May 18, 1922
MUSICAL COURIER
58
I SEE THAT
Claudia M.uzio will divide her operatic appearances next season between the Chicago Opera and Monte Carlo.
Rena MacDonald, L. E. Behymer’s representative, is in New York.
Rudolf Ballin, husband of Mme. Pappenheim, noted singer, is dead.
Beatrice MacCue has returned to New York after a three months’ stay in Miami, Fla.
Grace Kerns was soloist at the funeral services held for Henry P. Davison.
M. H. Hanson has undertaken the exclusive management of the New York Trio.
The Bush Conservatory, Chicago, recently organized a Symphony Training School Orchestra.
Jules Falk, violinist, is filling ninety-four engagements this season.
Tito Schipa has been appointed a captain of the police by Commissioner Enright.
Myron W. Whitney will teach voice at the David Mannes School next season.
Frederick Gunster is meeting with success on tour with Geraldine Farrar.
Manfred Malkin is as clever at talking as he is at playing.
Tetrazzini has written a book which she has entitled “My Life of Song.”
St. Louis, Mo., observed Music Week on a large scale.
Bruno Walters’ resignation as director of the Munich Opera has caused a musical crisis in Munich.
Frieda Hempel will sail on the Aquitania on _ May 23.
Ebba Fredericksen won the Lyon & Healy prize of a $500 violin presented ,to the most talented member of Czer-wonky’s class at Bush Conservatory.
Ysaye has resigned as conductor of the Cincinnati Symphony Orchestra.
John McCormack has arrived in London and cabled that he is “feeling fine.”
Auditions for singers and instrumentalists who would like to appear this summer at the Stadium concerts will take place from about May 15 to June 1.
The Philadelphia Orchestra will give three sets of concerts in Pittsburgh next season instead of five.
Cantor Rosenblatt has dedicated his latest composition to Edwin Franko Goldman.
J. Anthony Atchison has made a bust of Caruso for the Washington Opera House.
An article on page 11 tells what the Beethoven Association has accomplished.
The piano on which Wagner composed most of the “Ring” is being brought to America.
Mme. Calve has adopted Juliet Griffiths Mosher as her protegee.
Rudolph Reuter recently made his ninth appearance this season in Chicago.
Isabelle Whitehill sailed for London last Tuesday to join her husband, Clarence Whitehill, who is singing at Covent Garden.
The Music Industries Chamber of Commerce will hold a six days’ conference at the Commodore, beginning June 5.
There will be a great Franco-American festival at the Paris Opera early in June.
R. E. Johnston has an extensive list of attractions for next season.
Rene Benedetti is the winner of the Edouard Nadaud prize of the Conservatoire, Paris.
In a recent interview Schumann Heink Said that every American is a musician.
The Commonwealth Idea, a publication, stated that John McCormack has more friends than any other singer in the world.
Edwin Grasse has been elected an honorary member of the Johns Hopkins Orchestra Association of Baltimore.
James Price appeared on two occasions at the Spartanburg Festival.
William Wade Hinshaw made a fine profit during the past season giving grand opera in English.
Ruth St. Denis, Ted Shawn and the Denishawn Dancers began their London season on May 15 at The Coliseum.
The American Institute of Applied Music has formed an alumni association with McCall Lanham as president.
Elizabeth D. Leonard conducts the Cecilia Society of Ridgewood, N. J.
There were over 1,000 attendants at the Mozart Society’s thirteenth annual breakfast on May 6.
Nellie and Sara Kouns were soloists at the final concert of the Troy Vocal Society this season.
Marguerite D’Alvarez sang before a packed house at the Auditorium Theater in Chicago on May 9.
Vera Curtis again substituted in a leading soprano role at short notice.
Chamlee and Reddick have been elected honorary members of New York University by the class of 1922.
The Letz Quartet has added the Cincinnati College of Music to the long list of educational institutions where it will fill engagements next season.
A. V. Broadhurst ,of the London branch of Enoch & Sons, arrived in New York last Friday.
Sixty students at the Institute of Musical Art are eligible for artists’ diplomas this year.
Charles Hackett scored a tremendous success in his first performance of “Tosca” at the Opera-Comique.
Magdeleine Du Carp, the French pianist, will not return to this country until the season 1923-24.
Tandy MacKenzie, lyric tenor, has left for San Francisco, en route to his native Hawaii.
