29
MUSICAL COURIER
May 11, 1922
greatest recompense and repays one for all the work and mental effort.” Mr. Sorrentino’s season has been a very long and successful one, beginning October 6 and ending June 1.
Mildred Bryars Features Vanderpool Song
Mildred Bryars, contralto, who, under the management of Walter Anderson, has sung in many concerts in the last month, recently wrote to notify Frederick W. Vanderpool that his new song, “Come Love Me,” had been the hit on her programs, and that she had used it in places as widely scattered as the Festival at Lindsborg, Kans.; the Glee Club concert in St. Thomas, Ontario, Canada; the Rubinstein Club, in New York, and also at the music clubs in Fredonia, N. Y., in Lowell, Mass., in Providence, R. I., in Flushing, L. I., and also when she sang at the radio concert in Newark, N. J., from the “WJZ” broadcasting station.
Adelaide Gescheidt Pupil Wins Musical Comedy Success
Rosamond Whiteside in one week learned the prima donna role of Marjoline (the recent success of Peggy Wood), and scored a distinct “hit.” Quick learning is one of the results of study with Adelaide Gescheidt; all her artist pupils are known for this trait.
of many^ who wish to study with him, he will stay in the metropolis. Master classes will be held by him during the months of May and June, thus providing many local aspirants of the East an opportunity to study with this high class authority, whose many pupils are heard in concerts, musical comedies, comic operas and in church work.
Klibansky Pupils’ Activities
Lattice Howell appeared in a recital at Buena Vista, Va., April 17, at the Southern Seminary; she will be the soloist with the Rubinstein Club on May 6, at the Waldorf-Astoria Hotel, annual breakfast; May 12 she appears in concert in New Orleans, La. Alveda Lofgren appeared as soloist with the Mariners’ Lodge at the Masonic Temple, New York. At a concert given under the auspices of the American Legion, Larchmont, N. Y., April 20, the following artist pupils of Mr. Klibansky appeared: Adelaide De Loca, Alveda Lofgren, Walter Preston, Grace Marcella Liddane and Juliette Velty; Mary Ludington was soloist and accompanist.
Sorrentino in Mount Vernon
Umberto Sorrentino, tenor, appeared as principal soloist with the^ Mount Vernon Men’s Glee Club, April 20, and had a splendid success; he had to give five encores. Later, in a letter, he said: “I am so happy; you know that we singers are really happy when we make successes and sing well. For one to know that the audience likes the singer is the
WHAT THE JURY THINKS
[The music critics of the New York dailies constitute the jury in the appended extracts from criticisms which have appeared in our local newspapers. Many concerts and operas are given in the metropolis, and the following day the critics agree or disagree on the merits or demerits of the performer. However, on most occasions the writers do not agree, and this department is run for the purpose of reproducing some of the flat contradictions, showing that, after all, the review constitutes but the personal opinion of the critic who covers the performance,—Editor’s Note.]
N. Val Peavey, Pianist, April 18
American	Herald
Mr. Peavey . . . played such His style was not always clear technical tests as Haydn’s vari- or incisive and he struck no ations and Beethoven’s sonata, few wrong notes, op. 27, with precision, brilliancy and tonal beauty.
Luella Meluis, Soprano, April 18
Herald	Sun
Her intonation was correct.	She broke faith often with
the pitch.
Michael Banner, Violinist, April 24
Evening Mail	Evening World
Mr. Banner still draws an ap The tone disclosed last night pealingly sweet tone.	was a bit dry.
Mengelberg, Conducting Beethoven Symphony, April 26
Herald	American
On the whole it was a finely The performance of the great wrought, deeply felt and remark-	choral symphony . . . was not
ably finished performance of the thoroughly elaborated and fin-great symphony.	ished in details. It was a good
workmanlike performance on the whole but not inspiring.
Tribune	World
- The choral portion was in the The chorus work was gener-highest degree creditable to the ally poor.
Oratorio Society.
