48
May 4, 1922
MUSICAL COURIER
ance and it delighted the audience. An encore was insistently demanded and in response Gounod’s “Funeral March of a Marionette” was played with delicacy and tender humor. The soloist of the evening was Sylvain Noack, concertmaster of the organization, playing the popular Bruch concerto in G minor. George W. Marston, one of the officers of the San Diego Philharmonic Society, spoke to the audience on behalf of the future of the society, a plea for the continuance of these concerts.	E. B.
SACRAMENTO, CAL.
Sacramento, Cal., April S.—The active members of the Saturday Club gave a costume recital in the interest of the “Days of ’49” idea. The music hinted of early times in California and altogether the program was a credit to the Saturday Club and to the individuals who took part.
Mrs. Carl Hoskinson, one of our talented pianists, was the guest of the Etude Club of Berkeley recently. The occasion was “Operatic Day,” and Mrs. Hoskinson appeared for two numbers:	“Magic Fire” scene from “Die Wal-
kvire” and a selection from “Rigoletto.”	A. W. O.
Facts About Dmitry Dobkin
From time to time a musical star’s career is launched under especially favorable circumstances. Such an artist is Dmitry Dobkin, the Russian tenor, now in America, who had as an early patron Vladimir Stassoff, the art critic of Russia, whose literary and artistic activities covered a long span of years. Mr. Dobkin, whose talents were recognized by the critic, received at his solicitation a stipend from Grand Duke Constantine Constantinovitsch and, having commenced his studies at the Petrograd Imperial Conservatory, went to Italy for a five-year period under Gav. Augusto Brogi.
In 1911, his formal studies finished, he made his operatic debut in Venice, singing the part of Count Almaviva in the “Barber of Seville.” Satisfying the public and critics that he was an artist of exceptional talents and splendid training, he sang in several Italian cities, appearing in the operas “Faust,” Mignon,” ‘Traviata,” etc.
Returning to Russia in 1913 he was chosen as one of the principal artists to give welcome to Marshal Joffre, sharing honors with the Imperial Ballet and the Russian Imperial Dramatic Theater. Some months later, during the early months of the war, he was offered a contract with the Grand Opera at Warsaw, but decided to tour Scandinavia. In this country he was soloist with the Symphony and Municipal Orchestra for a period of three years.
A short stay in England preceded his arrival in New York. His debut on December 23 with the Philharmonic Orchestra brought high praise from the press and impressed the public that another tenor of ■vocal and interpretative power had joined the host of visiting artists. In recital this impression was reinforced.
Isabel Leonard’s Studio Musicale
Isabel Leonard presented six artist pupils in recital on Sunday afternoon, April 23, in her residence studio in Carnegie Hall. The participants were Albert Mesrop, tenor; Janet Creighton, soprano; Lauretta Howell, contralto; Kate Schmeatering, soprano; Carrie Weber, soprano, and Aeolian Weldon, soprano.
Mr. Mesrop opened the program with an aria from “Gio-conda”; this was followed by an aria by Handel, beautifully rendered by Miss Creighton. Miss Howell sang “O Don Fatale,” from “Don Carlos,” Verdi, revealing a voice of excellent quality. Miss Schmeatering was heard in songs by MacDowell and La Forge. Miss Weber sang a group containing “Salve Regina,” Parker; “Caro mio ben,” Giordano, and “May Day Carol,” old English. Mrs. Weldon sang with much charm and intelligence “Ritorno Vincitor,” from “Aida,” Verdi, and “Do Not Go, My Love,” Hageman. Georgia Newmann was the assisting artist, playing as piano solo Chopin’s A flat major waltz.
In presenting these pupils Miss Leonard revealed excellent results. Her success in voice placement as well as in the art of tonal emission were outstanding features of the recital, and reflected much credit upon her work.
An extra word of praise is due Miss Leonard for her artistic piano accompaniments, which materially assisted the singers in the successful rendition of their numbers.
Erna Rubinstein to Make Chicago Debut with Orchestra
Erna Rubinstein, the youthful violinist who is fast becoming one of the leading concert artists of the day, will make her debut with the Chicago Symphony Orchestra on February 2 and 3. She will later give an Orchestra Hall recital under the direction of Wessels & Voegeli. Following her great triumph in recital in Minneapolis on March 30 she was reengaged by Mrs. Carlyle Scott for another recital there next season.
