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MUSICAL COURIER
MOISSAYE BOGUSLAWSKY,
who is now teaching at the Chicago Musical College, where he is one of the most successful instructors in the piano department. lie is recognized as one of Rudolph Ganz’s most accomplished and successful professional students.
Spiering Plays for Swarthmore Students
Swarthmore, Pa., February 13, 1922,—The violin recital of Theodore Spiering was a unique success. His reputation as solo artist, director, and pedagogue had preceded him. The Swarthmore School of Music brought Mr. Spiering to Swarthmore through its teacher, one of his pupils. The members of the school were eager and enthusiastic. The hall was full, but it seats only two hundred and fifty.
To such an audience Mr. Spiering played the Tartini “Devil’s Trill,” Spohr’s eighth concerto, and three of his own caprices. He concluded the program with Schubert’s air from “Rosamunde,” arranged by Kreisler; the Beethoven “Romance” in G, and the Vieuxtemps rondino. His interpretation showed that fine restraint and delicacy always characteristic of his performances, with no trace of show or “gallery-playing.” Herein lay the evidence of his real art that he could play music that was far above the heads of most of his hearers, yet with such truth and simplicity that they could understand it.
His own caprices were received with delight, although probably the strength of this applause came from the many Philadelphia musicians who came out to do him homage. These of course recognized the extreme technical difficulties of these compositions. The musicians present were particularly warm in their praise of his masterly ease of execution, his magic in double-stopping, his “silken” tones of joy and sadness, and, withal, the intelligence evidenced by his balance and control.
ample volume and an excellent technic, his wrist work being admirable. He also showed unusual talent as a composer, playing his “Starry Night,” a unique number, full of technical difficulties and impressionistic in atmosphere.
Both Miss Rhodes and Mr. McMoon are presented and endorsed by the presentation committtee of the New York State Federation of Music Clubs, and a bright future is predicted for theem. Both have real talent and, in addition, a pleasing stage appearance.
Harriet Seymour and Caroline Lowe Harvey were hostesses.
Florence Hesse Proves Reliable Church Singer
On January 29 Florence Hesse, soprano, substituted for Vera Curtis at the First Presbyterian Church, Fifth avenue and 12th street, New York, at the solicitation of Dr. William C. Carl, the eminent organist, at whose special musical ser-
FLORENCE HESSE, soprano.
Levitzki Engaged for Dayton Course
The announced arrival of Mischa Levitzki and the assurance that he will be available for America throughout next season has resulted in a number of engagements being booked within the past week. Among them are recitals in Denver, Oklahoma City, and Dayton, Ohio. In Dayton he will appear in the Civic Music League course, and it is interesting to note that this organization has booked its piano attraction from Daniel Mayer two years in succession. This season Guy Maier and Lee Pattison gave a recital in the Dayton series.
vices many are always turned away. On January 22 Miss Hesse substituted for Marguerite Hazzard at the Dutch Reformed Church, Flatbush (William G. Hammond organist), where she rendered without difficulty the soprano parts in exacting anthems as well as a solo on a day’s notice to the great satisfaction of all.
Miss Hesse has had much experience in church and synagogue work, and the fact that she is a vocal student under Joseph Regneas, from whose studios many of the best church singers have emanated secures for her a hearty welcome wherever she sings.
MARIE TIFF A	NV	
Soprano Metropolitan Opera Company FEATURES: IN THE CYPRESS GROVE - - Emerson Whithorne COLOURED STARS ----- Bainbridge JCrist FLAMES ----- _ _ Horace Johnson Published by CARL FISCHER Cooper Square, NEW YORK 380-382 Boyl.ton, BOSTON 430-432 S. Wabash, CHICAGO		
Special Courses in
FRENCH DICTION for SINGERS
(Coaching—French Song Repertoire)
Tenor and Teacher
Latest Disciple of
JEAN de RESZKE
H IMBUT
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1
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(Has Taught in Paris and on the Riviera)
ENDORSED by EDMOND CLEMENT
STUDIO: 31, Metropolitan Opera House	New York
Tel. Bryant 1274
March 2, 1922
WHAT THE JURY THINKS
[The music critics of the New York dailies constitute the jury in the appended extracts from criticisms which have appeared in our local newspapers. Many concerts and operas are given in the metropolis, and the following day the critics agree or disagree on the merits or demerits of the performer. However, on most occasions the writers do not agree, and this department is run for the purpose of reproducing some of the flat contradictions, showing that, after all, the review constitutes but the personal opinion of the critic who covers the performance,—Editor’s Note.]
Theodore Ritch in “Thais,” February 16
Times	World
His [Ritch’s] tenor voice fully Theodore Ritch as Nicias some-adequate to the light, vivacious times wasted his substance in airs.	riotous singing.
