MUSICAL COURIER
52
May 4, 19 22
Masons in the Empire State, was received by the stage director of the Metropolitan a few days ago:
At brilliant Masonic luncheon today the name of Frances Alda was cheered when I presented her as the star of the Masonic Opera Night, May 6. Her name was megaphoned to thousands assembled here. Please offer Mme. Alda my personal assurance she will get reception of her career May 6.
Walter Spry Successful as Chopin Player
A popular ovation was given Walter Spry at his appearance as piano soloist in the Columbia School concert, March 19, at the Playhouse, Chicago. The critics were unanimous in their praise of Mr. Spry as a Chopin interpreter. During the past month this artist has also filled engagements as
WALTER SPRY, pianist.
a lecture-recitalist, giving a program of composers ranging from Bach to Debussy.
Mr. Spry has featured in some recitals his new waltz, “Moonlight Dreams,” published by Carl Fischer of New York. An important engagement this spring was his lecture-recital, “Modern Music and Its Sources,” before the Wisconsin Music Teachers’ Association.
During the coming Summer Session at the Columbia School of Music, Chicago, Mr. Spry will be one of the leading piano teachers, and besides private lessons in piano technic and repertory he will hold classes in interpretation, thereby giving teachers the opportunity to observe the training of pupils of all grades of advancement.
Mrs. Fletcher-Copp’s Work in Akron, Ohio
The Fletcher-Copp method, which originated in Boston and has been well spread throughout the United States as a means for developing musicians, both as to singers and instrumentalists, has such a strong hold in Akron, Ohio, that Mrs. Fletcher-Copp is now located there. She says this method is as scientific as mathematics, and when properly taught develops reasoning power, memory and mentality to surprising degree. In Akron a Fletcher method pupil won first prize for the best recitation, learning a long poem in three hours’ study. Another Fletcher method pupil was distinguished for the best poem, both these pupils developing along the lines of the method.
“The modern child is lazy or indifferent,” said Mrs. Fletcher-Copp on a recent visit to New York, “and to overcome this we teach the reasoning powers. Time is wasted in the study of music in most public schools; from seven to fifteen, that is the time when young students should be well grounded in music. After three years of study, pupils of the Fletcher method system read at sight, and have a clear understanding of what they are doing.”
That this method might continue in the public schools of Akron, over one hundred parents combined to form a guarantee fund, so that the personal work of Mrs, Fletcher-Copp is now concentrated in the “Rubber City.”
Burke to Sing with Kansas City Opera
Tom Burke, operatic and concert tenor, will give a recital at the Academy of Music, Philadelphia, May 18, under the auspices of Cardinal Dougherty, and for the benefit of the Catholic Home for Destitute Children. Mr. Burke has also been engaged for three performances with the Kansas City Opera Company the week of May 22. He will sing the role of Guglielmo in “Mignon,” of Manrico in “Trovatore” and the title role in “Faust.”
Schumann Heink Pays Tribute to La Forge
Mme. Schumann Heink’s recognition of an American artist brought spontaneous applause from the great audience at her recent Sunday evening concert at the Hippodrome. She had finished singing Frank La Forge’s “Flanders Requiem.” Turning to a box where the composer sat, Mme. Schumann Heink pointed him out to the audience and refused to go on with the program until the popular musician arose and acknowledged the applause.
Two of Arthur Ffackett’s May Dates
Arthur Hackett’s May concert engagements include appearances in Youngstown, Ohio, on the 5th, and Worcester, Mass., the 23d. In Youngstown he will sing the tenor role in Coleridge Taylor’s “Hiawatha’s Wedding Feast.” His appearance in Worcester, the town in which he was born, will be with the Holy Cross Musical Club.
longed applause which followed each number of the program. Miss Smith is one of the best sopranos ever heard in Wolfville. She captivated her audience with the sweetness and clearness of her voice, which was equally good in all registers. In addition to the eighteen numbers of her program, she was forced to respond to six encores.
