MUSICAL COURIER
28
March 30, 1922
WHERE THEY ARE TO BE
From March 30 to April 13
Maier, Guy:
30-31, Cleveland, Ohio. Martel, Joseph:
8, Douglaston, L. I. Middleton, Arthur:
30, Greencastle, Ind.
3, Butler, Pa.
Namara, Marguerite:
30,	Austin, Texas.
31,	Houston, Texas.
1,	Port Arthur, Texas.
3,	New Orleans, La.
4,	Baton Rouge, La.
6,	Shreveport, La.
7,	Texarkana, Texas.
8,	Memphis, Tenn. Patterson, Idelle:
30, Selinsgrove, Pa. Pattison, Lee:
30,	Cleveland, Ohio. Patton, Fred:
4, Elizabeth, N. J.
6, Meadville, Pa.
8,	Plainfield, N. J. Pavlowa, Anna:
30-1, Chicago, 111.
Peege, Charlotte :
31,	Wheeling, W. Va. Prihoda, Vasa:
30,	Wichita, Kan.
31,	Urbana, 111.
3,	Ithaca, N. Y.
4,	Williamsport, Pa.
5,	Lebanon, Pa. Schumann Heink, Mme.:
2,	Akron, Ohio.
6,	Jamestown, N. Y.
9,	Boston, Mass. Sparkes, Lenora:
30, Middletown, N. Y. Tiffany, Marie:
5, Canton, Ohio.
Arden, Cecil:
1, Brooklyn, N. Y.
7,	Bridgeport, Conn.
9, Jersey City, N. J.
Baird, Martha:
9, Detroit, Mich.
Baroni Concert Company:
30, Ogden, Utah.
31-1, Salt Lake City, Utah
Besler, “Miss Bobby״:
8,	New Haven, Conn.
D’Alvarez, Marguerite:
30,	St. Paul, Minn.
31,	Minneapolis, Minn.
Dambois, Maurice:
4, Washington, D. C.
4, Philadelphia, Pa.
10, Englewood, N. J.
David, Annie Louise:
1, Brooklyn, N. Y.
Diaz, Rafaelo:
6,	Baltimore, Md.
7,	Washington, D. C.
Dux, Claire:
30, Montgomery, Ala.
13, Emporia, Kan.
Farnam, Lynwood:
30, Reading, Pa.
4, Washington, D. C.
10, Montclair, N. J.
Gerhardt, Elena:
30, London, Eng.
Howell, Dicie:
30,	Detroit, Mich.
Konecny, Josef:
31,	Holton, Kan.
3,	Atchison, Kan.
4,	Leavenworth, Kan.
Koshetz, Nina:
4,	Washington, D. C.
Lhevinne, Josef and Rosina:
31-2, Pittsburgh, Pa.
Macmillen, Francis:
5,	Canton, Ohio.
Diaz Scores Another Triumph
Rafaelo Diaz, the Metropolitan Opera tenor, received an ovation on March 16 as soloist at the concert of the People’s Chorus of New York, in Town Hall. He sang an aria from “L’Elisir D’Atnore,” Donizetti; “Elegie," Massenet, and “Morning” by Oley Speaks, and as insistent encores gave a “Mexican Folk Song” and “Call of the Sea” by Townsend.
Huberman’s Records Endorsed
Bronislaw Huberman is rapidly developing into a “best seller” recording artist. Newspaper reviewers of phonograph records, which tribe seems to increase daily, have heaped laudatory adjectives on Mr. Huberman for his recent Brunswick record of the Bach air for the G string.
as a rule, for some think them quite superfluous. But there is How to Pronounce Them.
“Will you kindly tell me how to pronounce the names Jeritza and Gigli?’5
Yea-rit-zah, with the accent on the first syllable. Geel-ye, with the accent on the first syllable.
Ruth Ray vs. a Boxing Contest
At Waterloo, la., where Ruth Ray, American violinist, gave a recital on January 25, she found unexpected competition in the State championship boxing contest. She complained to a bell boy, and he consoled her with “Never mind, Miss, you may have a house.” “I wasn’t thinking of the house,” she retorted; “I wish I could see the boxing match.” The bell boy tells the story with much glee, adding that the violinist proved a “game sport.”
Namara Engaged for Columbus, Miss.
