MUSICAL COURIER	February 16, 1922
WHERE THEY ARE TO BE
From February 16 to March 2
Peege, Charlotte:
Houston, Texas., Feb. 16. Shreveport, La., Feb. 18. Little Rock, Ark., Feb. 21. Memphis, Tenn., Feb. 23. Philadelphia Orchestra: Toronto, Can., Feb. 20-22. Prihoda, Vasa:
Redlands, Cal., Feb. 17.
Long Beach, Cal., Feb. 21. Hanford, Cal., Feb. 23. Modesto, Cal., Feb. 24.
San Francisco, Cal., Feb. 27. Los Angeles, Cal., Feb. 28. Reuter, Rudolph:
Chicago, 111., Feb. 28. Rumford, Kennerley:
Medicine Hat, Can., Feb. 16. Schelling, Ernest:
Chicago, 111., Feb. 17-18. Washington, D. C., Feb. 26. Dobbs Ferry, N. Y., Mar. 2.
Sparkes, Lenora:
Abilene, Texas, Feb. 17. Smithville, Texas., Feb. 20. Hot Spring, Ark., Feb. 22. Pine Bluff, Ark., Feb. 24. Grenada, Miss., Feb. 27. Tuscaloosa, Ala., Mar. 2.
Stanbury, Douglas:
Hamilton, Ont., Feb. 16. Belleville, Ont., Feb. 20. Thomlinson, Ralph: Philadelphia, Pa., Feb. 20. Watson, Pauline:
Williamsport, Pa., Feb. 17. Detroit, Mich., Feb. 20. Toledo, O., Feb. 22.
Mansfield,# a, Feb. 24. Zerola, Nicola:
Baltimore, Md., Feb. 20. Washington, D. C., Feb. 24.
Kouns, Nellie and Sara: Topeka, Kan., Feb. 17. Lawson, Franceska Kaspar:
Norfolk, Va., Feb. 16. Lennox, Elizabeth:
Newport News, Va., Mar. 2. Letz Quartet:
Sweet Briar, Va., Feb. 17. Philadelphia, Pa., Feb. 19. Hartford, Conn., Feb. 22.
Lhevinne, Josef:
Quincy, 111., Feb. 21.
Cedar Rapids, la., Feb. 23. Sioux Falls, S. D., Feb. 24. Milwaukee, Wis., Feb. 26. Green Bay, Wis., Feb. 27.
McQuhae, Allen:
Tulsa, Okla., Feb. 21.
Maier, Guy:
Buffalo, N. Y., Feb. 16. Toledo, O., Feb. 17.
Toronto, Can., Feb. 18.
Erie, Pa., Feb. 20.
Meadville, Pa., Feb. 21. Montreal Can., Feb. 23. Washington, D. C., Feb. 26. Harrisburg, Pa., Feb. 28. Menth, Herma:
Sandusky, O., ^Feb. 24.
Miura, Tamaki:
Portland, Ore., Feb. 16-18. Seattle, Wash., Feb. 20-25. Tacoma, Wash., Feb. 27-28. Spokane, Wash., Mar. 1-2. Pattiera, Tino:
Lynchburg, Va., Feb. 20. Pattison, Lee:
Toronto, Can., Feb. 18.
Erie, Pa., Feb. 20.
Meadville, Pa., Feb. 21. Montreal, Can., Feb. 23. Washington, D. C., Feb. 26. Harrisburg, Pa., Feb. 28.
Kingston, Can., Feb. 23. Detroit, Mich., Feb. 25. Schenectady, N. Y., Feb. 27. Plainfield, Mass., Feb. 28. Gabrilowitsch, Ossip:
Kansas City, Kan., Feb. 18. Gerhardt, Elena:
Boston, Mass., Feb. 17. Detroit, Mich., Feb. 23-24. Gill, Virginia:
West Philadelphia, Pa., Feb. 20. Gruen, Rudolph:
Los Angeles, Cal., Feb. 19. Albuquerque, N. M., Feb. 28. Heifetz, Jascha:
Terre Haute, Ind., Feb. 27. Hess, Hans:
Davenport, la., Feb. 26. Chicago, 111., Feb. 28.
Hess, Myra:
Memphis, Tenn., Feb. 18.
San Francisco, Cal., Feb. 23. San Jose, Cal., Feb. 24.
San Francisco, Cal., Feb. 28. Holmquist, Gustaf:
Chicago, 111., Feb. 16. Illingworth, Nelson: Pittsburgh, Pa., Feb. 16. Wheeling, W. Va., Feb. 20. Cincinnati, Ohio., Feb. 21. Kerns, Grace:
Albany, N. Y., Feb. 23. Kindler, Hans:
Ann Arbor, Mich., Feb. 20. Konecny, Josef:
Osage City, Kan., Feb. 16. Great Bend, Kan., Feb. 17. Stafford, Kan., Feb. 20. Kinsley, Kan., Feb. 21.
