57 MUSICAL COURIER Ada Tyrone Heard via Radio Ada Tyrone, soprano, entertained an invisible audience, estimated to approach one million radio fans and scattered all over the country, from the Westinghouse Plant at Newark, N. J. Her program was most interesting. Miss Tyrone’s voice lent itself beautifully for reproduction in this ADA TYRONE, soprano. novel and now so popular way, and continued requests for encores made it apparent that her long distance audience spent an enjoyable evening “listening in.” Miss Tyrone has been requested to give a program of American folk songs from the wireless station. Fontrese Sings for Automobile Club Marguerite Fontrese scored a success when she appeared on St. Patrick’s Day at the Plaza Hotel for the Automobile Club of New York. She sang La Forge’s “Song of the Open,” Fahy-Haynes’ “The Ould Plaid Shawl,” and “Denis Darlin’,” by Kingston Stewart. Some of the old pipes of Purcell’s organ are built into the magnificent instrument which now fills Westminster Abbey with tones no Purcell or Bach ever heard. Will Dr. Schweitzer miss the great organ when he gets back to his artless and uncouth Africa? Or did the warmth and sunshine of his tropical home and the lowly walls of his hospital seem pleasant things to him amid the gloomy grandeurs of Westminster Abbey and under the cold, gray skies of a London month of March? Clarence Lucas. May Peterson Delights Fort Worth Fort Worth, Texas, February 28, 1922.—The Harmony Club presented May Peterson, soprano of the Metropolitan Opera Company, in a very delightful concert here on February 2. Her program was varied and charmingly rendered, many of the numbers having to be repeated. According to the Star-Telegram: “May Peterson was in perfect voice Thursday morning when she appeared in concert at the Texas Hotel. Her lyric soprano voice, which has won so much favor at the Metropolitan Opera Company, was clear and vibrant. With a personality that wins the entire audience the moment the singer makes her appearance and endears her more and more as the program progresses, May Peterson scored not only as a singer, but also personally. Before each number she told in brief the story of the song.” Under the headline, “Largest audience of year welcomes May Peterson,” the critic of the Record was none the less enthusiastic over the singer’s artistry and personal charm. American Institute Recitals The ninety-fourth _ sonata recital at the American Institute of Applied Music took place March 3, when works for piano and violin were performed in artistic fashion by Mr. and Mrs. Edwin Ideler. They were: Sonata, op. 13 (Paderewski) ; “Virginianesque,” op. 7 (John Powell), and sonata in A (Ildebrando Pizzetti). March 28 a students’ recital brought fourteen numbers, consisting of piano, vocal and violin numbers, performed by the following pupils of Miss Chittenden, Mr. Sherman, Mr. Tebbs, Mr. Klibansky and Mr. Spiering: Doris Hauck, Sarah Hitchcock, Jeannette Ash, Nancy Hankins, Hilda Strook, Edna Oster, Morris Goldberg, Isabella Scott, Leon King, Samuel Prager, Grace Marcella Liddane, Clark V. Johnson, Dorothy Hobbie and Alice Nichols. “Merit Wins” Is Gescheidt Slogan “Merit Wins” is the slogan of Adelaide Gescheidt, the “creator of dependable singers.” William Wade Hinshaw has engaged two of her popular artists, Irene Williams and Judson House (season 1922-23) in leading roles of Mozart’s opera, “Cosi Fan Tutte,” a work produced at the Metropolitan Opera House for the first time this season. Mr. House and Inez Harrison, contralto, and another Gescheidt pupil sang in separate recitals in Hollidaysburg, Pa., February 3 and March 3. ‘The Tone of the Knabe is exquisite—The Quality of the Knabe keeps it so.” WILLIAM KNABE & COMPANY 437 FIFTH AVE. Division American Piano Co. NEW YORK April 6, 1922 S. R. O. FOR ELMAN AT LONDON RECITAL Lack of Patronage at Recitals Brings Suggestion of Complimentary Bus Tickets—Concerts of Note London, March 7, 1922.—Princess Mary’s wedding took the interest of Londoners off music for several days, but of course I am not going to write anything about the glamour and the glitter of a spectacular show which was fully reported in the American newspapers. If I am not mistaken, I wrote something for the Musical Courier when Princess Mary’s father and mother were married in London in 1893, twenty-nine years ago. That I am still permitted to write for the Musical Courier argues well for the patience of the editor and general management. Although I saw nothing and heard nothing of the recent ceremony at Westminster Abbey, I was able nevertheless to listen to the music, for Sir Henry Wood performed the whole of it, except the hymns, at the Queen’s Hall orchestral concert, on Sunday evening, March 5. The works performed were as follows: “Imperial March,” Elgar; “Solemn Melody,” for organ and strings, Walford Davies; “Trumpet Voluntary,” Purcell; “Marche Nuptiale,” for