MUSICAL COURIER
March 16, 1922
COLUMBUS FINDS MUCH TO
PRAISE IN THE ST. OLAF CHOIR
Columbus, Ohio, February 1, 1922.—Memorial Hall was filled to its 4,000 capacity twice within twenty-four hours, when the St. Olaf Choir gave a concert on January 12 and Fritz Kreisler on the following night.
_ St. Olaf’s Choir, under the direction of F. Melius Christiansen, gave evidence of supreme, almost rapt attention to the baton, evinced unanimity of attack, accuracy of phrasing, _ and precision in tempo. Another outstanding characteristic of this organization is the proof it affords in its concerts of perfect familiarity with the scores and a flawless mastery^ of such difficulties as attacks, holds and rests, all this being made apparent in delightful fashion to the enthuiastic audiente. Beautifully balanced voices are in evidence and a general tonal quality which very much resembles a pipe organ is a further attribute. The bass section of the choir is especially resonant and sonorous. The program offered was interesting from an historical point of view, the ancient choral from Schumann’s Gesangbuch, “How Fair the Church of Christ Shall Stand” (1539), “In Dulci Jubilo,” a relic of the fourteenth century, being the two oldest offerings of the program. “O Sacred Head,” by H. L. Hassler, was especially well rendered. Shading and interpretation were exquisite. In “A Christmas Song,” by F. Melius Christiansen, an opportunity was given for some solo portions, which were splendidly sung. Numbers by George Schumann were on the program. Among these were the vigorous “It Is a Good Thing,” sung with excellent effect; “Yea Though Through Death’s Gloomy Vale,” and the plaintive “Lord, How Long,” to each of which was given just the particular shade of expression that was demanded. The choir received numerous encores. The work of Director Christiansen in arranging the middle-century numbers is to be commended.	N. H. B.
Mana-Zucca Delights Miami Audience
Under the local management of S. Ernest Philpitt, of Miami, Fla., where Mana-Zucca now makes her home, the clever little composer-pianist made her appearance in a joint recital with Frederick Gunster, tenor, on February 27, at the Central School Auditorium. According to the Daily Metropolis, “an evening of rare enjoyment for six or seven hundred people was provided.”
Mana-Zucca was warmly received and three ushers were required to carry off her floral tributes. Her own compositions were exceedingly well liked and there were numerous encores demanded. It is quite safe to state that the “hit” of the concert was her new piece, “Southland Zephyrs,” which has just been accepted by Schirmer.
Her own compositions included: “The Zouaves’ Drill,” “Wistaria,” Sketch No. 1, and “Valse Brillante,” “Nectar Dance,” “Southland Zephyrs” (first time), and paraphrase brillante on “Over There.” These were played by the composer herself, the same daily paper’s comment being: “Mana-Zucca’s art as a composer has been allowed to overshadow her art as a pianist, probably because the great popularity of her compositions has taken them to every town and hamlet in the country,, but were she not a composer at all she would still demand very serious consideration as a musician because of her ability as a performer. And were she neither a composer nor a pianist, there is scarcely a doubt but that she would make a name for herself as a vocalist or actress.” The reference to her singing came as a result of her own charming rendition of her well known group of children’s songs, which closed the program.
Mr. Gunster also made a favorable impression through his fine voice and style in singing. He sang several groups of songs, two of which were from Mana-Zucca’s pen—“The Top o’ the Morning” and “The Old Mill’s Grist.”
The themes were traced clearly and they showed enthusiasm with just the right amount of reserve.
February 15—the Minneapolis Symphony Quartet gave a recital of chamber music at the Unitarian Church. This newly organized quartet played the D minor posthumous Schubert quartet and the Mozart C major, or seventeenth quartet. Vladimir Graffman, first violinist, is concert master of the.symphony orchestra; August Babst, second violin; Paul Lemay, viola, and Engelbert Roentgen, cello, are the other members. It is to be highly commended that four of our busiest musicians find time to devote to quartet playing, and the sincerest wishes of all quartet-loving people in our city follow them in their efforts to furnish us the best of their art.