Dodge City, Kan., Feb. 22. Lamar, Colo., Feb. 23.
Las Animas, Colo., Feb. 27. La Junta, Colo., Feb. 28. Rocky Ford, Colo., Mar. 2.
Anderson, Marion
Louisville, Ky., Feb. 17. Indianapolis, Ind., Feb. 21. Chicago, 111., Feb. 22.
St. Louis, Mo., Feb. 23.
Fisk, Tenn., Feb. 24. Birmingham, Ala., Feb. 27. Barber, Lyell:
Brooklyn, N. Y., Feb. 17. Washington, D. C., March 2. Baroni, Alice:
Atlanta, Ga., Feb. 17-18. Chattanooga, Tenn., Feb. 20-21. Nashville, Tenn., Feb. 23. Memphis, Tenn., Feb. 25. Little Rock, Ark., Feb. 27-28. Bauer, Harold:
Lexington, Ky., Feb. 17. Brown, Eddy:
New Castle, Pa., Feb. 17. Buhlig, Richard:
Los Angeles, Cal., Feb. 24. Burke, Tom:
Toronto, Can., Feb. 21.
Butt, Clara:
Medicine Hat, Can., Feb. 16. D’Alvarez, Marguerite: Brooklyn, N. Y., Feb. 17. Baltimore, Md., Feb. 20.
De Cisneros, Eleonora: Washington, D. C., Feb. 24. De Kyzer, Marie:
Stamford, Conn., Feb. 27. Fanning, Cecil:
Rock Hill, N. C., Feb. 17. Charleston, S. C., Feb. 19. Santa Ana, Cal., Feb. 28. Flonzaley Quartet:
Boston, Mass., Feb. 16. Lewiston, Me., Feb. 17. Quebec, Can., Feb. 19.
Three Rivers, Can., Feb. 20. Montreal, Can., Feb. 21. Ottawa, Can., Feb. 22.
the crying need for the thousands of vocal students of toda}r.
Mr. Patton: An unfettered outlook on art, a mind open to receive guidance wherever it may be found, and the requisite ability and information necessary to detect the fads and fallacies of spurious systems of teaching and training.
Flags Fly for Fanning and Turpin
The Dayton factory of the National Cash Register Company has come to be considered one of the model institutions of its kind in the world and visitors to that city look upon their stay as incomplete if they have not made a tour of inspection of the plant. It is not often, however, that such a visit takes the form of a special celebration, yet this was the honor accorded Cecil Fanning and H. B. Turpin on January 18. They had been invited by the president, John H. Patterson, to be his guests at luncheon at the factory, and when they arrived were surprised to find hundreds of flags flying and all the departments decked with bunting. Posted everywhere were half sheet bills decorated with intertwined flags and bearing the following inscription:
The flags are flying today in honor of
Mr. H. B. Turpin and party.
Mr. Turpin, with Mr. Cecil Fanning, has given musical entertainments in all parts of the United States and Europe. _ They have entertained some of the most distinguished people in the world, including members of many royal families. Mr. Turpin is a son of the late James Turpin, of Dayton, who was one of the leading musicians in this section of the country.
We are glad to welcome these guests to our factory.
The National Cash Register Company.
One of the outstanding features of the factory is a concert hall, seating 1,500. There concerts are given by the employees’ chorus of 150 voices, an organization which always assists at the Cincinnati festivals. This year “Elijah” is to be performed in April, with Mr. Fanning singing the title role.
Boy Soprano Startles New York
Robert Murray, celebrated boy soprano from Tacoma, Wash., gave a program at the Louis Comfort Tiffany Foundation Gallery on Thursday, January 26. His audience, consisting of many well known artists and others of musical ability and appreciation, were astonished at the ease with which Robert rendered the most difficult numbers, among which were “Queen of the Night,” “Mad Scene” from “Lucia,” and “Voce di Primavera.” He includes in his repertory most of the arias sung by grand opera prima donnas and renders them with such startling agility that such a feat seems almost incredible when one considers that he is only twelve years old. He is classed as a boy wonder and through his superb mastery and skill is very well known in the concert field. He is now filling many engagements and is to appear shortly at the Hippodrome. For the past two years young Murray has been trained by Frederick H. Haywood. Emil Polak has acted as coach and has written all of the special cadenzas, which are applied in the top octave of the voice.
Gerhardt to Give Farewell Concert
There have been so many requests for another recital by Elena Gerhardt that a final, farewell appearance for this season is announced for Sunday evening, February 26, at the Town Hall. Miss Gerhardt will leave early in March for England, where she will give a series of London concerts and also tour the provinces before returning to Germany. It is assured that she will be back in America next fall. She made her only appearance in Newark this season at the Proctor Roof Theater on February 7, assisted on the program by Emil Hofmann, baritone.