organ. Guil-mant; suite arranged by Hamilton Harty from the “Water Music,” Handel; “Benediction Nuptial,” for organ, Saint-Saëns; “Bridal March” for Aristophanes’ comedy, "The Birds,” Hubert Parry; “Bridal March” from “Romeo and Juliet,” Gounod; “Wedding March,” Mendelssohn. As none of this music is at all modern in style, the wedding ceremony had an abundance of concords. In addition to Princess Mary’s wedding music, Irene Scharrer was heard as piano soloist in Liszt’s E flat concerto and in a valse caprice for piano and orchestra with the English title, “Wedding Cake,” given it by the composer, Saint-Saëns. I had only heard this valse caprice played once before, thirty-five years ago, in the Trocadero, Paris, in 1887. The cake seemed to me to have gone a little stale in the interval. Irene Sharrer played brilliantly and was enthusiastically recalled again and again to the platform after both performances. Why Not Supply Bus Tickets? . The London General Omnibus Company, having increased its fares a year or so ago, now reports that during the past year it had carried 7,000,000 less passengers. As this about corresponds with the number of hearers I missed from the concerts of the past season, I suggest that ambitious young artists who so lavishly distribute complimentary tickets to the multitude should now send likewise free passes on the buses. No artist can make a reputation in an empty hall. S. R. O. for Mischa. There are artists, however, who continue to draw large audiences. Mischa Elman, for instance, made such a commotion at his recent orchestral concert in Queen’s Hall that his forthcoming recital with piano accompaniment in the same hall is practically sold out already. I have heard a number of musicians speak in the highest praise of the Elman feat of playing three concertos with orchestra and then create^ more enthusiasm than ever by playing Bach’s “Chaconne unaccompanied, because there was no piano on the stage to furnish an accompaniment for some other composition, shorter and less serious. More Throat Trouble for Chaliapin. Chaliapin, however, did not quite fill Queen’s Hall at his second recital, simply because it came too near the royal wedding day. At his previous concert in the Albert Hall he had a tremendous audience. He was unable to sing for a week or so after his arrival here, as the same “throat trouble that worried him in New York made him hoarse. Peculiar Petri. Probably the most notable piano recital in London of late was given by Egon Petri, in Wigmore Hall. This pupil and imitator of Busoni is _ not a greater artist than some of i ii T°r(' ta.miliar pianists who have played to more or less full houses in London this season, but his peculiarities make him worthy of a little attention. One of the critics on the staff of the Daily Telegraph is evidently of a Scriptural turn of mind. He said that Petri’s hands were the hands of Busoni, but the voice of Petri’s. Did he forget that Isaac was blind when he mistook the hands of Jacob for the hands of Esau? gut Petri is a great pianist, whether the critic was blind and mistaken or not. A Versatile Authority. A remarkable man from Strassbourg came to London this week to collect money for a hospital for leprosy in Central ™a He is a Doctor of Theology, and a Doctor of Philosophy as well. But for neither of these titles is he mentioned in the Musical Courier. Nor does his title of Doctor of Medicine give him admission to these columns though he spends his time superintending a hospital in Central Africa, he incidentally happens to be a great organist and is reputed to be the chief authority on Bach and his music. _ Consequently, a very large audience crowded into Westminster Abbey to hear this Swiss-African, theological, philosophical, medical, hospitable, organist play a program f׳ t* music. His name is Albert Schweitzer, and for aught I know, Swiss cheeses may be so called in honor of him. Has not the name of King Charles been fastened to a lapdog? the name of Melba to a mixture of fruit and cream? the name of De Reszke to a cigarette? Of Dr. Schweitzer’s ability to play Bach on the organ׳ of West-minster Abbey there can be no possible doubt whatever His rhythmical sense is strong and he has ample technical skill. In his registration he appeared to rely more on his own taste and judgment than on the restrictions of tradi-tions Never once did he imitate orchestral effects and approach the sensationalism of too many modern trick organists. On the other hand, he did not restrict himself to the limitations of Bach’s organ, but used many modern stops with artistic discretion. He played Bach as a modern actor plays Shakespeare—without spectacular display or the bar- Henry Purcell, the most eminent of all the regular organists of Westminster Abbey, was buried almost under the organ in 1695, when Bach was ten years old, and before any of the music of Dr. Schweitzer’s recital was written.