MUSICAL COURIER
58
February 16, 1922
the war the Tonkiinstler and Konzertverein had to merge owing to lack of funds, and the Symphony Orchestra was the outcome of this combination. Still the Tonkiinstler and Konzertverein orchestral series were carried on independently by Furtwängler and Lowe. The Symphony Orchestra’s financial situation has been precarious for years, but it always managed to keep going somehow. This time the situation is far more serious. The state subsidy of little less than two millions of kronen annually and the annual municipal subsidy of half a million kronen have proven utterly insufficient, leaving a deficit for the remainder of the• season of fifteen millions. Unless this sum is raised quickly the breakdown will be unavoidable, which would mean the termination of all Vienna orchestral activity, including the Sunday afternoon “pops,” save for the concerts of the famous Philharmonic Orchestra.
The orchestra’s appeal to the public has brought to light some interesting figures. The total season’s outlay of the orchestra, including the salaries for Furtwängler, Lowe, the two “pop” conductors, office clerks and ushers, amount to forty-four million kronen (approximately $5,500). The full season’s salaries of Furtwängler and Lowe together amount to 900,000 kronen ($1101), while the average orchestral player draws 71,000 kronen ($9) a month!
The orchestra’s crisis has been precipitated by the fact that the high cost of orchestral support has caused concert artists to drop orchestral accompaniments for their concerts, thus reducing the orchestra’s earnings. The symphony management now plans a campaign to induce popular concert artists to engage the orchestra for their evenings, the increased cost of such concerts to be covered by an “orchestra tax” of about forty kronen, which the orchestra suggests should be added to the price of each ticket.	P. B.
Rosing and Varady at White House
Another of the series of White House Musicales, under the direction of Henry Junge, of Steinway & Sons, was given at the Executive Mansion in Washington on February 2, in the East Room, after a state dinner the same evening.• Rozsi Varady, cellist, and Vladimir Rosing, tenor, were the artists, with Charles Gilbert Spross, the composer-pianist, at the famous White House gold instrument.
Among the numbers which Mr. Rosing contributed to the program were Scott’s “Invocation to Love”; “Lord Rendel,” Somerset folk song; Rimsky-Korsakoff’s “Hiildou Song,” Moussorgsky’s “Song of the Flea” and Dargomijsky’s “The Drinker Miller.” Some of Miss Varady’s numbers were Glazounoff’s “Serenade Espagnole,” Saint-Saëns’ “The Swan,” Schumann’s “Träumerei” and the Liszt-Popper Hungarian fantasy. At the conclusion of the formal program the well known composer, Carrie Jacobs-Bond, who was among the guests, sang two of her own compositions to her own accompaniments.
The guests included: The President and Mrs. Harding, Chief Justice and Mrs. Taft, Justice and Mrs. Holmes, Justice and Mrs. Van Devanter, Mrs. Pitney (wife of Justice Pitney), Justice McReynolds, Justice and Mrs. Brandeis, Justice Clarke, the Attorney General, Senator Reed Smoot, Senator Frank B. Brandegee, Senator Claude A. Swanson, Senator Bert M. Fernald, Senator and Mrs. Hiram Johnson, Senator and Mrs. George H. Moses, Representative and Mrs. Julius Kahn, Representative and Mrs. Harry C. Wood-yard, the Solicitor General and Mrs. Beck, Mr. and Mrs. Cornelius N. Bliss, Jr., Mr. and Mrs. Walter F. Brown, Mr. and Mrs. Joseph E. Davies, Mr. and Mrs. Rufus S. Day, Mrs. Henry F. Dimock, Mr. and Mrs. Wade H. Ellis, Mr. and Mrs. Harvey Firestone, Mr. and Mrs. Edward Fisher, Mr. and Mrs. Guy D. Goff, Mr. and Mrs. John Temple Graves, Laura Harlan, Mr. and Mrs. Perry S. Heath, John B. Henderson, Mrs. John B. Henderson, Mr. and Mrs. Victor Kauffmann, Mr. and Mrs. A. D. Lasker, Mr. and Mrs. Henry F. Lippitt, Mrs. Arthur Livermore, Brig. Gen. and Mrs. Charles L. McCawley, Mrs. James Marwick, Mr. and Mrs. George T. Marye, Mr. and Mrs. Gifford Pinchot, Mr. and Mrs. James B. Reynolds, Mr. and Mrs. Charles H. Sabin, Mrs. C. A. Severance, Mr. and Mrs. George Sutherland, Mr. and Mrs. Charles S. Thomas, Mrs. Vanderbilt, Eliot Wadsworth, Dr. and Mrs. W. H. Wilmer, Walter H. Wilson and Miss Wilson, and Mrs. Marshall Field.
