MUSICAL COURIER
February 23, 1922
24
son in Atlanta was the song recital given after the Saturday matinee by Grace La Rue, star of the “Dear Me” company, playing at the Atlanta Theater. Miss La Rue has been heard here in vaudeville and is very popular. The play did not give her enough opportunities for singing to please the audience, so she graciously doubled her work by giving a recital immediately after the matinee. Her accompanist was William Conway.
W. M. Brownlee, of the Cable Piano Company, delivered a vocational talk for the Rotarian Club before the Central Night School of the Y. M. C. A., using a piano to illustrate his talk, which was on the opportunities in the piano industry for ambitious young men. This was one of a series of “vocational talks” being delivered by prominent Rotarians to the night school students.	P• G.
Marguerite White’s Debut, February 24
While the cynics will persist in declaring that Americans have no opportunities to develop themselves in the art of music, that it takes all kinds of wealth and all kinds of pull, along comes one American girl who casts the traditions
MARGUERITE WHITE,
coloratura soprano.
aside. The girl is Marguerite White, lyric coloratura soprano. She hails from Wisconsin, or, to be more exact, from Milwaukee. Possessing something of a voice, she went of her own volition, paid for her own lessons, to a Mrs. Iva Bigelow Weaver. Then, believing that something would come of what she might do, she packed up her things and carried her parents along to New York a few years ago.
In the meantime Marguerite White had been working out her destiny all alone. She went to practically every recital in the major halls, studied every program, and saw what was good and what was bad in every artist, male and female. She sang all she could, listened to herself, and then proceeded to take what she considered the best training in the world—the platform.
In the last years Marguerite White gave her services to nearly one hundred audiences, aggregating nearly two hundred thousand people. She had no finances, no teacher-nothing but her own will and brains and voice. She learned what a singer must know: how to make her voice heard, liked and understood. She adhered to the highest traditions of singing and program making, doing all the master works.
Now she is giving her own first recital at Carnegie Hall on Friday evening, February 24, at which concert Gennaro Papi, conductor at the Metropolitan Opera House, will discard his baton, which he will have been using in the afternoon for Galli-Curci’s last performance, and will for the first time in America play piano accompaniments. In addition, the Chamber Music Art Society of eleven _ musicians will assist, and John Wenger, well known scenic painter, will carry out some special ideas in decorated screens for the first time in concerts, and there will be a group of young American composers represented.
Adele Lewing Not a MacDowell Pupil
Adele Lewing writes that many have made the mistake of calling her “a pupil of the late Edward MacDowell.” She was proud to regard him as a friend, he allowing her occasionally to show a manuscript and get his valuable criticism. “I prize highly his little piano composition dedicated to me,” she says, “among my other manuscripts, of Brahms, Robert Fuchs, Leschetizky, Reinecke, Jadassohn, Clara Schumann, Weingartner, Stransky, Nikisch, Josef Hofmann, Gabrilo-witsch, John K. Paine, Wilson G. Smith, Julia Ward Howe, Helen Keller, etc.” Mme. Lewing was a pupil of Johannes Moeller (a favorite pupil of Moscheles), Carl Reinecke, Jadassohn, Leschetizky and Rpbert Fuchs._ She was recently presented with a collection of paintings by Martha Rythes Dickinson.
ATLANTA ENTHUSIASTIC OVER THE
COMING OF METROPOLITAN OPERA FORCES
Operas and Singers Announced—Community Chorus Rehearsing “Traviata”—Local Music Notes
The regular meeting of the Community Chorus of Atlanta, which is under the direction of Signor E. Volpi and Nora Allen, former members of the Chicago Opera, took place February 14. Members of the chorus were requested to bring the score for the opera “Traviata,” which was rehearsed.
Local Music Notes.
