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MUSICAL COURIER
“ ’Twas thy voice, my gentle Mary, that made this world an Eden, Bonny Mary of Argyle.” For high or low voice, and dedicated “To a great friend.”
(G. Schirmer, Inc., New York)
“THREE PICTURES FOR VIOLIN AND PIANO”
understood. One is a love song, the other a spring song, and this latter, especially, will be appreciated by singers of good technical equipment, able to reach high notes and to sing somewhat trying passages beautifully. It is easy to imagine that this will become a successful encore piece.
By Louis Adolphe Coerne
“A Summer Evening,” “The Rose Arbor,” and “By the Sea” are in this set of teaching pieces, all of which are of moderate difficulty, and could be used in church. The three titles are combined in the illustrated title page, which pictures evening, the arbor and the sea, with a child waving her kerchief to a passing boat. The particular summer evening must have been in Scotland, so definite is its mood. “Rose Arbor” is a gavotte, rhythmical, graceful; nice music. “By the Sea” is a slow songful piece, with considerable variety in the melody and accompaniment, beginning in low position, then shifting to high, ending softly. All three pieces are carefully edited, and provided with bowings and fingering.
Comments on Tirindelli’s “L’Intruse”
According to the Cincinnati Commercial-Tribune, “L’Intruse,” by P. A. Tirindelli, was one of the important numbers of the program presented by the Cincinnati Orchestra at Emory Auditorium on the afternoon of April 7. Mr. Tirindelli’s appearance on the stage was the signal for a very genuine outburst of applause which demonstrated emphatically the very real esteem in which the community holds this gifted musician who has for many years been a member of Cincinnati’s musical fraternity. Following is what Augustus O. Palm had to say in reviewing this concert : “ ‘L’Intruse’ faithfully follows the outline of the poetic idea upon which Mr. Tirindelli has based his music. The story has for its theme the suggestion that death is ever at hand, lurking, seeking his opportunity to strike his victim. The composition is developed with a refreshing freedom and is masterfully orchestrated. The composer conducted with authority and command of his forces. The work was very well received.” W. S. G. was equally enthusiastic over this composition, stating in part in his review in the Inquirer that “in his ‘L’Intruse,’ Mr. Tirindelli has painted in vivid tonal colorings a musical portrait of life, impressive, effective, at times remarkably emotional in its sweep and again highly descriptive. .	.	. Mr. Tirindelli
has penned a score that is quite worthy of being ranked alongside of many of the imposing modern compositions for orchestra.”
AUSTRALIA-NEW ZEALAND-HONOLULU
INTERNATIONAL TOURS, Ltd.
Capitalization $125,000 Head Office: Sydney, Australia
Organized solely for the purpose of bringing artists of international reputation to Australasia.
L. E. Behymer, Los Angeles—American Representative Frederic Shipman, Managing Director 15 Castlereagh St., Sydney, Australia.
(John Church Co., Cincinnati)
“THREE LITTLE NATURE SONGS”
By Charles Gilbert Spross
Little things of this sort are always welcome. The poems, by Blanche Redfield Callander, are quaint and pretty. ^ They bear the titles of “White Syringas,” “Tree Tops” and “Golden Tints,” and are full of the out of doors feeling that is so easy to sense but so hard to express. It is here well expressed, and Mr. Spross has set music to it that adds greatly to the charm. The music is melodic, flowing, bright. It is not especially easy, and, although these are little songs in length they are not little nor negligible in content. They are set in related keys so that they may well be used as a group, and they will become favorites with recitalists.^ It need scarcely be added that the accompaniments are written with a wealth of art, for who should better know this art than Mr. Spross?
(John Church Co., Cincinnati)
“LITTLE SLIPPERS OF THE RAIN” by Elinor Remick Warren
This is a clever song. It is made with an art that hides itself skilfully behind fluency and a picturesque melodic gift that is altogether charming. It does not run along in straight lines. It is full of surprises, full of bright variety, flashing, scintillating lights that hold one for the moment (all too short) that it takes to sing it. It will delight the pianist, and surely it must delight no less the singer and the favored audience. It is real art.
(The Willis Music Company, Cincinnati)
“THE BALLAD OF TREES AND THE MASTER” By Janie Alexander Patterson
This beautiful poem of Sydney Lanier, poet c-f the South, has been given a quiet, simple and melodious setting hy a southern composer. The accompaniment is built on simple lines but it is effective. The whole song is earnest and fits its subject.
(Oliver Ditson Company, Boston, New York, Chicago, London)
“MARY OF ARGYLE” (Song)
By Frank St. Leger
The text by Charles Jeffreys, this is a song originally by S. Nelson, which Mr. St. Leger has arranged very effectively as a solo. It is full of Scottish pathos, of regular sixteen-measure periods, in folk song style, with the so-called “Scotch snap,” omitting the fourth and seventh intervals of the scale. The first, stanza is sung with plain chord accompaniment, and the second is given interest through the contrapuntal passages provided, in flowing eighth notes. Easy, sympathetic music, telling of “the mavis” (thrush), singing his love-song at morn; but a sweeter song,
PIANIST
SEASON 1922-1923 Dates Now Booking
STEIN WAY PIANO HAENSEL & JONES, Aeolian Ha 1, New York
(Mrs. George McManus)
SOPRANO
30 Central Park Sonth New York City
Florence MeMANUS
SOPRANO
Direction! J. H. FITZPATRICK, Windsor-Clifton Hotel, Chicago, 111.
