MUSICAL COURIER
48
March 23, 1922
she has fine range, sings very effectively and with dramatic force, and is well known on the concert stage. Charles Vaughn Holly, tenor, accompanied by Mrs. Edmund Severn, sang “Una Furtiva Lagrima” (Donizetti) ; Mr. Holly has particularly fine high notes, and is an enjoyable singer. The artists followed in the same order later, Mr. Koehl giving four Chopin waltzes and “Polichinelle” (Rachmaninoff) ; Miss Fauchald a group by Kramer-Novick (dedicated to the singer) and Burleigh; Mr. Ton-konogy, “Hindoo Chant” (Rimsky-Korsakoff), “Slavonic Dance” (Dvorak-Kreisler), Miss Ritch sang a group of songs and Mr. Holly sang numbers by Denza, Eastkirk, Martin and Severn.
The program was rendered artistically, and with fine expression. Mr. Koehl gave the two numbers of his recital program very artistically. From childhood he has been under the skilful guidance of Mr. Tollefsen. Miss Fauchald has a pure soprano voice which she uses with great skill, interpreting her songs with delightful expression; she is a pupil of Ella Toedt. Mr. Tonkonogy and Mr. Koehl were in perfect accord; the young violinist is an excellent artist. Following the musical, refreshments were served.
N. Y. C. M. S. Completes Seventh Season
This is the seventh annual and the most successful season of the New York Chamber Music Society, Carolyn Beebe, founder and pianist. It was given under the direction of Gretchen Dick, who presented the series of three concerts, November 15, 1921; January 9, 1922, and March 20; as the Second American Concert Course, the first having been given at the Manhattan Opera House with individual soloists. Though the Society’s seventh season has been the most successful, it looks as if the eighth would surpass it, according to the early returns immediately after next season’s dates were announced to the subscribers.
The 1922-1923 series will again be given at Aeolian Hall in three concerts on Tuesday evenings, November 14, 1922; January 9, 1923, and March 20. The personnel will be the same, and Miss Beebe plans to present as many, and possibly several more, novelties as this past season in addition to the usual classics.
A scant resume of the 1921-1922 season shows the first performance of the three new interesting works of such well known artists as Percy Grainger, Ethel Leginska and Henry Hadley, the first two artists appearing in person at the organ and piano respectively. Mr. Hadley was represented in the final concert on March 20 by his newest manuscript, andante and scherzo, especially arranged for Miss Beebe and the New York Chamber Music Society.
Spokane Items
Spokane, Wash., March 3, 1922.—The Werrenrath concert given in Spokane, March 2, proved an evening of enjoyment that the audience will not soon forget. His voice was pleasant to hear, his power of interpretation was marvelous and he used the clearest enunciation in addition to fine tone blending. Mr. Werrenrath gave an exceedingly difficult program of English and German songs and had to respond with a double encore, to two songs by Joseph Marx and Sinding. There were also the songs from the Hebrides, these being original melodies of the Kelts and Gaels, which preserve all their primitive savagery. “Hame Oor Bottachan” won great applause. Mr. Werrenrath was ably assisted by Harry Spier at the piano, who also delighed the audience with two solos.	S.
Macbeth Charms Boston Again
Boston, Mass., February 10, 1922.—For the second season in succession, Florence Macbeth, coloratura soprano of the Chicago Opera, appeared on the concert series conducted by the Boston Athletic Club on Sunday, again carrying all before her.
The programmed numbers were operatic ones—all by request—in which she was accompanied by the Boston Symphony Ensemble, under the baton of Mr. Vannini. The Boston Symphony Ensemble added enjoyment to the entertainment by some excellent work in Rimsky-Korsakoff’s “Scheherazade” and other numbers.	B. S.
Rubinstein Club Sings “The Old Road”
At its February concert in the Hotel Waldorf-Astoria, New York, the Rubinstein Club, under direction of William Rogers Chapman, sang John Prindle Scott’s “The Old Road” to open the program. Another ladies’ chorus which sang it recently was the Women’s Choral Club of Pasadena, Cal.
The Apollo Club and the University Glee Club, both of Brooklyn, sang the arrangement for men’s voices at their winter concerts, and the Colgate, Rochester and Oberlin glee clubs are featuring it on their programs this season.
Campbell at Cooper Union
One of the most enthusiastic audiences of the season greeted Cora Chase, soprano of the Metropolitan Opera Company, and John Campbell, tenor, in the fifteenth concert of the People’s Institute series at Cooper Union. Sunday evening, February 26. Miss Chase sang arias and songs by Bellini, Sidney Homer, Donaudy and others. Mr. Campbell’s contributions were from the works of Handel, Burleigh, Sibella and Borowski.
Minette Hirst’s Songs Popular
Minette Hirst’s song “What Is Life?” is growing in popularity and is being featured by singers of repute in all parts of the United States and Canada. Rafaelo Diaz recently sang this number with great success at the mu-sicales given in the homes of Mrs. Cornelius Vanderbilt and Mrs. Whitney .Warren.
Hurlbut Pupil in New Position
Mae Bella Kirtland, of Colfax, Wash, soprano , and teacher, has been appointed soloist and director of the First Methodist Episcopal Church of that city. She is preparing students for Harold Hurlbut’s summer master classes in Spokane, Wash., and Portland, Ore.
spirited musician, who has done much to aid the cause of music in San Diego.
