MUSICAL COURIËR
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concert. The Daily Times of March 14, in reviewing the recital, stated that Mrs. Lawson's voice is more beautiful than it was on her last visit to Wilson. “Somehow, there is a fullness and a sweetness that is more pronounced than formerly,” the critic of that paper said. “The singer gave a varied program that showed to advantage the wonderful range and the faultless tones of her voice,” was another comment which appeared in the report of the Daily Times.
On March 28 Mrs. Lawson sang with success in Washington, D. C., for the visiting members of the Rotary Club of the Fifth District. March 30 the singer was scheduled to give a recital under the auspices of the Ashland (Va.) High School. Some of her forthcoming engagements are as follows : April 9, Washington, D. C., soloist at a community sing, Robert Lawrence directing; April 22, recital at Shrewsbury, Pa.; April 26, Weston, W. Va.; April 28, Concord State Normal, Athens, W. Va.
John Finnegan Features Harms’ Song
T. B. Harms, Inc., music publishers, received the following letter from John Finnegan, tenor soloist at St. Patrick’s Cathedral:
Am sending you Rochester programs where the song went over big; it surely makes a hit. I am going to use it on all my programs this season. Both at the Friendly Sons concert and the Rochester concert it seemed to me that every one in the audience clapped. It surely is a winner and a very beautiful ballad.
Sincerely yours,
(Signed) -John Finnegan.
Mr. Finnegan is on a long tour. March 16, at the third annual concert of the Knights of Columbus Choral Society at Rochester, the popular ballad “Love Sends a Little Gift of Roses,” by Openshaw, received the biggest amount of enthusiasm. On March 21 at a Lenten musicale under the auspices of the Woman’s Community League of St. Bartholomew’s Church he again included this lovely ballad on his program.
Three Friedberg Artists Engaged for Festival
Neira Riegger, Lewis James and Lionel Storr are booked for the four-day spring festival to be given at Harrisburg from May 2 to May 5. The three singers are to take part in the oratories “Elijah,” “Stabat Mater” and “Gallia,” and besides these works they will appear in a miscellaneous program.
Negotiations are pending now for two more festival concerts for the same singers and a soprano—all under Annie Friedberg’s management.
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completely enchanted, and the more d’Albert pounds on the keyboard the more it raves. Thus after his execution—in the literal sense of the term—of Liszt’s “Totentanz,” the enthusiasm knew no bounds. D’Albert was recalled about twenty times, refused absolutely to give an encore, and had the piano shut. Thereupon two young female members of the audience marched up and opened it again, thus evoking a new storm of enthusiasm, which d’Albert finally could not resist.
At d’Albert’s second concert, the Philharmonic Orchestra was conducted by Hugo Reichenberger, of Vienna, a skilful and experienced Kapellmeister, who lacks all traits of individuality. A new symphony by Rudolf Heger (conductor of the Munich Opera) performed by Reichenberger for the first time, proved a complete failure on account of its utter lack of personality, its dulness and its wealth of quotations from well known masterpieces.
Hugo Leichtentritt.
Frieda Hempel Entertained in Washington
Mrs. Wilbur J. Carr, wife of the Director of the Consular Service, entertained a distinguished company at tea Saturday afternoon, March 25, in honor of Frieda Hempel. Mrs. Charles E. Hughes was accompanied by her daughter, Catherine Hughes. Mrs. Robert Woods Bliss, wife of the Third Assistant Secretary of State; Mrs. Mitchell, wife of the member of the Federal Reserve Board; Thomas James O'Brien, former Minister to Denmark, Japan and Italy; Mme. Riano, wife of the Spanish Ambassador; Alai Khan Mirza Hussein, the Minister from Persia, and the Minister from Holland and Mme. J. C. A. Everwijn were among the guests; also Mr. and Mrs. Tracy Lay, of the State Department; Mrs. Walter D. Wilcox, Mrs. Gist Blair and Miss Gerry. The Secretary of State presented Miss Hempel to the members of the State Department Club the evening before, when she sang for them in the ballroom of the Ward-man Park Inn.
Unusual Interest in Leginska Recitals
The announcement that Ethel Leginska would appear again in piano recitals next season has aroused unusual interest, as is proven by the various engagements for this artist that have been booked since then. Among the latest of these are recitals in Detroit and Lansing, Mich., during the first part of next season. The “Paderewski of the women pianists”—to quote Paul Morris, of the New York Evening Telegram—has not been steadily on the concert stage for two seasons, devoting most of her time to composing and teaching a few carefully chosen pupils. This year she appeared in sonata recitals with Hans Kindler and in two-piano recitals with Leo Ornstein, on one occasion assisting at the debut of a pupil of hers in several numbers at a New York first appearance. Next fall, however, will practically mark her return to the concert platform for the entire season in concert, recital and as orchestra soloist.
Another Re-engagement in Wilson for Lawson
Franceska Kaspar Lawson gave a recital in Wilson, N. C., on the evening of March 13, this being her third appearance in that city within sixteen months, and again created such an excellent impression that she was re-engaged for another
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VIRGINIA GILL Lyric Soprano
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FAUSTO CAVALLINI
Leading Tenor with Scotti Grand Opera Company
Address: care ALFREDO MARTINO, 329 West 85th Street	New York
Author of the book “The Mechanism of the Human Voice.” Former teacher of ROSA PONSELLE. Teacher of FAUSTO CAVALLINI, leading tenor with Scotti Grand Opera Co.; IRENE WELSH, leading soprano with the Italian Lyric Federation.
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(Continued, from page 12.)
and at that time earned much praise for his finished playing. His second concert, with the Philharmonic Orchestra, conducted by Werner Wolff, confirmed the good impressions formerly produced. He played concertos by Vieuxtemps and Mendelssohn. Josef Fuchs’ second violin recital was also a success. Flexible, elegant bowing, a skilful left hand, pure and full tone, distinguish his playing, which also evinces solid musicianship.
Finally Ruth Klug, the young American pianist, played concertos by Mozart and Chopin. Her playing shows good
PROF. SIEGFRIED OCHS, conducting the Berlin Hochschule Chorus in Bach’s “Magnificat.” Ochs recently revived some works by Heinrich Schütz with signal success. (Drawn for the Musical Courier by Marie Wetzel.)
schooling and considerable finish. It was much applauded by a numerous audience. Selmar Meyrowitz, the conductor, lent additional interest to the concert.
D’Albert “Executes” the “Totentanz.”
Of other recent pianistic events d’Albert’s two appearances were by far the most sensational. The attitude towards
CARL BRAUN (STANDING) AND BJORN TAT,־BIN the Danish tenor, in the revival of Cornelius’ “Barber of Bagdad” at the Berlin Opera.
d’Albert is clearly defined: most professional pianists are shocked _ by his brutal playing, his lack of taste and of spirituality in the higher sense; the professional critics as a rule praise him, while recognizing his defects, as the most impulsive and genial pianist of our age; but the public is