De Kyzer Charms Oil Region
Marie De Kyzer appeared recently as soloist in concerts at Oil City, Franklin and Meadville, Pa., and made a tremendous “hit,” to judge by the splendid notices, quoted below:
Marie De Kyzer, soprano, completely carried away her large audience at the »Second Presbyterian Church last evening. She sang with a simple charm all her own and her auditors were with her from her first appearance on the platform. To say that it was a fine concert is ironical—it was far more than that; it was exquisitely beautiful. .	.	. Marie De Kyzer is possessed of a wonderful
soprano voice of great smoothness and carrying power, and it carried right into the hearts of her hearers. Many declared that she is the best singer that ever sang in Oil City.—Oil City, Pa., Derrick, April 8, 1922.
Miss De Kyzer is a thoroughly finished artist, ranking with the best sopranos in the country, and she pleased as have few stars of her magnitude who have visited the city. Her voice is beautiful, of wide range and superb tonal quality, while her charming personality carries her audience with her e.very minute...........The
church was well filled with an audience that was most appreciative and she sought to please everyone with her widely varied program. She sang selections from the most difficult and highly classical to the simple little melodies that appeal to those of simpler tastes. In every number, simple or difficult, she was an artist who knows perfectly how to handle her sweet voice at all times. Especially delightful were the numbers “Elegie” and “By the Waters of Minnetonka,” with violin obligato by Louis Roess. In the number. “The House That Jack Built,” her perfect enunciation was especially noticeable.—Franklin, Pa., News-Herald, April 8, 1922.
The auditorium of the First M. E. Church was ׳packed to the doors, Thursday evening, and it was a brilliant scene, the occasion being the production of Handel’s oratorio, “The Messiah,” by the Meadville Choral spciety, Marie De Kyzer, soprano. Miss De Kyzer was given an ovation on her appearance. It was some time before she could begin singing her part, so great was the applause of the multitude before her. Miss De Kyzer has a wonderfully sweet voice, every word uttered being distinctly heard, and her fame as a soprano soloist has been won solely on merit. It was a musical treat for her hearers, who were held spellbound, and when she had finished the applause was tremendous and of long continuance. Miss De Kyzer also received a basket of flowers.—Meadville, Pa., Tribune-Republican, April 7. 1922.
Clara Deeks Makes Flit at Debut
Clara Deeks, soprano, is one of the few young artists who are fortunate enough really to attract special attention from the critics when making their New York debut in recital. That Miss Deeks did this is evident from the extracts from the notices printed below. This season Miss Deeks has had a goodly number of engagements which have brought her fresh successes, among them appearances as joint soloist with Titta Ruffo, Beniamino Gigli, Raoul Vidas and Arthur Rubinstein.
In such difficult arias as the “Deh Vieni” from “Le Nozze de Figaro” and Handel’s “Come and Trip It,” Miss Deeks disclosed a beautiful voice of light lyric range and quality. Her voice schooling was broad and secure, her diction good and her knowledge of style admirable. Her intonation was correct. Her general ease of manner and charm of person were no small assets in her favor. Seldom is a young singer heard in a debut recital whose work so clearly pronounces future success.—New York Herald.
Voice and personality combine in this artist for the happiest effects of interpretation, and her program yesterday displayed both individuality and charm.—New York Evening Mail.
Clara Deeks bids fair to follow in the footsteps of her distinguished tutor, Marcella Sembrich. It is rarely that a musical debutante makes so favorable and definite an impression as Miss Deeks did. Her voice is beautiful as a flute. It is fresh, flexible and most sympathetic. She- sang Secchi’s “Lungi del caro bene” in a manner that charmed as much for its delightful quality as for its dramatic significance.—New York American.
Her voice and presence alike, had rare animation, a quality of brightness best shown in simpler songs in English by Mrs. Maley, Proctor, Leighter and Schindler.—New York Times.
Constance Beardsley’s Success in San Francisco
Constance Beardsley, of New York, but spending a year on the Pacific Coast, gave a recital under the patronage of prominent men and women of San Francisco, April 4, including Archbishop Hanna, Mrs. Edward J. Tobin, Mrs. Herbert Moffitt, Mrs. Sigmund Bauer and Maude Fay. The San Francisco Bulletin captions a notice of the affair “Madame Beardsley Delights Hearers,” continuing :
One of the most charming musical affairs of the season delighted San Francisco music lovers yesterday afternoon, when Constance Beardsley gave a “musicale intime” at La Gaite Française. Mme. Beardsley, who completed her studies in Paris under Josef Hofmann, has appeared in salon recitals at the foreign embassies and has appeared with the leading artists and symphony orchestras of the United States. Her introduction of “An Hour of Intimate Piano Music” comes as a noteworthy addition to the city’s musical activities.
