MUSICAL COURIER
4Ö
March 30, 1922
SOUSA AND HIS BAND INVADE CHICAGO
Capacity Audience Hears Bush Conservatory Training Orchestra—Sue Harvard, Harold Bauer, Columbia Chorus and Walter Spry, Civic Orchestra and Heifetz Give Programs—Russian Opera Pleases—Swedish Choral Club
Gives “Messiah”—News Notes
as a pianist; so, attesting that he was at his very best will be sufficient to demonstrate the intelligence of the audience in rewarding his interpretation of the Chopin group (the only one heard by this reviewer) with vociferous plaudits.
Cmc Orchestra Concert.
Sunday afternoon, March 19, was disagreeably wet, yet a large audience attended the Civic Orchestra Concert at Orchestra Hall and was repaid by hearing this growing popular body of young musicians in a worthy and interesting-program. The word “growing” is used advisedly, as the orchestra is certainly growing in artistry, enthusiasm and public interest. Every number delivered was received with satisfaction and pleasure. The variation of each effort served to bring out the latest attributes of the organization into bold relief. The orchestral work, with the organ composition by Eric Delamarter, with the author at the keyboard, was in ensemble delightful and commendable.
Victor Herbert’s musical lace work, “An Irish Rhapsody,” with scraps of popular Irish melody peeping through and delivered in full, at times formed a striking and pleasing class which sent the audience home in high and exhilarant mood.
The work being done by Frederick Stock and his highly competent assistants shows marked improvement at every hearing, the orchestra being entitled to decided encouragement, looking toward permanent perpetuation.
Russian Opera in Chicago.
The Russian Grand Opera Company’s first American tour brought many operas heretofore unknown here as a sort of propaganda for Russian opera. If a company such as the one that is now appearing at the Olympic Theater here has been able to navigate without the financial support of a McCormick or a Jordan or a Kahn, one wonders what is the matter with opera companies in this country. The Russians gave most interesting performances during the week of “The Tsar’s Bride,” which opened the season on March 20; “Pique Dame,” given on Tuesday; Rubinstein’s “The Demon,” Wednesday matinee; the same evening, Dargo-mizsky’s “The Mermaid;” “Boris Godounoff” was the bill for Thursday; Friday evening, “Eugene Onegin;” “The Mermaid” was repeated Saturday afternoon, and on Saturday evening “The Snow Maiden” was presented. The casts were generally good, the scenery cheap, the orchestra mediocre, the best talent found among the basses and baritones and the ballet insignificant. The season is proving most interesting and the financial success is satisfactory.
Margaret Rice in Town.
Margaret Rice, special representative of Arthur Shattuck and well known Milwaukee impresario,_ was among the visitors at this office during the week just ended. Among other things Miss Rice stated that this year she had 1,200 subscribers to her chamber music series 1 And then some ignorant person stated some time ago that Milwaukee was not musical 1
Kimball Hall’s New Pilot.
Last season when it was announced that the Kimball Company had rented its music hall for one year to a practically
Œbe Beethoven ÎCrio
OF CHICAGO
M. JENNETTE LOUDON ־ ־ Piano RALPH MICHAELIS ־ ־	Violin
THEODORE DuMOULIN, ־ Violoncello
“The reputation of these three excellent artists is sufficient guarantee of the quality of their program. They show a very skilled and routined musicianship, an ensemble that demonstrates loving and serious labor, distinct refinement of interpretation, and notable absorption in their task.”—Herman Devries, Chicago Evening American.
----<8>--
Secretary, 410 South Michigan Blvd.
Phone Wabash 7432
UMBERTO BEDUSCHI
formerly leading tenor, Covent Garden, London; Royal Argentina, Rome; Royal Theater, Madrid.
Voice placing and development, Coaching for Grand Opera, etc. Suite 70, Auditorium Bldg., Chicago
g WOODMAN TUFTS
*,	CONTRALTO
6752 Perry Ave.. Chicago, Phone Normal 3483
Marie LIGHTHALL
3423 Elaine Place CHICAGO
GRACE WELSH
PIANIST—COMPOSER
American Conservatory	־	Chicago
Wednesdays and
Saturdays
THE ART OF VIOLONCELLO PLAYING
522 Fine Arts Bldg., C. Lynn Reyburn, Sec’y, Chicago For Lesson Appointment, Phone Ravenswood 5382
Logan, and two songs by Pearl G. Curran—“Nursery Rhymes” and “In Autumn.” A review of this recital would not be complete if nothing were said of Miss Harvard’s charming and winning personality, stunning stage presence and deportment, beautiful gown and very chic hat. A recital to be remembered among many!
