MUSICAL COURIER
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A pril 13, 1922
lowed by Edna Wolverton, who sang “The Afternoon,” “I Know a Trail” and “Aspiration,” by Cox. Emma Gilbert was heard in Scott’s “John o’ Dreams,” “The Spray o’ Heather,” as well as Cox’s “To An Old Love” and “The End of Day.” Helen Freeman’s contributions were three Cox songs, “Love Planted a Rose,” “Where Roses Blow” and “To a Hill-Top.” Mr. Thomlinson came next with three Cox songs, “The Song of Brother Hilario,” “The Road’s Lament” and "Sun and the Sky and You.” The concert closed with Scott’s “The Maid of Japan,” “The False Prophet” and “The Wind’s in the South,” beautifully and effectively rendered by Miss Wolverton.
־ The audience showed appreciation by bestowing liberal and sincere applause both on composers and soloists.
Southland Singers Complete Seventh Season
The closing concert of the seventh season of the Southland Singers, Emma A. Dambmann, founder and president, took place in the new ballroom of the Hotel Plaza, April 4, when the chorus was assisted by Isabel Longbotham, soprano ; Andre Polah, violinist, and Emery Laha, baritone. A festive appearing audience filled the ballroom and gave every evidence of satisfaction with the music. Sixty mem-
EMMA A. DAMBMANN,
founder and president of the Southland Singers.
bers are enrolled in the chorus, which sang works by Stephens, Barlow, Strauss (arranged by Deems Taylor), Handel, Neidlinger, Julien Edwards, Penn, Vanderpool and Hadley. Under the direction of Leroy Tebbs, the chorus sang with considerable variety of tone, good attack and expression. Strauss’ “Devotion,” Penn’s “Smilin’ Through” and Vanderpool’s “Ma Little Sun Flower, Good Night,” were especially liked and applauded. Miss Longbotham made a hit with Curran’s “Dawn,” when masses of flowers were sent her; following the waltz song from “Romeo and Juliet” applause was so loud that she had to add an American folk song.
It took some courage for violinist Polah to group together classic pieces by Mondonville, Bononcini, Tartini and Vera-cini, all of them in his own arrangement. He played them with animated style and such pronounced success that he was vigorously recalled, when he played an excerpt from “Rosamonde.” Later he performed Hadley’s “Ballet of the Flowers” (in which he made a real “hit” before the Mozart Society last November). Again was the applause continuous, so that he added Chopin’s nocturne in E flat. Substituting on short notice for Mme. Dambmann, Mr. Laha sang songs by Kramer, La Forge,- Kiirsteiner and others, showing a pleasant voice and good style. Various accompanists for chorus and artists were Edna V. Horton, who played very sympathetically; Jacqueline De Moor, Miriam Allen and Minabel Hunt. The handsome souvenir program in club colors (gold and black) contained greetings from the committee, a brief sketch of the organization since its founding, list of officers, announcement of thp Oriole Luncheon (April 22) at Hotel Astor, list of choral members, text of songs, and two handsome pictures of the president, as well as of artists of the evening.
Gerhardt Gets Ovation on London Reappearance
Elena Gerhardt sang in Queen’s Hall, London, on March 21, for the first time since the war. The first German lieder singer to make such an appearance in years, she was greeted by a capacity audience, and it was evident from the attendance and the enthusiasm that the hunger for class lieder, so often mentioned by the London critics, was real The management of Queen’s Hall cabled Daniel Mayer, the soprano’s American manager, that Miss Gerhardt’s success was “monumental” and that such a reception had been accorded no other artist in recent years. Miss Gerhardt gave a second recital with equal success on March 30, and then left for her home in Leipsic, where she will remain until August, before returning to spend some time in the Adiron-dacks.
Joseph Press at Eastman School
Joseph Press, the Russian cellist, who made a profound impression here at two recitals given during the season, has accepted the offer made by the Eastman School of Music in Rochester to head the master class for cello. Mr. Press was reluctant to give his assent to the proposition, as he was extremely desirous of retiring from pedagogical activities, in which field he has won the highest recognition in Europe. However, the offer made him was so attractive, giving him ample time for private work, that he was compelled. to accept. Mr. Press will make several concert appearances before the conclusion of the current season. On April 23 he plays at a concert in the Hippodrome. On April 26 he goes to Philadelphia for an appearance, and on April 20 to Detroit.
Kerns Sings for Century Theater Club
On March 24, Grace Kerns appeared at the meeting of the Century Theater was held at the Hotel Commodore.
posers. The various young artists heard on this occasion gave ample evidence that they had profited by the splendid teaching of Mme. Stone. Her students sing with musical intelligence, their diction is good, and their singing invariably gives pleasure. Of those appearing at this recital who were especially well received were Elsie Mueller, Emma Burkhardt and Zilla Simpson. Others Who participated in this program were Bertha Norwalk, Helen Dower, Carolyn Pratt, Gertrude Wild, Ruth McIntosh, Helen Gaubis, Evelyn Siedle, Marguerite Hussar, Madge Dower and Pauline Schnieder. Gladys Brady was at the piano.
