MUSICAL COURIER
April 27, 1922
and technic that proved the young pianists to be worthy of praise.
Miami University Glee Club Heard.
The Glse Club of Miami University gave a concert at the East High School auditorium on March 30, under the auspices of the East High Community Center, which was largely attended. This was the first time in several years that the Miami Glee Club had appeared here, and it was welcomed in a way that gave evidence of the popularity of the organization. This singing body is a well balanced association, and under the direction of Joseph Clokey, proved that the training had been intelligently given. In addition to acting as director of the glee club Mr. Clokey is also a composer of some note, a number of his compositions being sung at the recent concert. Several added features made up a delightful program.
Notes.
On April 2 the thirteenth Sunday afternoon concert was given by the East High School Community Center. A feature of the event was the singing of “Hiawatha’s Wedding Feast” (S. Coleridge-Taylor), the soloist being Wayne W. Calhoun, tenor. Another delightful number was “A Legend of_ Naccochee,” by James Robert Gillette, the soloists being Helena Kessing and Katherine Baker, sopranos; Marguerite Baker, alto; William Jay Street, tenor, and Herbert C. Schatz, baritone. The chorus was composed of members of the Opera Club of the East High Community Center, under the direction of John A. Hoffman, with Robert K. Weber as accompanist and Louis Curtis as organist. The string orchestra of the Cincinnati Conservatory of Music assisted.
A complete school will be conducted by the College of Music covering a period of six weeks, beginning June 19 and continuing until July 29. The normal classes in piano will be in charge of Use Huebner, pianist, who has been added to the faculty but recently. Sidney C. Durst will have charge of the department of theory and composition, and a large number of the faculty will be there during the period. In addition to the other features there will also be an intensive course of public school music covering the entire time, this being under the supervision of Walter
H.	Aiken, director of music in the Cincinnati public schools.
A very good performance of musical comedy was given
a few evenings ago by the employees of the Proctor & Gamble Company of this city. It was called “Moon Magic,” and the entire production (including the music, lyrics and book) was the work of the employees. It was given at Emery Auditorium and marked the opening of the Cincinnati Community Drama Institute. It was in all respects a success.
Giacinto Gorno, vocal teacher of the College of Music faculty, has been made the recipient of a number of compliments on account of the success of his pupil, Eulah Corner, who has been praised for her fine work. She possesses a contralto voice of power and sweetness, and appeared recently in Charleston, W. Va., as soloist at the Capitol Theater.
A fine musical program was enjoyed on March 29 at the Cincinnati Conservatory of Music, where, more than fifty members of the Phi Mu Alpha, Sinfonia Fraternity were entertained by members of Omicron chapter as hosts to the members of Eta chapter. The program was given by John A. Hoffman, tenor; Jean Verd, pianist, and Andre de Ribaupierre, violinist, members of Omicron.
The Hyde Park Music Club presented a delightful program on April 4 at the Hyde Park Library. The numbers included some of particular merit.
Florence Hardeman, a talented young violinist, who is a post-graduate of the College of Music, is the assisting artist with Mme. Schumann Heink in a number of concerts in the South during the month of April.
Faye Ferguson, pianist, a pupil of Marcian Thalberg, gave her graduation recital at the Cincinnati Conservatory of Music on March 29. She displayed much talent.
At the regular Saturday noon recital in the Odeon, April
I,	the following students of the College of Music appeared: Paul Mathe, Louisp Remick, Anna Hatch, and Robert McEvilley, pupils of Emil Heerman, Albino Gorno, Hans Schroeder and Mrs. O’Meara.
Two concerts under the auspices of the Cincinnati Children’s Relief Committee were given in Emery Auditorium, April 2. The soloists were Emme Tester, soprano, and Ilse Huebner, pianist. There were also some choral numbers by the Vereinigte Saenger, under the direction of Louis Ehrgott, Sr., and by the Cincinnati Choral Verein, under the direction of W. H. Dunning.
Pupils of Mabel Houston gave a violin recital on March 31 at her home.
A recital was given by a number of pupils of the Cincinnati Conservatory of Music on March 31. They were from the classes of Thomas James Kelly, Andre de Ribaupierre, Marcian Thalberg, William Kraupner and Haig Giidenian.
Charles Stoess, Cincinnati violinist, played several selections at the chapel service of W. L. W. radio broadcasting station on April 2. He was accompanied by Rose Mary Ellerbrock, pianist.
