47
MUSICAL COURIER
March 2, 1922
Maley, were on the program, the composer at the piano. Edward Kasper sang her “Lily White Liza’ at the Ambassador Theater, February 26, in the Polyclinic Music Review given by ex-service men. “Tiny Songs of Fantasie” will soon be issued by Ditson, and the John Church Company has in hand two songs—“If I Were a Butterfly” and “The Wonder of the Thing.” Schirmer has also accepted a new song, and it appears that the Maley works are fast becoming popular.
Kronold Memorial Testimonial Concert.
Henry Hadley and Bendix T. Minden were appointed the artists committee and Carnegie Hall authorized, with Sunday evening, May 7, as the date, for the Kronold testimonial concert. It is planned to obtain leading vocal and instru-, mental artists as soloists for this worthy undertaking. A group of cellists, etc., are on the roster for the affair.
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ternoon meeting of the union Branch, Y. M. C. A., and at the monthly musical services of the Church of the Disciples. Elizabeth Wright, contralto of the Creston Avenue Baptist Church, appeared in concert at the Bronx Y. M. C. A., and Audrey Launder, contralto of Warburton Avenue Baptist Church, was heard in two lovely groups of songs at the annual Masonic concert in Yonkers.
John Barnes Wells in Albany.
John Barnes Wells, well known tenor and fast becoming-known as composer of many songs of originality, with Fillmore Ohman appeared in Albany on February 14, giving two hours of vocal and piano music. The Knickerbocker Press of that city calls them “a delightful musical team, which held the large audience in a witchery of music for two hours.״ It was Mr. Wells’ fourth appearance in Albany in two years and Mr. Oilman’s second this season. The Knickerbocker Press devotes much space to this recital in an article written by William H. Haskell, from which a portion is quoted as follows:
John Barnes Wells comes near to being a sort of American musical institution. One feels that if Booth Tarkington’s prose, George Ade’s humor spirit, a dash of Lincolnian humanity, and just a bit of Riley pathos could be merged with the older, classic mood, and the whole transplanted into music, it would suggest the John Barnes Wells who impresses the average audience. His metier is so broad, and his facility in all its ranges so graceful that he is a sort of vocal Esperantist—a translator of a universal musical tongue.
He was in excellent voice last night, phrasing with all the delicacy demanded of seventeenth and eighteenth century songs; giving real imagination to some Oriental Le Gallienne verse set to exotic music by W. Frank Harling, giving you the very swing and sway of the negro camp meeting with his humor and pathos in the “spirituals” and then bringing up with the Wells’ nonsense songs—the dessert (or is it the cocktail?) of the feast.
The lover of artistic singing relished his first song, “Love Me or Not,” of Secchi; found his breath control, his shading and his tones true at all times, and agreed that his “Laddie in Khaki,” of Florence Aylward, had unwonted inspiration. The list could be extended to include everything, for Wells makes of each a gem. As a humorist his “Turtle,” “Little Rock,” “The Elfrnan” and “The Lilac Tree” ring true. He was most generous last night, but he always leaves you hungry for more.”
Southland Singers at Mail Concerts.
Charles D. Isaacson, director of the Evening Mail concerts, was fortunate to obtain the Southland Singers, nearly seventy voices, to sing at the concert of February 27, Leroy Tebbs conductor, at the Wadleigh High School, with Jacqueline de Moor, seventeen year old pianist, as accompanist. Their numbers were as follows: “Love Is So New,” Barlow; “Memories of the Dance,” Neidlinger; “I’ll Think of Thee,” Julian Edwards; “Largo,” Handel; “Smilin’ Through,” Penn; “Ma Little Sunflower, Good Night,” Vanderpool, and “A Hong Kong Romance,” Hadley.
Patterson Arranges Y. M. C. A. Concert.
Elizabeth Kelso Patterson, teacher of singing, arranged a program for the Y. M. C. A., East Side, on February 18. The Misses Holland, pupils of Miss Patterson, gave great pleasure with their singing. Violet Nedderson, pianist, was well received; she showed good training, and promises to become a pianist of more than usual ability.
Nichols’ Newburgh Choir at Haverstraw.
The Trinity Methodist Choir of 100 voices, of Newburgh, N. Y., under the direction of John W. Nichols, was recently invited to give a musical service at the Haverstraw Methodist Church. Several of the local churches gave up their services in order that the congregation might attend. The Trinity Choir is rapidly winning a reputation as one of the best choirs in the Hudson River region.
