May 11,1922
43
MUSICAL COURIER
only class, which is bad for the summer. We plan the work of every student, exacting a certain amount of practice. The pupils all live with us, banded together for work and recreation. Under such conditions we can accomplish six months’ work in six weeks, and send our pupils back built up in body and rested in mind.”
The high standing of the Miller-Van der Veer combina-
THE MILLER-VAN DER VEER SUMMER SCHOOL
tion, their many tours with leading orchestras from coast to coast, their constant appearances in New York and large cities as soloists, all this, together with last summer’s experience at Bolton Landing with a similar class of pupils, spells success for their venture.
Marie Sundelius to Join Scotti
Marie Sundelius, soprano of the Metropolitan Opera Company, in May will sing at five of the important spring music festivals before joining the Scotti Grand Opera Company for the last two weeks of its Southern tour. Mme. Sundelius will appear at the Danville (Va.), Spartanburg (S. C.), Greensboro (N. C.), Newark (N. J.) and Mt. Vernon (la.) festivals.
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.
sign before the bass note G is missing on page five, measure three. The composer wrote the poem; hence fine unity of thought and music.
“Grey Rain” is an example of successive sounds which do not make what is called “music.” Such sounds must be given a name, for it most certainly is not what we call music. Chords composed of five or six neighboring whole tones, a vocal part _ which disagrees entirely with the accompaniment, a series of whole tone passages, with endless succession of dissonances, lead into a final chord on the tonic (At last). “To Miss Hattie.” “Lad and the Moon” is a beautiful song, text by Thomas P. Byron (Everybody’s Magazine), it being a song of the wanderer, the roamer, one who suffers travel hunger, the explorer, if you will; “anywhere but here.” “Ho for the day,when I sail away,” “You’ll follow the trails till you die,” it goes. It is a fine song in every respect, with big variety, sure to make a hit. “To My Mother,” range from low C to high F (optional G).
(G. Schirmer, Inc., New York)
“SCHLUMMERLIED” (for Piano)
By Franz Liszt
Carl V. Lachmund, Liszt pupil in the ’80’s, the present writer well recalling him (for “the Lachmunds” were on almost familiar terms with the septuagenarian of that time), tells in a foreword of his obtaining the manuscript of this “Slumber Song” from Liszt’s secretary-butler-valet, presumably the result of a studio clearing. A fac-simile of the first page is printed with the work, which, while it is interesting in a way, is not in the master’s best style.
Mr. Lachmund withheld publication of the piece so long because he expected to print it in his memoirs of Liszt, now in preparation, a work of 600 pages of verbatim notes, made during the Weimar lessons. The little piece begins with the unaccompanied theme, legato, quiet, continues with sixteenth notes and melody intertwined, and ends with two notes only, dying away on the second and seventh intervals of the scale. It was played for the first time in public on November 12, 1921, in Aeolian Hall, New York, by John Powell.
The Reed Millers’ Summer School
. Reed Miller, well known tenor, prominent in the musical life of the nation for two decades past, and Nevada Van der Veer, contralto (Mrs. Miller), will again this summer gather around them a group of serious vocal students at their summer home, Bolton Landing, Lake George, N. Y. Henry Holden Huss, the Homers, Mme. Sembrich, Alma Gluck, Olive Kline, and others, have summer homes on this lake, which is in the Saratoga section. Here they have a fine old country house of three floors, with splendid big studios on the top; one of them is fifty feet long. Large verandas, splendid foliage, the water near by, and a natural outdoor home life, all this conduces to ideal comfort and summer study.
“We limit our class to twenty,” said Mr. Miller, “because more than that seems to put us into the hard-work-
REVIEWS AND NEW MUSIC
BOOKS
(The MacMillan Company, New YorkI
AMY FAY’S “MUSIC STUDY IN GERMANY”
By Amy Fay
That first and perennially blooming book about music study abroad, Amy Fay’s “Music Study in Germany,” which has had nine printings since 1896 and goodness knows how many in between that and 1880 when it first appeared, is just out in a new edition, printed, however, from decidedly old plates. The interesting addition is a new prefatory note by Oscar Sonneck. Any student or any other music lover who has never read this book has missed one of the most interesting contributions in English to the literature of music —a classic, in fact.
