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MUSICAL COURIER
March 16, 1922
fly and grasses), Geraldine Gormez (Spanish Queen), Marjorie Barnes (Queen of Hearts), Gertrude Rudeck (Oriental), Emma Wangemann (Queen of the Orient), Frank Kiesenberger (Russian Jew), Granville G. Yeaton _(a tramp), H. G. Friedmann (Lee Hung Fung), Augusta Rie-senberger (newsboy) and Betty Robinson (butterfly). Among the many others attractively costumed were Mr. and Mrs. Spaulding (Lady and George Washington), Mrs. L. A. Chamberlin and Mrs. J. Schott (American Beauties), Mrs. B. E. Holsendorf (Arabian Queen), Katherine Face (Hearts), Marguerite Face (French doll), Mrs. Herman Zaun (Spanish dancer), Herman Zaun (Russian), Mrs. W. Sullivan (Robin Hood), Jacqueline de Moor (flower-girl), Sara Day (Oriental), Helen Day (Oriental), Lucille Hunter (ballet dancer), Mrs. E. Riesenberger (Lady Grey), Arline Thomas (Gipsy queen), and her escort. Huckleberry Finn; P'rances Fessler (wild rose), and Marguerite Tiffany and Samuel Anderson (Scotch Highland lad and lassie). A photograph was taken of the entire group and the Wolfsie Orchestra furnished the music for dancing.
The next Southland affair is a card party at .the Plaza on St. Patrick’s night.
Soloists Selected by Oratorio Society
A notable cast of soloists has been selected by the Oratorio Society of New York to perform the great Bach masterpiece, “The Passion according to St. Matthew.” The soprano will be Olive Marshall, who created a splendid impression at her metropolitan appearance with the society at its “The Messiah” performance last December. The contralto will be Marguerite D’Alvarez, who sang the contralto role so successfully at the Oratorio Society’s festival last spring. George Meader, of the Metropolitan Opera Company, will again have the tenor role of narrator. The role of Jesus will be sung by Reinald Werrenrath, who is unequalled in that part, and Charles T. Tittmann, of Washington, D. C., will have the bass part.
The New York Symphony Orchestra will assist, with Frederick Shattuck, accompanist for the society, at the piano. Albert Stoessel, the society’s new conductor, who has made such a success of his first season with the society, will conduct the performance, which will be given in Carnegie Hall, April 13.
Jules Falk Heard in Wilmington
Jules Falk, the violinist, appeared in concert in Wilmington, Del., on February 28, and was well received by a large audience. In reviewing the affair the critic of the Morning News stated that Mr. Falk, who has a vigorous and easy, style, showed much variety in his playing and won much applause for his interpretation of simple negro melodies as well as for his classical numbers. The Evening Journal stated that the concert was one of the most successful given in Wilmington, an opinion which was shared by the critic of Every Evening.
ation in her performance of the concerto; her poise, technic, and tonal effects showed her to be a real artist. "Bon” (Lie) was sung by the chorus, with orchestration by Mr. Windingstad. Mr. Bye sang “Den Bergtekne" by Grieg, “Sidste Reis” (Last Voyage) by Alnaes, and “Den Store Hirde Flok,” all arranged by Mr. Windingstad with orchestral accompaniment. “Rondo Infinite,” by Sinding, one of the great masterpieces, was rendered by the orchestra. The final number was Grieg’s “Land Kennung.” It was finely rendered by the full chorus and orchestra, Mr. Bye, soloist.
The whole performance was very artistic, and largely due to the master mind of Ole Windingstad, the conductor. He stood before orchestra and singer without a score, drawing from instrumentalists, singer and soloists spontaneity and variety of tone. He proved himself a fine conductor. Mr. Windingstad trained his singers as he has his orchestra, and the ensemble work was unusually responsive, and full of tone-coloring. The basses were particularly resonant and flexible. Nora Fanchald and Eric Bye seemed particularly suited to the songs, singing dramatically with the chorus.
Southland Singers’ Annual Masked Ball
Among the many delightful events that the Southland Singers offer during the year, the masquerade ball is especially looked forward to as a happy and brilliant occasion. And this year proved no exception to the rule. Several hundred members and guests, including many people prominent in the art and social world, assembled in the Rose Room of the Plaza Hotel, February 21, and varied and attractive were the costumes, ranging from comical to gorgeous ones.
Margaret Faries, a member of the society, gave an exhibition of artistic character and toe dancing, accompanied by Lucille Blabe, also a member. Little Isabelle Nostram recited prettily.