Turner Maley Works Heard.
February 25, at the Ampico Studios, Sally Hamlin gave “The Children’s Musical Hour.” “The Worry Cow,” “Captain Jim Rim” and “Nick the Gnome,” by Florence Turner
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Harriet Bacon MacDonald, 825 Orchestra Bldg., Chicago: 1311 Elm St., Dallas, Texas, June, 1922; Chicago, August, 1922
Carrie Munger Long, 60« Fine Arts Bldg., Chicago, 111.; classes held monthly througin the year.
Mrs. Wesley Porter Mason, 5011 Worth Street, Dallas, Texas
Laura Jones Eawlinson, Dunning School, 252 West 74th Street New York City, January 3; Portland, Ore., June 17, and Seattle, Wash., August 1.
Virginia Ryan, 1115 Washington Street, Waco, Texas, November and February.
Stella Huffmeyer Seymour, 1219 Garden Street, San Antonio, Texas. Week end class begins Oct. 6.
Mrs. Ura Synnott, 824 No. Ewing Ave., Dallas, Tex.
Una Clayson Talbot, 3068 Washington Blvd., Indianapolis, Ind.
Isabel M. Tone, 469 Grand View Street, Los Angeles, Cal., June 19 to July 22, 1922.
Mrs. S. L. Van Nort, 2815 Helena St., Houston, Texas, Sept 19.
Mrs. H. R. Watson, 124 East 11th St., Oklahoma City, Okla January 15, March 15, and May 15.
Anna W. Whitlock, 1100 Hurley Avenue, Fort Worth, Texas.
Mattie D. Willis, 1922—Waco, Texas, Jan. 9; New York City, June 26-Aug. 14, Sept. 20 and every month thereafter. Address 617 S. 4th St., Waco, Texas, or 915 Carnegie Hall, New York City.
Mrs. Carrie Louise Dunning, Originator, 8 West
40th Street, New York City.
New York City, Sept. 22; Los Angeles, Jan. 25, 1922. Anna Craig Bates, 732 Pierce Bldg., St. Louis, Mo., June 1, 1922. Mary E. Breckisen, 354 Irving Street, Toledo, Ohio. Detroit, Mich., June, 1922; Toledo, Ohio, July, 1922.
Mrs. Jean Warren Carrick, 160 East 68th St., Portland, Ore., June, September and March.
Adda C. Eddy, 136 W. Sandusky Ave., Bellefontaine, Ohio; February, March, Miami, Fla.; April, Bellefontaine, Ohio; June, July, Columbus, Ohio.
Beatrice S. Eikel, Kidd-Key College, Sherman, Texas.
Jeanette Currey Fuller, Rochester, New York.
Ida Gardner, 15 West Fifth Street, Tulsa, Okla.
Cara Matthews Garrett, San Marcus Academy, San Marcus, Texas; San Antonio, Texas, on June 5 and July 17.
Addye Yeargain Hall (Mrs. Wm. John Hall), Musical Art Bldg., St. Louis, Mo., or 145 West 45th St., New York; New York City, June 19; Buffalo, N. Y., August 1; Jefferson City, Mo., Sept. 11.
Elizabeth Hasemeier, 41 So. 21st Street, Richmond, Ind.
Mrs. Julius Albert Jahn, Dallas Academy of Music, Dallas, Texas. Maud Ellen Littlefield, Kansas City Conservatory of Music, 1515 Linwood Blvd., Kansas City, Mo.
Inlormation and booklet npon request
GOTHAM GOSSIP
Dickinson Historical Bach Recitals.
The third historical organ lecture-recital in the series of music by Bach, given by Dr. Clarence Dickinson, director of music at Union Theological Seminary, took place in the chapel of that institution on February 21. Again every seat was occupied, with extra seats placed in the aisles, and a highly interested audience listened to the music as presented by Adele Parkhurst, soprano; Fred Patton, bass; Grace Potter Carroll, pianist, and a chorus of male voices, the last named being made up of the choir of Union Theological Seminary, thirty young men with W. L. Clark as leader. All of the music was from the Leipsic period of Bach, when he was organist and director of music at the St, Thomas Church, beginning. 1723. Miss Parkhurst sang “It’s All the Wind,” and Mr. Patton contributed “Amore Traditore,” both the numbers proving novelties to everyone and enjoyed. Miss Parkhurst’s limpid and clear high soprano voice and Mr. Patton’s robust bass especially suited these two numbers. They also were the principals in the humorous work, “The Coffee Cantata,” which produced audible smiles. The cheerful music contained in the piano concerto movements, played by Grace Potter Carroll, were likewise enjoyable items. The male chorus sang chorales and Dr. Dickinson played an allegro from the sixth organ sonata, also lecturing on the various numbers, all in his usual highly interesting and sometimes humorous manner.
