MUSICAL COURIER
32
April 6, 1922
mellow soprano voice, rich in quality and possesses a wide range. Mr. Zimmerman has a tenor voice which shows to its best advantage in his yodling songs. The accompanist of the evening was May List, of Massillon, organist at the First Baptist Church of this city. In addition to accompanying the singers Miss List played a piano solo during the intermission in which she had ample opportunity to display her artistry and skill as a soloist. She has a fine, firm touch, a brilliant technic, digital fleetness and splendid tonal expression. It was her first appearance as a concert artist and there were those in the audience who would have appreciated an opportunity of hearing her in other numbers.
R. McC.
Charleston, S. C., March 13, 1922,—A brilliant musical season, crowded into a few weeks, has brought many of the world’s greatest artists to Charleston. Josef Hofmann’s recital, under the auspices of the Charleston Musical Society, was a tremendous success and was quickly followed by that of Ferenc Vecsey. On his program was the César Franck sonata, Debussy sonata, four of his own composi-tions, ,and fantasia for G string and ”Moto Perpetuo” of Paganini. The young Hungarian plays with breadth, keen intelligence, purity of tone and brilliant technic. Mr. Meyer-Radon played the difficult piano parts with ease and poetic insight.
Despite one of the worst cloudbursts Charleston has ever had, the Flonzaley Quartet was welcomed by a large and deeply appreciative audience. Mozart’s D major (K 499), Bloch’s “Pastorale,” the Beethoven variazioni, - Glazounoff’s “Interludium in Modo Antico,” Osten Sacken’s “Cradle Song,” and the scherzo of Borodin were each played with that faultlessness of intonation and beauty of phrasing and tone which make the Flonzaleys one of the greatest of chamber music organizations. Enthusiastic rounds of applause forced the quartet to add four encores to its program.
The Musical Art Club opened the current season with a violin recital by Piastro. He did some good work on both the Handel sonata and the Wieniawski concerto. A group of smaller numbers was perhaps somewhat overdone in sentimentality, but he was warmly applauded for at all surmounting technicalities with the temperature of the hall nearly at the freezing point. Several encores were added The Extension Department of the Musical Art Club gave a creditable account of itself in a program rendered exclusively by the masculine members of the department. Singers, violinists and pianists were heard in various forms of ensemble, and John Gotjen, a promising young cellist (pupil of Maud Gibbon), did very good work in the Marcello sonata. The Extension Department is in charge of Gertrude Cappelman, who has, by her earnest and diligent work, brought forward some promising young talent.
A young singer who has promise of much in the future is Huida Jahnz. In a group of modern songs she displayed a voice of lovely timber and flexibility. She has intelligence, taste and a good stage presence, and her work gave such evident pleasure that she was obliged to' respond with an encore. In fact, she proved to be quite the feature of the third Concert Intime given by the Charleston Musical Society. A male quartet gave arrangements of Schumann, Weber and Wagner songs. Five young violinists played an arrangement of Haydn’s second symphony, and Thomas Hennesy, violinist, and Theodore Koster, pianist, were heard in the Beethoven sonata in F, No. 5. Here again Theodore Koster displayed his excellent musician-ship and fine pianism. Thomas Hennesy (a pupil of Mrs. H. McKee ,Bailey) possesses a warm, vibrant tone, has almost faultless intonation, and plays with an assurance which, as it grows with time, is making him a valuable asset to the community.
The Charleston Musical Society enjoyed a concert it will long remember when Cecil Fanning made his second appearance with his lusty three-year-old organization. He had the best house of the season and was rapturously applauded by the Charlestonians and visitors. He delighted with the velvet of his voice, his fine breath-control and satisfying phrasing, his attack and intelligent interpretation. Here is a real artist.
The second event under the Musical Art Club’s endorsement was Anna Case, who, arrayed in a charming gown and looking her best, gave a program which ranged from the old classics to ׳present day ballads. Included also were two of Miss Case’s own compositions. - The audience was not large, but received her well and she added several encores. Her best work was in Handel’s “Oh Sleep, Why Dost Thou Leave Me?” That Miss Case managed to sing at all while inhaling the fearfully cold atmosphere of the hall and being forced to wear a heavy fur coat during her entire recital, attested her kindness in submitting to these drawbacks rather than disappoint her audience. M. W .G. Chicago, 111.—■(See letter on another page.)
