backward in its praise. “She revealed herself as an accomplished lieder singer,” said this paper in speaking of her exquisite rendition of a group of songs of Brahms.
“In Mme. Easton the audience beheld a beautiful woman and heard a great artist,” said the Buffalo News after the Metropolitan singer’s appearance in the city on January 10, as soloist with the New York Symphony Orchestra. And the Courier was just as enthusiastic: “She proved her mettle as a Wagnerian artist and sang with fine restraint and dramatic fervor.”
Ruth Ray Combines Business with Pleasure
During her recent trip West, when she played several recitals in Pennsylvania and Iowa, Ruth Ray, American violinist, stole a few days between dates to attend the “Junior prom” at the University of Wisconsin. She talks humorously of those strenuous days and nights and declares that “prom” night she danced almost ten hours, beginning with a thé dansant at five o’clock and ending at four a. m. “I danced enough to satisfy me for a year. I only wished I could have ‘parked’ my feet. The other girls said they trained for ‘prom’ with ten miles a day of road work. One would need to.” This athletic artist always finds time among her busy moments for some pleasure.
Claussen with Orchestra in Kansas City
On January 28 Julia Claussen appeared as soloist with the St. Louis Symphony Orchestra in Kansas City, Mo. “A Triumph for Claussen” was the heading that appeared in the Kansas City Times after her performance, and the Journal comments upon “the largest audience yet assembled for the series of night concerts.” On Mme. Claussen’s all-Wagner program was “Senta’s Ballad” from “The Flying Dutchman,” the “Love Death” from “Tristan and Isolde,” and three songs, one of which was given as an encore.
Hinkle Barcus a Manager
Hinkle Barcus is the latest to embark on a managerial career in New York. He has opened an office at 1,425 Broadway. At present he has Emanule Stieri, baritone; Joy Sweet, contralto, and Martha Baird, pianist, under his care, but will shortly announce a more extensive list of artists.
in the shadowed corner, for someone else, would, in time, have recognized the beauty of his voice and its possibilities of development. But to the old man must go the credit of having started Burke on a career that has brought him into the front rank of the world’s operatic and concert artists.
Gabrilowitsch Warmly Received in Omaha
Ossip Gabrilowitsch drew a large and admiring throng to his piano recital in Omaha, Neb., February 12, and the following day the Omaha papers were strong in their praise of his excellent performance. He began his program with Handel, Bach and Mozart, which were given with exquisite clarity. His biggest number was the Schumann “Carnival,” about which J. P. D., the writer for the Omaha Bee, said: “The eternal elements of poetry, imagination and emotion were conspicuous by their very noticeable presence in the artist’s exposition of his performance as a whole.” August M. Borglun in the Omaha World Herald, commented thus: “There was an exquisite contrast in tone coloring, a great variety of rhythmic effects, charm and clearness of presentation in everything he played. Every composition was treated in an interesting style, truly characteristic and individual.” Mr. Gabrilowitsch closed the program with two beautiful numbers of his own.
Music Students’ League Growing
The second meeting of the Music Students’ League was held at Columbia University on the afternoon of Washington’s Birthday. Tentative plans for the future work of the organization and reports from various committees were given. The league is very enthusiastic in extending its membership to as many serious music students as possible and is continuing the drive for new members. A large number of students was present and also members of the advisory board, which consists, among others, of J. Fletcher Shera, Dr. Eugene A. Noble, Leonard Liebling, Pierre Key, Emily Frances Bauer, etc.
Easton’s Singing Appreciated
“Of all the artists now before the American public there is none of more solid attainments than Mme. Easton,” asserted the Indianapolis Star after this artist’s appearance in concert in that city lately. And the News also was not
How Tom Burke Became a Professional
If Tom Burke had not dropped into a cafe one evening-on his way home from a night class in the School of Technology where, as a youth, he studied mining engineering, his career as a leading tenor in the opera houses of Italy and at Covent Garden might have been delayed a number of years.
Young Burke was then living in the little English town of Leigh. He was working in the daytime and studying at night with the determination to get out in the world and make a name for himself as a mining engineer. On this particular evening he was tired and somewhat bored. So he dropped into the cafe.
