March 2 3, 1922
MUSICAL COURIER
32
condition. M. de Reszke rejoices in a system of vocal technic that keeps the voice ever young, and at the age of seventy-two his own singing—when he occasionally illustrates phrases for his pupils—is still virile and rich, without any trace of tremolo, absolutely true to pitch, his ringing top tone still unimpaired by the hand of time.
WHERE THEY ARE TO BE
From March 23 to April 6
Boghetti Artist in Recital
Giuseppe Boghetti presented his artist pupil, Sara Stein, soprano, in recital at his Philadelphia studio on the evening of March 8, and it must have been gratifying to him to note the success scored by the young singer. Miss Stein possesses
Kubey•Rembrandt Photo
SARA STEIN,
soprano and artist pupil of Giuseppe Boghetti, vocal teaelier of New York and Philadelphia.
a pleasing personality, her diction, whether in English, Italian or French songs, is good, and she has much interpretative ability. After hearing her sing at this recital, it is not surprising that she frequently is referred to as having a voice especially adapted for opera. It is understood that Miss Stein is planning to continue her studies in Italy with a well known maestro but under the observation of Mr. Boghetti, who is responsible for the splendid training she has received thus far. Her program at this recent recital included operatic arias, old and modern Italian numbers, modern French songs, folk songs and selections by American composers. Excellent accompaniments were furnished by Mary Miller Mount.
Theo Karle’s Recent Bookings
Theo Karle, appearing as soloist with the Cleveland Symphony Orchestra at Dayton, Ohio, on March 13, under Nikolai Sokoloff, sang “Che gelida manina” from “La Boheme,” and “Cielo e Mare” from “La Gioconda.” Mr. Karle is to give a recital at the South Shore Country Club, Chicago, 111., on March 26. He will continue on tour until late spring. Recent bookings include an appearance in “Stabat Mater” when it will be given at the Evanston Music Festival on May 25.
Essentials of Music
Books One and Two Rudiments and Theory by
C. IRVING VALENTINE
A series of Text and Reference Books with study assignments and progress problems. Each book contains 32 pages of text and 32 pages of ruled music paper for the problems. Fits the pocket. Price 40 cents each. To schools, 30 cents.
A sample set will be sent to Music Supervisors on request, for examination.
A. S. Barnes & Co., 118 East 25th Street, N. Y.
Pavlowa, Anna:
26-1, Chicago, 111. Peavey, N. Val:
28, Bristol, Conn. Peegé, Charlotte:
23, Richmond, Va.
25,	Washington, D. C.
28,	Charleston, W. Va.
29,	Huntington, W. Va. 31, Wheeling, W. Va.
Prihoda, Vasa:
27, Topeka, Kan.
30,	Wichita, Kan.
31,	Urbana, 111.
3,	Ithaca, N. Y.
4,	Williamsport, Pa.
5,	Lebanon, Pa.
Pujol, Josie:
26,	Englewood, N. J. Schumann Heink, Mme.:
23,	Terre Haute, Ind. Sparkes, Lenora:
30, Middletown, N. Y.
Stopak, Josef:
29, Toronto, Can. Zoellner Quartet:
24,	Tulsa, Okla.
3,	Atchison, Kan.
4,	Leavenworth, Kan.
Land, Harold:
25, Yonkers, N. Y.
Laros, Earle:
24,	Briarcliff Manor, N. Y.
Macmillen, Francis:
23-25, Cleveland, Ohio.
Maier, Guy:
27,	East Aurora, N. Y. 30-31, Cleveland, Ohio.
Martel, Joseph:
23,	Springfield, Mass.
28,	Fall River, Mass.
Middleton, Arthur:
30, Greencastle, Ind.
3,	Butler,^ Pa.
Moncrieff, Alice:
28, Bristol, Conn.
Namara, Marguerite:
25,	Dallas, Tex.
Patterson, Idelle:
30, Selinsgrove, Pa.
Pattison, Lee:
30, Cleveland, Ohio.
Patton, Fredj
4,	Elizabeth, N. J.
6, Meadvtlle, Pa.
Dux, Claire:
30, Montgomery, Ala.
Federlein, Gottfried H.:
27,	Baltimore, Md.
28,	Richmond, Va.
Farnam, Lynwood:
30, Reading, Pa.
4, Washington, D. C.
Flonzaley Quartet:
23,	Winfield, Kan.
24,	Oklahoma City, Okla.
25,	Tulsa, Okla.
27,	Fort Worth, Tex.
28,	Dallas, Tex.
Gerhardt, Elena:
30,	London, Eng. Godowsky, Leopold:
26,	San Francisco, Cal.
Howell, Dicie:
29-30, Detroit, Mich.
Jollif, Norman:
26, Englewood, N. J. Karle, Theo:
26,	Chicago, 111. Konecny, Josef:
23, Sterling, Colo.
27,	Goodland, Kan.
31,	Holton, Kan.
Althouse, Paul:
24-25, Cincinnati Ohio.
28,	St. Catharines, Ont.
29,	Hamilton, Ont.
Arden, Cecil:
23,	Huntsville, Ala.
31, Bridgeport, Conn.
1, Brooklyn, N. Y.
Armstrong, Marion:
28, Bristol, Conn.
Barber, Lyell:
24,	Cedar Rapids, la.
28, Winnipeg, Can.
Baroni Concert Company:
23-24, El Paso, Tex.
27-28, Denver, Colo.
30,	Ogden, Utah.
31-1, Salt Lake City, Utah.
D’Alvarez, Marguerite:
24,	Cedar Rapids, la.