MUSIC
(/. Fischer & Bro., New York)
SONG WITHOUT WORDS By A. Walter Kramer
This song, which has already been reviewed, is now issued in the form of a three-part chorus for women’s voices. It is, apparently, exactly the same as the original solo, but certainly more attractive in its present form. Mr. Kramer has a wealth of real melodic invention—rare in these modernistic days—and is not afraid to write a tune. The result is effective.
(/. Fischer & Bro., New York)
“SPRING AND WINTER” (Chorus for Mixed Voices) By G. Ferrata
This _ is an amusing piece on the poem by Shakespeare. The spirit of it is best illustrated by the line, “The cuckoo then on every tree mocks married men”—and the music mocks and laughs with great j^ood nature. The music is somewhat difficult for the voices and the piano accompaniment is by no means easy, but the whole composition is very much worth while and worth the trouble it might cost to get it rehearsed for a proper rendition.
(/. Fischer & Bro., New York)
‘SILVER”
By Victor Harris
This lovely song is now issued in the form of a four-part chorus for women’s voices, and its effectiveness was noted in the comment on the last concert of the season of the St. Cecelia Club, where it was heard for the first time and to whom it was dedicated. It is a very lovely composition, more impressive as a chorus than in its solo form. The voice parts are so cleverly written that it seems not at all difficult in spite of the complicated harmonies. A most original and graceful work!
F* I A IM 1ST
SEASON 19221923־ Dates Now Booking
STEINWAY PIANO HAENSEL & JONES, Aeolian Ha’I, New York
(Mrs. George McManus)
SOPRANO
30 Central Park South New York City
SOPRANO
Direction: J. H. FITZPATRICK, Windeor-Clifton Hotel, Chicago, 111.
IM Ail KlIM
Florence McMANUS
ernest blogh, Musical Director
3146 EUCLID AVE., CLEVELAND, OHIO Mrs. Franklyn B. Sanders, Executive Director
VIRGINIA GILA , l^c־ ¡Soprano
“A Voice ot Distinctive Charm״	Now Boohing for Season 1921-1822
CONCERT ORATOHIO OPERA
Address: 1014 Division Street	~ , ..
______ _______________________________Camden, New Jersey
Я
DUTCH VIOLINIST
Preparatory Teacher to
Studios: 20 Hemenway Street Boston
R
YU
(G. Ricordi & Co., Milan, New York)
SONATA FOR CLARINET AND PIANO, Op. 31 By Giacomo Setaccioli
This is a beautiful work, and its publication does honor to the house of Ricordi. It is rare that modern composers with ideas risk them in compositions of this nature. They prefer, quite naturally, to use the best of their musical inventions in such compositions as will be frequently played, compositions for instruments or combinations of instruments that are popular on the recital stage. It is all the more surprising, then, to find Setaccioli writing all of this beautiful music in the form of a clarinet sonata. Not that the clarinet is a poor recital instrument. Quite the contrary— it is a great pity that it is not more often heard as a solo instrument. _ But the fact is, it is not, and the performances of this beautiful work are sure to be few and far between, at least in America. The sonata is in three movements—allegro appassionato, larghetto, allegro enérgico. _ It is brilliant—that is, technically brilliant for the solo instrument—and harmonically exquisite throughout, with a harmony that is modern and contrapuntal and suggests the possession of a fine technic on the part of the composer, and at the same time great refinement of feeling. It is to be hoped that the clarinetists of America will “discover” it and give it a hearing.
(G. Schirmer, Inc., New York)
“THREE MOOD POEMS” (for Voice)
By Hubbard Hutchinson
“Ecstasy,” “Grey Rain” and “The Lad and the Moon” are in this set, which show wide variety of musical construction and inspiration. Indeed, many people will pronounce the first and last songs the product of inspiration, and the second (“Grey Rain”) a product of perspiration, so greatly do they differ. “Ecstasy” is a fervent spring song, with fluent melody, much natural modulation, and variety of_ key and contents. “Eagerly, hurriedly, yet restrained” is marked in the second part. Splendid climax, with modulatory chords, not easy to play, lead up to the finish, the dissonances resolving as they should into concords^ and with a glissando of the black keys leading to the soprano high tone, the song ends joyously. A natural
FRANCES NASH
Chickering Piano Ampico Records
American Pianist
Under the Direction of Evelyn Hopper, Aeolian Hall, New York City