March 2 3, 1922
MUSICAL COURIER
50
ACROSS THE COUNTRY
rector, presented Sig. Picchi, who was first bass with the Scotti Opera Company, in connection with the Ambassador Quintet. Weber, Lampe, Rubinstein, Meacham, Puccini and Lake compositions were well read and encores were numerous. Italo Picchi, who sang arias by Verdi and Wagner, has a pleasing voice, excellent diction and an engaging personality. He received flattering applause from the large audience.
Bessie C. Silvers, popular pianist and member of the Crescendo Club, will be married in the early spring to Harold Rutherford of Philadelphia.
At the monthly meeting of the Beth Israel Sisterhood, Rev. Emil Hirsch of Chicago delivered the lecture, being introduced by Hattie A. Bacharach, president. Music was furnished by the Royal Palace Hotel Trio—Emanuel Goldstein, musical director and violinist; Arthur Suter, cellist, and Joseph S. Lilly, pianist. Tobani’s “Metropolitan Echoes,” Wagner’s “Prize Song,” and Bizet’s “Carmen” received distinctive reading.
The Dennis Orchestra, J. Leonard Lewis director, presented Nora Lucia Ritter, dramatic soprano, as soloist February 2, at the Hotel Dennis. Saint-Saëns, Lampe, Godard, Bendix and Strauss were artistically interpreted by the quintet. Miss Ritter, in “A Little Song” by Voorhis, Linn-Seiler’s “Butterflies,” “Baby Dreams” (Stothart), and “A Song for You” (Vanderpool) was warmly applauded, responding with five encores. “Love Sends a Little Gift of Roses,” “Pegee” and Gounod’s “Ave Maria” (violin obligato) were request numbers. Her beautiful soprano voice, exceedingly flexible, combined with a charming personality, is an asset to be appreciated. Bernice L. Lewis was the proficient accompanist.
Anna F. Barbash, of the Crescendo Club, was soprano guest soloist with the Octave Club of Norristown, Penn. Marsden Brooks, cellist, was also a guest artist. Both are well known in the musical circle of Atlantic City.
The Orpheus Musical Club, a new organization, presented its initial concert in the Casino of the Steel Pier Thursday. The chorus of fifty trained voices, with special soloists, presented “May Queen,” by Sir Sterndale Bennett. The chorus, under the baton of Joseph Lilly, was commendable. The role of May Queen was beautifully managed by Nora Lucia Ritter, whose success from beginning to end was emphatic. She sang with warmth and noteworthy understanding, ending with a beautiful high C. Mrs. Howard Steele was very creditable as the Queen, displaying a voice of colorful quality. Daniel Snyder was warmly applauded; his is. a light, but true tenor voice. Sumner Wyatt, as Robin Hood, has a robust bass voice, and great warmth. Marion Hayden was the pianist with the orchestra, which was led by Ray Comfort, violinist; Vida Raper was piano accompanist for the chorus. Mr. Lilly deserves special mention for his ability in controlling the orchestra, chorus and soloists.
Frank Merrich will be the conductor of the Steel Pier Orchestra, which wiil open in the near future on the Steel Pier. He is a well known musician, having appeared in many cities from coast to coast, and has a host of admirers in this, his home city.
The Business Girls’ Club of the Y. W. C. A. had the privilege of hearing Evalyn Quick Tyson depict the life and works of Edward Grieg, the Norwegian composer. Miss Tyson played several Grieg selections which were greatly appreciated by the large audience.
Anna T. Barbash was soloist for the Board of Education, in the Monteray school building on February 24. Concerts are given as an incentive for the pupils and parents of pupils once every month. Mrs. Barbash sang “Baby Dreams,” “Muzetta Waltz Song” (from “Boheme”), and “A Little Song,” which was finely interpreted. The large audience was appreciative. Alice Warren Sachse was the accompanist.
David Kapland, director of the Colonial Theater Orchestra, is an admirable accompanist and conductor. He offers elaborate selections from the masters, and is always warmly applauded. Herbert Henderson, organist, is also proficient.
Sunday evening the Ambassador Hotel management presented Bernard Parronchi, cellist. His selections—“Elegie” (Massenet) and “Tarantella” (Popper)—were meritorious
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Albany, N. Y., March 4, 1922.—The London String Quartet appeared in a fine program at Chancellor’s Hall, under the direction of the State College Music Association. Not in some time has such a gifted group appeared in a program of chamber music, and the audience included many true music lovers as well as students and members of the college association. The association was recently founded by Dr. Harold W. Thompson and T. Frederic H. Candlyn. The council is composed of these two with Dorothy Dan-gremond, ' Grace Fox, Katherine Stratton, Agnes Scott Smith and Augusta Knapp. The quartet’s programmed numbers included the appealing Mozart D minor quartet, beautifully played; Dvorak’s “American” quartet, marked by a lovely tonal quality; and Frank Bridge’s “Londonderry Air,” a piece that lingered in the memory. Then there was the “Folk Song Phantasy,” composed by H. Waldo Warner, viola player in the quartet. This brought, as did every offering, a veritable storm of applause. The musicians were particularly gracious with encores, giving the lovely “Andante” of Tschaikowsky, Percy Grainger’s “Molly on the Shore” and “The Lonely Shepherd,” Speight.