St. Denis and Shawn to Dance in Baltimore
Ruth St. Denis, Ted Shawn and the Denishawn Dancers have been engaged by W. A. Albaugh for an extra performance outside of his course, on October 17.
vocal solo by Laura Sigmen, with Mrs. Hagerdorn, accompanist.
Mrs. Allen Mead entertained a large number of friends at her home with a musicale. Mrs. John Dykstra, soprano, singing several solos as a special feature.
The Radio Concert given at the Hotel Leopold was a success in every respect. The affair was sponsored by the Chamber of Commerce council members. The concert concluded the evening’s program, which was opened with selections by Rathman’s orchestra and interspersed by vocal selections.	L. V. C.
SAN DIEGO, CAL.
San Diego, Cal., March 25.—Sophie Braslau won many enthusiastic admirers among Amphion Club subscribers recently with her rich voice and vibrant personaltiy. From a very interesting program, well sung, several songs will live long in the memory, the “Vocalise” by Rachmaninoff, “On the Dnieper” by Moussorgsky, and “Eili, Eili” by Schalith. American composers were represented by a well balanced group, four songs of individuality and distinction. “Ma L’il Batteau,” by Lily Strickland, was redemanded. Miss Braslau could have chosen nothing more fitting as a triumphant close to her beautiful progran than Cadman’s “Robin Woman’s Song” from “Shanewis.” Ethel Cave-Cole accompanied with her usual excellence, adding to the artistic success of the concert.
Amphion Club Presents Resident Artists.
The Amphion Club presented three resident artists—Mrs. C. C. Kempley, soprano; Mrs. Louis Bangert, organist,
Lyric Soprano Joint soloist with
Ruffo
Gigli
Vidas
Arthur Rubinstein
Management :
R. E. JOHNSTON
1451 Broadway New York City
and Merrill Baldwin, cellist—in a delightful program. Mrs. Kempley’s voice was heard to good advantage, Mrs. Bangert showed musicianship, and Mr. Baldwin produced a lovely tone.
Under the auspices of the Southern California Music Company, San Diego had the opportunity of hearing Alfred Mirovitch again, this time in conjunction with the Ampico-in-the-Chickering piano. Mr. Mirovitch has created a real place for himself on the Pacific Coast; he has something individual to give through his art and is always interesting. He won the unbounded admiration of this audience by unfalteringly completing the Grieg ballade in Stygian darkness, resulting from a blown out fuse.
Dr. Stewart Guest Conductor with Philharmonic.
San Diego was interested in the appearance of Dr. Humphrey J. Stewart as guest conductor and composer at the third Philharmonic Orchestra concert here. Dr. Stewart has been closely identified with musical life in San Diego for several years, having played the great organ in Balboa Park since exposition days. Dr. Stewart on this occasion conducted his “Suite de Ballet” from “John of Nepomok,” a music drama written last year for the Bohemian Club of San Francisco. The composer-conductor received an ovation.
Mr. Rothwell attained great heights in his reading of Strauss’ tone-poem, “Death and Transfiguration,” a work that demands the utmost from orchestra and conductor. There were moments when Mr. Rothwell transcended himself, loosing the bonds of the individual and entering into a universal consciousness, the soul of things, making of the music at once a prophecy and a fulfillment. Tschai-kowsky’s “1812” overture was given a brilliant perform-
personnel of the quartet is: Mrs. G. I. Muirhead, Mrs. O. B. Gilmore, sopranos; Justine Shannon Black and Ruth Bit-ney, contraltos; D. G. Black and C. H. Palmer, tenors; O. B. Gilmore and Lawrence Lee, bass.	P. J. S.
PACIFIC SLOPE NEWS NOTES
PORTLAND, ORE.
Portland, Ore., April 13.—The Apollo Club’s third concert of the season took place on April 11 in the public Auditorium. Under the energetic baton of William H. Boyer the organization won a gratifying success. First came Rachmaninoff’s “Glorious Forever,” which the club sang with dramatic force. Pache’s “Evening Serenade,” sung a cappella, was also warmly applauded. Herbert Gould, Chicago basso, was the soloist. Among his principal numbers were Chadwick’s “Lochinvar” ballad and Moussorgsky’s “Song of the Flea.” Mr. Gould, whose voice is full of warmth and vigor, favored the large audience with many extra songs. The accompanists were Edgar E. Coursen and Wm. C. McCulloch, pianists, and Ralph W. Hoyt, organist. The Apollo Club numbers eighty two male voices.
