MUSICAL COURIER
58
March 2, 1922
best musical composers, including examples found in piano methods of Czerny to Rosenthal-Schytee. In fact, he has culled from the entire classic and modern repertory, supplying his own annotations, fingerings, and pedal marking. Among the celebrated artists who have written in praise of this great undertaking, a few are listed as follows:
“This is the greatest and most valuable work that ever ex/sted. ’	(Signed) Josef Lhevinne.
The most monumental work ever written on piano play-'11?■C, •	•	(Signed) Ferruccio Busoni.
This immensely valuable work has aroused my deepest interest. It is a masterwork (Meisterarbeit).”
. (Signed) Moriz Rosenthal,
A wonderful unique work. A magnificent, supreme ac“?y.ement•”	(Signed) Teresa Carreño.
Without doubt the most monumental effort of its kind m existence.”	(Signed) Harold Bauer.
I wish to express my unbounded admiration for this stupendous work.”
. .	(Signed) Fannie Bloomfield-Zeisler.
This is the greatest and most beautiful work on piano playing that I have ever seen.”
(Signed) Ignaz Friedman,
ACROSS THE COUNTRY
(Continued from page 55)
Skinner organ at St. John s Episcopal Church on January 23, and there were several hundred persons who could not gain admittance after eleven hundred crowded into this edifice. Bonnet played with all his accustomed perfection of technic, lofty musicianship and beautiful sincerity, a program of uncompromising standard. As usual Bach, the pre-Bach writers, Cesar Franck and Guilmant, figured prominently on his program. His recital will be remembered asone of the high lights of this season of much fine music. The Bonnet recital was presented gratis, under the auspices of the Monday Musical Club.
On January 30 the student department of the Monday Musical Club presented its annual program before the senior department. Twelve youthful students, representative of the^ best talent among the membership of some two hundred serious young students, were heard.
Cantor Joseph Schlisky, assisted by William Bloom, Pittsburgh violinist, and accompanied by Evelyn Bloch, of this city, appeared in recital at Temple Emanu-El on January 25. Opera arias and sacred Hebrew numbers again revealed the pleasing tenor voice that Cantor Schlisky introduced to us last season. Mr. Bloom was heard in the Vivaldi concerto.
Caselotti Pupil Vociferously Applauded
Maria Caselotti, wife and pupil of G. H. Caselotti, well known New York vocal maestro, appeared as soloist for the Wednesday Afternoon Musical Club in Bridgeport, Conn on February 8 in the Statfield ballroom. Mme. Caselotti,’ who was the star of the afternoon, sang so charmingly and effectively that one of the unwritten laws of the club was broken, the one relating to encores.
Her program numbers were “Spargi d’amore Pianto,” Donizetti, and “Gran Valse,” by Venzano, both of which she rendered with a charm all her own. Her encore was the plaintive Russian folk song, “The Red Serafan.”
Gunster Given Great Reception
“Gunster Is Given Great Reception” and “Frederick Gunster Gets a Big Ovation” is the way the headings in the local papers read after Mr. Gunster’s recent recital ap-pearance in Birmingham, Ala. On the tenor’s program, among other numbers, were “Ma Maison,” by Felix Four-drain; “Adoration,” by Burleigh; “Volga Boatman’s Song,” arranged by Bromberg, and A. Walter Kramer’s “Great Awakening." On February 27, Mr. Gunster appeared with equal success in recital in Miami, Fla.
Third Warren Ballad Concert
Harriet Van Emden, soprano; Colin O’Moore, tenor■ Norman Jollif, baritone; André Polah, violin, with Francis Moore at the piano, will be the artists for Frederic Warren’s third ballad concert at the Selwyn Theater on Sunday evening, March 12. As usual, an interesting and ־ varied program will be presented.
HAYDN OWENS
PIANIST—ACCOMPANIST—COACH
______ Conductor Haydn Choral Society
1227 Kimball Building -	- Chicago
lifted and the chorus was revealed standing. Josef Marchand, who had been elected spokesman, stepped forward and presented the youthful star with a silver loving cup, telling her that it came from his fellow members in the chorus. Miss Lucchese was greatly surprised, as the affair had been kept secret. The audience then redoubled its efforts in the way of applause and there were many more curtain calls. The cup, which is a very handsome one, bears the following inscription: “To our little songbird, Josephine Lucchese, with best wishes for her continuous success. Prom the members of the San Carlo Opera Chorus. January 31, 1922.”
CARL FISCHER ISSUES
NEW JONAS WORK
The First Part (in Two Volumes) of “The Master School of
Modern Piano Playing and Virtuosity,” by Alberto Jonas, Has Just Been Issued by Carl Fischer Press—A Monumental Contribution to Musical Literature
What promises to be a work of great value is “The Master School of Modern Piano Playing and Virtuosity,” by Alberto Jonas. The first part, in two volumes, is now ready for the musical world. Carl Fischer is the publisher.
Jonas is one of the foren ost living piano virtuosos. During his long residence in Berlin he won considerable re-
ALBBRTO JONAS,
author of “The Master School of Modern Piano Playing and Virtuosity,” a new work that is being issued to the music world by Carl Fischer, the publisher. (Photo © Underwood & Underwood.)
nown as a teacher. Besides being a gifted writer, the author is a linguist, and this colossal manuscript has been written in English, German, French and Spanish. It includes hundreds of explanatory notes, whole chapters that will make the volumes of a tremendous educational value throughout the world.