The.second concert of the season was given by the St. Lawrence Choir on the evening of April 5, at Emery Auditorium. The organization is composed of a body of men and boys in excess of sixty in number, and in recent years it has made notable progress. The choir is under the direction of Prof. J. Alfred Schiel. The singers gave practical evidence of the training, the blending of the voices being admirable. Among the more prominent numbers was the motet by Bach, “I Wrestle and Pray” for double chorus. Another number that was repeated by request was “In the Monastery,” by Nicolau. The incidental solo part in Cecil Forsythe’s humorous setting of “London Bridge Is Broken Down” was sung by Robert J. Thumen. In “An Easter Allelujah,” which is a new work by Samuel Gaines, the solo parts were sung by Herman Dittman and James Hughes, Professor Schiel adding a fine chorus. Mezzo soprano parts were sung by Master Raymond Holthaus, who has a fine voice. The piano accompaniments were played by Theodore L. Rhomberg.
Maria Terranova, a young piano student of ability, who has been studying under Albino Gorno of the College of Music, gave a recital in the Odeon, March 28. She was (Continued on page 51)
ard Strauss, in German. One number, the “Spinnerliedchen,” from the collection of old German songs by H. Reimann, was sung with all the delight that is so natural to Schumann Heink. _ It was repeated, so great was the applause. For the closing group of songs she sang the well known “Indian Love Song,” by Lieurance, and two beautiful war ballads, “Have You Seen Him in France?” by Ward Stephens, and “Flanders Requiem” by La Forge. The closing number, sung in Italian, was a. fine rendition of the “Bolero” by Arditi. She was generous with her encores.
The fine impression made by Arthur Loesser, her able accompanist, was noteworthy. In addition to playing her accompaniments in a classic style, he also gave an artistic demonstration of his own ability, playing several numbers in a most satisfying manner.
Orchestra "Pop” Series.
A novel concert made up the program of the ninth of the popular series, given by the Cincinnati Symphony Orchestra at Music Hall on April 2, under the direction of Eugene Ysaye. There was a fair sized audience present, and the program included four numbers that had not heretofore appeared on these programs. The overture, “Le Roi d’Yvetat,” by Adolphe Charles Adams, was varied in character. This was followed by four old Flemish folk songs, transcribed for orchestra by Arthur De Greaf, a Flemish pianist; these were appealing, the “Houpassa” being quite original. A fantasy upon Spanish themes, by François Gevaert, and “March aux Flambeaux,” No. 1, were of pleasing style. Included in the concert were three familiar dances from German’s musical setting to Shakespeare’s “Henry VIII.” The “Invitation to the Dance” was played artistically.
Marie Louise Swift, mezzo soprano, was the soloist. She possesses a voice of considerable range, and her songs, including the aria “My Heart at Thy Sweet Voice,” from Saint-Saëns’ “Samson and Delilah,” and Bizet’s “Habanera,” from “Carmen,” were well done. She also sang numbers by Lalo and Chausson.
Ossip Gabrilowitsch Welcomed Again.
One of the musical events of the present season was the appearance in recital on April 4 at Emery Auditorium of Ossip Gabrilowitsch, the noted pianist. It was given under the auspices of the Cincinnati Conservatory of Music Alumni Association, for the benefit of the Clara Baur Memorial Scholarship Fund. There was a good sized audience present, for Mr. Gabrilowitsch has been heard here before in recital work, as soloist with the Cincinnati Symphony Orchestra, and as director of the Detroit Symphony Orchestra. So he was welcomed by a discriminating audience of those who understand and appreciate the best in music. To say that Mr. Gabrilowitsch is an artist in the truest meaning of the term best expresses his real ability. His playing is noted for its beauty of interpretation. His program was made up entirely of Chopin and Schumann numbers. The Schumann “Phantasie,” op. 17, was brilliantly played, this being followed by a half dozen Chopin numbers. The recital closed with the Schumann “Carnival,” op. 9. He responded with several encores and the recital was one of those rare events that satisfy even the most artistic.
Maier and Pattison Recital.