Mme. Beardsley aroused the greatest enthusiasm in her artistic and subtle interpretation of three Debussy numbers—“La Cathedral Engloutis,” “Claire^ de Lune” and “Arabesque.” Her fine sympathies and exquisite technic also found splendid expression in a Chopin group, which included mazurka, waltz and the “Funeral March” from B minor sonata and the “Revolutionary” etude.
The delightful program opened with a Bach fuga and concluded with Rachmaninoff’s “Serenade” and “Polichinelle,” all of which served to display Mme. Beardsley’s power as well as her finesse.
Waterloo Wants Return Recital by Flans Fless
A success such as has seldom been accorded an artist in Waterloo (la.), was scored by Hans Hess at the entire cello recital he gave there recently. His success is attested in the following:
The recital given by Hans Hess .	.	. was of such artistic
character as to emphatically call for a return date. Few cellists dare attempt an entire recital. The audience made up of Waterloo s sincere music lovers showed its appreciation in a marked manner to such an extent that this concert by Hans Hess will long be remembered as one of the best ever heard in our city. Simple and gracious in demeanor, Mr. Hess played with a sincerity that touched the hearts and thrilled his hearers as only a few can do. It was real music of the highest art and people who could not attend this concert were unfortunately the losers. Caruso never sang with more beauty of tone and technic than Hans Hess plays his wonderful Bergonzi cello.—Waterloo Times Tribune, March 26, 1922.
Masons Flonor Frances Alda
In connection with the special performance of “Boheme” to be given at the Metropolitan Opera House on the evening of May 6, under the auspices of the High Twelve Club for the benefit of the Masonic Home for Disabled Soldiers and Sailors at Utica, N. Y., the following telegram, signed by Maurice Frank, one of the most prominent
EDWIN HUGHES
THE EMINENT AMERICAN PIANIST
Management: RAOUL BIAIS	New York City	Personal Address:
1425 Broadway	Steinway Plano 316 West 102nd Street
Coach and Accompanist to
MARTINELL1
for six years
Vocal Coach Studio: 2231 Broadway, New York vocai toacn	phone Scll״yler 6S98
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HENRY F. SEIBERT
CONCERT ORGANIST
Trinity Church,.......Reading, Pa.
Allen McQLHAE
Tenor
Management MUSIC LEAGUE OF AMERICA 8 East 34th Street, New York
MRS. EDWARD MacDOWELL
Programs of MacDowell Music
Proceeds of these recitals revert unreservedly to the MacDowell Memorial Association.
Address: PETERBORO, NEW HAMPSHIRE.
STEINWAY PIANO
John BLAISD tenor
Master of Calvary Choir	VOICE PRODUCTION
ARTHUR R. HARTINGTON, Assistant
20 East 23rd Street, New York. Telephone 328 Gramercy
MEZZO-CONTRALTO
Voice Builder and Coach
Studio: 235 West 102nd St., New York Phone: River 6400
—FOSTER
H EMPEL
. Coenraad V. Bos, Pianist y Louis P. Fritze, Flutist For Dates Address:
Assisted
Management of Frieda Hempel
164 Madison Avenue	New York
Mme. SCHOEN-RENE
will accept only a limited number of talented pupils for her NEW YORK MASTER CLASS From October—May, 1922	Berlin, June—October, 1922
Apply in writing to Secretary,
The Harding, 203 West 54th St., N. Y.
Phone: 2500 Circle
OLIVE NEVIN
SOPRANO
Mgt. DANIEL MAYER	Aeolian Hall, New York
SOUSA AND HIS BAND
JOHN PHILIP SOUSA, Conductor
Now Booking Season 1922-1923
HARRY ASKIN, Mgr.
1451 Broadway	New York
GILJSEF״F״E
AGOSTINI
Original Rudolfo in “Boheme”
GUEST-ARTIST SAN CARLO OPERA COMPANY UNTIL MAY.
Address Communications:
A. BAGAROZY, 35 West 42d St., New York
LEON RAINS
VOCAL INSTRUCTION
Studio : 292 West 92nd Street -	- New York
Telephone Rlveralde 14(•