Percy Grainger, pianist, favored the city with a brilliant recital April 5. The artist, who appeared under the direction of Steers & Coman, was welcomed by a large crowd. His program comprised the Bach-Busoni prelude and fugue in D major, transcribed for the piano; the Liszt polonaise in E major, Grainger’s “Colonial Song” and other classical numbers.
Henriette Michaelson, New York pianist, was heard in the last of her series of Beethoven sonata recitals on April 7 in the Museum of Art. The A flat major sonata, op. 110, which was repeated, proved a popular contribution to the excellent program. As usual, Miss Michaelson played with true, artistry.
Susie Fennell Pipes, violinist; Ferdinand Konrad, cellist, and J. Hutchison, pianist, closed their series of chamber music concerts on April 3. This time the program included the Saint-Saëns trio No. 2 in E minor, op. 92, and the Vincent d’lndy trio in B flat, op. 29. It was a very satisfying concert.
Lucien E. Becker, F. A. G. O., gave his regular monthly organ recital on the Olds memorial organ at Reed College on April 11, playing works by Fairclough, Dubois, Laurens, Moszkowski, Meyerbeer and Reger. These delightful recitals are open to the public.
On April 28, Dr. Emil Enna, president of the Society of Oregon Composers and one of the Musical Courier’s oldest subscribers, will celebrate his twenty-fifth anniversary as a concert pianist and teacher in the United States.
J. R. O.
SPOKANE, WASH.
Spokane, Wash., April 5.—Emil Eyer, tenor, who recently made his New York debut in the Town Hall, is now touring the Northwest. On March 21 he gave a splendid song recital to a very appreciative audience, at the Auditorium Theater. He used his lyric tenor voice with unaffected sincerity. The smooth musical legato he displayed in giving Mendelssohn’s “Auf Fliigeln des Gesanges,” so necessary to bring out the beauties of this song, was a credit to this young singer. His strongest dramatic effort was the air from “La Tosca.” He was recalled and encored for all his groups. His audience liked his voice and his manner of singing. He well deserved the applause he received in giving the English group. Mr. Eyer seems to have the gift of being able to sing the vowels U and I (pronounced ee) on the higher tones with the ease so necessary to sing “Als die Alte Mutter,” by Dvorak, of the German group.
D. B. K.
BELLINGHAM, WASH.
Bellingham, Wash., April 4.—In honor of Percy Grainger, pianist-composer, who appeared March 29 in the Normal School Auditorium, under the auspices of the Bellingham Women’s Music Club, the officers and committee were guests of Mrs. C. X. Larrabee. Mr. Grainger’s appearance here proved to be the musical event of the season. The Normal Auditorium was packed and every number met with enthusiastic applause. The program included four of his own compositions. Mr. Grainger was liberal with encores.
The regular monthly banquet of the Twentieth Century Club was followed by a musical program. Those taking part were Edith Strange and Mrs. Whipple (piano-four hands) ; Mrs. David Ireland, a paper on “Development of Music in Bellingham”; John R. Williams, violin solos; Maude Williams, accompanist, and a song cycle for four voices by H. Lane Wilson, sung by Messrs. Wells and Harter and Mmes. Wells and Harter.
The last meeting of the Women’s Music Club was in charge of Edith Strange, the subject being “French Music.” Those taking part were Louise Madsen, Miriam Best. Marion Ells, Nina Whipple, Elizabeth Wells, Mrs. M. A. Montgomery. Composers represented were Oiaminade, Xavier Lenoux, Debussy, Saint-Saëns, Raoul Pugno, Rene Rahey, Delbruck and Delibes.
The Lincoln Parent Teachers’ Association was entertained with a group of Scotch songs, sung by A. B. Penny-cock, Mrs. Maynard accompanying; readings by Frances Durham and Cecil Long; piano solo, Prof. T. Leil, and a
Only Vocal Teacher, MAESTRO ENRICO ROSATI Will Open
His Singing Studio in New York on October First APPLICATIONS TO MAESTRO EMILIO A. ROXAS, 2231 BROADWAY
GIGLI'‘
Management :
R. E. JOHNSTON
1451 Broadway New York City
JOHN CHARLES THOMAS
POPULAR AMERICAN BARITONE Available Entire Season 1922-23 for Concerts, Recitals, Oratorios