53
MUSICAL COURIER
February 16, 1922
I do not think songs ought not to be repeated. You see the repetition must either be better or worse than the original performance. As the audience naturally makes comparisons, you will hear someone say, ‘He sang it better before,’ or if the reverse happens to be true, they will say, ‘Why didn’t he sing as well as that in the first place?’ Why take a chance?”	D.
!CATHARINE HAWLEY
Classes
Studio: 253 Madison Avenue, New York.
Telephone Vanderbilt 6723 Office hours 12 to 2. Circular on request.
first, and for over an hour he held them with a group of songs which met with the enthusiastic approval of his hearers. Mr. Hamilton’s voice is of charming quality, smooth, of fine range and admirably controlled. So well received was “Little Mother of Mine” that he was compelled to sing it again, and in addition was encored twice after other numbers. His negro spirituals were especially well received.—The Daily News, Arkadelphia, Ark., January, 20, 1922.
Mr. and Mrs. Ross David Pupils in Recital
On Sunday, January 29, the pupils’ musicale at the New York studio of Mr. and Airs. Ross David, was of pleasingly varied interest. Priscilla Baynes sang with remarkable clearness and flexibility of tone for one so young, showing great promise for the future coloratura work. Harry C. Browne, baritone, widely known as an actor, gave Scotch and English ballads in his usual virile style. Marguerite Gale, soprano, sang several English songs with a pecular distinction of quality particularly noticeable in the resonance and beauty of her upper register.
Air. David, in excellent voice, gave some Negro spirituals in his own inimitable manner. His “Pershing” song, by request, was stirringly dramatic. Mrs. David at the piano was an inspiration to audience and singers. The program was concluded in a fittingly artistic climax with three songs, words and music by Mrs. David. They were sung individually by Miss Baynes, Miss Gale, and Mr. David.
Many distinguished guests were present despite the storm, and were enthusiastic in their praise. Among them were Baroness deHedemann, Lady Muir MacKenzie, Mrs. Robert A. Gardiner, Anne Middleton Holmes, Mrs. H. Hobart Porter, Air. and Mrs. Waddill Catchings, Mr. and Mrs. Richard A. Carden, Mr. and Airs. A. K. Brotherton, Dr. and Airs. C. S. Fischer, Air. and Mrs. Francis Young,. Mr. and Airs. Robert Mainzer, Air. and Mrs. William Gallatly, Mr. and Mrs. Orlando Roulland, Airs. Emile Utard and daughters, Carolyn Beebe. Airs. Harrison Irvine, Airs. Charles Lamb, Mrs. A. K. Buxton, of Washington; Air. and Mrs. Townsend, Mr. and Airs. Howard Donnan, Airs. Charles Cooper, Mrs. Robert MacNall and Stanley Hooper.
Reinald Werrenrath and Encores
Reinald Werrenrath takes his art reverently and puts the best of himself into his work. As a result he gives the concert world a fine, deep, clean cut, all too rare product— honest art! He never stoops to cheap effects, he never resorts to trickery, he never indulges in imitation. He never acts his songs, or illustrates the meaning of the text by anything but his voice or natural facial expression—and last but by no means least, he	never takes an	encore in	the middle
of a group. Regarding the latter he	has been	questioned
many times. People cannot understand why he has been so firm about not repeating, no matter how great the applause. After a recent concert an editor of a well known paper questioned him at length about it. He told him that he had often been the subject of discussion among musicians, as he was unique in being the only singer on the concert stage today, who did not at some time repeat a song.
“Well, it is a distinction to be known as that,” he laughe “If there is anything	in the	world I	hate it is	an encore
thief. By refusing to	repeat a song I	know I can never be
accused of ‘stealing encores.’ There are many reasons why
DUNNING SYSTEM ־־־““.Yray
TEACHERS EARNING Irom $2000 to $6000 A YEAR
Normal Classes as follows:
Harriet Bacon MacDonald, 825 Orchestra Bldg., Chicago; 1311 Elm St., Dallas, Texas, June, 1922; Chicago, August, 1922.
