Musical Courier, “but the managers of the American symphony orchestras have to find their players in Europe just because Americans are always seeking the solo instruments and ignoring the orchestral instruments in choosing their professions.
“We need these instruments, and with the openings right at hand and the chance to make good money in the symphony positions, nine Americans out of ten will take up the violin or piano, where they have to be Kreislers and Rachmaninoffs to make good, ■when they would be wiser to study the flute or oboe or French horn. Wiser, because they can attain success so much sooner, and realize their ambition to become stable elements in American music.
“But you must not only have players but orchestras in which they can get experience before you have the finished orchestral player that the managers seek. This is the object of the Symphony Training School Orchestra of the Bush Conservatory. It is not in any sense the ordinary school orchestra. It is a professional organization, rehearsed by Mr. Czerwonky in regular symphony repertoire, and as a professional organization it will appear. In fact, many of the players are the younger professional musicians of the city, who hope to rise above that work and get symphony positions as soon as they are ready.
“It is inspiring to train these young people, and the public is going to be surprised at the excellence of the program we are preparing for the Orchestra Hall concert. It is out of material such as we have that the managers are going to look for men to fill their positions, already three of our men have been offered and accepted positions at good salaries in the big symphonies of the country.”
Claire Dux Charms as Orchestra Soloist.
“What a superb concert artist Claire Dux is!” was the byword of the orchestra patrons this week, when the soprano of the Chicago Opera Association appeared as soloist with the Chicago Symphony Orchestra, on the eighteenth program. Appearing several times during the course of the program this gifted singer scored a decided hit through the exquisite beauty of her voice, song and art, to say nothing of her fascinating personality. When her lovely soprano voice of golden quality is given full sway with but a delicate orchestral accompaniment it pours forth in golden tones of sheer delicacy, exquisiteness, beautiful color and finish. First Miss Dux sang two Mozart arias—“Ruhe sanft” from “Zaide” and “L’Amero, saro sostante” from “II Re Pastore”—winning instant success. After the intermission she delivered in the same splendid fashion Weingartner’s “Liebesfeier,” Humperdinck’s “Wiegenliefl” and Strauss’ “Morgen” and “Ständchen,” after which the ^auditors were loath to let her go. Delicate indeed was the orchestra accompaniment for the singer, as Conductor Stock, aware of the light quality of Miss Dux’s organ, kept his orchestra under restraint at all times, never allowing it to overshadow the singer. In the purely orchestral numbers Stock’s musicians gave splendid account of themselves, beginning with the overture to Spohr’s “Jessonda,” through the Saint-Saëns C minor symphony, to a new symphonic poem, “Eve”
AMERICAN ACADEMY ol DRAMATIC ARTS, Founded 1884
FRANKLIN H. SARGENT, President
The leading Institution for Dramatic and Expressions! 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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Well Known Pianisi
SECOND RECITAL Carnegie Hall, New York March 13
(All Chopin Program)
MALKIN
HAENSEL &. JONES, Managers
STEIN WAY PIANO
SOPRANO
Direction: J. H. FITZPATRICK, Windsor-Clifton Hotel, Chicago, III.
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(?)Ijp Qlpilpiattò JnsttÌUÌP Df (Duflti ERNEST BLOCH, Musical Director
3146 EUCLID AVE., CLEVELAND, OHIO Mrs. Franklyn B. Sanders, Executive Director
VIRGINIA
GILL Lyric ¡Soprano
”A Voice ol Distinctive Charm'•	Now Boohing for Season 1921-1922
CONCERT—ORATORIO—OPERA.
Address; 1014 Division Street	Camden, New Jersey
FAUSTO CAVALLINI
New York
Leading Tenor with Scotti Grand Opera Company
Address: care ALFREDO MARTINO, 329 West 85th Street
Author of the book “The Mechanism of the Human Voice.” Former teacher of ROSA PONSELLE. Teacher of FAUSTO CA-VALLINI, leading tenor with Scotti Grand Opera Co.; IRENE WELSH, leading soprano with the Italian Lyric Federation. Send for leaflet
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CHEV.
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