Marguerite Namara, Chicago Opera soprano, has been engaged for a recital to be given under the auspices of the Mississippi State College for Women at Columbus, Miss., on April 10. She will fill this date in connection with her tour as soloist with the St. Louis Symphony Orchestra, under Rudolph Ganz, which opened in Dallas, Tex., on March 25 and will extend well into April.
Recitals at Beechwood School
On the evening of February 14 an interesting program was given by some of the students at the Beechwood School Conservatory of Music at Jenkintown, Pa. In addition to vocal and instrumental selections, there also were some part songs by the Glee Club. February 20 a recital was given at the school by Marion W. Gushee, violinist, and Emma Warde Ryder, pianist, assisted by Elizabeth Cornell, reader.
Southwick Pupil to Tour Norway
Samuel Monrad, a robust tenor of excellent quality and pupil of Frederick Southwick of Carnegie Hall, will" tour Norway during the coming summer, giving song recitals in many cities of his native country. Mr. Monrad will return to New York in October to continue his studies with Mr. Southwick.
Pupils of Moritz Emery in Recital
Esther Bancroft, mezzo soprano, assisted by James C. Weaver, pianist, both pupils of Moritz Emery, presented an interesting program at the Zeckwer-Hahn Philadelphia Musical Academy on the evening of March 20. Mr. Weaver played two of Mr. Emery’s compositions, “Fog Life” and “Little Toe Dancer.”
Elizabeth Lennox Sings “At Home”
Elizabeth Lennox, contralto, “returned home” on March 14, giving a song recital in her home town—Benton Harbor, Mich. Miss Lennox scored a great success and proved that the prophecies which had been made for her were more than true.
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.
Ambrosian and Gregorian.
“Can you tell me anything about the Ambrosian and Gregorian chants? The Gregorian chant is the one I have heard the most about; in fact I never heard of the Ambrosian until the otherday. Is there any difference between the two? Thank you for information.”
The Ambrosian chant was the style of church music introduced by St. Ambrose from the Eastern Church and established by him in the Cathedral of Milan toward the end of the fourth century. Nothing is known of these melodies. St. Ambrose composed numerous hymns. He died in 397.
Pope Gregory I called the Great, who died in 604, two hundred years later, revised the forms of the chant for the use of the Roman Catholic Church, where it became known as the Plain Chant. It is not supposed there was any great difference between the two, only Pope Gregory revised all the music for use in the church, simplifying it and finally arranging it as the form for the Western Churches. It is the Gregorian chant that is used at the present time, very simple and plain as its name indicates.
An Aeolian Attachment.
‘‘The many questions answered by the Information Bureau, lead me to believe that you can give me the information I am seeking, although it is about a piano and not vocal or instrumental music. I have heard there is or was such a thing as an Aeolian attachment on a piano—but I believe it was an old one; I did not see it, but was told about it. Do you think they make them now? Was it an extra pedal or how was it attached?”
Many years ago there were some pianos made with what was called an “Aeolian attachment.” There could not have been many of them made or there would still be some in existence. The writer knew of one and one only, and that was the property of a missionary on one of the Pacific islands. The family wanted a piano, but that was such a worldly instrument that it would have to remain closed on Sunday, nor would it be suitable as an accompaniment for hymns at any time. Then by the merest chance some merchant had this instrument with an Aeolian attachment which, when turned on, would almost turn the piano into an organ. The piano, to all appearances, was the usual old fashioned “square.” Down at the left hand just above the end of the keyboard there was an open slot with a knob by which the attachment was regulated. The definition given in the musical dictionaries of the effect produced is that “a current of air against the strings reinforced their vibration, thus prolonging and sustaining the tone.” The piano was in itself a poor instrument; when the attachment was used, what few virtues it possessed entirely disappeared. The tone became a long whine— fortunately not a very strong one; it was, however, much enjoyed by the family who owned it and may still be in the possession of some of the members of the family. Anything less musical it would be hard to imagine. It may have been the only one ever produced.
Analytical Programs.
“Can you tell me how long it has been the custom to have analytical programs? Do you know where they were first introduced?”
The analytical programs were first used in England and date frojn about 1845. These program notes are so universal now that they would be greatly missed by the concert going public—that is,
NOVÄfS
GUIOMAR
Appearing Now in South America With Phenomenal Success
Returns to America
January to May, 1923 Booked, Pacific Coast, April
New York
For Few Remaining Dates Wire
LOUDON CHARLTON, Carnegie Hall