Ivogiin at Town Hall February 20
Maria Ivogiin, who recently made her operatic debut in New York as Rosina in the Chicago Opera Association’s performance of “The Barber of Seville,” and who the other night sang as soloist with the Philadelphia Symphony Orchestra, singing the Mozart aria, “Mia Speranza Adorata,” and “Zerbinetta’s Aria” from Strauss’ “Ariadne auf Naxos,” will be heard in recital at the Town Hall on Monday afternoon, February 20. She will sing an aria from Mozart’s “U Re Pastore,” a group of Brahms, an English group and will end her program with Arditi’s “Paria” Valse.
Leginska and Kindler in Joint Recital
Ethel Leginska and Hans Kindler will appear in joint recital at Aeolian Hall on February 23. Their program will include but five numbers, by Brahms, Bach, Leginska and Ofnstein. The Leginska compositions will be her “Gargoyles of Notre Dame” and Scherzo, after Tagore.”
Second Warren Ballad Concert
At the Selwyn Theater, on February 19, the second Frederic Warren Ballad concert will be given, with Ruano Bogislav, Pauline Bonelli, Richard Bonelli, George Rauden-busch and Meta Schumann as soloists. The program as usual will be a very interesting one.
pretative dancing. Since she first appeared in New York, more than a year ago and took the stand that music should be the predominating element in the presentation of dances, her finely trained musical intelligence has been commended frequently. She has consistently kept the spirit and the atmosphere of the music in the foreground, devoting quite as much attention to the actual execution and style of her players as to her own dancing accompaniment. It is, therefore, not exactly a matter of surprise that she has recognized in the French suite of Bach possibilities for a charming performance of the music augmented by dances thoroughly in character with the several movements. The fact that no other danseuse had attempted to devise steps and figures in harmony with the famous old master of ancient dance forms did not give rise to any doubts in her mind that Bach could be danced artistically and legitimately.
Accordingly she chose five movements from the French suite—courante, sarabande, gavotte, bouree and gigue—and set about, with her sound musical training as a guide, to construct dances, or, rather, to compose dances, that conformed strictly with the musical analysis of the different numbers. The result of her efforts will, undoubtedly, create something of a stir in the world of character and traditional dancing.
This group is but one of the several offerings that Miss Mauret will exhibit at her coming recital; there will be other numbers with music by Moussorgsky, Rachmaninoff, Sarasate, Tschaikowsky, Glazounoff and Chopin. She will use two waltzes of the last composer, danced in classic style. An Egyptian dance will accompany the Moussorgsky music, and Glazounoff furnishes the atmosphere for a Bacchanale.
Miss Mauret is at present on tour with her trio, appearing in Canton, ,Bloomington, and two or three other cities before returning to New York.	S.
House of Forster Pledged to Make High Class Music Popular
Few publishers of popular music have succeeded in the publishing of any other type of music for the reason that they were not familiar with what actually constitutes a high class popular number. In order to make no mistake in this
FREDERIC KNIGHT LOGAN AND JAMES G. MacDERMID,
photographed in Chicago. (Photo hy Kaufmann & Fairy Co. 1
field of endeavor, F. J. A. Forster, of the House of Forster, Music Publishers, Inc., in Chicago, investigated the problem for several years, and came to the conclusion that the surest road to success would be to secure two composers already established in the minds of the artist, teacher and music loving public. Frederic Knight Logan, a writer of well known songs and piano pieces, who had come into international prominence as the composer of the “Missouri Waltz,” was already attached to the house. Mr. Forster then began negotiations with James G. MacDermid, widely known as the writer of two or three score of concert and sacred songs, which ended in the securing of these valuable copyrights, as well as a contract with the eminent composer to write exclusively for him.
By applying popular methods to the exploiting of these writers and their numbers, the House of Forster has pledged itself to the ideal of making good music popular. To the establishing of this campaign, Mr. Forster wired Mr. MacDermid in New York and Mr. Logan in the west to come on to Chicago to meet him in conference. The accompanying photo of these enviable gentlemen was secured at that time.
Vienna Orchestra Facing Breakdown
Vienna, January 21, 1922.—The Vienna Symphony Orchestra is sending out the S. O. S. signal once more. After
NEW YORK CONCERTS
(Continued from page 55.)
ing that this was an afternoon of real pleasure, both for the player and his audience.
