Opera Company wrote: “The two *ong» by Oley Speak* have been received, ')’hey are moot excellent. I shall be happy to program them. Cordially yours, (Signed; Sue Harvard.” Within one week letter* were received from Cedi Arden, Ida Geer Weller, Robert Hosea and Jackson C. Kinnoey, writing to the New York office, stating that they were using one or more of the John Church publication* on the recital programs for their spring tours. Oley Speaks and Alexander Macb'adyen have rarely written more beautiful compositions than their newest numbers, “April Ecstasy” and “The Crucible.” Betsy Lane Shepherd Sings at Buffalo Betsy Lane Shepherd, famed as an Edison “re-creation” soprano, appeared as soloist for the Orpheus Club, of Buffalo, N. ¥., on April 24. For Rent Beautiful Studio for Vocal or PianoTeacher, Painter, Sculpture or Dancing Teacher ^ ^ The Studio is very large, with splendid light. Contains Parlor Grand Piano, if wanted. On second floor. Private bath. Telephone. 253 Madison Avenue. Can Be Seen Any Hour MUSI С Л L С О и И l E К l.is/.nicwska at the Hotel Sinton for the benefit of the build iug fund of the Home for the Friendless and Foundlings. Mr, Bcddoc will givK a recital today, April 27, at the Welsh Presbyterian Church for the benefit of the same organization. Beethoven Society’« Second Concert Nevada Van der Veer and Reed Miller, soloists for the second private concert of the Beethoven Society, Hotel Plaza ballroom, April 19, must have been gratified with the reception and rounds of applause following their appearances, Mine. Van der Veer sang the aria from “Hero-diade” in such fashion, so effortless, so natural in every way, with high E and F of lingering sweetness, that many praiseworthy exclamations were heard. As an encore she sang the Saint-Saëns “Samson” aria, in which the splendor of a long sustained C and final h' were marked; there followed two more recalls. Later she sang Cadman’s “Shanewis” song, with perfectly beautiful tone quality, high G sharp and E of notable power and beauty. Frenetic applause brought her out again, to sing “Annie Laurie.” The resonant tones and manly vigor in Mr. Miller’s singing of Siegmund’s love song (“Walküre”) stirred the audience to enthusiasm, so that he added an old English song, “The Morris Dance.” Hammond’s “Recompense” with a dosing high A, “The Pale Moon” (Logan), sung with the utmost tenderness, and Hammond’s dramatic ballad, “The Pipes of Gordon’s Men,” all this also brought “Lindy Lou” (by his cousin, Lily Strickland) as his encore number, he sang this with delightful negro dialect and inimitable gentle tones. The two artists were also heard in the duet from “Jewels of the Madonna,” sung with splendid unity of feeling, and bringing them again an encore, “O Lovely Night.” Choral numbers by Lully, Beethoven, Brahms, Fourdrain, Bochau, Lebaron, Schubert and A. Walter Kramer were sung with considerable vigor and expression, if roughly at times. “The Great Awakening,” by Kramer, built up largely on “Old Hundred” (the Doxology), with the composer at the piano, was the most effective choral number of the evening. So enthusiastic was its reception that it had to be repeated, and the audience thoroughly approved of the mutual felicitations between the conductor, Howard Barlow, and composer Kramer. Conductor Barlow showed a thorough understanding of his task, and moved his singers to do their utmost; he has youthful animation and pep, and was much liked. During an intermission on the program, President Aida Tanini Tagliavia received in her box, and court was paid to the Millers to equal degree. Harold O. Smith was an efficient accompanist. A good size audience enjoyed the affair. !9 22 / г i