45
MUSICAL COURIER
LUCIEN
MURATORE
CHOOSES
Œije
Muiín
:Piano
as an accompaniment to his voice on his concert tours.
Muratore says:—
“The tone of the Baldwin Piano is beautiful—an unfailing inspiration that I would not do without.”
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®hejldtannjlrano (Company
NEW YORK 665 Fifth Av.
LOUISVILLE 521 S. Fourth Av.
DALLAS
180 7 Commerce St.
CHICAGO 323 S. Wabash Av.
INDIANAPOLIS 18 N. Penn'a St
SAN FRANCISCO 310 Sutter St. ׳
CINCINNATI 142 W. 4th St.
ST. LOUIS 1111 Olive St.
DENVER 1636 California St.

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every two years. The next meeting of the Federation will be held in Asheville, N. C., in June, 1923.
Elie Zlatin and the “Chauve Souris”
Since the arrival in America of the group of Russian artists who are playing under the name of “Chauve Souris” at the Forty-ninth Street Theater, attention has been called to their excellent musical director, Elie Zlatin, to whose ability the offerings^ of this company owe so much of' their success, and a certain curiosity as to his European activities has been aroused.
He was born in Ekaterinslaw, in South Russia, in 1894. He studied piano privately in his native city, beginning at a very early age and making his debut at the age of thirteen. In 1911 he went to Moscow, where he continued his musical studies with his elder brother, graduate of the conservatory and director of opera at the Theater Zimin, one of the largest in the city. From 1914 to 1918 he pursued his studies at the Moscow Conservatory. After graduation he was for a while in Odessa, and was active as soloist, accompanist and conductor.
He then joined Mme. Karally, of the Moscow Ballet, as accompanist and director, and toured with her as far as Constantinople. He had previously, in Moscow, had some
ELIE ZLATIN.
musical director.
association with the artists of the, present “Chauve Souris.’ Returning from Constantinople, he became director of the Kotschetowsky Ballet and toured through Bulgaria. Kot-schetowsky is now leading director of the “Chauve Souris” Ballet.
In 1920 Zlatin went to Paris. He gave there three concerts of Russian music with the tenor, Dmitri Smirnof, at the Salle Gaveau. He then assisted in the reorganization of ™ “Chauve Souris,” which opened in Paris in December, 1920, in the Theater Femina, famous theater of the Champs Elysees. There they played every day for eight months.
From Paris, Zlatin went with the company to the well known and popular resort, San Sebastian, Spain. Beginning September, 1921, they were two months in London in the Pavilion and Coliseum. They played also in Manchester. In January they came to New York under the management of Comstock & Gest, and have won the success of which we know.
Zlatin is a widely read musician, but his personal taste leads to a liking for the Russians: Borodin, Rimsky-Korsa-koff, Moussorgsky, Tschaikowsky and Rachmaninoff, and among French composers, Debussy.	p.
Activities of the New York Trio
It is just three years ago that the New York Trio made its first public appearance, yet in that short time it has achieved such a phenomenal success that it is now one of the foremost chamber music organizations in the country. With a personnel composed of Clarence Adler, pianist; Scipione Guidi, violinist, and Cornelius Van Vliet, cellist, it has been so enthusiastically received everywhere that the number of engagements it has fulfilled during the past winter has been prodigious.
The New York Trio was chosen in preference to a large number of well known artists to give a series of three concerts at Lawrence, L. I., on the evenings of January 29, February 19 and March 19. These concerts were organized to bring good music to the community, which is critical and at the same time appreciative. The founders judged the New York Trio to be most suitable to help fulfill its ideals, and the first two concerts testified to their good judgment. Among its other numerous engagements the trio played on January 22 at. the Selwyn Theater at the first Frederic Warren Ballad Concert; January 23 at the Scars-dale Woman’s Club, and on January 24 at a private engagement. A few others were St. Mary’s Academy, Peekskill, N. Y., on February 6; a recital at the Tremont Temple on February 19, and a second recital at Aeolian Hall on February 20, when the program consisted of Beethoven’s trio in C minor, sonata for piano and cello by Rubinstein, and Dvorak’s charming “Dumky” trio. The trio will shortly play at the Rand School and will also give two additional concerts at the Institute of Arts and Sciences at Columbia University.
