53
MUSICAL COURIER
March 16, 1922
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JHOSE whose requirements demand perfection and whose tastes demand excellence find
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the ultimate expression of musical worth. CHAS. M. STIEFF, me.
315 North Howard street	Baltimore, Maryland
Catalogue furnished on request	Established 1842
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flute obligato played by Paul Henneberg, “Lo, Here the Gentle Lark,” Bishop, and “Charmant Oiseau,” David. Mme. Vargas sang with unusual perfection of pitch. She has a repertory of twelve grand operas. She expects to sail soon for Italy to fill an opera engagement, returning to America in time for an American tour in the fall.
Enzo Serafini, an Italian baritone grand opera singer, enchanted his audience with his rendition of “Figaro,” from “The Barber of Seville.” He, too, was recalled again and again after giving two charming Italian folk songs, “Strana” and “Tarentella.” His is a voice that one does not tire of hearing. It is fresh, young, unstrained and unspoiled, suggestive of all the charm of the “land of bea-ty, of sunshine and song” from whence he came.
Willem Van den Andel played Mr. Serafini’s accompaniments in a way^ that afforded inspiration to the singer. These two artists expect to give a joint concert in New York at an early date, when they will make their official debut to the music world of the metropolis.
Later they, together — jth Mr. Fiiredi, the cellist, plan to give a joint concert in Washington, the National Capital.
What the Kiwanis Club Thinks of Harvard
There is absolutely no doubt about the popularity of Sue Harvard when it comes to Kiwanis Club affairs, as is proven conclusively in the two appended letters which were written by influential Kiwanites:
The Kiwanis Magazine,
700 Tenth Street, N. W.,
Washington, D. C.,
_	August 19, 1921.
Mr. R. E. Turner,
The Virginian Pilot,
Norfolk, Va.
My Dear Turner:
Nothing could delight me more than to know that you have landed Sue Harvard for the Capital District Convention. I have heard every prominent concert singer in the United States, and beyond any question think that Miss Harvard is the most magnetic singer to whom I have ever listened. You of course know that she was the hit of the Cleveland Convention. Congratulations, I am sure. You could not have got a bigger drawing card for the convention, if you had combed the United States from one end to the other.
Again congratulating you, I am,
Yours for Kiwanis,
(Signed) Roe Fulkerson.
The Kiwanis Club,
33 Todd Bldg.,
Louisville, Ky., August 19, 1921.
Mr. R. E. Turner,
The Virginian Pilot,
Norfolk, Va.
My Dear Mr. Turner:
I am glad to hear that you have secured “Sue Harvard.” My opinion is she_ beats anything you could buy in New York or elsewhere. She is absolutely the best that can be had. If Norfolk doesn’t turn out in full force they will miss the treat of their lives.
I am willing to walk from here. to there to hear her. She is in a class to herself. Her voice is sweet, tender, with beautiful tone. You are to be congratulated on getting her.
Sincerely,
(Signed) J. E. Pearson, Jr.
"There's a Meeting Here Tonight” (R. Nathaniel Dett) with the incidental solo sung by Mary Wood.
Louis Dornay, tenor from Covent Garden, London, who gave his first New York recital on March 14, and Gabriel Engel, violinist, were the soloists. Despite the fact that he appeared against the doctor’s orders, Mr. Dornay delighted by the remarkable beauty of his voice and the manifest artistry of his work. The “Priere de Rodrigue,” from Massenet’s “Le Cid,” introduced him, and for his other numbers he chose to give “Dans la Nuit” (Rachmaninoff), “Chansons la Gigue” (Poldowski), "Aux Portes de Seville’ (Four-drain), “Enfant si j’etais roi” (Liszt), “Life and Death” (Coleridge-Taylor), “Wings of Night” (Wintter Watts), and three Dutch folk songs. One of the best things he did was the number by Fourdrain, which was sung with marked dramatic intensity. His encores included the “Vesti la giubba,” from “Pagliacci,” another number which his audience thoroughly enjoyed.
Mr. Engel was heard in two violin groups. The first included the Kreisler “Tambourin Chinois,” a negro spiritual of his own, and the Wieniawski “Scherzo Tarantelle.” Upon his second appearance he gave the Tartini-Kreisler variations, his own arrangement of Schubert’s “Allerseelen” and the “Gypsy Airs” of Sarasate. Perhaps it was only natural that he was at his best—and a remarkably fine best it was— in his own works.
Betsey Culp was at the piano for Mr. Dornay, and for the other numbers Alice M. Shaw again proved her splendid worth as an accompanist. Louis R. Dressler’s organ accompaniment was effective, especially so in the Tosti number.
Byrd Mock Gives Musicale at Waldorf
Byrd Mock, a poet and musician of Washington. D. C., who has a unique studio in “the Old Brick Capitol” which she calls “The Sign of the Mocking Bird,” visited New York for a fortnight recently, and during her stay in Gotham she gave a musicale on February 15 at the Waldorf-Astoria, inviting her New York friends to hear the following artists from widely separated countries:
Sam Fiiredi, a Hungarian cellist, a virtuoso who was a pupil and associate of the famous Popper in the Conservatory of Budapest, played with such mastery on a rare old Francesco Ruggieri cello that he had to give many numbers not on his program. On Popper’s death Mr. Fiiredi was invited to take his place as instructor in the Royal Conservatory, but he declined the offer in order to come to America. He arrived here in December, 1921.