28, Winnipeg, Can.
30,	St. Paul, Minn.
31,	Minneapolis, Minn.
Dambois, Maurice:
23, New Orleans, La.
30, Washington, D. C.
4, Philadelphia, Pa.
David, Annie Louise:
25,	Brooklyn, N. Y.
1, Brooklyn, N. Y.
Christmas time I wanted some of the church music, anthems, hymns, etc., but it was some time before I procured them, although they were in the catalogue. But I suppose there is such a demand for them, particularly if everyone enjoys his Victrola as much as we do ours. We play it_ every day. Do you think we could get them from the Victrola Company quicker?”
Your local Victrola dealer will supply records as promptly as anyone. The Victor Company would surely refer you to him, for of course they do not sell at retail. There is naturally an enormous demand, and those whose orders are received early are first served. Send in your list a few weeks in advance.
Programs for Pupils.
“I am sending you a program that my pupils have just given very successfully. I should like to know what you think of it if you will be kind enough to tell me.”
The program you send is a poor one. The pieces are by entirely unknown composers and, if the titles are any indication, of no musical worth. The one number by Beethoven does not raise the program sufficiently to be worth criticising.
Funds for Music.
“Would you please inform me whether the Caruso Fund is to be used to assist young students who cannot pay for their musical education?”
It is rather early in the day to say for what purposes the Caruso Fund will be used. It will take some time before the Fund is complete and even then, it requir'es time and work to organize and lay out the plan's - for the -future- so that the best results may be obtained. The moment anything free is announced, applications by the hundreds pour in, which, if granted, would exhaust any fund, no matter how large.
High and Light.
“Please tell me something about the light or high baritone, or lyric baritone? Is a high baritone and a light baritone the same thing? Is the high baritone a concert voice, and is it not too light for oratorio, and can it successfully be made a tenor? Was Jean De Reszke’s voice a high baritone before it became a tenor?”
The writer evidently confuses dynamic force with range. A voice may well be high and also heavy. The two terms are not contradictory. A high baritone is useful, of course, unless it is too weak or light. A baritone .can never be made into a tenor. De Reszke was not a baritone, but was mistaken for a baritone for a while.
Difficult Accompaniments.
“I am a pianist—that is, I have been taking lessons for three or four years and can play quite difficult music. But I have decided that the thing I should like best would be to become an accompanist. My technic is good, but what I should like information about is this:	Is there any special training
necessary to become an accompanist, or can any pianist do that work? Of course it would not be as difficult as playing big piano solos.”
Accompanying is not so easy as you seem to think; a person may be quite a good pianist and a poor accompanist. So many try to be soloists when playing for a singer that it seems as if at least a little special training was needed to show what was required. Nor must you think all accompaniments are easy, for that is not so. Many modern songs are quite as difficult to play as “big piano pieces” where you have it alLyour own way, and mistakes can be more or less covered up. It is often said “accompanists are born, not made.” If you take up the work try to make yourself one of the best. If you investigated the matter you would find that many fine pianists would hesitate if asked to play an accompaniment.
De Reszke Still Busy at Seventy-two
Harold Hurlbut recently received an interesting letter from Jean de Reszke, written the week of the “grand maitre’s” seventy-second birthday, recalling to the American tenor’s mind M. de Rezky’s seventy-first birthday, on which occasion the famous veteran sang in a phenomenal manner excerpts from many of his great roles—Lohengrin, Walther, Romeo, Faust, Vasco. In this recent letter he states that he is busier than ever and in splendid physical
Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
How to Begin Violin Lessons.
“I have a little boy about six years old who wants to learn to play the violin. My friends say he is too young to begin. What do you think about it? About what age should he start his lessons?”
You will find many children younger than your son who are already studying the violin, and have been for some time. One of the well known violin teachers in a neighboring city has had many pupils who began taking lessons when as young as four, the violins being made expressly for the little hands. A boy of six could certainly begin his musical education with advantage. Usually these young students do not need to be urged to practice, they enjoy the lessons and are ambitious to learn. They do not have to be driven to the violin as . many older children to the piano. I once heard a boy of eight play the violin obligato of Gounod’s well known “Ave Marie.” His father was a vocal teacher and a pupil was studying it; but pupil and teacher wanted to hear her sing it with the violin. This child, as he was then—now a _ violinist well known in Europe—played the obligato in a most creditable manner, rather carefully perhaps, but in a way that revealed not only talent but also an appreciation of the music. Send your boy to a good teacher and encourage him in every way.
Victrola Records.
“I have a Victrola which is a great pleasure and entertainment to myself and all my family. We have a large number of records but are constantly adding to the collection. The only trouble is that it is so difficult to procure the records. At
	
RAISA ENDORSES New Songs by LAZAR S. WEINER Accompanist & Coach 26 Lenox Avenue, Tei. university иге. New York “THE STAR” “LAMENT” “I WOULD TELL HOW I LOVE THEE” Published by G. Schirmer Dear Mr. Weiner:— March 2, 1922. I have heard your songs, and think they are beautiful. I shall be happy to add them to my repertoire and use them on my concert programs. (Signed)	
ADELAIDE GESCHEIDT
Recognized Z Teacher of
A System Which Makes the Voice a Normal Natural Expression and the
Creator of Dependable Artists FRED PATTON, IRENE WILLIAMS, JUDSON HOUSE
New York New York
And Many Others
CTI1П1П5 j 817 Carnegie Hall
ыишиа.|347 West 84th Street
(CIRCLE 1350 1 SCHUYLER 2247
TELEPHONE