Mrs. Julius Albert Jahn, Dallas Academy of Music, Dallas, Texas.
Carrie Munger Long, 608 Fine Arts Bldg., Chicago, 111.; classes held monthly through the year.
Virginia Ryan, 1115 Washington Street, Waco, Texas, November and February.
Laura Jones Rawlinson, Dunning School, 252 West 74th Street, New York City, January 3; Portland, Ore., June 17, and Seattle, Wash., August 1.
Mrs. Ura Synnott, 824 No. Ewing Ave., Dallas, Tex.
Stella Huffmeyer Seymour, 1219 Garden Street, San Antonio, Texas. Week end class begins Oct. 6.
Una Clayson Talbot, 3068 Washington Blvd., Indianapolis, Ind.
Isabel M. Tone, 469 Grand View Street, Los Angeles, Cal., June 19 to July 22, 1922.
Mrs. S. L. Van Nort, 2815 Helena St., Houston, Texas, Sept. 19.
Mrs. H. R. Watson, 124 East 11th St., Oklahoma City, Okla., January 15, March 15, and May 15.
Anna W. Whitlock, 1100 Hurley Avenue, Fort Worth, Texas.
Mattie D. Willis, 1922—Waco, Texas, Jan. 9; New York City, June 26-Aug. 14, Sept. 20 and every month thereafter. Address 617 S. 4th St., Waco, Texas, or 915 Carnegie Hall, New York City.
Mrs. Carrie Louise Dunning, Originator, 8 West 40th Street, New York City.
New York City, Sept. 22; Los Angeles, Jan. 25, 1922. Anna Craig Bates, 732 Pierce Bldg., St. Louis, Mo.
Mary E. Breckisen, 354 Irving Street, Toledo, Ohio. Detroit, Mich., June, 1922; Toledo, Ohio, July, 1922.
Mrs. Jean Warren Carrick, 160 East 68th‘ St., Portland, Ore., June, September and March.
Adda C. Eddy, 136 W. Sandusky Ave., Bellefontaine, Ohio; February, March, Miami, Fla.; April, Bellefontaine, Ohio; June, July, Columbus, Ohio.
Beatrice S. Eikel, Kidd-Key College, Sherman, Texas.
Jeanette Currey Fuller, Rochester, New York.
Ida Gardner, 15 West Fifth Street, Tulsa, Okla.
Cara Matthews Garrett, San Marcus Academy, San Marcus, Texas; San Antonio, Texas, on June 5 and July 17.
Addye Yeargain Hall (Mrs. Wm. John Hall), Musical Art Bldg., St. Louis, Mo., or 145 West 45th St., New York; New York City, June 19; Buffalo, N. Y., August 1; Jefferson City, Mo., Sept. 11.
Elizabeth Hasemeier, 41 So. 21st Street, Richmond, Ind.
Maud Ellen Littlefield, Kansas City Conservatory of Music, 1515 Linwood Blvd., Kansas City, Mo.
Mrs. Wesley Porter Mason, 5011 Worth Street, Dallas, Texas.
Information and booklet apon request
had the following to say in reviewing one of the appearances there of Mme. Horvath:
“Bravo” shouted an enthusiast in the balcony of the Empire Theater at the conclusion of the concert given by Cecile de Horvath, and while the rest of the audience contented themselves with vigorous clapping of hands yet the “bravo” was echoed in the hearts of the majority.
It hardly seemed possible that the slight young artist who bowed to the audience would be capable of such a mighty task, but it took only a few minutes to agreeably undeceive them. She proved an artist of exceptional ability, with beautiful tone, a fine technic and musical feeling, the latter being manifest to an eminent degree throughout her work. In the forte passages she was superb and throughout the concert showed she could produce that beautiful singing tone so rarely heard among players. At the conclusion of the concert she received quite an ovation and responded with encores.