Cincinnati, Ohio.—(See letter on another page.) Dayton, Ohio, March 14, 1922.—The annual concert of the Women’s Music Club was given in the Engineers’ Club auditorium, February 9. The artists for this occasion were Romeo . Gorno, piano; Emil Heermann, violin, and Walter Heermann, cello, assisted by Giacinto Gorno, baritone. Their program included the Arensky trio, played with artistic effect, and a superb performance of the Strauss sonata for piano and violin in E flat.
Under the auspices of the Civic Music League, Heifetz appeared in Memorial Hall, February 23. His accompanist was Samuel Chotzinoff.
The final Civic Music League concert for the season was a joint recital by Lucy Gates and Richard Hale, with George Leighton at the piano. This was in Memorial Hall, March 10. _ The program given was one of unusual merit and the artists both did beautiful work.
Dayton’s twelfth symphony season closed March 13 with a concert in Victory Theater by the Cleveland Symphony Orchestra, Nikolai Sokoloff conducting. The orchestra gave a splendid performance of the Rachmaninoff E minor symphony. Theo Karle, as soloist, received an ovation after both of his numbers.
The series of Sunday afternoon cohcerts, under the auspices of the Old Barn Club, proved so popular that a larger hall was necessary. Now the concerts are being held in Memorial Hall. Mrs. John P. Charch arranges all the programs.	M. C.
Fort Collins, Col., March 14, 1922.—The annual operetta was presented by the pupils of the Fort Collins High School in the Empress Theater, March 9, before a packed
ACROSS THE COUNTRY
The appearance of the Wesleyan Glee Club in Augusta was the signal for much interest and a large attendance. The club has played here often before, and it is enough to say that the latest appearance quite came up to the high standard previously set.
Robert Irvin, prominent for some years in Augusta music circles, was a fitting choice as director of the Augusta Musical Association to succeed H. P. Cross, who has gone to Sharon, Conn., to make his home. Mr.־ Irvin will take up his duties immediately.
Ernest Bothwell, of Brooklyn, N. Y., who sings in the Church of St. Bartholomew in Brooklyn, is in Augusta, and his visit has been marked by his appearance at the First Baptist and other churches, where his beautiful voice has aroused favorable comment.
Augusta has the reputation of being a minstrel-loving town, and therefore when A1 G. Fields’ Minstrels are announced it is a signal for a storming of the box office. This organization holds the unique record of two S. R. O. engagements in one season—and no little of the credit is due to the beautiful voice of Jack Richards. At his appearance on March 13 at the Imperial Theater he was given an ovation and he sang half a dozen of his most popular selections to a highly gratified audience.
The regular meeting of the Woman’s Club on March 17 was marked by the song recital of Mrs. Gordon Harrison, of New York, who is a winter visitor to the city. P. G.
Berkeley, Cal.—(See “Music on the Pacific Slope.”)
Boston, Mass.—(See letter on another page.)
Canton, Ohio, March 16, 1922.—Patrons of the Rode-heaver-Carmichael Concert Company manifested appreciation of the program presented at the First U. B. Church, under the auspices of the church choir, March IS. Ruth Rodeheaver, soprano, delighted her hearers with selections from Cadman, Spross and other popular composers. She has a voice of excellent timbre and wide range, and her enunciation is exceptionally good. As a reader, story teller and interpreter of sketches Miss Rodeheaver proved versatile and clever. Her numbers covered a wide variety. Miss Carmichael gave several piano numbers and two numbers on the church organ, which proved to her audience that she has fine interpretation and good technic. As accompanist she was in sympathy with the singer. In the second part of the program Miss Rodeheaver and Miss Carmichael, in oldtime costume, played and sang melodies which were popular with our grandparents. They gave several duets. Their interpretation of negro songs was very pleasing. The entire pro gram seemed to please. Announcement was made at the concert that the First U. B. choir is negotiating with Homer Rodeheaver to appear here in concert in about six weeks.