A special feature recital of the Garber-Davis Dance Orchestra, which is doing much to demonstrate that dance music can be beautiful, instead of an unmelodious mixture of noise and “jazz,” was given at the Atlanta studio of Ludden & Bates Music House on February 11. This orchestra has recently returned from New York, where it made a number of records for the Columbia. The orchestra consists of Jan Garber, violin and leader; Carlyle Stevenson, saxophone; Rudy Rudisill, piano; Joseph Smith, saxophone; Charles Ryden Astoria, banjo, and Steve Brody, drums.
Dr. Ben J. Potter, organist of the Trinity Church, gave an organ recital on February 12 at all Saints’ Church. Thus the new organ at this church was heard to the best possible advantage. Frank Cundell, well known and popular tenor, assisted Dr. Potter by offering several vocal numbers One of the most pleasant surprises of the theatrical sea-
Atlanta, Ga., February 16, 1922.—The most interesting news of the past week in Atlanta was the announcement of the program, with casts, for the annual musical event of the South—opera week in Atlanta. This event will hold the center of interest, not only for Atlanta and Georgia but also for the entire south. Seat reservations have been received by the Musical Festival Association from as far west as St. Louis and as far south as Miami, Fla. The operas to be presented are “Ernani,” “Carmen,” “Loreley,” “L’Amore dei tre Re,” “L’Oracolo,’ “La Traviata,” “Faust,” “Secret of Suzanne,” and “Pagliacci.” The casts will include Martinelli, Danise, Mardones, Ponselle, Easton, Har-rold, Chamlee, Gigli, Bori, Muzio, Scotti, Schaaf, Miriam, Galli-Curci, D’Angelo.
The directors of the Atlantic Music Festival Association feel justly proud of the arranged programs and of the casts thus provided for the twelfth season of Metropolitan Grand Opera in Atlanta, and the reservation for season tickets is very heavy. This will be Mme. Galli-Curci’s first appearance in opera in the South, although she has been quite successful in concert work here. It is a source of very keen regret to southern music-lovers that Geraldine Farrar will not be here in opera.
The World Is Waiting for the Sunrise
Music by ERNEST SEITZ
Words by EUGENE LOCKHART
Smile Through Your Tears
Words and Music by BERNARD HAMBLEN
TWO SONGS OF THE PURE BALLAD TYPE THAT SHOULD BE IN THE REPERTOIRES OF ALL SINGERS AND TEACHERS BECAUSE OF THEIR APPEALING MELODY AND BEAUTIFUL LYRICS, WHICH ENDEAR THEMSELVES TO THE HEARTS OF ANY AUDIENCE
Endorsed by such noted Artists as:
JOHN STEEL JUDSON HOUSE GEORGE DALE COLIN O’MOORE
REINALD WERRENRATH LAMBERT MURPHY THEO KARLE PAUL ALTHOUSE
And Many Others
-Harms Successes -
BECAUSE..........D’Hardelot
BLIND PLOUGHMAN.......Clarke
HOMING..............Del Riego
ROSE IN THE BUD.....Forster
ROSES OF PICARDY.......Wood
THANK GOD FOR A GARDEN
Del Riego
WHERE MY CARAVAN HAS
RESTED ...............Lohr
BELOVED, IT IS MORN. .Aylward
BIRTH OF MORN.........Leoni
THERE IS NO DEATH.....O’Hara
MATE O’ MINE........Elliott
_________________Other Chappell■
AH! THOUGH THE SILVER MOON WERE MINE..........Lohr
I’D BUILD A WORLD IN THE HEART OF A ROSE.....Nicholls
I PITCH MY LONELY CARAVAN AT NIGHT..........Coates
LOVE’S A MERCHANT......Carew
SOMETIMES IN MY DREAMS
D’Hardelot
SOME DAY YOU WILL MISS ME..................Darewski
FAIRY LULLABY .......Quilter
I FOUND A PARADISE--Forster
CHAPPELL-HARMS, Inc., 185 Madison Ave.,
New York City
The House of Ballads	Professional Courtesies Extended
Your Dealer Will Be Glad to Show You Copies