Samoiloff Arranges Luncheon for Chaliapin
A farewell luncheon was given by Lazar S. Samoiloff, the New York vocal teacher, at his Carnegie Hall studios, on January 29, in honor of Feodor Chaliapin, the celebrated Russian basso. The luncheon was followed by a reception attended by more than a hundred guests, among them many prominent musicians and journalists.
Patton Interviewed on Gescheidt’s Method
According to Dr. Sanders of the Ottawa Journal, of all the singers who have assisted at the Ottawa symphony orchestra concerts possibly the most immediately popular is Fred Patton, who sang with the organization recently. Several conditions contributed to his ample success, said Dr. Sanders. In the first place, his voice is phenomenal, being, as it were, something of a tenor, baritone and bass rolled into one, not three voices, but one, not a trinity but a unity, homogeneous from foot to crown. His voice is exceptional in quality, but his compass is possibly more exceptional, being three full octaves, and every note is available for public singing. The following conversation took place between Dr. Sanders and Mr. Patton, during the singer’s engagement in Ottawa:
Dr. Sanders: Were you “born” with a voice, or do you owe something to teaching and training?
Mr. Patton: Both. I studied with seven teachers, but I have been with the last of them (my present teacher, Mme. Gescheidt) for seven years.
Dr. Sanders: Do you think the old Italian method of teaching singing has been superseded? By “Italian method”
I mean the process of learning by means of imitation.
Mr. Patton: The old Italian method had many good points. Its main objective was a good, smooth, natural voice, “Bel canto,” as it was called, has been rather discredited by modern research. The Vocal Art-Science of Gescheidt aims at this, but the many modern^ theories of voice placement, such as singing in the head, in the chest, nasal resonance, singing in the mask, and so on, find no place in the Gescheidt scheme. All the available vocal resonances are brought into requisition so that the development of the voice, instead of being sectional is complete. It is of no use to tell a man to sing this way or that if his muscles won’t act. In such cases the first thing to do is to develop the muscles of the vocal instrument, just as we develop other muscles of the body, and then the vocal organs will respond to the requirements of the mind. The Italian method makes far too insufficient use of consonants. The clever exercises of Geischeidt, which make the fullest use of both vowels and consonants are scientifically devised to bring out the fullest range as well as the purest quality and resonance of the voice. The average amateur is usually blessed with two main vocal defects: (1) He sings like a violinist who plays with a mute on his instrument, and (2) ninety per cent, of them never make actual their full vocal potentialities.
Dr. Sanders: For what reason?
Mr. Patton. They do not avail themselves of the sympathetic vibrations of the body. Sympathetic vibrations of the body are secured naturally by the unconscious contact of the larynx and the fifth cervical vertebrae, which reinforces the tone just as the body of the violin reinforces the tone of the violin strings. Many teachers try to get this effect by carrying the depth, sonority and fundamental quality of the chest register throughout the voice, but with ruinous results.
Dr. Sanders: About the vogue of breathing exercises. Do you believe in them or are they merely “talking points” of professional voice trainers?
Mr. Patton: Their value is commercial, not artistic. If they are used to get capacity, well and good, but if taught to give method they are rank fallacies. Breathing “methods” are exploited because the majority of people are open to exploitation; because of their lamentable ignorance of the bodily workings. Most people know as little about the human body as the boy who, when asked: “Where is the diaphragm?” replied: “Please, sir, in North Staffordshire.”
Dr. Sanders: Have you questioned other singers on the matter?
Mr. Patton: Yes. The best singers breathe nature’s way. It is astonishing how even some big singers imagine they breathe with their stomachs. Unnatural methods of breathing, with their inevitable muscular tension, defeat their own purpose. They prevent ease of production, and it is only through ease of production that a singer can give thought to emotion, interpretation and the spiritual as distinguished from the physical aspect of singing.
Dr. Sanders: What, Mr. Patton, do you believe to be the
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SOPRANO Concert, Chnrch, Recitals
Address: Care of MUSICAL COURIER 437 Fifth Avenue New York
HARRIOT EUDORA BARROWS
TEACHER OF SINGING
Trinity Court, Boston	Conrad Building, Providence
N GARDA pianist
A.	Concerts	Recitals
Address: 458 N. Bread St.. Elisabeth, N. J.	Telephon« 253R—Elizabeth
!VIARIE SWEET BAKER
Soprano
CONCERT — RECITALS — ORATORIO — OPERA
Address: Hotel Endicott, NewYork	::	Tel. Schuyler 8300
g	YOUNG SOPRANO
d	Concerts — Clubs — Musicales
E	Address—MUSICAL COURIER. 437 5th Ave.. New York City
Lillian Croxton
COLORATURA SOPRANO
Concerts—Recitals
Address: 490 Riverside Drive	Tel. 282 Moreiagside
“Three Centuries of American Song”
Presented by
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Management: DANIEL MAYER, Aeolian Hall, New York
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