51
MUSICAL COURIER
March 16, 1922
the Arts Assembly, Mrs. Rodolph Frese founder and president, at Magna Chordia Chambers, March 6. She played works by Bach-Tausig, Choçin, Debussy and Ravel, in which her beauty of touch (in a Chopin nocturne), her appreciation of humor (in Debussy’s “Minstrels”), and her vigor and broad style were admired. She also performed some music consisting of maudlin wanderings, keyless, colorless, tuneless but full of noise and unpleasant tonal combinations. A large bunch of roses, well deserved, were handed her, and thé salon was filled by a refined and appreciative audience.
Women’s Philharmonic Society Activities.
Members of the Women’s Philharmonic Society, Leila Hearne Cannes president, attended a performance of “The White Peacock” last week, and also a luncheon at Shan-ley’s for Elly Ney. Lillian Dickson, soprano, was so much liked when she sang at the W. P. S. that she was asked to repeat her program at the Community Church, February 24. Maryrose Walsh, soprano, appeared at the Hotel Majestic, February 19, and was reengaged, Mrs. Cannes having charge of these affairs.
Courboin Recitals at Wanamaker’s.
Charles M. Courboin gave a recital on the new Wana-maker organ at 2:30 p. m., March 14, and will also give a recital March 18, playing organ works, transcriptions of piano and other compositions, etc. On none of the advance programs, however, do the names of American composers appear. Why not ?
Dr. Frederick A. Reininger Pleases.
Dr. Reininger, of Stamford, Conn., recently sang Schubert’s “Wanderer” and Kramer’s “The Last Hour,” and was admired for his expressive and musical singing. He is soloist in an Episcopal church in Stamford, and studied some time with Saenger.
Mabel Ritch an Excellent Contralto.
Mabel Ritch has sung as special soloist or substitute in prominent New York and Brooklyn churches, as well as in oratorios and at a Hippodrome concert, all within a few months. Her rich voice and attractive personality should bring her success.
Carl E. Martin in Greenwich.
Dr. Carl E. Martin, so long prominent in New York musical affairs, now in charge of music in the public schools of Greenwich, Conn., is also choirmaster of Christ Church. On March 5 Rossini’s “Stabat Mater” was performed, soloists, chorus of forty voices, string trio and trumpet assisting. The church was well filled and baritone Studwell was especially liked. The following participated:	Daisy
Connel, soprano ; Carolyn Finney Springer, contralto ; Jerome S. Merritt, tenor; Silas Foss, bass; Frederic C. Studwell, baritone; Sonia Streuli, violin; Norma Lewis,
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to re-elect President George E. Shea, and to vote for the new officers.
After the feast and election, a program of music, recitations and addresses was given, Harriet Pratel, brilliant pianist, played a Moszkowski scherzo and Chopin etude. G. Albert Carpenter, tenor from the Shea studios, exhibited a smooth musical voice, carefully trained, in numbers by Lily Strickland and Roger Quilter. Arthur Scott Brook spoke of the efficient work of the retiring officers.
President Shea, always a host in himself, gave some inimitable dramatic readings. Georgina Southwick, chairman of publicity, gave a reading of Longfellow’s “The Singers,” presenting the thought that the poet had in vision, in his three motifs, of the three singers, a great music principle.
The Association is to be congratulated upon the reappointment of Adelaide Terry Graham as reception hostess; she has for a considerable term filled the office most efficiently.
The newly elected officers are: President:—George E. Shea; vice-presidents—Helena A. Pino, Elizabeth Sajous; recording secretary—Agnes D. Melvin; corresponding secretary—•Florence Belle Soule; treasurer—Irvin F. Randolph; executive committee—Frances Beck, Lillian Croxton, George T. Borger, Miguel Castellanos, Louis J. Sajous.
Amy Grant Gives “Jewels of the Madonna.”