Since every appearance of the New York Trio seems always to mean a return engagement, it is not surprising to learn that it will end the season with a tour of the middle west which will undoubtedly prove as popular and successful as its last year’s tcur.
March 9, 1922	]
(Dubois), with Marion Capps as soloist, and “It Was a Lover and His Lass” (Dunn).
Maria Ivogun Scores as Orchestra Soloist.
Maria Ivogun, who was heard but once before in this city—this when she made a belated debut at popular prices with the Chicago Opera Association on a Saturday night as Rosina in the “Barber of Seville”—came back here as soloist with the Chicago Symphony Orchestra at its regular pair of concerts, Friday afternoon, March 3, and Saturday evening, March 4. Since coming from abroad to join the Chicago Opera, Miss Ivogun has had but few opportunities to sing with that company, but several to appear in song recital and as soloist at symphony concerts, winning on each occasion ovations at the hands of her hearers and encomiums from the pens of the leading critics in the East. Miss Ivogun sang two arias—“Mia Speranza Adorata,” by Mozart, and Zerbinetta’s aria from Richard Strauss’ “Ariadne auf Naxos.” In these numbers she explained her sudden American rise to stardom, singing w;ith great tonal beauty, reaching with apparent ease the highest altitudes of her range and trilling as well as the best full throated canary, besides impressing by the excellence of her phrasing and electrifying her hearers with her gymnastic vocal prowess, which mocks at difficulties that make her singing always enjoyable. Displaying such equipment, her success at the hand’s of the habitues of these concerts was as frenatic as deserved. She was recalled innumerable times.
The orchestra and Mr. Stock, besides giving exceptionally good accompaniments to the singer, distinguished themselves anew with a rousing reading of Weber’s overture to ׳׳Der Freischiitz” and Mozart’s symphony in G minor. The novelty of the day was the “Ballade of the Gnomides,” by Respighi. Chadwick’s “Tam o’ Shanter” was another contribution to the program and added to the enjoyment of the concert.	Jeannette Cox.
John Church Company Moves
The well known publishing firm of John Church Company is now settled in its new home at 318 West Forty-sixth street, one block west of Broadway. For years it was located at 39 West Thirty-second street.
The new offices occupy an entire floor, with three sides of windows, giving plenty of light and sunshine, also making it an ideal place not only for the executive offices but also for the showcases, and the enormous filing cases, that contain the catalog of this well known publishing house. As one enters from the elevator there is an attractive display of standard selections and new numbers. To the left is the private office of W. L. Coghill, who for twenty-five years has been connected with this firm. As was_ reported in the Musical Courier of last issue, Mr. Coghill was recently elected to the board of directors of the John Church Company. He is one of the best known men in the music publishing business, and is considered an authority on the value of American compositions, to which the John Church Company gives considerable attention.
There is a very comfortable and attractive waiting room where teachers and musicians who visit this publishing house can be quite comfortable while going over the new numbers and making their selection. The new quarters are spacious and attractively equipped. Mr. Coghill will leave for London and Paris within a few weeks in the interest of the firm.
Macmillen Offers Violin Prize
Francis Macmillen, the American violinist, has offered the $150 first violin prize for the best contestant at the “Young Artists Contests” held by the National Federation of Music Clubs. This prize will be competed for
Pianists Prepared for Piblic Appearances
Paris, France
SWATHE
WAGER
33 Avenue Montaigne,
Jean de Reszke 53 Rue de la Faisanderie Paris
I rcrUFT!71fV institute
LLolnL I M of Piano
47 Boulevard Berthier, Paris, France
Under the personal direction of MME. THEODORE LESCHETIZKY (Marie Gabrielle Leschetizky)
John Heath, Associate Director. Artists* Class and Private Lessons.
—HOLLANDSCHE C0NCERTD1RECTIE-,
Dr. G. DE KOOS
Kurhaus-Scheveningen Cable Address: Koos-Kurhaus-Scheveningen
Manager of
The Kurhausconcerts at Scheveningen
Arrangements for Tours throughout Europe Intermediary for engagements with all European Musical Societies. Representative of Europe’s greatest artists, such as: JACQUES THIBAUD, ALFRED CORTOT, FRITZ KREISLER, HAROLD BAUER, EUGEN YSAYE, LUCIEN CAPET, CARL FLESCH, ELLY NEY, CARL FRIEDBERG, BIRGIT ENGELL.