New York Symphony Orchestra: Morini, Soloist
The eleventh Sunday afternoon subscription concert of the New York Symphony Orchestra drew a large and interested audience, perhaps for several reasons. The conductor was Albert Coates, the guest from London, under whose baton the program was well carried out and drew warm applause from those present. The opening number was the Beethoven “Leonore” overture, No. 3, always welcome, followed by a new symphonic poem by Ethel Leginska —“Beyond the Fields We Know”—after Dunsany.
The Leginska work is in three parts which the composer intends having played without intermission. It is_ for a large orchestra, with piano obligato, which in this instance was furnished by the composer. According to the program “Miss Leginska wishes it understood that her three most important works were sketched out before she had heard or played any ultra modern music.” And this work, which was heard for the first time, is extremely modern in every sense—in some cases bizarre. In the first movement “the poet passes into the Land of Dreams and sails down the sea-wide river, Yann, on the dream bark, Bird of the River.” The second finds the poet in “a shop in Go-by Street” from whence he is led by the Dreamer into the Land of Dreams where among other strange things he sees “of a sudden a little faun come out of a rhododendron bush and dance on a disk of bronze in which a fountain is set,” and the sound of his two hoofs was as beautiful as bells. The third part carried him to the ivory palace of Singanee and the dancer, Saranoora.
In following the lines of Dunsany’s work, the composer has constructed a composition that depicts colorfully the things mentioned by the former. While there are many dissonances, to be sure—but there are in all ultra-modern compositions—there are also a number of delightful bits throughout the work. The composer shows that she has not restricted herself or her ideas, and in that alone there is something refreshing. “Beyond the Fields We Know” was warmly received by the audience and Mr. Coates brought the composer out several times to receive the applause that was hers.
Erika Morini was the soloist of the afternoon and she selected as her offering the Vieuxtemps concerto in E major. Her rendition of this was admirable in many respects, for she again revealed the qualifications that have placed her in the foremost ranks of violinists. The audience gave her a hearty demonstration of approval. Rimsky-Korsakoff’s symphonic suite “Antar” closed the program.
Emil Eyer
Sunday evening, February 12, a song recital of unusual interest was presented by Emil Eyer at the Town Hall, before an appreciative audience. His program, comprising a variety of compositions, was particularly interesting as it gave the artist ample opportunity to display his ability and his qualifications which are many. In his singing, he revealed a fine lyric tenor voice and his enunciation was distinct and his interpretations most intelligent as well as artistic. Thomas Griselle proved an able accompanist.
Schipa Under Evans & Salter Management
An announcement which will be of interest to the musical world is that Tito Schipa, tenor of the Chicago Opera, is now under the exclusive management of Evans & Salter, managers of Amelita Galli-Curci. Mr. Schipa, following the close of the spring tour of the Chicago Opera, will fill a number of concerts booked for him by these managers, after which he will sail for Europe to spend the summer. Prior to his appearances next season with the Chicago Opera, the tenor will have some thirty concert dates in this country.
Mr. Schipa appeared with marked success in Cleveland, Ohio on January 26, and on Monday morning, February 6, at the Bagby Musicale at the Waldorf-Astoria. He is now under exclusive arrangement to record for the Victor Talking Machine Company, and has already made records of some of his interesting Spanish songs, which will be among the first of his records to be released. Before the close of the Chicago Opera season in New York it is planned to have Schipa appear in “Manon,” in which he has had much success previously.
Mauret Will Interpret Bach
For several months Virginia Mauret lias been considering the idea of presenting a series of dances to music by Bach, and the realization of it will constitute a novelty at the young dancer’s next New York appearance, on February 24, at the Selwyn Theater. This conception of Miss Mauret’s is entirely original, or at least the development of it is, so far as records go in the modern school of inter-
CEORCE WESTLAIN
DAVIES
TENOR
Excelsior Hotel, Rome, Italy
REUTER
R U D O L F*
H	Management:
HAENSEL & JONES, Aeolian Hall New York
PIANIST
FRANCIS MOORE
Pianist—Accompanist—Teacher 265 We«t 81lt St,. New York Telephone 0235 Schuyler
VOCAL STUDIO
K I MBALL HALL CHICAGO
RAGNA LINNE
EARLE LAROS
“The Pianist with a Message** Educational Recitals
Addres*: MISS JEAN WISWELL. 437 Fifth Avenue, N. Y.
Milan Lusk:
Concert Violinist
Mar agement: LUDMILA WETCHE. 206 W. 99th St,, ti.Y
ALICE HACKETT
PIANIST
1510 Third Avc. N., Fort Dodge, Iowa
LEON SAMETINI
For dates address
Personal Representative L. FERRARIS 626 So. Michigan Avenue	- - Chicago