The March 9 opera presentation by Amy Grant and Lawrence Schauffler at Aeolian Hall was Wolf-Ferrari’s “The Jewels of the Madonna,” the affair beginning with Dion W. Kennedy’s playing of the intermezzo on the Aeolian pipe organ. Recitation of the text with piano obligato, Pianist Schauffler playing coincidental music of the score, followed, and as usual, this was heard with entire absorption by the audience, for Miss Grant claims attention from the moment she steps on to the platform. The Musical Courier has frequently referred to her beautiful voice, so well controlled, full of human emotion, and appropriate gesture and facial expression. The Duo-art piano performed the first intermezzo from the opera, in the Rapee playing.
Donald Edwards Austin Soprano of Trinity Church.
Young Donald E. Austin, solo soprano of Trinity Church, the son of a father who plays clarinet and a mother who loves music, sang Mendelssohn’s “Hear My Prayer” at the March 5 service. His high F sharps and G were full and well sustained in the beautiful music of “O for the Wings.” Organist Moritz E. Schwarz speaks in high praise of the boy’s musical talent and efficiency.
Coke-Jephcott Dedicates New Organ.
Norman Coke-Jephcott, organist of the Church of the Messiah, Rhinebeck, inaugurated the new organ, the gift of Vincent Astor, at a combined organ and choral recital, February 28. The local paper says that “under the skilful touch of Mr. Jephcott the organ revealed amazing capabilities . . . The audience was held enraptured.” The choir sang “Lovely Appear,” “Hail, Gladdening Light,” and other choruses, and the church was crowded to the doors. Beatrice Pinkham, pianist, studying at the New York School of Music and Arts, was a pupil of Mr. Jephcott, and does credit to his thorough instruction.
Pianist Dorothy M. Duckwitz Plays.
Dorothy Miller Duckwitz, who might be considered a representative American pianist, for her musical education has been in America, gave a recital under the auspices of
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SEASON 1922-1923
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VIRGINIA. GILL Lyric Soprano
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FAUSTO CAVALLINI
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GOTHAM GOSSIP
Farnam Organ Recital Has Novelties.
Four pieces from “Les Heures Bourguignonnes,” by Georges Jacob (“The Return from the Vineyards,” “Song of the Wine-press,” “Rondo,” and “Nightfall”), were played by Lynnwood Farnam at his March 6 recital, Church of the Holy Communion. A rondo in G, by Clement¡; the little played fugue in G major (12/8 time), by Bach, and Widor’s still less played sixth symphony, made up his interesting program. The splendid animation and accuracy of Mr. Farnam’s playing and his tasteful registration, these are points well known to his fellow organists. No living organist plays more correctly, or with greater respect for the composer’s intention. The novel lighting effects at these recitals, consisting of candles in the church and outside light thrown through the colored altar window, does not, however, conduce to legibility of the program. Many people rejoiced to see the beloved rector. Rev. Dr. Motet, again, following his recent illness. On subsequent programs, Mr. Farnam will play works by classic and modern composers including the Americans, Delamarter, Ward, Gale, Burdett, Andrews, James and Stebbins.
Southland Singers at Pleiades Club. »
The Southland Singers appeared at the Pleiades Club musicale, Hotel Brevoort, February 27. The program opened with a sketch called “1750-1922.” The portrait of a colonial belle (1750) was portrayed by Catherine Purcell, while Augusta Riesenberger represented the “jazz” girl of 1922. Both were excellent types for the characters portrayed, and deserve credit. It was directed and produced by an active member of the club, Mina Spaulding. This is the first sketch that the Southland Singers have ever given. Emma A. Dambmann’s artist pupil, Isabel Long-botham, was the soprano soloist. She sang “Ah! Je veux vivre” (Gounod) and as usual made a fine impression with her beautiful voice; encores were requested. Joseph Stetkewicz, child violinist, played “Variations” (de Beriot), “Souvenir de Wienawski” (Hearsche), and captivated the audience. Commander Charles E. Adams was toastmaster, and everyone enjoyed an interesting evening.
