April 27, 1922
MUSICAL COURIER
GOTHAM GOSSIP
Dickinson Gives "The Crucifixion.”
The last Friday noon hour of music of the season at the Brick Presbyterian Church, April 14 (Good Friday), brought Stainer’s "The Crucifixion,” in which the excellent singing of the choral body, especially of “Fling Wide the Gates” and “God So Loved the World,” the fine tenor voice of Judson House, and the resonant baritone of William Simmons were heard to advantage in solos, as well as in the duet, “So Thou Li ftest Thy Divine Petition.” All this drew an audience which crowded the church to the last seat, with people standing at all entrances and overflowing into the lobby. The church is doing a noble work through Dr. Dickinson in these Friday noon affairs, which draw from all classes of humanity. There was special Easter music, and on April 30 at 4 p. m., Haydn's “The Creation” will be sung.
Central Presbyterian Quartet Radio Music.
Edna Fassett Sterling, soprano; Florence Mulford, alto; Wesley Howard, tenor; Andrea Sarto, baritone, with William Reddick, director and accompanist, presented a program of eight numbers through the radio-phone of Newark, N. J., April 21. This is the quartet which was recently on a southern tour and won many commendations. Solos by each member, a duet for the ladies, the trio from “Faust,” and quartet from “Rigoletto” were broadcasted.
Madden and MacMuixen Recitals (Arts Assembly)
Doris Madden, pianist, with Henry Lamy, baritone, gave a recital of modern compositions at the Magna Chordia Chambers, April 17, under the auspices of the Arts Assembly, Mrs. Rodolphe Frese president A similar recital was given by Georgian MacMullen, soprano, at same place April 22, when she sang songs by Scarlatti, Schubert and modern composers, including Strauss, Hageman and La Forge. Coenraad V. Bos was at the piano and Frank L. Seely at the organ.
Kittie Berger’s Annual Musicale.
Kittie Berger, playing the harp-zither, assisted by the singers Marian Marshall, Louise B. Corlies, Gloria Foy, Siegfrid Philip; Leo Braun, pianist, and Dr. William C. Carl, organist, gave a matinee musicale in the East Room, Waldorf-Astoria Hotel, April 19. A notable number was for harp-zither and organ, consisting of Schubert’s serenade, Offenbach’s barcarolle, and the song, “The End of a Perfect Day” (Bond), in which the two instruments made lovely music.
Grant and Weygandt Sing.
Arthur T. Weygandt, baritone, and Fred A. Grant, tenor, sang the solos in Stainer’s “Crucifixion,” April 14, at the Church of the Resurrection, Richmond Hill, L. I. At the praise service on Easter Sunday evening, Carrie Webber, soprano, sang Woodman’s “Dawn,” Mr. Weygandt sang “Awake, Triumphant Mom,” (Schnecker) and Mr. Grant contributed “The Prince of Peace” (Hammeral). The choir consists of boys, men and women, who sing very effectively. The Standard Union of Brooklyn spoke in terms of praise of these singers.
Hoyt Sisters’ Matinee Musicale May 4.
The Misses Hoyt announce their annual matinee musicale for May 4, Morosco Theater, 3 ;30 p. m. The program will consist of popular songs of various countries, request numbers, “songs of color” and “The Story of Helen of Troy.” Among patrons of this annual and always notable affair are such well known personages as Mesdames von Bemuth, Laura Sedgwick Collins, George Gould, E. D. Lee Her-reshoff, Charles Leham, Reginald Jaffray, W. W. McAlpin, Ethelbert Nevin, Frederic Steinway, S. De Lancey Townsend, and Richard Mansfield.
Warpord Studio Notes.
Students from Claude Warford's studio have recently made the following appearances: Walter Koch, baritone, in Bloomfield, N. J., March 20, and Brooklyn, N. Y., April 9: Ralph Thomlinson, baritone, at a Bowerie concert, March 28; William Stevenson, tenor, in Paterson, N. J., April 11. Marjorie Lauer, soprano, and Gertrude McDermitt, contralto, in East Orange, April 12.
Other engagements: Florence Otis, soprano, at D. A. R. Congress, Washington. D. C., April 17; Anna Flick, soprano, Empire State Concert at the Waldorf-Astoria. April 20, and at Astoria. L. I., May 19; Gertrude McDermitt, contralto, and Donat Gauthier, tenor, at Euterpe Luncheon, April 20; Miss McDermitt, in Orange, N. J., April 17, and Ralph Thomlinson, baritone, in a new Berge operetta at the Waldorf-Astoria, April 20.
Gilbert Directs Choir in Concert
Under the direction of Russell Snively Gilbert, the choir of Trinity Congregational Church. East Orange. N. J., gave a fine concert in the Woman's club house on the evening of April 5. There was a large audience which showed by generous applause that the varied program was much enjoyed. The personnel of die choir is as follows: Yincenza C. Cuniberti. Clara S. Kleb and Marjorie A. Lauer. sopranos : Charlotte C. Bradv and Gertrude M. McDermitt, contraltos; Edwin H. Volckmann, tenor; Frederick Ewald and Andrew Wotherspoon, basses.