Helen Teschner Tas, February 19
Globe
The Philharmonic concert in Carnegie Hall yesterday afternoon would have been an ideal affair had the Mozart violin concerto in A (Mrs. Helen Tesch-ner Tas was the soloist) been omitted from the program.
American
Mozart’s violin concerto in A major, with her [Helen Tas] as soloist, proved to be one of the most satisfying offerings of the program.
Mengelberg, Conductor, February 19
American
But what in the name of common sense was Mr. Mengelberg trying to do yesterday with Strauss’s “Don Juan,” which he had conducted so inspiringly at his first appearance of the season? After the propulsive beginning, proclaimed with great power and force, every page of the score seemed to be split up into detached fragments. For Mr. Mengelberg carried his fondness for modifications of tempo to a point verging upon the extravagant, and in thus distorting the musical phrase not only destroyed the symmetry of line and movement, but sapped the very essence of the emotional expression. A performance so overburdened with deadening details of nuance, accent and changes of pace the writer of this has never before heard.
Notre Dame,” February 21
Evening World
Miss Garden was hard put to keep _ the pathetic picture of the boy juggler in its secure frame.
World
And for at least one listener she distorted the character of the naive, pious young Jean into something which suggested a restless simpleton.
Globe
As for the “Don Juan” of Richard Strauss — here words would fail were it not the indentured _ writer’s inescapable duty to write them down. . . . But in the tremendous impetus of the supreme quest, a smashing onslaught, and a resistless passion without thought of pain or lapse, the performance led by Mr. Mengelberg stands incomparable, alone. ... No other conductor that I know has rushed the final climax to a height so dizzily frenetic; by the same token, on no other conductor’s hearth has the ultimate cold been quite so fiercely cruel.
Mary Garden in “Juggler of
American
Miss Garden last night again revealed a naivete that convinced.
Herald
Miss Garden again made irresistible appeal by her pathetic yet charming portrayal of the little juggler.
Giacomo Rimini, Baritone, February 22
Sun
And again the Iago was Giacomo Rimini, as it was last year. Mr. Rimini did it all very badly last year, and this year he does it quite blandly worse. He was not even naughty about it, but just perpetually and clumsily dull.
Globe
Mr. Rimini as lago sang with skilful phrasing and appropriate expression. .	.	. His lago
was a buoyant and plausibly insinuating fellow, without suggesting an extreme of cunning or evil.
Cimini, Conductor, February 22
Evening Journal Perhaps the person who accomplished more single-handed destruction than anyone else was the conductor, Pietro Cimini. He seemed to have about as much notion of the intricacies of the superb score in front of him as though it held only the facile obviousness of an “II Tro-vatore.”
Evening Mail
Pietro Cimini, who conducted the melodious score vividly, had to take a curtain call, and the performance went with a sweeping rhythm.
Marie Novello, Pianist, February 23
Tribune
Marie Novello ... disclosed a talent rather unevenly developed, a pleasant touch, but a tendency to sentimentalize. In some of the lighter things her playing had a good deal of charm, but where dynamic contrast was required, her chords were resounding but her finger strength insufficient and her playing was often muddled by misuse of the pedal.
World
She never allowed her feelings to run away with her.
American
Marie Novello can register an unqualified success for her New York debut piano recital. .	.	,
She presented a program the performance of which required a brilliant and facile technic, refined taste and a comprehension of dramatic values. She met these demands valiantly and capably. .	.	. She used the
pedals in a manner that reflected utterly the picturesqueness of the work [Debussy’s “La Cathedrale Engloutie”].
New York State F. of M. C. Musicale
The New York State Federation of Music Clubs, Edna Marione president, held a musical forum at the Hotel Pennsylvania Friday afternoon, February 17, some fine musical talent being presented. The program was opened by Harriet Seymour, who gave a brief, interesting talk on “Musical Reeducation,” a subject dealing with the psychological aspect of music, the importance of which is being recognized more and more. Ralph Pembleton sang two groups of songs including “From the Land of the Sky Blue Water” (Cad-man), “Your Smile a Pearl,” “Duna” (McGill), and “Love, I Have Won You” (Ronald). He has a tenor voice of pleasing quality and sings with excellent diction. He was accompanied by Caroline Lowe Harvey, who is corresponding secretary of the Federation.
Esther Rhodes, a charming young girl who has recently come to New York from California, was heard in several harp solos—“Arabesque,” Debussy; “Mazurka,” Schueker, and “Spanish Patrol,” Tedeschi. She revealed musicianly qualities in her interpretations and has an adequate technic, playing with assurance and ease. She has good feeling for rhythm and employs agreeable and satisfying contrasts in her playing.
Cosme McMoon rendered a group of piano solos in a manner that was refreshing. In Rachmaninoff’s G minor prelude and Godard’s “En Route” he manifested the vigor and spontaneity of youth, a well defined sense of rhythm,