Samuel Selwitz has opened managerial offices in Chicago.
Leone Kruse is the name of another pupil of William S. Brady who will enter the concert field.
Helen Fogel has been referred to as a “wonder child” pianist.
Rochester keenly regrets the conclusion of Joseph Bonnet’s ten weeks’ engagement as a member of the faculty of the Eastman School of Music.
The seventh annual convention of the State Music Teachers’ Association was held recently in San Antonio.
Owing to a severe cold, Schumann Heink has had to cancel the remainder of her spring tour.
New York is to have another symphony orchestra, with Dirk Foch as conductor.	Q,
tuoso pianist, justified her reputation of one of the world’s great musicians.” Nellie Z. Smith, in the Pacific Grove Review, pronounces “Miss Blye’s recital by far the finest ever heard on this Peninsula.” Mabel G. Young, in Carmel Pine Cone, February 13, calls Miss Blye “an artist of the highest type.” The Woodland Democrat, December 10. says, “she played her way into the hparts of a sympathetic audience.” Sheldon P. Patterson in the San Jose Mercury Herald, March 5, calls Miss Blye “an artist of extraordinary gift and accomplishment” and writes of “her superior
BIRDICE BLYE,
at Sunset Cliffs, Cal.
artistry, grace and delicacy of performance” and “mastery of the piano.”
Peterson Delights Lewiston, Me.
May Peterson never seems to fail an audience. Not so long ago the attractive soprano of the Metropolitan Opera Company at the eleventh hour was called to Lewiston, Me., to appear before the Orpheon Club in place of Mme. Las-hanska, who was indisposed. Not only did Miss Peterson come up to all expectations, but she also did more—she made such a splendid impression that they want her back again.
The Lewiston Evening Journal said:	“As for May Pe-
terson, the eleventh hour artist, why, the silver lining of the dark cloud that overshadowed the Orpheon concert for two or three anxious days, turned out to be a lining of pure gold. Perhaps May Peterson will come to us again and then we shall greet her as she deserves—with a crowded house; but anyway, it was the Orpheon and its indefatigable president, Dr. L. R. Lafond, who had the honor of introducing her to Lewiston, and a prima donna of such piquant charm, such fresh and youthful liveliness and such a glorious voice this city has rarely heard. After a brief explanation of the changes on the program necessitated by the unexpected illness of Mme. Lashanska, who was to have appeared at this concert, dainty May Peterson stepped forth to console the audience, who straightway forgot their need of consolation in contemplation of the graceful figure draped in turquoise and gold brocade and the animated face. As prima donna Miss Peterson is refreshing in her unaffected simplicity, her youth and her vitality. Not having heard Miss Peterson in opera and only in one aria of a light and buoyant type, we shall think of her, first of all, as a poet who expresses herself in song Each of her five programmed songs was a tone poem, full of delicate color and graceful form and imagination. She has a sense of humor and plenty of youthful verve. Unlike many singers, Miss Peterson can give full expression to the thought without any sacrifice to tonal quality. The thought 1 That is what this artist always tried to bring out. That her audience may become better acquainted with her songs she gives a brief but breezy description of their content—and, by the way, her speaking voice is singularly musical and pleasing.”
In commenting upon her voice, the same critic said: “Her voice is a most unusual one, of crystalline clearness and purity, admirably even through its whole range, limpid and lovely in its high notes and very appealing in its lower tones. Her intonations are always satisfying . . . Lewiston people will long remember May Peterson’s voice—and her smile.”
Lillian Croxton Entertains Large Audience
On April 25 the Fraternal Association of Musicians gave a musical evening at which Lillian Croxton, coloratura soprano, delighted a large audience by singing compositions by Handel, Shaw, Verdi and others, all of which were artistically sung. Mme. Croxton has a delightful coloratura voice, extremely clear and of fine quality. She has given several programs throughout the season at various places at which she has always been successful. Several new programs are being arranged by her for the coming season.
Dickson Work Appreciated
John Colville Dickson, conductor of the chorus choir of the First Presbyterian Church of East Liverpool, Ohid, presented “The Seven Last Words of Christ,” by Dubois, on Easter Sunday evening. The work was so well received that a second performance was given the following Sunday evening at Beaver Falls, Pa.