Willem Van den Andel, a young Dutch pianist, who held a professorship in the Conservatory of Rotterdam at the age of nineteen, played two Chopin numbers. He, too, was recalled many times, and gave as one of his encores the Paderewski minuet, which he played with unusual charm and originality. His technic is well developed and his interpretations interesting.
Anita D’Arcy Vargas, coloratura soprano, sang, with
Intercollegiate Glee Club Concert
A large and enthusiastic audience was present to hear the glee clubs of Princeton, Wesleyan, Harvard, Pennsylvania State, Yale, Dartmouth, University of Pennsylvania, New York University, Columbia, and Amherst in their annual contest. It is to be regretted that the prize song, “Give a Rouse,” by Bantock, should have proved to be a selection absolutely uninteresting, and one that to the minds of many served no purpose in bringing out tone, technic or musician-ship. So far as the marking for diction is concerned, one can candidly say that not one of the clubs made the words intelligible, although in some of the other selections the diction was highly commendable. The prize song itself was a disappointment, and the tenfold repetition only served to emphasize this fact. However, there was another side to the evening that was very agreeable.
There is no question that these annual contests have served the purpose of stimulating the singing of the students, for the improvement since the first contest has been most marked. The award of the judges in giving Harvard first prize and Yale honorable mention seemed a very just one, although as the chairman of the judges, Dr. Walter Damrosch, announced, the contest was exceedingly close. Altogether it was a very enjoyable evening, in which some very commendable work was done, and it is with added interest that one looks forward to next season’s contest when Mendelssohn’s Hunting Song will be the prize work. The program follows:
. Dudley Buck
.....German
M. Praetorius
Group I—Light S6ng
On the Sea...................................
Pennsylvania State College Rolling Down to Rio.......................
Amherst College
Lo, How a Rose E’er Blooming.....................
(From the 13th Century,” 11*162- 571־) University of Pennsylvania
. . .Dudley Buck ....Old English Thomas Morley ........Gounod
In Absence
Wesleyan University
John Peel
Princeton University
Dainty, Fine Sweet Nymph.....................
Harvard University
Salutaris Hostia
Columbia University
.......Haydn
F. F. Bullard . . .. Othegraven
New York University
Dartmouth College Yale University
Serenade ........
The Winter Song. Hand Organ Man
Group II—Prize Song
Give a Rouse.............................................Bantock
Princeton University, Wesleyan University, Harvard University, Pennsylvania State College, Yale University, Dartmouth College, University of Pennsylvania, New York University, Columbia University, Amherst College.
Group III—College Song
The Dartmouth Song.............................W. B. Segar, ’92
Dartmouth College
Mother of Men..................................Seth Bingham, ’03
Yale University
Pennsylvania State...............................Arr. by Robinson
Pennsylvania State College
Alma Mater ..................................................Hall
Columbia University
Up the Street...................... .R. G. Morse, L. W. Field, ’98
Harvard University
Alma Mater......................................W. B. Davis, ’94
Wesleyan University
Old Nassau .................................. . .........Langlotz
Princeton University
Lord Jeffrey Amherst............................- .J. S. Hamilton
Amherst College
Songs of Pennsylvania........................Arr by B. R. Scales
University of Pennsylvania
Alma Mater.............................................Genns, ’00
-	New York University
Song of the Marching Men....................... ...Henry Hadley
Lullaby ......................................... lohannes Brahms
Bedouin Love Song................................James H. Rogers
University Glee Club of New York City
Prayer of Thanksgiving (Old Dutch)..........Arr. by Kremser
Combined Glee Clubs and University G'ee Club
Judges: Dr. Walter Damrosch, Henry Hadley, Geo־׳ge W. Chadwick.
Two Fine Soloists at Rubinstein Club
It was an unusually large and enthusiastic audience which assembled in the grand ballroom of the Waldorf-Astoria, on February 28, to listen to the second concert of the season as presented by the Rubinstein Club, Mrs. William Rogers Chapman president. And those who attended were well rewarded, for the program, under the excellent direction of William Rogers Chapman, proved more than usually interesting, even among the many fine ones which are recorded in Rubinstein annals. John Prindle Scott’s “The Old Road,” a song of wandering, arranged for the chorus by Carl Deis, was the opening number, sung with fine tonal balance. The same composer’s “Ole Uncle Moon” scored the biggest hit of any of the choral numbers of the eveing. Twice the chorus was forced to repeat portions of it before the program could be continued. Another choral number which was repeated in part was Tosti’s “Good-Bye,” arranged by Ross Hilton. Richard Kieserling’s “A Birdland Symphony” was still another number which appeared to delight the audience thoroughly. The remaining choral numbers were “Snow Fairies” (Cecil Forsyth), “Penance” (Otto Wick), “Summer Night” (Elias Blum), “Vissi D’Arte” from Puccini’s “Tosca,” “A Norse Lullaby” (William Y. Webbe),
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