35
COURIER Ex.13.
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March 2, 1922-	MUSICAL
torio Society. Miss Gentle is to tour again with the Scotti Opera Company in May.
Mirovitch Re-engaged for California
Alfred Mirovitch, pianist-composer, scored so emphatic a success on the Coast last November, where he was engaged for ten appearances, that he has been re-engaged for an additional twelve performances during the month of March. One of the coming engagements will include his appearance as soloist with the Los Angeles Symphony Orchestra under Conductor Rothwell.
Despite the fact that Mirovitch was an unheralded newcomer to California, he was hailed at once as one of the great virtuosos of the piano. In Los Angeles he created a veritable furor. Carl Bronson, of the Herald, compared him with De Pachmann in a rather interesting analysis: “He is an extension of the De Pachmann style of virtuosity, but has added the punctuation of dramatic emphasis, besides being much more clear in delicate ornamentation, without the absurd mannerism's of that old master.” Further on in his criticism he stated: “The Liszt rhapsody, No. 11, closed one of the most brilliant performances of piano virtuosity that it has been our pleasure to record of late.” The critic of the Examiner closes his comments as follows:	“Mr.
Mirovitch will be welcomed by music lovers to another hearing, his work showing so wide a range of excellence and such a careful balance of virtuosity and high intelligence.”
Interesting Entertainment at Ampico Studios
The Ampico Studios, 437 Fifth Avenue, New York, held a capacity audience on Saturday morning, February 25, the occasion being “The Children’s Musical Hour,” with Sally Hamlin, accompanied by the Ampico.
Miss Hamlin entertained the children, alternating with recitations, piano solos and dances. Her numbers were carefully selected, causing untold pleasure and merriment to the children and adults.
The outstanding feature of the entertainment was the reproduction of several extraordinarily fine records by the Ampico reproducing piano. The records were by Rachmaninoff, Howard Brockway, George Copeland, Richard Hans Barth, Grieg, Fannie Bloomfield-Zeisler and Busoni.
Leonardo da Vinci. Perhaps if these severe judges who fall so easily into adverse criticism, were really to know my music, they would find in it some of those qualities that I dare permit myself to hope it contains.
New York, January, 1922.
Gerhardt Booked for London
Elena Gerhardt, the lieder singer, whose recitals have been outstanding features of the concert season in New York and elsewhere, finished her present American tour by singing with the Detroit .Symphony Orchestra, Ossip Gabrilowitsch, conductor, on February 23 and 24. She made her farewell appearance in Town Hall on Sunday evening, February 26, and is scheduled to sail for Europe early in March. She will give two recitals in Queen’s Hall, London, on March 21 and 30. and will also be heard in the English provinces before proceeding to her home in Leipsig.
Macbeth Opens Course in Brookhaven
Brookhaven, Miss., January 16, 1922.—Opening the Whitworth Artist Course, Florence Macbeth, of the Chicago Opera, scored a decided success with the capacity audience in the Mary Jane Lampton Auditorium on January 5. Her program, consisting of French, Norwegian, Russian, Italian and American groups, was decidedly well received, the new song, “Charity,” being specially liked.
George Roberts assisted with a group of piano numbers, while his accompaniments provided a source of much pleasure.	B. C.
Althouse Singing “The Phantom Ships”
Paul Althouse is singing “The Phantom Ships,” by Rudolph Gruen, on all of the programs on his present tour. The song, with words by Gordon Johnstone, was written by Mr. Gruen especially for the tenor, and it has been well received everywhere. The Pueblo Chieftain said: “One of the vocal numbers was of his creation and was excellent.” The Laramie Republican also commented: “Mr. Gruen also showed himself a composer of no mean ability in the very unusual song with which Mr. Althouse opened the second part of the program.”
Namara-iTerola Concert a Success
“Ñamara and Zerola concert great success, both artists creating enthusiasm, Ñamara closing program with several encores and repeated recalls”—was the wording of the telegram received from the prominent local manager under whose direction Marguerite Ñamara and Nicola Zerola recently sang at the New National Theater in Washington. Mme. Ñamara sang the “Un bel di” aria from “Butterfly,” the “Jewel Song” from “Faust” and several song groups, while Mr. Zerola gave an aria from Giordano’s “Andrea Chenier,” another from Meyerbeer’s “L’Africana,” and a song group.
Women’s Orchestra Heard in Chester
The Women’s Symphony Orchestra, of Philadelphia, under the efficient direction of J. W. F. Leman, gave a concert in Chester on the evening of February 14. According to a local paper, “Mr. Leman led with great dignity and force, and the orchestra ably responded to his clear and decided beat. To the most casual observer it was evident that Mr. Leman has carefully trained this group of musicians and has been successful in imparting to them a fine love for the work. The orchestra in all its selections showed high honor to the leader and to itself.” Florence Haenle, violinist, and Paul Engle, baritone, were the soloists.
Noaves Appearing with Success in Brazil
Giuomar Novaes, the Brazilian pianist, is meeting with much success in concert in South America, her audience numbering approximately 2,000 every time she plays. During March the pianist is scheduled for appearances in the South of Brazil, and later there probably will be concerts in Buenos Aires.