A man was entertaining the crowd by singing popular songs. Someone called out a request number, but the singer, who had no music with him, could not sing it because the man at the piano did not know it. Burke offered to play it. The offer was accepted, and the song created such enthusiasm that another was demanded. But the singer w־!s tired, and refused. So Tom Burke sang a ballad. Great applause. He sang another and then a third.
An old man who had been sitting in a shadowed corner of the room made his way through the crowded tables to Burke and asked him if he had ever thought of becoming a professional singer. The future opera star said that he had not; that he was expecting to be a mining engineer. Whereupon the old man told him that he had a voice that would bring him renown and that he was going to see he studied for the operatic stage.
And the man kept his word. He took young Burke to Michael Balling who was then conductor of the Halle orchestra at Manchester. Balling was so impressed by his voice that he interested Hugo Gorlitz, then manager for Paderewski, in promoting the singer’s career. Gorlitz signed a contract with Burke in which was included a number of years for study. This study was first pursued in Manchester, then in London, then in Italy. There followed a brilliant career in the foremost Italian opera houses; and then came a call to Covent Garden where, until that historic opera house was closed by financial difficulties resulting from the war, Tom Burke was a reigning favorite.
The tenor would in time have adopted singing as a profession even if he had not dropped into the cafe on that particular evening and been heard by the old man sitting
EFFA ELLIS PERFIELD DIRECTORY OF TEACHERS
Phone: Bryant 7233
By EFFA ELLIS PERFIELD, 41% West 45№ Street, New York City
TEXAS
NELLIE HALL Friburg Apt., No. 2.
FOREIGN
CANADA
CARA FARMER
Piano and Class Lessons, Demonstrations Certified Normal Teacher Mothers’ Creative Music Course 750 Bathurst,	Toronto
EMIL DANENBERG Pianoforte Instruction Pupil of Teichmuller (Leipzig)
The Albany,	Hong Kong
CHINA
GLADYS MURGATROID Piano and Class Work 361 Sterling Place, Brooklyn Phone: Prospect 5542	NEW JERSEY ETHEL Y. THOMPSON President, Roseville Music Club Individual and Class Lessons 11 Pittsfield Ave., Cranford
ALICE M. SPAULDING Piano, Coaching and Accompanying Scientific Muscular Pianoforte Technic Individual and Class—All Ages 234 West 74th St., N. Y. Phone: 9284 Col.	
	MISSOURI FLORENCE E. HAMMON State Normal Teacher Private Lessons and Graded Class Work Seven Assistants Musical Art Bldg. St. Louis
MABEL COREY WATT Examining Normal Teacher Directress of Music Flatbush School Four Assistant Teachers 94 Prospect Park W., Brooklyn Phone: South 3688 J.	
	NORTH CAROLINA IRENE WEAVER Piano and Class Work Normal Teacher Franklin
NEW YORK
C. KATE BEACOM Piano and Class Work 621 E. 29th St.,	Brooklyn
Phone: Mansfield 1297
EDITH BEARDSLEY Piano and Classes Pupil of Xaver Scharwenka 332 West 85th St.,	New York
Phone: 8265 Schuyler
RUTH JULIAN KENNARD Piano and Class Lessons 15 Claremont Ave., N. Y.
Phone: Morn. 3889
IDIS LAZAR
Concert Pianist and Teacher 50 Morningside Drive, Apt. 42, New York Phone 7770 Cathedral
MUSICAL COURIER
A MONSTER ORCHESTRA
Here are Vie combined Philadelphia, New York Philharmonie and New York Symphony orchestra which played at Carnegie Hall on February 27 in a concert, the proceeds of which went toward the foundation of the Walter Damrosch Fellowship in music at the American Academy in Rome. It numbered slightly over 200 players and was directed in turn by the five conductors, who may be seen standing on the front edge of the extended platform; they are, left to right: Leopold Stokowski, Philadelphia; Willem Mengelberg, Josef Stransky, Artur Bodanzky, New York Philharmonic, and Albert Coates, New York Symphony. (See story un der “New York Concerts.״) (Photo by Century, Inc.)