49
March 2, 1922
MUSICAL COURIER
NEW YORK CONCERTS
Thursday, March 2
New York Symphony Orchestra, afternoon... Carnegie Hall
Philharmonic Orchestra, evening...................Carnegie	Hall
Svea Hanson, song recital, evening.................Aeolian	Hall
Rudolph Jung, song recital, evening...................Town	Hall
Friday, March 3
Philharmonic Orchestra, afternoon.................Carnegie	Hall
New York Symphony Orchestra, evening.........Carnegie Hall
La Forge-Berumen Noonday Musicale..................Aeolian	Hall
Edith Bennett, song recital, evening...............Aeolian	Hall
Saturday, March 4
Symphony Concert for Young People, afternoon,
r-, u r- l .	.	Carnegie Hair
Wee Club Contest, evening.........................Carnegie	Hall
London String Quartet, evening.....................Aeolian	Hall
Orchestra Concert, evening----Metropolitan Museum of Art
Sunday, March 5
Jascha Heifetz, violin recital, afternoon...Carnegie Hall
New York Symphony Orchestra, afternoon_______Aeolian Hall
Harold Bauer and Pablo Casals, afternoon.......Town Hall
Nicholas Mulnios, song recital, evening........Town Hall
Sousa’s Band, evening.........................Hippodrome
Monday, March 6
Cornelia Rider Possart, piano recitjl, afternoon,
Aeolian Hall
Trio Classique of New York, evening..........Aeolian Hall
Mr. and Mrs. Alexander Bloch, sonata recital, evening,
Town Hall
Tuesday, March 7
Marian Veryl, song recital, afternoon........Aeolian Hall
Flonzaley Quartet, evening...................Aeolian Hall
Philharmonic Orchestra, evening,
Metropolitan Opera House Wednesday, March 8
Ulysses Lappas, song recital, evening..........Town Hall
Ney in Houston, Texas
Elly Ney will give a recital in Houston, Tex on March 3.
Modo Antico,” “A^ Fragment—When the Sun’s Gone Down and an “Oriental Sketch” from “Three Preludes.” It was particularly interesting to get his own interpreta-tions. In the remainder of the program he was assisted by Vida Milholland, soprano; J. Steel Jamison, tenor; Zoe Pearl Park, contralto ; Ralph Grosvenor, baritone, and Max Olanoff violinist. The songs rendered included “O Wondrous Night” and “The Crystal Gazer,” baritone; “Nocturne” and “The Last Hour,” contralto; “We Too” and ”¿he Great Awakening,” tenor; “Now Like a Lantern,” Song Without Words” and “O Wondrous Light,” soprano. Max Olanoff played “Chant Nègre,” “Intermède Arabe,” "Eklog” and “In Elizabethan Days,” the “Eklog” being especially beautiful. Kitty Cheatham was in the audience, and was prevailed upon to sing two songs which were dedicated to her. The whole program showed the versatility of Mr. Kramer as a composer, and it was a treat to hear his songs, which are so deservedly popular with singers, given with his own accompaniments.
A reception followed the program, when the guests were presented to Mr. Kramer and the other artists. Refreshments were served, and all expressed an appreciation for the enjoyable evening.
Pupils of Mme. Newkirk Win Favor
Grace Munson, contralto, of New Haven, Conn., and an artist-pupil of Lillian Sherwood Newkirk, appeared recently in that city with the St. Ambroise Society, after which she was scheduled to appear in the same city at the Lincoln Memorial Banquet and at a concert at the Brooklyn Institute. Mrs. Munson has been selected as soloist to represent the St. Ambroise Society at the musical of the Danbury, Conn., Musical Club on March 16. She has a brilliant contralto voice and has been a pupil of Mme. Newkirk for several years. She is soloist at the Trinity M. E. Church of New Haven.
Another pupil, Ruth Bowman, created a very favorable impression recently at a concert at Richmond Hill, N. Y, before an audience of 2,000. According to the Sentineij “she sang four encores, the audience having to be requested to allow the concert to proceed. Miss Bowman has been offered the soprano position in two New York churches, but as she is yet but seventeen and in high school, her teacher will not consent to having her take a position this season.״
Mrs Arthur Bibben, soprano, who has always studied with this teacher, has been re-engaged to sing at the Stamford, Conn., Presbyterian Church, where Clayton E. Hotchkiss^ of the Yale Music School, is the organist. This is consiciUred an exceedingly important position.
SOPRANO
Concert—Recital
56 West 75th Street, New York
Phone 8017 Columbus
ESTHER DALE
Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
“The Last Waltz.”
“I have been a faithful reader of the Musical Courier for yea.r®• f notice that your Information Bureau gives very V i ti information to the public and that the public needs this valuable information. I want to ask you the following question: Regarding the operetta ‘The Last Waltz,’ I would like to ask you it you know if this opera, or light opera, is published in Germany, I mean the vocal score for voice with piano accompaniment. I know that it is not published in this country in English, but could you find out for me or give me information where I could find out if this operetta will ever be published in this country m English.”
You can secure complete information regarding this work by addressing the Tama Publishing Company, 1428 Broadway, New
Novello Songs.
I am anxious to know who publishes the. Gilbert-Sullivan operas. Where can I obtain ‘Bless You’ and ‘Prairie Boy’ by Ivor Novello, which I heard from the manuscript last winter in New York?”
p \ou ״ca" secure Gilbert-Sullivan operas from C. H. Ditson & Co., 8 East 34th street, New York. “Bless You” can be ordered at any music store; it is published by Leo Feist. “Prairie Boy” is still in manuscript and cannot be had. “Page’s Road Song,” also by Novello and sung at the same concert, is published by Enoch & Sons, 56 East 34th street, New York, and can be ordered through any music store.