Bauer and Casals at Cohan’s.
That unbeatable combination of two master minds—one a pianist, the other a cellist—joined forces at Cohan’s Grand on the same Sunday afternoon, appearing under the management of F. Wight Neumann in an all-Beethoven program. To give a concert made up solely of works of one composer, even of the immortal Beethoven, is often tedious— never, however, when played by two such artists as Harold Bauer and Casals.
Columbia Chorus and Walter Spry Heard.
The Columbia Chorus, made up of some fifty young women, under the direction of its conductor, Louise St. John Westervelt, appeared at the Playhouse Sunday afternoon, March 19. Before reviewing the work of this remarkable organization, a word of praise is in order for its founder and conductor, Miss Westervelt, as not only has she trained her chorus admirably, but she has also dug into the choral literature for new material. Thus, yearly, the Chicago public, through this channel is made conversant with compositions that probably would not otherwise have been heard. Miss Westervelt has done a great deal for Chicago and also for the school in which she has taught for many years, and where her constant popularity indicates complete satisfaction of the students as well as of their parents. If a transgression from the beaten path is here made, the reason is that this reviewer long ago intended to tell publicly what he thought of the conductor of the Columbia Chorus and awaited an opportunity, which finally presented itself on this occasion.
The Columbia Chorus, as already stated, is an uncommonly good organization of women’s voices. Its attractions are many, the young ladies are generally pretty, nicely gowned, but what is much more important, they have been schooled in such a manner as to respond to the most minute demand of their leader, who knows how to build big, effective crescendos and subtle and well contrasted diminuendos. The choir is well balanced. It has youth, which means freshness of voices ; enthusiasm, which means joy and a certain virility that makes for vigor. To single out one number of the twenty that were presented would be unjust, though, as a matter of record, it must be noted that “Vesper Song” and “Spring,” by Buenta Carter, had on this occasion their first performance.
Walter Spry, pianist, was the soloist. There are in Chicago first class pianists who object whenever mention in these columns is made that they are also very fine teachers, but Mr. Spry is not in that category. He is very happy with his pedagogic position at the Columbia School and very happy, also, to have sent out into the world many full-fledged professional pianists, who are doing him honor not only in this locality, but also throughout the United States. Due to those duties as teacher Mr. Spry of late has been heard here but once or twice publicly during the year, even though he keeps his fingers on edge, presenting works of all the great composers before his interpretation class and appearing in recitals as well as in lecture-recitals in many localities throughout the season. On Sunday he was heard in Chopin’s nocturne, op. 7, No. 2, and polonaise. His second group comprised Rachmaninoff’s “Serenade,” John Alden Carpenter’s “Tango Américain” and Liszt’s “Rakoczy March,” and added numbers at the close of each group. It would be puerile to analyze at this date Mr. Spry’s ability
NICOLAY
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A
N Reengaged for eleventh season as leading ^ Basso with Chicago Opera Association Address: CHICAGO GRAND OPERA •	- CHICAGO
EDOUARD COTREUIL
LEADING BASSO-BARITONE Chicago Opera Association
EDGAR NELSON
Plano and Organ Instruction
BUSH CONSERVATORY, 838 North Dearborn Street. Chicago
Soprano
1023 Kimball Bldg. -	- Chicago
GUSTAF HOLMQUIST
BASS-BARITON E
Private Address: 1430 Argle Street Address Bush Conservatory, 839 North Dearborn Ave., Chicago
ALEXANDER RAAB
Pianist
CHICAGO MUSICAL COLLEGE
COLLINS
CHICAGO MUSICAL COLLEGE
THEODORE HARRISON, S¡™'
Dir. Music Dept., Lyceum Arts Conservatory, will conduct summer normal class in Interpretation and Repertoire for Students, Teachers and Professionals.
*1160 N. Dearborn St., Chicago.	Available Solo Engagements
Chicago, 111., March 26, 1922.—On Saturday afternoon and evening, March 18, Sousa, the “March King,’” and his glorious band invaded the Auditorium to present several of his new and already popular marches and play some of the old favorites which have made “Sousa” famous the world over. As ever, encores were as numerous as the printed numbers and the various soloists shared with the leader in the esteem of the public.
Sue Harvard at Blackstone.