11 was also announced that the church choir was anticipating trips to Youngstown and Cleveland in the near future, having been invited by committees from these cities to give concerts.
The concert given in the auditorium of the McKinley High School, March 13, by Fritz Zimmerman and Marcelle Grandville, Swiss singers and yodlers, proved one of the most novel and entertaining musical features presented to a Canton audience during the present season. Both artists have pleasing voices and personal magnetism. Many of the songs sung by Mr. Zimmerman and Miss Grandville were composed by Mr. Zimmerman. In addition, they presented a number of French, Swiss and German folk songs, many of which were well known to the audience, not a few of whom had been born in Switzerland. Mr. Zimmerman is one of the best yodlers in this country, and Miss Grandville is also very successful as a yodler. Miss Grandville has a very
Albany, N. Y., March 17, 1922.—A large audience heard Fritz Kreisler in the State Armory under the local management of Ben Franklin.
The death of the Rev. Father Anthony Scialla, pastor of St. Anthony’s Church (Italian), is a loss to musical circles here. Father Scialla did much to have the children of his parish receive musical instruction. The Gregorian mass was chanted at his funeral, the Rev. Father Magliocco, a composer of some note, coming from the Church of Our Lady of Mount Carmel, New York, for the service.
A string quartet composed of Mrs. Peter Schmidt, Regina L. Held, Lillian M. Jones (violinists), and Margaret Anna De Graff (harpist), with Lydia F. Stevens (accompanist), presented a program of unusual interest to members and friends of the Monday Musical Club in Chancellor’s Hall. The familiar “Peer Gynt” suite (Grieg), three dances from German’s “Henry III” and compositions of Ganne and Schubert were among the numbers offered. The tone was good and the attack and shading praiseworthy. Louise Beeman Haefner, contralto, sang the “Elegie” of Massenet and a group of songs well, and Frederick P. Denison, conductor of the old Albania (Philharmonic) Orchestra, spoke on orchestral sections.	E. -H. O. W.
Atlanta, Ga.—(See letter on another page.)
Augusta, Ga., March 16. 1922. — A recent fire which swept through the Montgomery Building and an adjacent department store completely destroyed a number of music studios and much valuable music, mementoes and similar property. Among those suffering such loss were Robert A. Irvin, director of the Augusta Music Association; Signora de Fabritiis, one of the most prominent musicians in the city; James Punaro, leader of the Imperial Orchestra, and Mrs. Marian Battle.
The piano pupils of Mrs. James A. Anderson gave a recital March 13 at her studio on Walker street. Among the pupils offered in recital were Helen and Maurice Fennell, Dorothy Story, Natalie Merry, Frances Getzen, Caroline Winter and Elizabeth Pilcher.
The entertainment given by the Camp Fire Girls of West End on March 15 was one of the most beautiful yet offered by these young girls. The following took part in the program : Addie Munday, as the Spirit of Flame; Louise Elliott, as the Light; Sue Plunkett, as “Camp Fires Here and There;” Wilmena Rowland, as the Flicker; Roselle Rosenthal, as a Guardian of the Fire; Lucille Trowbridge, Margaret Bush, Ivy Hixson and Dorothy Pund, as Sparks, and Velma Bell, as Fagots. This entertainment was in honor of Edith Hempthorne, national field secretary of the organization.
Fontainebleau School of Music
Palace of Fontainebleau, France
A few places are still open for students of Viola, Cello, Harp and Singing.
For information apply to MRS. GEORGE M. TUTTLE, 103 East 75th Street, New York City.
Viola under Maurice Vieux. Cello under Andre Hekking. Harp under Marcel Grandjany (Pupil of Henriette Renie). Singing under Hettich and Panzera. Opera under Pierre Chereau of the Opera Comique. O'pera Comique under Pierre Ghereau. French Diction under Robert Casadesus (Obligatory for singers).
STARS
Harriet Ware's New
DRAMATIC SONG
Is Being Sung With Great Success by
ALICE GENTLE
In All Her Programs, Arousing Tremendous Enthusiasm Everywhere. Published by
G. SCHIRMER, Inc.
3 EAST 43rd STREET	NEW YORK