37 MUSICAL COURIER Mr. Torre's numbers was “Sympathy,” a song still in manuscript by Miss O’ Connell. His other numbers were by Pergolesi, Verdi, Brahms and Spross. Marjorie Squires On Sunday afternoon, April 23, Marjorie Squires, contralto, was heard in her second recital of the current season at Carnegie Hall before a good sized audience. Last fall Miss Squires made a very favorable impression, revealing a voice of unusual richness and purity, which she used with great taste. Upon the occasion of her second recital the young artist—for she is that—increased the favorable impression. She was in fine voice and sang a well arranged program with finish and effectiveness. Her diction and phrasing are good and she showed much versatility. Her stage presence is gracious and the interested audience gave her a warm reception. John Doane rendered sympathetic accompaniments for the following program: ...........Rossi ......... Cimara .......... Tosti .........Debussy ........Schumann ..... Schumann ....... Schubert ........Schubert Van der Stuken . .Ward Stephens ...Cecil Burleigh ....... Tietjens .... Gretchaninoff .... Rachmaninoff . . . .Rachmaninoff Aria, Ah! Rendimi from Mitrane..................... Stornello ......................................... Aprile ............................................ Recitative and Air de Lia, from L’Enfant Prodigue Stille Thranen .................................... Fruhlingsnacht ....................................... Rastlose Liebe .................................... Der Atlas ......................................... Bliss ............................................. Separation ........................................ A Sail on the Clouds............................... Adoration ......................................... On the Steppes..................................... In the Silence..................................... Floods of Spring................................... Vienna Staatsoper Stars on Strike Vienna, April 5.—Performances at the Staatsoper are seriously endangered by a “rehearsal strike” which was declared yesterday by the entire company, including all stars. They have officially announced that no rehearsals will be held until a satisfactory arrangement has been reached concerning the pensions for- the veteran members of both state theaters. At present the pension is 6,000 Crowns (80 cents!) annually. P. B. Music Festival Week Fort Hays Kansas Normal School APRIL 30 to MAY 7, 1922 OFFERS Raoul Vidas, Great French Violinist Sunday, April 30 3:00 o’clock p. m. “The Creation” Chorus Sunday, April 30, 8:00 p. m. 578 voices and great trio Schumann Heink Sunday, May 7, 3 :00 p. m. World’s Greatest Contralto “The Messiah” Chorus Sunday, May 7, 8:00 p. m. 578 voices and great quartet SIXTEEN BIG PROGRAMS DURING THE WEEK Tickets for each Sunday program, $2.00, $1.50 and $1.00. Sale opens April 1 ־ For tickets, information or free souvenir booklet, address Secretary, Music Festival Week, Hays, Kansas Roche was also very skillfully managed. The idea might be developed into a pageant worthy of production on any stage. Bronislaw Huberman On Saturday afternoon, April 22, at Aeolian Hall, Bronislaw Huberman, violinist, gave his last New York recital of the season, presenting a program that was eminently characteristic of one who is so thorough a musician as he. The numbers listed were the sonata by Cesar Franck; chaconne. Bach; “Poeme,” Chausson• concerto, op. 82, Glazounoff, and fantasie front “Carmen,” Bizet-Sarasate. Mr. Huberman in his first season here has made a deserved reputation for himself as one who is pre-eminently interested in giving the best possible expositions of the music which he played. Huberman never plays to the gallery. There is no tossing of the head or the bow, no fantastic contortions of the body. He stands up and fiddles and does it tremendously well. Of all those violinists who have come over in recent years, none exceeds him in cultured appeal. Among so many fine compositions, all beautifully played, it would be hard to single out a favorite, but particularly interesting was the contrast between the austere chaconne and the highly romantic Chausson “Poeme” which immediately followed