Daniel Mayer’s Operatic Quartet Promises Interesting Programs
Daniel Mayer has just issued an attractive circular announcing the formation of a new operatic and oratorio quartet consisting of Vera Curtis, soprano; Alice Mon-crieff, contralto; James Price, tenor, and Edwin Swain, bass-baritone. The fact that the four voices have been chosen with a view to their blending qualities and that they will be appearing together constantly, should make the new organization especially interesting to choral directors. By engaging these four singers, who are used to each other’s ways, there will be overcome the difficulties which often arise when four artists are brought together for a single performance. All have had wide experience in oratorio with leading choral societies, and the entire standard repertory is theirs.
An interesting feature is that the quartet will also be available for operatic recital programs, including arias, duets, trios and quartets from the popular operas, as well as excerpts from modern works such as “Die Tote Stadt," “Gianni Schicchi” and “Shanewis,” operas which as yet are familiar only to the Metropolitan Opera audiences. Willis Ailing, organist and choirmaster of St. Mark’s-in-the-Bowerie, will be the accompanist.
Plans for the Stadium Concerts
The formal plans for the Stadium concerts have not yet been made public, but the Musical Courier learns that a season of six weeks will take place beginning on Monday, July 3, with a possible extension of two weeks, if public support warrants it. The first three weeks will be conducted by Henry Hadley, the last three by the Dutch conductor, Willy von Hoogstraten. In all probability the orchestra will be the New York Philharmonic, although negotiations are not yet concluded. Some well known soloists will appear and, as last season, several young artists who have never appeared publicly in New York will be selected by competition and given a chance to debut at the Stadium. The arrangements for this competition will be announced shortly. Arthur Judson will again have the management.
Scott and Cox Songs Heard
An unusually interesting concert was given at the International Institute, 121 East Twenty-first street (Gramercy Park), on Sunday afternoon, April 2, the beautiful hall being filled to capacity. The program was made up exclusively of songs by John Prindle Scott and Ralph Cox, and was rendered by Edna Wolverton, soprano; Emma Gilbert, contralto; Helen Freeman, soprano, and Ralph Thomlinson, baritone, with the composer and Frank Samson at the piano.
Ralph Thomlinson opened the concert with a group of Scott songs, comprising “The Voice in the Wilderness,” “The Old Road” and “Romeo in Georgia.” This was fol-
Gall to Pennsylvania State Convention
The Pennsylvania Federation of Music Clubs, of which Elizabeth Hood Latta is president, will hold its fourth convention in Philadelphia, April 17 to 20 inclusive, at the invitation of the Matinee Music Club, the Philadelphia Music Club, and the Philadelphia Music Teachers’ Asso-
Photo by Phillips & Phillips
ELIZABETH HOOD LATTA,
State President, Pennsylvania Federation of Music Clubs.
ciation, with headquarters in the Bellevue-Stratford Hotel. Members of all Federated Clubs are not only invited but urged to attend, the musical, educational, and social features promising to be of exceptional value.
It is greatly desired that a large attendance shall be present at this convention, and that each club will send as many members as possible in addition to their president, and one delegate for every fifty members or less, if the club has not fifty members.
There are forty-seven clubs in the Federation, and Miss Latta expects about 200 delegates to attend the convention in addition to a large number of guests.
The Pennsylvania Federation of Music Clubs issued its first official bulletin last month and the pamphlet is replete with musical news of interest.
•
Recital at Niessen-Stone Studio
The New York studio of Matja Niessen-Stone was crowded to capacity for the recital which was given by some of her students on Sunday, April 2. The program presented was an extremely interesting one, including as it did operatic arias, French, German and Old English songs, as well as some excellent numbers by American com-
CONSIDER AN EFFECTIVE MEDIUM FOR ENLARGING YOUR CLIENTELE
3913 Farnam St., Omaha, Neb.,
April 1, 1922.
My dear Mr. Haywood:
My lecture-demonstration of the UNIVERSAL SONG Voice Culture Course before the Kansas State Music Teachers’ Association at Wichita, Kan., February 24, was enthusiastically received.
I have at hand an invitation to address a convention to be held at Council Bluffs, Iowa, on April 7, which I have accepted.
My demonstration before the Nebraska Music Teachers’ Convention in Lincoln, April 18, is arousing a great deal of interest.
My frequent public demonstrations here in Omaha are furthering a decided development of general interest in the subject of Voice Culture.
A paramount issue always before a private vocal teacher at the beginning of his career and thereafter at the opening of each season is the increase in number and quality of his clientele.
Aside from the fact that the UNIVERSAL SONG Course provides a practical and complete presentation of all the true principles of correct tone production, I find that it is a vehicle for accomplishing marvelously effective missionary work. Most sincerely,
FLORENCE BASLER-PALMER.
HAYWOOD INSTITUTE OF UNIVERSAL SONG
65 WEST 71st STREET	NEW YORK CITY
PLEASE SEND (a) Complete information regarding the “UNIVERSAL SONG” Course.
(b)	The “UNIVERSAL SONG” text material on approval for
thirty days.	\
(c)	Particulars regarding the SUMMER NORMAL CLASSES for
Teachers, the length of Course, terms, living accommodations, etc.
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