Sue Harvard, soprano, made her Chicago debut in recital at the Blackstone Theater under the management of Rachel Busey Kinsolving on Sunday afternoon, March 19. A mistress of program making, she showed the full gamut of her art in inspiring readings of the classics and a perfect understanding of the modern and contemporary composers. Feted to the echo in the East, Miss Harvard hereafter may well expect the same popularity in these surroundings. Possessor of a voice of beautiful quality, rich in color, meaty and produced with consummate artistry, she gave throughout the course of her program unalloyed pleasure to the ear. It is a delightful duty for a reporter on musical matters to spend profitably an hour listening to a recital from which much can be learned as to the art of singing, and such a recital was the one on which this review is based. An interpreter of first order, she sang with great authority her first group, which was made up of Mozart’s “Porgi Amor,” from “The Marriage of Figaro;” Veracini’s pastoral, from “Rosilinda;” “Separazione” (an old Italian folk song), “Mother and Her Babe” (an old Welsh song) and “Shepherd, Thy Demeanor Vary” (an old English song). Her second group was made up of two songs by Grieg, “Little Margaret” and “A Fair Vision;” Rimsky-Korsakoff’s “Song of the Bride” (without accompaniment), and Hummel’s “Hallelujah.” Each, beautifully sung, was vociferously applauded by the audience, which redemanded several and compelled the recitalist at the close of this, as well as all the other groups, to add an extra number. Her French group, in which her French diction and enunciation proved quite as efficient as her English and Italian, consisted of Duparc’s “Phidyle,” Hue’s “A des oiseaux,” Berlioz’s “L’Absence” and Fourdrain’s “Chevauchee-Cosaque.” In Paris the critics would call Sue Harvard one of the best French diseuses, but some of the Chicago critics know more, especially those to whom French is a closed book; but to one who can vouch for the manner in which French songs should be rendered, Miss Harvard’s delivery of each song was ideal. Her last group included “Thou Art the Night Wind,” by Harvey B. Gaul; “A Cradle Song,” by Ethel Watson Usher (who proved as good a composer as an accompanist, acting in that capacity on this occasion for the recitalist) ; the more and more popular “Pale Moon,” by Frederick K.
FRANCESCO H AHni
Of Chicago Opera Association B J	B J B J Ai
Specialist in Voice Placing and Coaching for Opera, Stage and Recital Studio: 720 Fine Arts Building, Chicago, 111.	Harrison 5755
Bush Conservatory
CHICAGO
Kenneth M. Bradley Edgar A. Nelson President	Vice-President
Edward H. Schwenker Secretary
MODERN COURSES FOR PUBLIC SCHOOL MUSIC SUPERVISORS AT THE SUMMER SESSION including
METHODS (High	School).............William Nordin
SIGHT SINGING	.................William	Nordin
METHODS (Grades) .................Lyravine Votaw
APPRECIATION .....................Lyravine Votaw
THEORY AND HARMONY............Kenneth M. Bradley
HARMONY ............................Grace Walter
MUSICAL HISTORY...............Edgar A. Brazelton
CREDITS—All courses taken in the Summer Session are accredited for the Teachers’ Certificate, Diploma, and Degrees of Bush Conservatory.
PRIVATE LESSONS in all branches of Expression, Languages, MUSIC, Dancing, Physical Culture.
Three Summer Terms—Ten weeks—May 24th to August 2nd. Eight weeks—June 7th to August 2nd. Five weeks—June 28th to August 2nd.
STUDENT DORMITORIES For Summer Bulletin and full particulars, address,
M. O. Jones, Registrar
839 North Dearborn Street, Chicago, 111._
AURELIA ARIM0NDÏ
First Prize, Milan. Italy. Conservalory
VITTORIO ARIM0NDI
Leading Basso Chicago Opera Association and all the Principal Theatres of the world
Voice Placing, Coaching for Opera, Stage and Concert Deportment
Studio: 612 Fine Arts Building	Chicago
Chicago Musical College
MAURICE
PIANIST PEDAGOG
VERA-KAPLUN
CONCERT PIANIST
HERMAN DEVRIES
Formerly baritone with the Metropolitan Opera House, New York; Covent Garden, London; Grand Opera, and Opera Comique, Paris; Theatre Royal de la Monnaie, Brussels, etc.
-1------VOCAL TEACHER-------
MRS. HERMAN DEVRIES ASSINSTRUCTORAL
Studios:	.	.	518-528 Fine Arts Building .	. Chicago 111*