A concert of more than ordinary merit was heard by those who attended the performance at the Odeon, on April 3. The participants were Guy Maier and Lee Pattison, two youngs American pianists who have attained a high degree of perfection in ensemble for two pianos. The program included the Arensky valse and scherzo, the Brahms variations on a Haydn theme, and the Saint-Saëns scherzo. Other numbers included some novelties by Rachmaninoff and Arnold Bax, the latter a young Irish composer. The concert was of high class and was marked by a deftness
18
CINCINNATI BOWS AGAIN TO
SCHUMANN HEINK’S ARTISTRY
Great Contralto Sings for Twenty-fifth Time in Ohio City
Under Management of Thuman—Symphony Orchestra Gives Splendid Program—Althouse Enthusiastically Received—New Numbers Played at “Pop” Concert—Gabrilowitsch Welcomed Again—
Maier and Pattison Recital—Miami University Glee Club Heard—Notes
Cincinnati, Ohio, April 6:—The twelfth pair of concerts of the symphony series, given at Emery Auditorium March 24 and 25, was in keeping with the high standard now gained. The program consisted of a number of compositions that met with enthusiastic reception. The concert began with a spirited rendition of “The Corsair” overture, by Berlioz, which paved the way for the remainder of a fine program. The inspiring symphony in D minor, by Cesar Franck, was the foremost number on the program. This work, which was directed by Mr. Ysaye without score, never fails to find universal favor in the hearts of music lovers. The warmth of the symphony was perhaps given more evidence by the director from the fact that he was at one time a pupil of the great composer. And out of respect for his memory (his centenary is being widely celebrated this year) the entire violin section of the orchestra stood during the playing of this number. It was masterfully played, arousing a great outburst of applause. As the opening number on the second half of the program, Ysaye’s own composition, composed only for the string instruments, was played with feeling. Another number heard here for the first time was Gabriel Faure’s “Pavane.” It is a delightful little work, novel and inspiring in the extreme. The concluding number was the sixth Hungarian rhapsody of Liszt, which was much enjoyed.^ A treat on this occasion was the appearance of the American tenor, Paul Althouse, making his initial bow to the Queen City. To say that his part on the program was a feature is putting it mildly. He aroused prolonged applause. His voice is rich, powerful and full of sympathy. This was given ample play in the choice of his songs, the first of which was the aria, “Depart, Fair Vision,” from Massenet’s “Manon.” His dramatic power and French diction were given prominence in this. More marked, however, was his rendition of Verdi’s aria, “Celeste Aida,” which was so vociferously applauded that he was compelled to sing two encores, “The Great Awakening,” by Walter Kramer, and the prologue to “Pagliacci.”
Schumann Heine’s Concert a Silver Jubilee Event.
It was a notable event in musical circles for Cincinnati when Mme. Schumann Heink appeared here on March 31 in a concert at Music Hall. It was notable for two reasons. First, it was the twenty-fifth time that she had sung here under the management of J. H. Thuman. It was a silver jubilee event, and the large audience nearly filling Music Hall attested to the admiration in which the people of this section hold the noted contralto. The second reason for the occasion being noteworthy was due to the high class performance rendered by Mme. Schumann Heink. Despite her long career both in grand opera and on the concert stage, she has retained her remarkable ability as a singer of great power and sweetness. From the time she stepped upon the stage until after she had sung her final encore, there were in evidence the delight and interest noted in the large gathering to show her their love.
The program was made up of varied numbers. She sang the “Erda” scene from Wagner’s “Rheingold,” “Bran-gaene’s Warning” from “Tristan and Isolde,” as well as the beautiful aria, “Oh, Rendimi” from Rossi’s “Mitrane.” These were followed by “When the Roses Bloom,” by Reich-ardt, and a number of songs by Schubert, Brahms and Rich-
“DID HER PART EXQUISITELY”
Chicago Tribune
ADELAIDE
FISCHER
SOPRANO
“VERSATILITY IN STYLE AND BREADTH OF EQUIPMENT.”
-—■New York American.
“HER VOICE IS FIRM, COLORFUL AND AGILE, THE SERVANT OF A CLEAR AND DISCREET PURPOSE.”—New York Tribune.
“THE POSSESSOR OF BELL TONES AND A SMOOTH LEGATO.
HER VOICE SEEMS TO GROW IN VOLUME AS WELL AS BEAUTY, AND SHE WELL DESERVES THE SUCCESS WHICH CONSISTENTLY CROWNS HER EFFORTS.”—New York Mail.
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