54
YEATMAN
February 23, 1922
MUSICAL COURIER
played andante, Sammartini, and polonaise in A major, Wieniawski, and “The Canary,” by Polokin, for an encore.
The Hotel. Statler Musicale.
January 31 the Detroit Concert ,Bureau presented Gizi Szanto, pianist, and Jeanne Laval, contralto, in a joint recital. ,Miss Szanto is very young, but she proved herself remarkably talented both as a pianist and as a composer. Her own numbers were “Phantazme,” “Hungarian Nostalgic” and “Baccanale.” In addition she played Hungarian dances by Brahms, Chopin’s impromptu in A flat major and his nocturne in B major, the “Dance of the Gnomes” by Liszt, and the “Berceuse” of Grieg. Jeanne Laval has been heard here before and strengthened the favorable impression made at her first appearance. She was at her best in a group of old French-Canadian songs.
Elly Ney Heard in Recital.
A few weeks ago Elly Ney created so great an impression by her appearance as soloist with the orchestra that she was engaged to give a piano recital at Orchestra Hall, January 31. In spite of the fact that it was the third concert of the day there was a fine audience, and as the concert was under the auspices of Detroit Conservatory, the audience was one that could appreciate the program and the splendid artistry of Mme. Ney. The program included Beethoven’s sonata in B flat major, op. 106; Brahms’ sonata in F. minor, op. 5, and a Chopin group in which were the etude in C minor (op. 10, No. 12), etude in F major (op. 10, No. 8), nocturne in C minor (op. 48), ballade in A flat major (op. 47), polonaise in A flat major (op. 47) and polonaise in A flat major (op. 53). There was tremendous enthusiasm and she gave of herself unstintedly, adding three numbers to her program. The evening was one of unalloyed pleasure and should prove a stimulus to the earnest students who heard her.
Demonstration of Ward System Given.
February 1 Mother G. Stevens and eight of the students of the Annunciation School of New York City gave a demonstration of the Justine Ward system of teaching music to children. In addition she used three classes from local schools. There was a splendid audience and it watched with absorbed attention the work of the children who sang their little songs, went through their rhythmic exercises, read music at sight, gave ear tests, held musical conversations and wrote original melodies developed from a theme given by one of the dudience. To the onlooker it might seem that these children have been especially prepared to do “stunts,” but when one has taught the system he realizes that these things are all part of the regular work, and the children perform them with the same nonchalance that they would work an example in arithmetic. All methods have their supporters and condemners, and probably no one of them is absolutely perfect, but one which teaches the children to handle accurately the material of music and awakens the creative instinct is worth at least thoughtful consideration and cannot be dismissed cavalierly. It is quite safe to affirm that not ten per cent, of the musicians present, and there were many, could have successfully passed the tests that were given the children. So many were turned away from the demonstration on account of lack of room that a second demonstration was arranged for Saturday afternoon, February 4. J. M. S.
Chicago Rushes New Equipment for Fire-Damaged Saskatchewan Theater
Saskatchewan, January 21, 1922,—A carload of special stage equipment was ordered by the management of Regina Theater from Chicago, to be sent through by fast express and billed “Direct to Regina” so that as little delay as possible would be made in repairing and equipping the theater which has been damaged by fire. The program had a big vaudeville, of five acts. Listed as a headline for the opening night was “The Japanese Romance,” a tabloid musical comedy, and “Bison City Four,” a comedy quartet.
Sarah Fischer, known in Europe as the “Canadian Soprano,” who in her youth studied in Montreal, Can., is now studying in Paris. Referring to a recital given by her in London, on January 13, musical critics praised her singing, also her varied program which gave pleasure and increased in interest as the concert progressed.
Mme. Rikhelm, teacher of singing, has opened a studio at 103 Simpkins Block, where she will also instruct in elo-cution, intonation, stage deportment and on the mandolin.
Much success attended the concert given by Vere Gaddes, solo pianist, and Mrs. H. E. Robinson, soprano, at the City Hall Auditorium. Beethoven’s “Concerto” in C minor, and the Welsh rhapsody, by Clarence Lucas, a Canadian composer, ■were mentioned as particularly pleasing selections winning much applause. The closing number, Chaminade’s
Valse Carnivalesque, was played on two pianos, Miss Gaddes being assisted by Professor Buckley.
Mrs. R. Powell, violinist, and Doris Williams, soprano, assisted Nellie McClung at a lecture she delivered recently' The address was entitled “Up to London.” Miss McClung is a favorite speaker in Regina, and the evening was a great success. A big audience greeted the artists, and crowds were turned away for lack of accommodation.
The “Fletcher Method” of teaching music seems to be regarded with favor here. It is popular with many, individual teachers as well as some of the institutions.
Ladies wishing to join the Calgary Music Club can do so at any of the meetings, without preliminary balloting, and gentlemen as well as ladies can attend the musicales.
The Cathedral Dramatic Club will shortly stage a comedy, “Safety First”; they will be assisted by two Regina favorites,^ Sarah Gibney and William Springer. The play will be given in Parish Hall.
The Rev. W. H. Adcock, who won the 1921 gold medal as vocalist, has assisted in raising funds for the building of the beautiful Anglican church, to be known as Grace Church, of which he is to be rector; he is at present traveling through Canada and the United States.
“Tea Dances” are said to be the latest form of amusement adopted by Indians in this country. Formerly it was the “Pow Wow,” but now the Indian and squaw are turning their attentions and taste to tea, which is served in a huge pot around which members dance, each one serving him or herself. Indians love music and poetry, and some of the Western tribes have organized bands.	R. G. B.