The Mendelssohn Club of Albany, always certain of large and delighted audiences, gave a successful mid-season program at Chancellor’s Hall, Dr. Frank Sill Rogers conducting. The assisting artist was Grace Kerns, soprano, a favorite here. Schubert’s “Omnipotence,” Mendelssohn’s “Forever Blessed” and “All Praise to God” from “Lohengrin,” with Dvorak’s “Songs My Mother Taught Me,” were among the club numbers, sung with a true sense of values and ready response to splendid direction. Miss Kerns charmed with the familiar but none the less welcome aria, “De puis le Jour,” from “Louise;” Campbell-Tipton’s “Spirit Flower,” and two groups of songs. Otto R. Mende, bass, had a solo in a club number and Harry Alan Russell again proved his capability as accompanist both for Miss Kerns and for the club.
Edgar Schofield, baritone; Helen Campbell Triplett, soprano; Colby Shaw’s Strand Orchestra, and Harry Alan Russell, pianist, were heard in recital before a large audience in the Strand Theater, the proceeds going to the Women’s Club of Albany. Mrs. Edward C. Conway directed the concert plans. Mr. Schofield displayed a fine voice in several selections and was given an ovation. His numbers were varied, ranging from the air, “Avant de Quitter ces Reux,” from Gounod’s “Faust,” to negro spirituals. Mrs. Triplett sang the waltz song from “Romeo and Juliet” charmingly and also gave “My Laddie” and “My Heart.” The orchestra won new laurels. Mr. Russell played Mendelssohn’s G minor concerto with the orchestra, and with Lee Cronicon acted as accompanist for the soloists.
Margaret Anna De Graff, harpist, and Earle Hummel, violinist, gave a worth while program recently in the Historical and Art Society rooms. These young people have gained in poise and musicianship.
Elmer Tidmarsh, assisted by Emilie Henning of New York, gave a program in the Second Reformed Church, Schenectady.
Mrs. Edward C. Conway, lyric soprano, sang at a tea given at the Ten Eyck by Mrs. Jeremiah Wood, wife of the Lieutenant-Governor, and Mrs. Thomas A. McWhinney, wife of Assemblyman McWhinney.	H. V.
Atlantic City, N. J., March 1, 1922.—“The Parable of the Prodigal Son” in reading and song was presented February 5 in the First Presbyterian Church. The quartet, composed of Nora Lucia Ritter, soprano; Helen MacAvoy, contralto; William Chester Boyer, tenor, and Lehman McVaugh, bass, was heard in “There Is Joy In the Presence of the Angels,” in addition to solos. There was reading by Henry Merle Millon, D.D.
February 3 and 4, The Cap and Bells Musical Clubs of Haverford College scored a decided triumph, when they made their second annual appearance, under the auspices of the Leeds and Lippincott Company of the Chalfonte-Haddon Hall Hotels. The boys have excelled their former record. Among the features were two unusual baritone soloists, a trio of syncopating ban joists, and an old time quintet that burst into and out of harmony at unexpected intervals. J. C. Wright and W. L. Rhoades managed the clubs. The ensemble of the Instrumental Glee Club was well balanced and much credit is due these two leaders.
A “Musical Revue” and dance, given by the Crescendo Club, February 20, in Morris Guards Armory, was the most successful in the history of the club. Mesdames Sachse, Westney and Culbert were in charge. A male quartet— James McGehean, August Bolte, Harry Kaufman and Charles Scull—was heard in popular airs. “America’s Welcome to Jenny Lind” was depicted by Margaret Tilton, R. Orville Ketchum, Alice Sachse and Anna T. Barbash. The costumes were beautiful and the “Cradle Song” was charmingly interpreted. Lillian Albers Westney introduced a playette, “The Rosebuds,” receiving an ovation. “American Indian Songs” were well liked. Ida Taylor Bolte, contralto, was heard in Cadman and MacDowell numbers. An inspiring feature was the dramatic singing of the duet from “II Trovatore,” by William C. Boyer and Nora Lucia Ritter. Mr. Boyer’s solos, “Speak” and “Little Mother at Home,” and the solos of Miss Ritter, “Muzetta Waltz Song” (from “La Boheme”), and “A Little Song” by Voorhis, not forgetting the piano solo of Joseph Schall Lilly, “Old, Black Joe,” and variations, are worthy of favorable comment. The excellent program closed with the sketch composed by Miss Ritter and acted by her and Mr. Boyer. “Busy Body Moon” was given its initial presentation before the local public, the music rather descriptive and whimsical. The ovation extended was merited, for it is highly original, characterful and effective, and has been successful in other cities. The piano accompanists were Wilbur C. Harley (for male quartet), Alice Warren Sachse (for Jenny Lind), Anna Thill Hemphill (for Rosebuds), and Anna G. Heiss (for Viola Pony Ballet). Mr. Lilly was accompanist for the “Busy Body Moon” duet.
A program was presented by Marion Parsons, pianist (member of Crescendo Club), February 21, in the M. E. Blatt Auditorium. Chopin was intelligently interpreted.
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