(glu> QbfolanfcJhötttUt? tff	ERNEST BLOCH, Musical Director
3146 EUCLID AVE., CLEVELAND, OHIO Mrs. Franklyn B. Sanders, Executive Director
May 4, 19 22
Music can and does express just such things. The range of all the songs is for mezzo soprano, B flat below the treble clef being the lowest tone, and G on the top line the highest. This composer is fast making a big reputation as possessing originality, the ability to express in tones what is said in words, and these three songs will serve to win many new admirers for her art.
(Katherine A. Borland, Hotel Waldorf-Astoria, New York)
“THE VOICE FROM CALVARY” (Song)
By Katherine A. Borland
Song for medium voice, with English words, published with Italian words and for full orchestra and harp. It is a singable song by a poet-composer who is evidently a fervid admirer of Caruso. It is an impassioned tribute to the great Italian tenor, and will be welcomed by his many friends as a fitting addition to the various literary and musical productions which will keep his memory alive. It is very simple, both for the voice and the piano; it possesses a good melody, easily learned and easily remembered, and an accompaniment that can be played by pianists of moderate skill. The fact that it has also been published with Italian words and that there is an arrangement of it for full orchestra and harp, suitable, however, also for small orchestras, will no doubt add to its popularity.
(G. Schirmer, Inc., New York)
“L’ESPIEGLE” (“PLAYFULNESS”) (for Violin)
By Tschaikowsky-Hartmann
One of a set of five pieces transcribed for violin with piano by the American violinist-virtuoso, Arthur Hartmann, who lives in Buffalo, this is at the same time one of the most difficult of the series. They include “La Par-tida” (The Farewell), by Alvarez; Chopin’s mazurka, op. 56, No. 2; “Autumn Song” (Tschaikowsky) ; “Chanson Triste” (Tschaikowsky), and the five-page “Playfulness” under consideration, this being op. 72, No. 12, of the Russian composer. It is marked “With frolicsome roguishness,” with other phrases associated with the title, such as “Capricious,” “Subdued,” “Accellerate,” etc., all of which serve to bring out the right interpretation of the little character-piece. Many freakish and “sudden” passages abound in the work, as is proper, with harmonics, playful, soft passages, all very spontaneous and full of humor. It is a piece of the French school in particular, such as Emile Sauret (first husband of the beautiful Teresa Car-reno) and Sarasate used to play so effectively. The heavy-footed Germans cannot do this; theirs is the solid, the deeply sentimental, but not the fleeting grace of performance. The piece is about grade five, not for third-year students.
(G. Schirmer, Inc., New York)
“EXALTATION” and “SUMMER NIGHT” (Songs)
By Werner Josten
The first song might be named “Prayer” or ‘‘Supplication,” for it is from the German of Joseph von Eichendorff (English by Amy Spingarn), and has to do with low burning lights, twilight glow, and asks “What has the game of life accomplished to ease the tired breast?” The bark seems weak, but “Loyal to your golden legions,	I	seek the
eternal rose of morn.” Descending	chromatics	in	the	left
hand, with four-note figure in the right hand accompaniment continues through most of this tranquil song, which is, however, interrupted with the anguished cry on a diminished seventh. Range for mezzo soprano, low C to high F. “Summer Night” (poem by Emanuel Geibel, English by Amy Spingarn), might be named “Benediction.” Picturing a lovely night in June, when the North Europe nightingales sing their lay all through the night, this is indeed a beautiful song, planful, with reiterated figure in triplets in the accompaniment, well up in the treble clef; later occurs an animated stanza of	expressive	music with
climax and diminish, ending with	a final page	of	ani-
mated music, with the original melody and accompaniment. Such description does not mean much, but the present writer tries to give an idea of the general make-up of the music, along with its musicianship and musical worth. Of course the English does not adequately convey the thought of the original poet; no translation can equal an original. “To Madame Marcella Sembrich,” for soprano, range low E to high G. The original sketch on the cover page, a circle with initials of the composer, “W. J.,” reminds one of the “C. D.” on the imported Debussy publications; both look like meaningless geometrical :figures, but on closer scrutiny the initials develop.
VIRGINIA GILL Lyric Soprano
“a Voice of Distinctive Charm**	Now Boohing for Season 1921-1922	,
CONCERT—ORATORIO—OPERA
Address: 1014 Division Street	__ Camden, New Jersey
(John Church Co., Cincinnati)
“IF I WERE A BUTTERFLY” and “THE WONDER OF THE THING” (Songs)
By Florence Turner-Maley
These little songs should be popular. They have melodies in popular style, not greatly original, but good and easily
VIOLINIST
Management :
HARRY and ARTHUR CULBERTSON
Aeolian Hall	4832 Dorchester Ave.
New York	Chicago
VALENTINA CRESPI
FRANCES NASH
Chickering Piano Ampico Records
American Pianist
Under the Direction of Evelyn Hopper, Aeolian Hall, New York City