DETROIT’S ORCHESTRA GIVES
ANOTHER IMPRESSIVE PROGRAM
Siloti Scores as Soloist—Sunday Afternoon Concerts— Gabrilowitsch as Pianist—Grainger, Ney, Hilger Trio,
Szanto and Laval Give Programs
Detroit, Mich., February 3, 1922.—The eighth pair of subscription concerts given by the Detroit Symphony Orchestra at Orchestra Hall, January 25 and 26, were conducted by Mr. Gabrilowitsch with Alexander Siloti as assisting artist. The program opened with Weber’s overture, “Rubezahl,” with the Brahms fourth symphony in E minor, op. 98, following. Mr. Gabrilowitsch conducted with warmth and authority. There was clarity of theme and gradual development of climaxes! The second and third movements were especially lovely. That the audience appreciated the really fine work of the conductor and the orchestra was evidenced by the hearty and spontaneous applause that recalled Mr. Gabrilowitsch many times.
The second part of the program was given to two numbers by Mr. Siloti, the first the Schubert-Liszt fantasie in C major, op. 15, “The Wanderer,” and second “The Dance of Death,” variations on the “Dies Irae,” by Liszt. After his playing came the deluge. Such a manifestation of enthusiasm has seldom been witnessed. The audience seemed electrified and the artist was recalled many times while the orchestra and audience stood, the audience refusing to leave until there had been many recalls. Mr. Siloti seems to possess everything that a pianist needs—power, facile technic, a touch that sings with tenderness or becomes cool and crisp at will, and an understanding command of the pedal. _ The orchestral support throughout was most sympathetic and there was quick response to the moods of the player.
The ninth pair of concerts followed a week later, being given February 2 and 3, with Mr. Gabrilowitsch as the soloist. _ The program was Russian throughout and opened with Rimsky-Korsakoff’s tone poem, “Sadko.” This was followed by the Rachmaninoff second concerto and Rachmaninoff’s second symphony in A minor. When Mr. Gabrilowitsch appeared for the concerto he was received by the audience standing to welcome him, while the applause continued several minutes before he could begin his playing. And how magnificently he played! In addition to his masterly equipment as a pianist there is always the seeming understanding of the composer’s intent. It is no small task to fill a dual role as Mr. Gabrilowitsch does when he appears as soloist at these concerts, but it is one that he does very successfully. The symphony and “Sadko” were both admirably given. The second and fourth movements of the symphony seemed to make the strongest appeal to the audience.
Victor Kolar conducted the orchestra during the concerto but the other two numbers were conducted by Mr. Gabrilowitsch.
Sunday Afternoon Concerts.
The Sunday afternoon concert, given January 22, was of great local interest because the assisting soloist was Sylvia Simons, one of the younger pianists of the city. Miss Simons was the winner in the State contest of the N. F. of M. C. last season. For her appearance Sunday afternoon she chose Schumann’s concerto in A minor, op. 54. She was recalled several times and the critics with one exception were pleased with her work so that she is to be congratulated on so auspicious a first appearance. Miss Simons is a serious student and has possessed herself of fine technical ability. Her appearance was simple and dignified with an entire lack of selfconsciousness, probably because of her desire to present the message of the music rather than to attract personal glory. The management is to be congratulated on the recognition of the fact that there may be value in providing a goal for the ambitious student. Mr. Kolah conducted the orchestra and gave Miss Simons sympathetic and understanding support. The numbers given by the orchestra were “Finlandia,” by Sibelius; “A1 Fresco,” by Victor Herbert; “Capriccioso Italienne,” by Tschaikow-sky; scherzo, by Victor Kolar, and arrangements of two Armenian settings, “Dance” and “Berceuse,” by Guedenian, with orchestration by Mr. Kolar, who again demonstrated his ability as a satisfactory conductor and talented composer.
The concert of January 29 was Russian with Mr. Gabrilowitsch as conductor, and a violinist, Joseph ,Borisoff, and a baritone, Alexander Akimoff, as assisting artists. Mr. Borisoff played Glazounoff’s concerto, op. 82, while Mr. Akimoff sang an aria from Moussorgsky’s “Boris Godou-noff.” Both artists were well received. Moussorgsky’s prelude to “Chowwanchina,” Rimsky-Korsakoff’s “Capriccio Espagnol” and Glinka’s fantasie, “Komarinskaja,” were the somewhat unusual orchestral offerings and were conducted con amore to the very evident pleasure of the audience.
Percy Grainger Gives Recital.
January 24 the Detroit Concert Bureau presented Percy Grainger in a recital at Orchestra Hall. Mr. Grainger is no stranger to Detroit and a fine audience gathered to do him honor and listen with delight, not only to his interpretations of other composers but also to several of his own compositions. Among the latter were “Country Garden ’ and the “Colonial Song.” Among his other numbers were the prelude and fugue in A minor by Bach, polonaise in E major by Liszt. Encores were frequent and he was obliged to add three numbers at the close of his program.
Margaret_ Schuiling, a Detroit contralto, who appeared at the Lewisohn Stadium in New York last season, made her first appearance here since her return. She sang two arias and a group of songs, together with encores. She has been given a voice of great natural beauty and of unusual range. The future should hold great things for her.
Hilger Trio Appears.
Those talented sisters, the Hilger Trio, were presented to the members of the Tuesday Musicale, January 31, in an interesting program that opened with the Beethoven Trio, op. 9, in E major, and closed with “Romanze,” Bach, and “Humoreske,” Dvorak. Elsa Hilger, the cellist, played ,Hungarian Rhapsodie,” Popper; “Liebestraum,” Liszt, and “Spanish Dance,” Popper, while Maria Hilger, violinist,
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