The president, Emma A. Dambmann, stunningly gowned in royal purple studded with jewels, representing a queen, with her husband, Herman G. Friedmann, who was a clever Japanese character (Lee Hung Fung), led the grand march. They were followed by Marion Ross (evening star) and Ida Biehling (morning star), carrying black and white baskets containing many attractive and merry-making souvenirs. There were so many unusual and original costumes that the judges—Commander Charles A. Adams, J. Murray Bartek and E. Riesenberger—had a difficult task before them, but decided on awarding Lucille Blabe the first prize (one-half dozen hand embroidered handerkerchiefs) for the handsomest costume. She was elaborately dressed in white satin, with a fascinating head-dress, as the Vamp. The prize for the most comical mask (a leather music case) went to Mabel Baker, a member, and wife of the prominent chocolate man, William Baker; she was dressed as a negro bride in the organization’s colors, yellow and black satin, with long white lace train and shower bouquet. Those receiving honorable mention were Marcetta Luhring (Queen of Sheba), Helen Eagan (Spanish lady, Marion Ross and Ida E. Biehling (morning and evening stars), Marie A. Kister (butter-
Gertrude E. Nicholas Succeeds Mary Potter
When it became .known that Mary Potter, contralto, had accepted the prominent church position of the Fifth Church of Christ, Scientist, New York, great was the speculation as to who would be big enough to fill her place at the Mott Avenue Presbyterian Church, East Orange. Harry O. Hirt has been organist there during the engagement of Mrs. J. M. McCutcheon, Mary Potter and now Gertrude Nicholas, and where Samuel P. Warren also held
GERTRUDE NICHOLAS,
Contralto.
forth. Mr. Hirt, however, recognizing the difficulty of the situation, gathered the available contraltos whose voice and art were sufficient to fill the position. The result, after hearing a great many beautiful voices, was that the committee engaged what they consider one of the finest voices of the present day.
The young singer, who has sprung up overnight from the nowhere into the light of musical importance, is tall and handsome, and hails from Pittsburgh. She is the daughter of the Rev. Dr. Nicholas and studied with Prof. Reinhard Meyer while at home. In the fall of 1921 Daniel Phillipe, former assistant of Mr. Noble of St. Thomas Church, New York City, advised Miss Nicholas to go to New York for study, and directed her to Mr. Noble and Nevada Van der Veer for advice. After hearing the splendid voice of this young woman they advised her to place herself with Joseph Regneas, with whom Mme. Van der Veer has worked for years and from whose studios emerge each year a host of excellent singers who occupy important positions in all parts_ of the United States and Canada.
With five months of daily, conscientious work, Miss Nicholas was equipped to outstrip all competition in the eyes of Mr. Hirt, and a very discriminating music committee; she has secured one of the plums of this season’s offerings.
Aside from all consideration of remuneration, Miss Nicholas is fortunate in being associated with such earnest musicians as Harry Hirt, and also Grace Northrup, that splendid soprano who has been with the church a number of years and is reengaged.
Singers Favor Mana-Zucca Songs
It is almost impossible to keep in touch with all the names of the artists who are singing and playing Mana-Zucca’s compositions. However, a few may be mentioned who have performed her works within the last month: Frederick Gunster is singing “Old Mill’s Grist” and “Top o’ the Morning;” Percy Long, “Love’s Pilgrimage” and “Top o’ the Morning;” Mme. D’Alvarez, “Top o’ the Morning;” Rosa Raisa, “Sholom Alechem” and “Rachem;” Mme. Rappold, “Love’s Pilgrimage,” “Top o’ the Morning” and “Mother, Dear;” Rachel Jane Hamilton, “Le petit Pa-pillon;” Emily Byrd, “Fugato Humoresque on Dixie” and "Wistaria;” Paul Althouse, “Top o’ the Morning;” Rea Stella, “Nichavo,” “Sholom Alechem” and “Top o’ the Morning;” Arthur Hackett, “Nichavo;” F. R. Capouliez, “Nichavo;” Jean Turner, “Top o’ the Morning” and “Teli Me if This Be True;” Mary Cavan, “Invocation;” Lawrence Leonard, “Rachem,” “Nichavo” and “In Sleepy-land;” Jan van Bommel, “If Flowers Could Speak” and “Big Brown Bear,” and a great many others, all of which goes to show the ever-increasing popularity of this composer’s works.
Norwegian Concert in Brooklyn
It is doubtful that if a concert of the same magnitude had been held in Christiania, Norway, it would have been any more representative of its talent and people than that given February 26 at the Academy of Music, Brooklyn, under the auspices of Nordisk Tidende (Norwegian newspaper). The Scandinavian Symphony Orchestra, fifty-six members; the United Scandinavian Singers, seventy-five male members, with Ole Windingstad, director; Augusta Tollefsen, pianist; Eric Bye, baritone, and Nora Fanchald, soprano, participated. The orchestra gave Svendsen’s “Sigurd Slembe” (introduction to Bjornson’s historical drama). “Finshangen” was rendered by the combined singers and orchestra, originally written for male chorus by Paulens, and Mr. Windingstad arranged it with orchestra very effectively. Augusta Tollefsen played superbly Grieg’s piano concerto in A minor, the orchestra supporting her sympathetically. Mme. Tollefsen was mistress of the situ-
Gentlemen:	PIANO
I am fortunate to be able to tell you that I find the Chlckering grands which have been placed at my disposal to be extraordinary instruments.
They combine an agreeable action with a brilliant singing tone. Just as the small salon grands for the living room have a wonderful charm of tone so have the concert grands in an exceptional degree; a dominating orchestral tone color and a power in all the registers, from the organ-like