Rudolph Gruen Pleases on Tour
Rudolph Gruen, the pianist, now on tour with Paul Althouse, is winning new favor in the cities where he is appearing. The following excerpts from a few of his many notices emphasize his success :
The pianist, Rudolph Gruen, displayed great talent both as an accompanist and soloist. Lincoln pianists showed remarkable enthusiasm over his sympathetic ■accompanying and his masterful rendering of his own composition.—Lincoln, Neb., Star.
Mr. Gruen, pianist, appeared in a triple role, as accompanist, soloist and composer. He was most reliable and sympathetic as an accompanist, and in his solos, which were played in dazzling fashion, aroused the interest of local pianists in the audience to an unusual degree.—Lincoln, Neb., State Journal.
Too much praise can not be given the pianist, Rudolph Gruen, who rendered matchless accompanying, and his solos were so well received that the audience was loath to part with him as a soloist, even after he gladly responded to three encores. His “March Mili-taire,” by Schubert-Tausig, was most brilliantly rendered, while his scherzo in B flat minor by Chopin was a masterpiece.—Lexington, Kan., Teacher.
Warren Ballad Concerts Receive Praise
The first Frederic Warren Ballad Concert of the third season was given in the Selwyn Theater, New York, on Sunday evening, January 22, which received warm praise from leading New York papers, a few extracts of which herewith follow:
The first Frederic Warren Ballad Concert of the season was distinguished by an agreeable program excellently performed. The New York Trio, Olga Warren, soprano, and Lionel Storr, baritone, were the artists of the evening.—New York Tribune.
All the vocal numbers, according to the custom at these concerts, were sung in English. The selections in the list were, as a whole, admirably rendered. The audience was large and enthusiastic.— New York Herald.
At the Selwyn Theater last night the Frederic Warren Ballad Concert brought a large audience to hear several local artists of deserved repute. Messrs. Adler, Guidi and Van Vliet played the lightsome G major trio of Mozart with grace and delicacy, while Olga Warren and Lionel Storr were delightful in classical and modern songs, ably accompanied by Francis Moore.—Evening Mail.
At the Selwyn Theater, Frederic Warren began his third season of Ballad Concerts with an attractive program of songs, singers and instrumental numbers. Mr. Warren confesses to two policies: “Not to render popular songs, but to render good songs popular” and “To give your favorite song in English.”—Evening World.
Frederic Warren, the well known teacher and singer, is the founder of the Frederic Warren Ballad Concerts, which are now in their third season and have proven themselves to be a series of substantial and stimulating musical events. The first of this season’s concerts took place last Sunday evening at the Selwyn Theater before a large audience, with very fine success.—Staats-Zeitung.
If all the concerts are to be as good as this first one, then we may look forward to a most varied and artistic series.—Volks-Zeitung.
James Hamilton Wins Enthusiastic Approval
James Hamilton, tenor, added another success to his already long list when he appeared in recital recently at the Quachita College, Arkadelphia, Ark. The press comments are appended:
Those who heard James Hamilton, tenor, last night are rejoicing that they listened to this good singer. Mr. Hamilton has a pleasing personality, fine artistic sense and an interpretative skill that satisfies. He gave a very pleasing program to an appreciative audience. He combined a variety of style and expression in his repertory from the gentle, lyric ballads, to the dramatic opera arias.
When he got down to the tenth song, which happily was “Little Mother of Mine,” by Burleigh, the audience was thoroughly in love with the singer and had him repeat the favorite. Again he was encored after singing “De 01’ Ark’s a-Moverin’,” by Guion, which he faithfully portrayed. His response was “Scandalize Mah Name,” Burleigh.
The arias he sang were “E Lucevan le Stelle,” from the opera, “Tosca,” Puccini, and “Vesti la giubba,” from “Pagliacci,” Leoncavallo. Two Handel numbers, “Come My Beloved,” and “Where ’er You Walk,” were given at the opening of the program. Whether in the heavy or the light numbers, Mr. Hamilton pleased and satisfied the artistic and musical sense of his listeners.—Sifting Herold, Arkadelphia, Ark., January 20, 1922.
The third number on the College Course was given last evening by James Hamilton, tenor. No number this year has been better received. Mr. Hamilton won the hearts of his audience from the
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