Marjorie Squires, Contralto, April 23
World	Evening World
Her voice is excellent through- There are a couple of weak out its compass—clear and free spots in the middle register and, at the top, mellow without huski-	in such a song as Stephen’s
ness at the bottom, large and	“Separation,” for example, the
resonant.	final low notes seemed to lack
the volume necessary to make an effective finish.
Sykora the Pioneer of the Orient
These days one hears a good deal about artists going to the Orient for concert tours. Leopold Godowsky leaves soon and Mischa Elman and Schumann Heink have already been there. Plans are being made from time to time for singers and instrumentalists to appear in Japan, China, etc., so that when one considers the fact, the question at once arises in one’s mind as to who was the pioneer?
The Japan Advertiser of February 19, 1921, throws a little light on the subject: “As Mischa Elman, the world famous violinist, begins his tour of Japan with a series of concerts at the Imperial Theater of Tokyo, Bogumil Sykora, one of the foremost living cellists, takes his departure from the shores of Japan, after having literally opened the doors in this Far Eastern country to western classical music. Mr. Sykora has just completed his final tour in Japan—a tour of exceptional success in that he has been received with acclamation and enthusiasm everywhere. The cellist, after two farewell private concerts in Tokyo and Yokohama on February S and 6, has given eight concerts in the Japanese provinces. The size of the audiences at these more or less out of the way places, where school houses or churches were generally the best halls which could be secured, alone attests the popularity of the artist and the hold he has on the people of Japan.
“Mr. Sykora is immensely popular in Japan. At Okayama he was given an ovation in the streets of more than a half-hour’s duration. At Kurashiki, where no foreign musician had ever appeared, the mayor and all the leading citizens gave him a big reception. A large number of residents of Kagoshima went all the way to Kumamoto and Fukuoka to greet the cellist who was to come to their city within a few days. It was Sykora’s first appearance in Kagoshima, and both in the afternoon and evening the streets through which he passed were lined several persons deep, who gave him an ovation of an hour’s duration.”
Mr. Sykora is at present making his headquarters in Cicero, 111. He has been filling a number of concert dates in and around there. Last month when he played for the Woman’s Club, of Cicero, one of the dailies said in part: “Mr. Sykora, who closed the program, an artist unknown to almost all, came, played and conquered. He has depth of feeling, temperament and technic and an absolute mastery of his instrument, and all who came under the spell of his wonderful playing marvelled.”	V.
Mary Mellish Scores in Mexico Recital
Mary Mellish, Metropolitan soprano, who appeared as soloist with the S.t. Louis Symphony Orchestra in Urbana and Decatur, 111, on April 24, gave a recital at Harding College, Mexico, Mo. After her very successful performance, her managers, Haensel and Jones, were in receipt of the following telegram from George May, the director of music of the college: “Mellish triumphed last night. Success assures her a big future throughout the State. A large number of delegates from St. Louis and Kansas City attended the concert and gave the artist an ovation. Many thanks and congratulations.”
(Signed) George May, Director of Music.
Miss Mellish joined the Scotti Grand Opera Company at Birmingham, Ala., on May 1, and will continue with that organization to the conclusion of its Spring tour.
Francis Stuart’s Master Classes
For years past Francis Stuart, of Carnegie Hall, New York, has spent his summers in California, where he attracted many leading singers of the western coast as temporary pupils. This summer, however, owing to the urging
LONDON
WELCOMES
FLONZALEY
QUARTET
In Their
Annual Spring Recital
“The Flonzaley Quartet began the program with a very fine performance of the Beethoven opus 127. The clearness and incisiveness of their playing in the third movement, and the extraordinary vitality infused into the interpretation of the finale were remarkable. It was in the treatment of the slow movement that the more subtle qualities of style were best shown, for the complexity of writing demands the utmost flexibility in the interdependence of the players.”—London Times.
For Terms and Dates
Address LOUDON CHARLTON
Carnegie Hall, New York