THE TACOMA ORATORIO SOCIETY. OF WHICH J. W. BIXEL (LOWER RIGHT HAND CORNER) IS CONDUCTOR, ON THE OCCASION OF THE PRESENTATION
OF MENDELSSOHN’S “ELIJAH.”
The soloists (left to right) are Henry 0. Price, tenor; Mrs. Percy J. Starke, soprano; Justine Shannon Black, contralto; Frank Tiffany, baritone Beatrice McHaney, pianist, is seen standing hack of her instrument, with Robert Weisbach, also pianist, standing at her left. Back of her, holding his violm, is Henri Klmgenfelt, and back of him to the left is
B. F. Welty. (Photo by Boland.)
Me Back to Old Virginny,” etc. Farley’s “The Night Winds” was one of the encores which Miss Hempel was compelled to give, and she sang it in her own inimitable manner. This also applies to her rendition of “The Beautiful Blue Danube” waltz.
This report would not be complete without mention of the highly finished accompaniments furnished by Coen-raad V. Bos, who also played a romance and waltz by Chopin.
William Walter to Manage Detroit Symphony
William E. Walter has just been appointed manager of the Detroit Symphony Orchestra, succeeding Robert de Bruce, resigned. Mr. Walter, who has been associated in musical work in one capacity or another for many years past, is a native of Cleveland, Ohio, and was graduated from the University of Michigan in 1892. He first took up newspaper work in Cleveland and then came to the New York Sun, next going to the New York Commercial Advertiser for six years as music critic. In 1904 he was connected with the Savage English production of “Parsifal.” The next year he went into the office of Charles A. Ellis, the Boston manager, and had full charge of the publicity both for the Boston Symphony Orchestra and Mr. Ellis’ private ventures until 1918 when he went abroad on a mission connected with war work, serving for eight months as American secretary to Paderewski when the fam_ous_ pianist was prime minister of Poland, returning to America in 1920. He was associated with the National Symphony Orchestra during the lone season of its existence, and this winter has been organizing the advisory board of the Philharmonic Orchestra.
Noble McConnell made many announcements of interest; she bade the audience rise in silent tribute to the memory of Mrs. Robert H. Davis, member of the board of governors, who passed away the last week; reminded members that candidates for admission to the society would do well to join now and save the initiation fee due later; said that Miss Peteler and Chief Caupolican were both engaged as soloists for the November evening concert; that baritone John Charles Thomas and pianist Nyiregyhazi would be soloists at the April 18 concert of the society; reminded members of the Annual Springtime Festival and breakfast in pastels. Saturday, May 6, and read the names of the “President’s Happiness Committee,” that is, those members who had already paid next season’s dues, some 330 names in all. Motion pictures, the luncheon and dancing filled in the remainder of the affair.
PACIFIC SLOPE
(Continued from page 59.)
pose the quartet. Three movements of Haydn’s D major quartet, “The Blind Girl,” and “Au Moulin” by Raff, were programmed numbers but did not satisfy the audience. Each number was encored and the last was so insistently demanded that three more numbers were given. It was indeed a treat for the auditors and a triumph for the quartet. _ Katherine Rice and Katherine Robertson were heard in a program at the Ladies’ Musical Club. Both are great favorites in musical circles here and were heartily received.
S.
McCormack in “Request Program”
A “Request Program” is announced for John McCormack’s eighth appearance in New York this season, to be given at the Hippodrome, Sunday night, April 9.
Hempel Scores in Jenny Lind Program
A large audience enjoyed to the utmost the Jenny Lind program which Frieda Hempel presented on the evening of March 23 at the Academy of Music in Philadelphia. Miss Hempel was heard in many of the delightful songs of long ago, and she made a really beautiful picture in her ancient costume. Her accompanist, Coenraad V. Bos, and flutist, Louis P. Fritze, also wore appropriate costumes, thus making the Jenny Lind program more realistic. As in the days when Jenny Lind herself appeared in concert, a blue-and-gold banner was hung over the stage bearing the legend “Welcome Sweet Warbler.”
Miss Hempel was in splendid voice, and sang with all that rare musical intelligence for which she has become so well known. One of the numbers on the program was “Greeting to America,” the celebrated prize national song which was sung by Jenny Lind at her first concert in America. There also were operatic arias, many songs in which the coloratura passages were superbly done, and old favorites such as “The Last Rose of Summer,” “Carry
New York Mozart Society Musicale
So large is the attendance at Mozart affairs that beginning with the sixth morning musicale (April 1) the grand ballroom of Hotel Astor was and will hereafter be the scene of all the events. Claire Lillian Peteler, soprano (a Morrill pup.il), and Chief Caupolican, baritone, were the soloists, the two singers beginning the program with Massenet and Mozart operatic duet, sung with artistic restraint; also ending with the pretty duet, “La ci darem” (Mozart), in which the clear and limpid tones of the soprano blended well with Caupolican’s resonant voice. Miss Peteler’s best singing was in Curran’s “A Picture,” which, with its ornamental notes, pretty piano part (beautifully played by Mr. Spross, club accompanist), picturing “A home on the hills, a garden,” etc., and in Scott’s “The Wind’s in the South,” where staccato effects, a high C, etc., brought her voice to fullest advantage. Breaking the rule of “no encores” President McConnell asked her to sing “Coming Home,” which she did beautifully. Chief Caupolican sang the Toreador song (third timé for this society) and the buffo air, “Largo al factotum” (“Barber of Seville”) with usual opulence of voice, his big high tones ringing fervently. President Mrs.
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