Going Abroad.
Will you kindly give me the benefit of your advice? What are musical conditions in Europe now or what are they likely to be within the next few years? Are the opera houses doing business full season as before the war? My daughter has a good voice, trained along correct lines as far as she has gone. She aspires to be an opera singer. Would it not be better, therefore, to send her abroad next fall to finish her training where she could hear opera as often as she wanted to at a nominal sum, and would there not be a much better chance for her to get into opera there, when she is ready for routine than here at home? Finally, which country, Italy, France or Germany, and which city?”
As you will discover if you read the Musical Courier regularly, there is plenty of music being performed in Europe today. You know how bad the economic situation is there, and there is very little profit in music for any except the important artists. The opera houses are doing, as a rule, a great deal of business but also at a loss, which is made up for by state or city subsidies. It is quite true that your daughter would have more chance of getting into opera abroad than here, and hearing opera oftener at a reasonable price. As to which country, either Italy or Germany afford more opportunities than France, the choice would depend upon whether she would want to go in more extensively for Italian or German opera.
Stage Fright.
“Do you think many people suffer from stage fright after they have once made an appearance, or does it keep on? Do singers suffer from it more than actors?”
PIANIST—CONDUCTOR ACCOMPANIST—COACH
Naw York Address: 345 78»h Street Brooklyn St. Louis, Mo., Address: 42S3 Washington Blvd
PAUL RYMAN
An American Tenor
Management: R. E. JOHNSTON, 1451 Broadway	New York City
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Musicians—Especially Singers!
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How Old Is A Man
WHEN HE’S OLD?
John Burroughs, the famous naturalist, was over 80 years of age .when he Hied.
Theodore Roosevelt was active until the day of his death.
Clemenceau was the oldest statesman at the peace conference—and the youngest in vitality.
These men were not old at 50.
They demonstrate the value of keeping physically fit.
Will YOU be as active twenty years from now as you were at 25—or will you be old and decrepit?
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Stage fright has many victims and is erratic in its course. It is usually at the first appearance of a singer that the symptoms are most noticeable, but often the victim is able to recover more or less as the opera goes on. A celebrated opera singer told us that she suffered terribly from stage fright, as she stood in the wings waiting for her entrance cue, feeling she could not sing a note, but when the cue came and she stepped out where she could see the audience, it left her_ at once. She often sent word to the manager that she could not sing, was too ill, that this time it was not stage fright. Debutantes are often afflicted on their first performance, giving an entirely wrong impression as to their capabilities. Yes, it is doubtless true that singers suffer more than actors from this unpleasant nervous attack. Even the great Caruso was considerably afflicted with this form of nervousness, especially on the first night of a season.
Do Women Sing in the Russian Church?
“I am told the singing is fine in the Russian churches. Do women take part in the choir?”
No, the singing is done entirely by men—their voices beautifully trained. Russian basses are famed for their true profundo quality and extreme low range. Singing forms a large part of the service and one who has once heard the Russian service in its full beauty can never forget it.
Modern Pieces and Phrasing.
“Will you please tell me what is meant by ‘modern pieces,’ and a list of medium grade modern pieces to illustrate what is meant? Also will you please give me a good, full definition of phrasing?”
What a “modern piece” is depends largely upon the point of view. Some young and indiscreet musicians have gotten so far already as to look upon even Debussy as a trifle old fashioned. However, for a rough definition, one might say that modern pieces are those by contemporary composers which differ from the older works in that, neither in form nor harmonic structure do they follow the set of rules which were considered au fait previous to, perhaps, 1890. Modern pieces are apt to be rather difficult technically, but here are a few that are not so hard as some others: Palmgren, “May Nights;” Debussy, “Children’s Corner;” Ravel, “Vaises Nobles et Sentimentales,” and “The White Peacock” of an American composer, the late Charles T. Griffes. For some ultramodern things, you might look at Schonberg’s “Three Pieces” or Ornstein’s “Moonlight.”
Phrasing, one might say, is the moulding of the musical line of a composition according to the indications furnished by the composer and in agreement with the style of the composition and the inner meaning of the music.
Phillip Gordon Resumes Tour
Phillip Gordon, pianist, returned to New York early in January to visit his mother. Mr. Gordon has been away on a successful concert tour in which his piano playing was received with enthusiasm in the following cities: Kirks-ville, La Plata, St. Louis, Mo.; Keokuk, Fort Madison, Iowa; Madison, Oshkosh, Marinette, Wis.; Menominee, Mich.; Peshtigo, Wis.; Escanaba, Mich.; Sioux Falls, South D.; Grand Forks, North D.; Omaha, Neb.; Wichita, Kans., and Oklahoma City.
Mr. Gordon was assisted during this tour by Lois Johnston for the first ten concerts and by Dorothy Dickerson for the last two concerts.
During Mr. Gordon’s short stay in New York, he was busy teaching and had five engagements before clubs of the city. He was assisted at these concerts by Geraldine Marwik, soprano; Miss Whittimore, cellist, and Dr. Sigmund Spaeth, musical critic. A feature of these New York concerts was Mr. Gordon’s playing in direct comparison with his records on the Ampico.' At present Mr. Gordon is on his southern tour.
Musicale-Reception at Erb Studio
John Warren Erb presented a program of compositions by A. Walter Kramer, February 11, with the noted composer himself at the piano. Mr. Kramer opened the program, playing three of his piano numbers—“Menuetto in