it. Paul Frenkel lent his usual invaluable support at the piano. There was an audience which nearly filled the hall, listened attentively and was very liberal with its applause. Georgina MacMullen Georgina MacMullen, soprano, was heard in an interesting-song recital in Magna Chordia Music Chambers, 10 East Forty-fourth street, on Saturday afternoon, April 22. Her program comprised “Gia il sole dal gange,” Scarlatti; “Come, Thou Lovely May,” Gluck; “Vesper Hymn,” Old English; Schubert’s “Auf dent Wasser zu singen”; “Wenn Du nur zunveilen laechelst,” Brahms; “Staendchen,” Strauss; “Lamento,” Duparc; “Le Rouet,” Paladilhe; “L’Ete,” Chaminade; aria from “Lakme,” Delibes; “O Wondrous Sight,” Kramer; “O Robin, Little Robin,” Mc-Collin; “Charity,” Hageman, and “Song of the Open,” La Forge. Miss MacMullen, who possesses a voice of unusual charm, delighted the audience by her highly artistic and finished work. Coenraad V. Bos’ superb piano accompaniments likewise won the approval of all, as did the organ accompaniments of Frank L. Sealy. APRIL 23 Sittig Trio, Francis Torre, Marie Rothman, Lloyd Everdeene and Loretto O’Connell The list of artists for the second Sunday evening concert, April 23, at the National Theater, consisted of the Sittig Trio; Francis C. Torre, baritone; Marie Rothman, soprano; Lloyd Everdeene, baritone, and Loretto ()”Connell, pianist. The program opened with the Haydn trio in G major, the lilting measures of which were admirably interpreted by the Sittig Trio, which consists of Margaret Sittig, violinist; Edgar H. Sittig, cellist, and Frederick V. Sittig, pianist. Later on in the program the trio gave the Beethoven minuet and two country dances, arranged for trio by Frederick V. Sittig. There is an excellent tonal balance invariably preserved in the work of this trio, and a singleness of purpose which cannot but count for success. Miss Sittig gave the “Symphony Espagnol” of Lalo, and her brother contributed Sandby’s “Song of Vermland” and a mazurka by Popper. Both proved that their artistic worth is not confined to ensemble numbers. Miss O’Connell played a group of Chopin and acted as accompanist for the vocalists. Miss Rothman was heard to advantage in “Ah, fors e lui,” from “Traviata,” and also gave songs by Scarlatti, Schumann and Howard White. Mr. Everdeene also gave a number from “Traviata,” Gil-berte’s “The Devil’s Love Song,” Sanderson’s “Captain Mac,” and a song by Gluck. Of especial interest among NORMAN JOLLIF-Baritone with Boston Handel & Haydn Society, “Elijah,״ Apr. 16, 1922 Boston Advertiser . . but Mr. Jollif made the best impression of all the soloists, though he had a strong rival in Paul Althouse, Metropolitan Opera House Tenor.” Post “Mr. Jollif commended himself by his vocal sureness and by the quality and range of his voice.” Globe “He sang feelingly and reverently the part of Elijah, in which his good voice overcame most difficulties.” T ranscript “Mr. Jollif sang the part with vocal ease and impressiveness.” Herald “Norman Jollif is to be praised for the simplicity of his singing.” Exclusive direction WALTER ANDERSON 1452 Broadway New York April 27, 1922 NEW YORK CONCERTS (Continued from page 31) thy Saviour’s loving bosom,” and “Grant oh Lord, this year when ending.” Miss Bennett, who made a most unusual impression at the time of her debut here a few months ago, confirmed it Upon a second time. She has a voice of much beauty, fine vocal control and a feeling for style quite unusual in a singer still upon the threshold of her career. Louise Vermont, contralto, sang the aria "Jesus sleeps, what hope remaineth?” and the cantata for contralto solo, "Hasten thou, oh longed-for hour” with credit both to herself and to the late Johann Sebastian Bach. The program ended with the choral, “O God, though faithful God,” sung by Edith Bennett, Louise Vermont, Everett Clark, Heinrich Meyn, accompanied by the orchestra, the solo trumpet by Joseph Lindwurm. It made a particularly impressive close to the program. Special credit goes to Mr. Humiston, who was instrumental in arranging the program. Julius Koehl On Friday evening, April 21, at Aeolian Hall, Julius Koehl gave an interesting and artistic recital before a large