The Southland Singers, Emma A. Dambmann president, were recently heard at the Wadleigh High School in a very creditable and enjoyable concert, conducted by Leroy Tebbs and accompanied by Jacqueline de Moor. The annual card party will be given at the Hotel Plaza, March 17. A musical program will follow, rendered by Mabel Baker, Marion Ross, Arline Thomas, Mina Spaulding (dramatic reader), Lucille Stebbens, Marjorie Barnes, Augusta Riesenberger, Catherine Purcell, Mrs. Parker Lewis and others. There will be elaborate decorations with handsome prizes for each table.
Dickinson Gives Elgar Program.
Clytie Hine, soprano; Ernest Davis, tenor, and John Mundy, cellist, appeared as soloists on the March 3 Elgar program presented by Dr. Dickinson at the Brick Church. “Like to the Damask Rose,” said to be a favorite song of this composer; the “Dorabella” variations (from “Enigma”), and the well known melody, “Love’s Greeting,” were some of the numbers especially enjoyed. Other organ numbers were an allegro, from an organ sonata, and the military march, “Pomp and Circumstance.” At the March 10 recital Master William Glean, boy soprano, and F. Reed Capouilliez, bass, were the soloists.
The Rachmaninoff program will be given at the Friday Noon Hour of Music at the Brick Church, March 17, by Clarence Dickinson, with Ida Geer Weller, contralto, and Max Olanoff, violinist.
Memorial Service for Vi'ctor Baier.
Under the auspices of Trinity Church and the American Guild of Organists, a memorial service for the late Victor Baier, Mus. Doc., so long organist and choir master of Trinity Church, and warden of the American Guild of Organists, was given March 7. It was a terribly wet and windy evening, yet this should not have kept so many members away. The late Warden Baier did more to dignify the proceedings, especially installations of officers and business matters of the Guild, than any of his predecessors; the least the members could do was to attend such a memorial meeting. The full choral service, with choir of forty singers, was rendered, and, in contradistinction to the silver jubilee of the Guild, American composers performed this time. The late Homer N. Bartlett dedicated his “Nunc Dimittis” to Mr. Baier, and this was one of the choral works sung; it sounded well. H. Brooks Day’s anthem, “The Day is Gently Sinking,” a work of beauty, with tenor solo, did not, however, sound well with the boys’ voices. Warden Federlein played the well known Bach aria, in D (known best as “Air on the G String”), and Robert J. Winterbottom performed Guilmant’s “Lamentation in D Minor.” The limited resources of both chancel and gallery organs suggests it is high time that the wealthy Trinity corporation buy some new organs. The entire service was under the skilful direction of Moritz E. Schwarz, assisted by Oscar Franklin Comstock at the organ. Very interesting was the address by the Rev. Caleb Roch-ford Stetson, Rector of Trinity Church. He read a letter from Bishop Manning regretting his absence, and gave a fine record of the career of the mourned Baier, mentioning the fact that a twenty dollar gold-piece was sent him by the late John Jacob Astor in recognition of his excellent organ playing when he was but eighteen years of age. His church and choir life began and ended at Trinity; he began as a ten-year-old boy soprano, later becoming assistant organist, and after short service in Jersey City, head organist of Trinity, where he died nearly a year ago. It is interesting to note that he left a legacy of $20,000 to Columbia University, as an endowment for a fellowship in music. How many musicians will leave an estate of that size? Among members of the Guild present were Messrs. Federlein, Sealy, Keese, Westerveit, Schmidt, Fry (representing Philadelphia organists), Me All, Doersan, James, Woodman, Elmer, Riesberg, all of whom were in the procession wearing vestments.
Fraternal Association of Musicians’ Election.
The annual election of the Fraternal Association of Musicians was held, in connection with a dinner, February 28, at the Roma. Many members were in attendance eager