The Thursday Musical Club, for its semi-monthly program at the Lyric Theater, sponsored the appearance of Catherine Snook, pianist; Annette Yde Lake, soprano, and Mrs. J. C. Landry, pianist. Their program was immensely enjoyed by a capacity audience.
Braslau-McQuhae Joint Recital.
Sophie Braslau sang at the Auditorium February 13, before a crowded house. Her songs were well chosen and well sung, and she was accorded a generous welcome. The tenor on the same program was Allen McQuhae and his songs were unusually interesting. His Irish songs were
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MINNEAPOLIS ORCHESTRA
PROGRAMS A REAL TREAT
“MA Y PETERSON CHARMS A VAST AUDIENCE
METROPOLITAN OPERA STAR PRESENTS CONCERT WHICH STANDS OUT LIKE A CAMEO”
(East Stroudsburg, Pa., Morning Press.)
© Ira L. Hill
Concert Direction: MUSIC LEAGUE OF AMERICA
8 East 34th St., New York	Mason ©* Hamlin Piano Used
Edwin Hughes Will Tour South
Edwin Hughes, pianist, has just returned from a tour in the Southern States, during which he appeared in Washington, D. C., in the series of the Washington Society of Fine Arts; in Athens, Ga., at the Lucy Cobb Institute, and at the Randolph Macon College, in Lynchburg, Va. Leaving Lynchburg, Mr. Hughes went to Bristol to play at the Virginia Intermont College. Mr. Schroetter, dean of the music department of that college, expressed to Raul Biais, manager for Mr. Hughes, the opinion of his audience about Mr. Hughes in the following letter: “Mr. Hughes played here before a large and most appreciative audience. People are exhausting their supply of adjectives trying to express their admiration of Hughes and his wonderful playing. He certainly is a great pianist, and I am happy to have had him in Bristol for a recital.” Mr. Hughes will leave for a tour in the extreme Southern States late in April.
Cecil Arden to Sing in Bridgeport
Cecil Arden has been engaged to sing in Bridgeport, Conn., on March 31, and in Brooklyn, April 1.
charming and winsome and he was a favorite with the audience. These two gracious artists added many numbers to their, program. The accompanist of the evening, Ethel Cave-Cole, added just the right support for them. The numbers ranged from Handel,. Gluck and Mozart to modern Russian and American composers. The Thursday Musical Club was responsible for this musical treat.
Apollo, Club Concert.
Valentine Day was the date selected by the Apollo Club for its appearance—this time with an orchestra of forty-five players from the Minneapolis Symphony, with Franz Obermann, concert master. The opening number was “See How the Shadows,” from Verdi’s “II Trovatore.” Felicien David’s masterpiece, “The Desert,” was magnificently given. The beauty of the Oriental coloring given by the orchestra was quite beyond criticism. The “Hymn to Allah” was another gem. This work takes forty minutes to perform, and was a work of art from beginning to end. The rest of the program was Andrews’ “Sea Fever”; “Mistah Mockin’ bird,” by Carl Hahn; English folk song; “My Johnny Was a Shoemaker,” arranged by Deems Taylor, and “The Blizzard,” by Cadman. Mildred Langtry, contralto, was the assisting soloist.
Another Symphony Program.
The Minneapolis Symphony Orchestra played the Tschaikowsky No. 6 “Pathétique” on the Sunday popular program with such telling effect that Emil Oberhoffer was recalled many times and the players were called to their feet to acknowledge the profound applause. The interpretation was of Mr. Oberhoffer’s best, with grace, variety of coloring and the greatest care in detail and shading. The overture to “The Flying Dutchman” and the “Ride of the Valkyries” (Wagner) were the other offerings of the orchestra, and they were played with taste and beauty of tone. The soprano, Berta Reviere, sang two Wagner selections—׳“Elsa’s Dream” from “Lohengrin” and “Dich Theure Halle” from “Tannhäuser” with good interpretation and a voice that was adequate to the severe demands made by Wagner. She has been successful in concert lately with Emil Telmanyi, the violinist.	R. A.