Florence Foster Jenkins Sings for Cheltonians.
A musicale and tea of unusual interest was given in the MacDowell Galleries February 21, when a party of Cheltonians, from Cheltenham, England, were entertained, some of these guests having met by accident in New York. They had not seen each other for twenty years.
A program of English songs was sung by Florence Foster Jenkins, accompanied by Beatrice Raphael. Beatrice Maude presided at the tea table. Among the Cheltonians present were Mr. and Mrs. Moffat Johnstone, Charles Chappell, Croker King (from the “Bulldog Drummond” Company), St. Clair Bayfield, Sylvia Johnstone, Mrs. Hammond Clarke, Henry Cossart and Phyllis Hemingway.
Amy Grant Gives "Salome.”
The usual fortnightly 11 o’clock Thursday opera recital by Amy Grant, with Lawrence Schauffler at the piano, Aeolian Hall, February 23, had an audience manifestly absorbed in every detail of the affair. It included the “Dance of the Veils” (Aeolian pipe organ), performance of “Träumerei” (Strauss) on the Duo-Art piano, analysis of text and music, and recitation of the text, with piano. In this Miss Grant held attention every moment, for she gives the Wilde story in tense manner; every characteristic stood forth clearly, and the deeply expressive voice and spontaneous gestures of the reader served to fix it indelibly in memory. Miss Grant’s February recitals of operas include “Thais,” at the Plaza Hotel; “Dead City,” at Aeolian Hall, Rye and Summit; “Salome,” at Aeolian Hall and Pittsburgh. She also gave “Faust,” “Aida” and “Love of the Three Kings” in Pittsburgh, free to the public, through the local management of the Chicago Opera Association.
Thursby Seventh Musicale.
Emma Thursby’s seventh Friday afternoon musical reception, February 17, was largely attended and the music greatly appreciated. Several of Miss Thursby’s artist pupils took part. Martha Henry Timothy sang beautifully “Dawn” and “Nursery Rhymes,” by Pearl G. Curran, accompanied by the composer. Clara Deeks sang artistically “Lungi dal Caro bene” (Secchi), “Bergerette” (Recli), “Rest Thee My Spirit” (Strauss), “II Neige” (Bemberg), “The Lute” (Woodman), accompanied by Kathryn Kerin. Yadwiga Benda sang “To the Fields” (Rachmaninoff) and “Hopak” (Moussorgsky). “Ho, the Piper,” “Rain,” “The Holiday,” were sung by Blanche Da Costa, accompanied by the composer, Pearl G. Curran. Kittie Berger played two of her own compositions, “Inspiration” and “Remembrance,” on her famous harp-zither, presented to her by Adelina Patti. Vladimir Brenner, a Russian pianist who has but recently arrived, proved himself a very fine artist. He _ played “Humoreske” (Rachmaninoff), second etude (Scriabine), and a valse (Chopin). Edgar Fowlston, an English baritone of very pleasing voice quality, gave “Bois Epais” (Lully) and “Some Rival” (old English). S. A. Van Meter, Jr., baritone, sang charmingly “Until” (Sanderson) and “By the Waters of Minnetonka” (Lieurance).
Active Speke-Seeley Pupils.
February has been a month of many interesting activities in the Metropolitan Opera House studios of Henrietta Speke-Seeley. At the delightful musicale in honor of Charles O. Bassett, composer, prior to his sailing for the Orient, Miss Morlang, Miss Plum, Elizabeth Wright and Miss Campbell sang arias and solos, and all of the pupils joined in some part songs of the composer. Iva Belle Squires gave some charming readings. Lillian Morlang, soprano, was the soloist in “The Creation” at the Metropolitan Temple, and is re-engaged for the March production of “The Messiah.” She was special soloist at the Sunday af-
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