audience. His program consisted of compositions by Mozart, Beethoven, Schumann and Chopin, in which he brought forth a large sympathetic tone and fine technic. His interpretations showed a careful study of the composer, and Mr. Koehl was heartily received by the large attendance. Three compositions by Florence Parr Gere were especially well performed, of which a scherzo was encored. APRIL 22 Olga Carrara and Edwin Hughes The Town Hall was the scene of a unique and interesting concert on Saturday evening, when Olga Carrara, dramatic soprano late of the - Chicago and Scotti opera companies, was heard in a song recital at which she had the valuable support of Edwin Hughes, pianist, and a number of composers whose songs she placed on the program. Among them were Alberto Bimboni, Gennaro Mario Curci, Emilio A. Roxas, Edward E. Trucco, Melchiorre Nauro Cottone, and Pier A. Tirindelli. Mme. Carrara did full justice to the compositions she sang and also did justice to her own talents. She is the possessor of a voice of much beauty and clarity which she uses tastefully. The range is good and she is able to sing effectively without forcing and straining, which is due to her schooling. She has temperament and brings color and shading into her work when so demanded. The lighter compositions Mme. Carrara does with grace and charm. The audience liked her and showed it frequently during the program. The songs that made the most appeal were “Torna a’ canta” and “Villanella” by Air. Curci, after which came a delightful song in manuscript; “Stornelli” (first time), by Emilio A. Roxas; “Che faro,” Pietro Varvaro; “O Bella Bocca,” Cottone, and “Sapeste Voi” and “Primavera,” by Pier A. Tirindelli. Mr. Hughes gave much pleasure in his numbers, among them the Chopin valse, op. 64, No. 2, and faitasie, op. 49; the Liszt “Sonetto del Petrarca,” No. 104. and his own concert paraphrase on the “Wiener Blut Waltz” of Strauss. Mr. Hughes revealed all his admirable qualifications and came in for his share of the evening’s honors. The program follows: V insegnerò come fanno le citte....................Albertino Bimboni E me ne voglio andare..............................Albertino Bimboni Tuscan Folk Songs rv ■ • 2. Baciami ................................................ Buzzi-Peccia Torna Amore ............................................Buzzi-Peccia Chopin Chopin Edwin Hughes Valse, Op. 64, No. 2. Fantasie, Op. 49........ 4. Villanella Dedicated to Mme. Olga Carrara Torna a’canta’—Naples Must Sing for Ever More, 5. Gennaro Mario Curci Pallidi Sogni Stornelli (First time) 6. Umana Cruenta From the poem of the Lovers Pietro Varvaro 7. Che faro’—Romanza 8. Sonetto del Petrarca, No. 104.................................Liszt Concert Paraphrase on the Wiener Blut Waltz of Strauss, Edwin Hughes 9. Barcarola................................Melchiorre Nauro Cottone O Bella Bocca ...........................Melchiorre Nauro Cottone Dedicated to Mme. Olga Carrara .Pier A. Tirindelli Pier A. Tirindelli Sapeste Voi Primavera . “Salut au Monde” The long delayed production of the festival pageant based upon Whitman’s poem, “Salut au Monde,” with music by Griffes, at the Neighborhood House, was somewhat of a disappointment, not because the music of Griffes was not good, but because there was so little of it. There was scarcely any of it, indeed, except in the first of the three acts. That act, portraying “The Shaded Side of the Sphere” and “The Lighted Side of the Sphere” and enlivened by beautiful dances, was truly magnificent. The music, modern and forceful, is among the very finest things that have ever been composed by any American. But therewith the work practically ended, musically. The second act music consisted almost entirely of authentic rituals— Hebrew, Greek, Indian, Arab, Christian. It was very interesting and very well done. The third act was a decided disappointment. Where one expected the triumphal hymn of hope “of many races enfolded in the banner of human brotherhood” there was little that was inspiring. The music was played by the Barrere Ensemble of wind instruments under the direction of George Barrere, and was excellently interpreted. The stage direction by John Francis