Harold Bauer and Frances Nash Soloists with Symphony—
St. Olaf Choir Inspires—McCormack Sings Despite Cold—London String Quartet Heard—Newly Organized Minneapolis Symphony Quartet—
Braslau and McQuhae Give Program
Minneapolis, Minn., February 15, 1922.—Harold Bauer was the piece de resistance of the Minneapolis Symphony Orchestra concert of February 10, the important numbers being the D’lndy symphony for orchestra and piano, an elaboration of a mountain song, and the Mozart concerto in A. The program began with four selections from Mendelssohn’s incidental music to “Midsummer Night”s Dream,” charmingly played. The encores following the Mozart concerto were by Gluck, Mendelssohn and Liszt. It has always seemed to the writer that Mr. Oberhoffer’s accompaniments were among his finest achievements, and certainly nothing finer could be asked than the perfect ensemble of the orchestra and the soloist. Mr. Bauer subordinated his own personality to the greater perfection of the whole and Mr. Oberhoffer’s own artistry divined his every wish. There has been no more enjoyable concert this season.
St. Olaf Choir Inspires.
The third annual tour of the St. Olaf Lutheran Choir has caused eager discussion all over the country as to what is the secret process by which F. Melius Christiansen takes a group of sixty-four untrained voices and makes of them a finished, perfect unit, decidedly orchestral in its effect with apparently no limit to its nuances. When the St. Olaf Choir sang here February 6, the Auditorium was packed to its utmost capacity and hundreds were turned away. It seems incredible in this day of “jazz” and “movies” that a choir of young students singing only the sacred music of the Lutheran Church should draw capacity audiences that object to going home when the program is finished. And yet such has been the case all over the country.
The secret—though Mr. Christiansen does not claim that there is one—seems to be in the infinite capacity for hard work with which the director has been able to inspire his students and in his remarkable capacity for picking voices which blend beyond anything the writer has ever heard. It_ is about once in a lifetime that one hears music which one. feels has been brought to life purely for love of the ideal, but the most dramatic fact about the singing ■of this wonderful choir is the feeling borne in on the audience that this organization has worked for and achieved the performance of pure music for the pure love of music.
The singing was a revelation to most people, and some of us are wondering if, with good training in schools and high schools, there may not soon be a renaissance of church and oratorio compositions.
In the utter oblivion to self which each of these singers showed, there seemed to be a great lesson which those fortunate students cannot fail to learn—the lesson of right living; for it seems impossible that young folks can have made the masterpieces of sacred music so completely a part of themselves without having, if only subconsciously, become imbued with a deep, calm faith which should help them weather the storms of life.
That Mr. Christiansen’s achievements are an inspiration to choir directors was proven by the attendance at the concert of every local choir director.
McCormack Sings Despite Severe Cold.
On February 4, John McCormack sang to a capacity house in the Auditorium. After the program, he found that his severe cold would prevent him from continuing the concert trip booked, so he left in his private car for the East. He was assisted in the concert by Donald McBeath, violinist, and Edwin Schneider, pianist.
Frances Nash Soloist with Symphony.
The Minneapolis Symphony Orchestra concert of February 12 was another example of the genius of Mr. Oberhoffer in program building. A whole program of modern music entranced the audience. Lalo’s overture to “Le Roi d’Ys,” the symphony in D minor of Franck, the “Serenata.” op 15, and “Malagueña” from “Boabdil” (Moskowski) were given excellent performances.
Frances Nash, pianist, was happy in her selection of the new piano concerto by Bortkiewicz. She is a brilliant artist and received enthusiastic applause, well deserved.
London String Quartet.
The London String Quartet appeared at the University of Minnesota Campus Armory on February 14 when it played the Mozart D minor quartet, Schubert’s posthumus quartet in D minor, and H. Waldro Warner’s “Pixie Suite.”
GEORGE FERGUSSON
ANNOUNCES
ANNUAL SUMMER SCHOOL
GEORGE FERGUSSON, Internationally Eminent Teacher of Voice, will conduct a six weeks’ summer class, embracing Fergusson Tonal Ideals, Repertoire, Coaching for Concert and Opera, and a concentrated Course for Teachers who have but a short period for constructive review. The School will be located with all the advantages of the musical Metropolis at the Fergusson Studios
IIV THE CITY OF MEW YORK
JUNE 26th to AUGUST 5th	SHERMAN K. SMITH, Manager,
vlll	25 West 86th Street, NEW YORK CITY