Senor Manuel Mora, the Spanish tenor, could hardly find a more appropriate setting than the beautiful Civic Auditorium in Balboa Park, and in his program there last Sunday afternoon he seemed to bring to life the charm and spirit of the old Spanish days. Senor Mora is possessed of a splendid voice and a very striking presence; it is to be hoped that San Diego may hear and see him again.
The Thearle Music Company sponsored Henry Souvaine, pianist; Penelope Davis, soprano, and the Ampico in the Knabe in a wdek of recitals culminating in an invitation concert. Mr. Souvaine appeared seventeen times here, playing and talking for various clubs and schools and made an excellent impression. Miss Davis is a young artist of promise. All these things help along the cause of music, and have much more than a commercial value in the city.
E. B. B.‘
SEATTLE LOUDLY APPLAUDS
HAROLD BAUER’S PLAYING
Griffes Group Gives Program—Civic Orchestra’s Second Concert
Seattle, Wash., March 1, 1922.—Harold Bauer appeared at the Metropolitan in recital on the evening of January 31, playing to a very large and enthusiastic audience. Mr. Bauer is one of the pianists who is in very high favor with the Seattle public. During his stay in Seattle, he played for the Radio News Service in the offices of the Post-Intelligencer a group of solos which were heard throughout the length of the Coast.
Olga Steeb, pianist ; Edna Thomas, soprano, and Sascha Jacobinoff—a trio of artists known as the Griffes Group— appeared in a recent concert at the Metropolitan Theater, giving a delightful concert to one of the smallest houses ever assembled in Seattle for a concert of this sort. No one seems to know just why the organization failed to draw, since it was given good publicity and offered interesting music. The artists were, however, very cordial towards their limited audience and were greeted with all of the enthusiasm a small audience can muster.
The Civic Orchestra, under Mme. Davenport-Engberg, gave its second concert of the season at the Metropolitan on the afternoon of January 30, playing the “Unfinished” symphony of Schubert as its leading number, and offering Dorothy Greenberg, an artist pupil of Silvio Risegari as soloist, who played the concerto in G minor of Saint-Saëns, and Sidney Dixon, a young local tenor, who sang a group of American songs with piano accompaniment in a charming manner. The orchestra showed much improvement over its last appearance, and Mme. Engberg is gradually getting the organization into nice shape.
Alma Gluck and Efrem Zimbalist appeared in a joint recital on the evening of February 8, at Meany Hall, under the auspices of the Women’s League of the University of Washington. The Women’s League is a student organization which gives a series of concerts each season to raise money for a scholarship fund at the University. Meany Hall, which seats 3,500, was sold out for the concert and the enthusiasm of the audience was commensurate with its size.
Kathleen Parlow and Arthur Middleton were heard in a recent joint recital at the Metropolitan and delighted a rather limited audience in the joint offerings.
The fourth in the series of chamber concerts, under the auspices of the Musical Arts Society, was given in the Fine Arts Hall on the morning of February 1, when the program was given over to a chamber music concert with Eleanor Nordhoff Beck, harpist; Francis J. Armstrong, violinist; Arville Belstad, pianist; George Kirchner, cellist, and Boyd Wells, pianist. The program consisted of a Mozart sonata, played by Mr. Armstrong and Mr. Wells; a Brahms trio by Mr. Kirchner, Mr. Belstad and Mr. Armstrong; and a group of charming numbers especially arranged for the harp and piano, by Mrs. Beck and Mr. Armstrong. The program was arranged by Francis J. Armstrong and the house was more than sold out for thè program.
Sarah Y. B. Peabody, soprano, with the assistance of Paul McCoole, one of the Boyd Wells pianists, appeared in a recent concert at the Cornish School, giving a charming-program of old French and Italian songs, a group of English and a group of modern songs. Mr. McCoole played a group of Chopin etudes and several modern numbers. Both artists have been heard many times in Seattle and drew a large and enthusiastic audience to hear them.
A series of artist-student recitals, by the students of Silvio _ Risegari, has recently been brought to a close with the recital by Edward Whiting. The students, who were all of special excellence both in their musicianship and technical equipment, displayed excellent individuality in their programs. Mr. Risegari, who is himself a pianist of very high attainments, is possessed of the gift in passing his art on to his students or rather in drawing out the best of talent in a student.- Very large audiences were in attendance upon each of the recitals. Those who gave the series were Florence Lamkin, Dorothy Greenberg, Euphemie Campbell, Bernadotte Campbell, Madeline Pless, and Edward Whiting.
________ J. H.
Tollefsens Entertain Laurier Musical Club
An ideal musicale was given March 7 by the Laurier Musical Club of Brooklyn, at the home of Carl H. and Augusta Tollefsen, 946 President street; they acted as host and hostess of the occasion, graciously receiving the invited guests. The attendance was exceptionally good, considering the stormy night. This is the twenty-ninth season of the club, composed mostly of musicians who personally entertain, so that most of the programs are participated in by them. The meetings are held at members’ residences, with the exception of that in May, held at the Pouch Mansion.
The participants of this program were, however, selected from outside the club. Julius Koehl, pianist (soon to give a recital at Aeolian Hall), played Beethoven’s “Sonata Pathétique.” Nora Fauchald, soprano, accompanied by Halfrid Nelson, sang an aria from “Carmen.” Violinist Samuel Tonkonogy, accompanied by Mr. Koehl, gave the Schubert-Wilhelmj “Ave Maria” and “Sicilienne and Rigaudon.” Mabel Ritch, alto, sang “Du Christ Avec Ardeur” (Bemberg), with Harry Whittaker at the piano;
EDWIN HUGHES
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