Large Audience Greets !Middleton in Butler
On the way East at the conclusion of his five months’ com! rehensive western tour, Arthur Middleton filled an en route recital date at Butler, Pa., and was "greeted by a large audience.” In the words of the Eagle; ״Arthur Middleton received an ovation that is accorded few artists who come to this city for a concert His performance last night was one of die season’s most worth while entertainments.”
been a guest in this city for the past two weeks. Mrs. MacDowell has given several lecture-recitals while here, and has been the honor guest of numerous social and musical affairs.
The Beethoven Club entertained at a beautifully appointed luncheon at the Hotel Chisca on March 22, in honor_ of Cecil Arden, mezzo soprano, guest artist of the Municipal Symphony Orchestra and Choral Society, and Mrs. Edward MacDowell, who is a prominent guest in the city. Mrs. James McRee, who has just returned from New York, where she coached with a well known teacher, sang two numbers delightfully and was recalled. Miss Arden also graciously sang several selections. Mrs. R. A. Struh presided in her charming manner.	J. V. D.
Tollefsen Trio Gives Recital
The large, enthusiastic audience must have impressed its beneficent influence upon the Tollefsen Trio, both collectively and individually, to judge by the spirit marking each number of the program at the recital, given under the auspices of the Brooklyn Institute of Arts and Sciences, in the Academy of Music, Brooklyn, April 10. The audience and members of the trio seemed to be in perfect touch with each other, and the applause showed the appreciation of the listeners; all the players were obliged to bow frequent acknowledgments. The Mozart trio in E major was heard with much delight, and created as much enthusiasm as it has during the past 150 years. _	...
Augusta Tollefsen, at the piano; Carl H. Tollefsen, violin, and Paul Kefer, cello, constitute a well balanced group, and the audience was greatly impressed with their artistic renditions. Mr. and Mrs. Tollefsen showed their thorough understanding of each other in the suite for violin and piano, op. 44, in D minor (Schuett). It was a contrast to the Mozart number, full of animation, resonant and delicate tone coloring; the whole was beautifully rendered. Mme. Tollefsen was at her best in the group:	Rhapsody in B
minor (Brahms), “Papillons” (Olsen), “Valse Paraphrase (Strauss-Tausig). Her poise inspires confidence, her tech-
“ While she has a remarkable voice in itself, it is its superb polish, the sand-papering of years of hard work, that also shows, for she handles it with amazing ease.”
East Stroudsburg (,Pa.) Morn-Press said the above about May •rson, soprano of the Metropol-Opera Company.
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nic is correct, her interpretation masterful; her dominating spirit surmounts the great difficulties, and shows her mistress of her art. She carries her audience with her, whatever the mood or fancy of the composer, and was recalled twice, the third time responding with an encore.
Paul Kefer showed himself a real artist in the cello solos by Godard and Saint-Saëns. The trio in F major, op. 25 (Georg Schumann), closed the program, and the hearers departed greatly pleased with the delightful evening of music.
Winnipeg Music Notes
An event of splendid musical value was the concert given March 11, in the Pabst Theater, by the Winnipeg Male Choir, with Percy Grainger as soloist. The concert was one of the finest exhibitions of chorus singing ever heard here, Mr. Ross, the conductor, having drilled his men until they sang with an accuracy of pitch, enunciation and shading little short of marvellous, when it is recalled that the choir is made up entirely of business men. Two numbers, “The Anchor” and “A Dollar and a Half a Day,” by Percy Grainger, were of especial interest. Mr. Grainger added to his hundreds of friends here by his superb playing of his part of the program. His brilliancy, vitality and fine musicianship make a concert by him an enjoyable affair. It is keenly to be regretted that the audience was not larger, and a return of the chorus will doubtless be the occasion for a general turn out.
March 20 brought the Chicago Symphony again for its bi-weekly concert, the next to last for the season. Frederick Stock, with his well known genius for program making, presented a program which included Franck’s beloved symphony, Goldmark’s “In Spring.״ an interesting new number by Franz Shreker, Saint-Saëns’ “Spinning Wheel of Om-phale,” and “Siegfred’s Journey.”	M. A.
Gertrude White’s Success in Minnesota
Following her recent fine success in concert in the west, Gertrude White was engaged to give a song recital at State Teachers' College, Winona, Minn., April 21. as one of the affairs included in the lecture course. She sang, among other numbers, Blanche Camp’s “The Passing Storm,” which song she featured on several occasions in New York.