Many of the greatest living pianists to whom Mr. Jonas submitted his work have spent hours collaborating and adding their original technical exercises. These additional notations cover over two hundred pages. A list of these great artists includes Busoni, Cortot, Dohnanyi, Arthur Friedman, Ignace Friedman, Katharine Goodson, Godow-sky, Gabrilowitsch, Ganz, Lhevinne, Moriz Rosenthal, Stojowski, Emil Saurer and Fannie Bloomfield-Zeisler.
It is a new thought, vividly and tersely expressed, including many new technical discoveries. It contains chapters in a most concise form explaining and illustrating piano playing viewed from every angle. The author has also made some very wise and clever selections from the
MUSIC ON THE PACIFIC SLOPE
(Continued from page 48)
tralto) appeared in concert at the Auditorium. First came Mozart’s “Voi che sapete,” in which the three artists made an admirable impression. Their solos also were received with marked favor. J. R. Hutchison, of Portland, furnished sympathetic accompaniments. The audience was very enthusiastic over the whole program, and rightly so. This concert took place under the direction of the Elwyn Concert Bureau.
With Edna Swanson Ver Haar, Chicago contralto, as soloist, the Columbia Male Chorus gave its nineteenth annual concert on February 11 at the Auditorium. Charles Swenson led the chorus with musicianly discrimination, producing some excellent effects in the grand march from “Aida,” Verdi; “The Lost Chord,” and several a capella numbers. Mme. Ver Haar, who made a quick conquest of her auditors, sang the aria, “O Mio Fernando,” from Donizetti’s “La Favorita.” She was compelled to respond to many encores. Edgar E. Coursen, pianist, and Ralph W. Hoyt, organist, provided admirable accompaniments.
Dent Mowrey, gifted composer-pianist, of New York and Portland, appeared in recital in the ballroom of the Multnomah Hotel on February 9, playing a delightful program of his own compositions. Especially pleasing was his new sonata, which has brought a fine contract from one of his publishers. Jane Burns Albert, soprano, assisted. She sang a number of Mr. Mowrey’s beautiful songs. Prolonged applause testified to the enjoyment of the audience. Mr. Mowrey has a large following here.
The Chicago Opera Association has been booked for five performances at the Public Auditorium, beginning March 22.
At the last meeting of the Oregon Chapter of the American Guild of Organists, William Robinson Boone gave an illuminating talk on “Artistic Accompaniments on the Organ.”
Robert Louis Barron, of the first violin section of the Portland Symphony Orchestra, is giving a series of three recitals at the Mallory Hotel.	J. R. O.
SAN DIEGO FEASTS ON
DELIGHTFUL BAUER MENU
Other Bits of News
San Diego, Cal., February 1, 1922.—Harold Bauer’s concert for the Amphion Club on January 11 was a great event for musicians and music lovers. Mr. Bauer is master of the resources of his art and instrument and a modernist in the finest sense of the term.
An acquisition to San Diego’s musical circles is William Harper, bass-baritone, formerly of New York. Mr. Harper is well known in the east through appearances with leading orchestras and oratorio societies. In his recital recently he showed real musicianship and a very beautiful voice.
Renato Zanelli scored a hit with his audience in the fourth artist concert of the Amphion series. It was “popular” evening, with many old favorites to the fore. Grace Wagner was successful in a group of Russian songs.
Under the auspices of the Organists’ Guild, Dr. Latham True, a prominent organist of Portland, Maine, who is spending the winter in San Diego, gave a delightful recital at the Presbyterian Church. Dr. True made an excellent impression in the double role of organist and composer.
At the second of the local artists’ concerts, the Amphion Club presented Ellen Bronson Babcock, pianist; Mrs. Gordon Gray, violinist, and Mrs. Courteney Minty, contralto. In spite of bad weather the attendance was good and the concert pronounced a great success. Too much emphasis can hardly be given to these hearings for local musicians. They should serve to crystallize and focus the ideals of professionals and students, and should be of real constructive value in the community
The soloist for the next concert of the San Diego Philharmonic Society (with the Los Angeles Philharmonic Orchestra) will be the pianist, Richard Buhlig. E. B. B.
Lucchese Given Loving Gup
It is not often that the chorus pays tribute to the stars of an opera company, but such an honor was bestowed on Josephine Lucchese during the San Francisco season of the San Carlo Grand Opera Company, on January 31. “Lucia” was the bill that evening, with Miss Lucchese singing the title role. After she had sung the “Mad Scene” and had been forced by the applause of the capacity audience to repeat the latter half of it, she was called out before the curtain more than a dozen times. Finally the curtain was
LEON SAMETINI For dates addrese Personal Representative L. FERRARIS 626 So. Michigan Avenue ־ - Chicago	J | &SS p 9 1 A tenor-composer o r ■H■ L S 1 it N E mm ft« EL JL: ij| 319 W. 95th Street 5 """W Tel. River 8744
	EARLE LAROS “The Pianist with a Message** Educational Recitals Address: MISS JEAN WISWELL, 437 Fifth Avenue, N. Y.
FRANCIS MOORE Pianist—Accompanist—Teacher 265 Welt 81«t St,. New York Telephone 0235 Schnyler	
	Milan Lusk Concert Violinist Mar agemeot: LUDMILA WETCHE 206 W. 99th St N Y
GEORGE WESTLAIN DAVIES TENOR Excelsior Hotel, Rome, Italy	
	¡REUTER L F» PIANIST bl Management: HAENSEL & JONES, Aeolian Hall New York
□ RAGNA LINNE (Sì™.“? HB CHICAGO	
”THE MACHINE YOU WILL EVENTUALLY CARRY’’
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