Nielsen Sings for Near East Relief
Alice Nielsen appeared in recital at Buffalo, February 21, under the auspices of the Near East Relief, the proceeds being devoted to furthering the work of this organization.
Bernardine GRATTAN ^0«״
Available for Concerts in Middle West Sept., Oct. and Nov., 1922.
Address: 149 West 80th Street, New York
Magdeleine Du Carp Sails for Europe
Magdeleine Du Carp, the French pianist, sailed on the steamship Finland, on February 11, for Europe, having been compel'ed to curtail her successful American season to fulfill engagements in England and on the Continent. Her many friends and admirers will be glad to learn that this charming and distinguished artist is to return to America next season for an extended tour. Mme. Du Carp was accompanied by her husband and her now famous black cat, “Pou-pousse.”
A memorable feature of her recent tour, and one which has helped to establish her here, was her performance at Carnegie Hall on January 25, when, accompanied by the Philharmonic Orchestra (Josef Stransky, conducting), she performed three concertos—by Beethoven, Schumann and Pierne—in one program.
Another Tour for Lhevinne
According to Josef Lhevinne’s experience this season life is just one tour after another. After having already appeared in nearly every state in the Union since last fall, he will start out again in March to fill engagements that will keep him busy throughout the month. Between the 5th and 10th he will give recitals in Cleveland and Rochester and appear as soloist at two concerts of the Minneapolis Symphony orchestra.
Scott and Cox Entertain
John Prindle Scott and W. Ralph Cox, who have apartments in the same house, recently gave an informal stag party to a dozen guests. Among the musical people present were Lowell Moleir Wells, of Cedar Falls, Iowa; Pierre Remington. Gordon Stanley, Frank Samson, Harry Waller, Archibald Sessions and Vincent Jones, composer, of Los Angeles.
Gentle Again with Scotti Opera
As the direct result of her brilliant operatic performances with the Scotti Opera Company last fall, Alice Gentle has recently added two more concerts to her already important list. Returning from a concert tour on the Pacific Coast, she will appear jointly with Gabrilowitsch, replacing Mme. Destinn. Also she will sing with the Toronto Ora-
1922-1923 AN UNUSUAL CONCERT OR SINGLE ATTRACTION
(Season Sixteen Weeks)
“I Pagliacci” (In Italian) preceded by the woodland pantomime “An Hour Before the Cock Crows.” Full scenery, costumes, lighting and a small orchestra of chamber musicians. Cast of high excellence. Territory, Ohio, Mich., Penn., N. Y., Virginias, Carolinas and New England.
Now Booking—Wire or Write
KINGSBERY FOSTER, MGT.	66 West 38th St., New York
The scales used in Example 12 are as follows: (1) whole-tone scale, (2) major, (3) “Chromatique neutre,” (4) “Mineur chromatise,” (5) minor. The scales used in Example 13 are as follows: (1) E flat Gregorian, (2) B flat major, (3) F sharp Gregorian, (4) D Gregorian. (The “general tone” in Example 12 is E. The “absorbant tone” in Example 13 is E flat.)
It is in this manner that my feeling and intelligence have suggested to me, for my part, a solution of the post-Debus-sian problem. Others have proceeded differently. Schoenberg, by an enormous effort which I admire but which seems to me rather the speculation of a mathematical brain than the fantasy of an artist, has broken the chains of the past and has been the first to produce a keyless music. Stravinsky has succeeded in subordinating the groups of tones to the exigencies of the orchestral color. Bartok and Mali-piero are nearer to me.
To sum up, I consider my musical technic as a logical and necessary tie between the polymodal style of Debussy and the absolute absence of tonality of Schoenberg. And I will add, that I consider myself, in comparison with certain other contemporary musicians, a melodist and a classic. That is all.
H »? *Ç
TO return to my poem, “A notte alta”—if the critics who were so greatly alarmed by this music had retained a greater coolness of judgment, they would have realized that this poem is simply in the key of F sharp; that it opens with an introduction which is nothing more than a long pedal-dominant; that the principal movement begins in F sharp, modulates, returns to F sharp (this time very near to the traditional major) ; that this is succeeded by an episode in the dominant, C sharp, and an allegro agitato in E, which grows quieter and leads to the pedal-dominant of the introduction, and this resolves by a perfect cadence to the tonic. The work terminates in a coda.
Thematically the work is constructed upon two principal ideas—the one strong, the other weak (neither more nor less than in the art of Beethoven). At the most pathetic point of the poem, I have endeavored, here, again following in the footsteps of Beethoven, to give the melody an intensely human and appealing character.
Does all of this seem to you anarchistic ?
*׳ K *
IT astonishes me that the critics of a city that built the Woolworth Building and the Brooklyn Bridge are not more advanced than their colleagues in Europe. Am I ahead of our times? I believe not. I consider my point of view to be a normal one for the year 1922. But, them if that is so, is it possible that these critics are behind their times?
I cannot say. In any case I hope that this short, and necessarily incomplete, essay will create in them a desire to penetrate deeper into an intellectual effort that has lasted twenty years. “Love is the offspring of knowledge,” said