14
MEMPHIS HEARS A HOST
OF NOTABLE ARTISTS
Anna Roselle and Crimi, Cecil Arden, Frieda Hempel, Anna
Case, Dambois and Mrs. Edward MacDowell Received with Delight by Large Audiences—Opera Club Gives “La Bohême”—Russian Grand Opera Company Gives Splendid Performances
Memphis, Tenn., April 8,—The Beethoven Club concert, March 3, at the Lyric Theater, was one of the pleasing-attractions .of the musical season. The audience enthusiastically expressed its appreciation of the two artists —Anna Roselle, soprano (who substituted for Jeanne Gordon), and Giulio Crimi, tenor, who combined in a program of artistic merit. Opening with a duet from “La Boheme, Puccini, followed by a group by Miss Roselle, the artists were thoroughly delightful. Miss Roselle was perhaps enjoyed most in the “Vissi d’Arte” from “Tosca,'1 and the appealing “Musetta Waltz” from “La Boheme.’ Mr. Crimi’s voice is rich and full, and he is an artist from every viewpoint. He sang the aria, “Una furtiva lagrima, Donizetti, and other songs so beautifully that he was recalled a number of times. The final duet, from “Aida,” was a fitting climax in which both artists scored heavily. Frederick Bristol, the efficient accompanist, gave two piano numbers and an encore.
Opera Club Gives “La Boheme” as Third Offering.
Members of the Opera Club, of which Mrs. B. F. Turner is the capable and charming president, were delighted with the presentation of “La Bohême,” Saturday night, when Mrs. Claude Tully assumed the role of Mimi, and also Musetta; Heber Moss, Rudolph, and Richard Martin, Marcel and Colline. The cast was fine, and “La Bohême” was the most enjoyed of the operas given this season. Mrs. Tully was a charming Mimi, and her interpretation of this role, and Musetta in the favorite waltz song, was lovely. Heber Moss was in good voice and he was warmly received. Richard Martin, who always sings well, was heard most in the duets with Mrs. Tully and Mr. Moss, the blending of the voices being pleasing. Adolph Steuerman, director and accompanist, gave splendid support. Miss Farrington read the libretto in her delightful manner.
Russian Grand Opera.
“Boris Godounoff,” Moussorgsky’s opera, was given March 12, at the Lyric Theater, under the management of the Cortese brothers'. Mr. Lukin was impressive in the title role, singing it excellently and receiving an ovation. Miss Bourskaya, as the Polish Princess, and her associates contributed to a delightful performance, and Memphians are looking forward to a return engagement.
Cecil Arden Soloist with Municipal Orchestra and Chorus.
The largest and most enthusiastic audience of the season greeted the Municipal Orchestra and Chorus, March 21 at the Lyric Theater. To the faithful lovers of music and the earnest and untiring efforts of the director, Arthur Nevin, the members of the Symphony Orchestra and Choral Society, much credit should be given for developing municipal music in Memphis. The selections by the orchestra were excellently performed, including the andante movement from Tschaikowsky’s fifth symphony, and several other numbers, “Les Patineurs,” Waldteufel, perhaps being most enjoyed. The choral numbers were the prayer from “Cavalleria Rusticana” and “Almighty Lord,” both by Mascagni, and the lovely Strauss “In Praise of Song,” with full orchestra accompaniment. Cecil Arden, soloist, a native South Carolinian, was charming and attractive. “La Coppa,” a Puccini composition arranged by Buzzi-Peccia, showed the beautiful dramatic quality of her voice, and was repeated. The orchestral accompaniment was used for the first group, while Mrs. Earl Morin was the accompanist for the second group. Miss Arden was compelled to give encore after encore. Mr. Nevin has undoubtedly demonstrated to Memphians that music is one of the very important essentials to a city, and has also proven that Memphis has a municipal orchestra that is a credit to the city, and that there is a wealth of talent in both organizations. Frieda Hempel Again Triumphs in Memphis.
That an artist can fill a return engagement and be accorded an ovation surpassing the first visit, was proved Wednesday night, when Frieda Hempel renewed old friends and won new ones. The Beethoven Club’s series of Artist Concerts was brought to a close for the season with Miss Hempel’s appearance at the Lyric Theater before the largest and most enthusiastic audience of the musical year. Never has the Schubert “Ave Maria” been so exquisitely sung here. “The Vesper Hymn” and “The Virgin’s Lullaby” were gems. The climax of the evening was Miss Hempel’s interpretation of the aria, “Carnival of Venice” from “The Brides of Venice.” The applause that followed was increased when it was announced that “The Blue Danube” would be sung by request. “The Night Wind,” by Farley, was done so effectively that Miss Hempel had to repeat it. “Dixie” was given as no one but Frieda Hempel could give it. Coenraad Bos again distinguished himself as pianist and accompanist, and he was enjoyed in his solo as well as accompaniments. Louis P. Fritze, flutist, was well received. The concert as a whole was a fitting climax to a brilliant musical season.
Notes.
Anna Case gave a delightful recital at the Lyric Theater recently. Francisco Longo was the accompanist.
Maurice Dambois, Belgian pianist and cellist, was heard in conjunction with the Duo-Art in an attractive program at the Goodwyn Institute, March 20.
Mrs. Edward MacDowell, widow of the composer, has
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