Connecticut S. F. M. C. Convention May 25
The Connecticut State Federation of Music Clubs will hold its annual convention at the Hotel Stratfield, Bridgeport, May 25. Mrs. Harry C. Ives, president of the Bridgeport Wednesday Afternoon Society, will have general charge of arrangements, and Mrs. John C. Downs, State president, will preside.
MUSICAL COURIER READERS
May 8, 1922.
To the Editor, Musical Courier:
May I take this opportunity to write a few words of appreciation of the article by Eugen Putnam which appeared in the last number of the Musical Courier. This article was of great interest to me, bringing up, as it did, the fact that research work was being done covering the origin of various folk songs. It was especially interesting because it referred definitely and published a variation of one of these songs, “The Yellow Rose of Texas,” which I had been familiar with for many years in a slightly different variation but which I had never seen published nor mentioned musically in any way and about the origin of which I had always been intrigued.
I hope that Mr. Putnam’s work along these lines will be continued and that musicians generally will show the interest in research of this kind which the old songs really deserve.
Yours very truly,
(Signed) R. D. Humphreys.
May 8, 1922.
To the Editor, Musical Courier:
- Mr. David Mannes has suggested your name as one who might be able to help us get a piano for the use of a teacher of English to foreign born people in he upper East-side. These classes meet in a Library in an upper room, and every once ,in a while the teacher gives a simple social evening, when her pupils get together to practice their newly learned English and to experience a little friendly intercourse.
There are many different nationalities—for some of the foreign women, especially the Italians, it is a great adventure to get beyond their own .walls—a little music breaks the ice. I have heard Italians, Spaniards, Hungarians and Russians, all play their own airs to the evident enjoyment of the audience and the very great pride of their own families, and they all join in singing some of our own songs. It is a step toward citizenship. We have borrowed a place with a piano, and a piano for this place, but we really need an instrument which can remain in the room. Since this is in a public library, one can not advertise from there, so as chairman of the committee interested I am writing from my own home. Of course, full details and a cordial invitation to attend one of these evenings would go to anyone who could help us. The Tribune published a card for us, but evidently the public is not giving pianos broadcast. Perhaps you may reach a more generously supplied or disposed public.
Anyway I thank you for reading this appeal, and if you can do anything to bring the piano, we shall be most grateful.
Very sincerely yours,
(Signed) Mary Bullard LeWald.
Chairman Americanization Committee, New York Branch, American Association of University Women, 99 Claremont Ave., New York City.
Birdice Blye on the Pacific Coast
Birdice Blye has returned to the East after six months spent on the Pacific Coast giving recitals.
Alfred Metzger, editor of the San Francisco Pacific Coast Musical Review, on February 18, wrote:	“Birdice Blye,
the distinguished pianist, is rapidly becoming as great a favorite on the Pacific Coast as she is in the East,” and further said, “the noted American pianist is gaining rapid popularity on the Pacific Coast, thanks to her continued successes in numerous concert appearances.” Of Miss Blye’s San Francisco recital, December 30, Mr. Metzger writes: “In San Francisco she aroused great enthusiasm when she played for the Red Cross for the wounded marines,” and that “she has received most enthusiasjic notices on her entire coast tour.”
Miss Blye opened her season, October 21, with a return engagement at the State Normal College of Montana, at Dillon. The newspapers agreed “it was the finest recital ever given there.”
At the State College of Washington at Pullman, on October 25, she had an immense audience, every available space in the huge Auditorium being filled with enthusiastic students.
At Spokane, Miss Blye gave a recital at the Normal College, October 27, and at Spokane College on October 28. Marguerite Serruys, critic of the Spokesman Review, October 28, in a lengthy article in praise of the recitals, calls her “an artist of brilliant execution and high ideals. Her phrasing is a pleasure to listen to,” and speaks of her “particularly delightful playing of Chopin, “revealing many noble moments,” and “of her charm and distinction.”
In Seattle, November 1, Miss Blye gave a recital in the new Theater of the Cornish School of Music. The Seattle Times, November 2, spoke of the “appreciative audience,” “liberal applause throughout the program” and of her “well grounded musicianship, technical facility and brilliancy.”
David Scheetz Craig, editor, in the December number of Music and Musicians, Seattle, said:	“Miss Blye’s interpre-
tation showed the wealth of her resources. Chopin, Beethoven, Debussy, Liszt, and others lived over again in their creations, and Miss Blye illuminated their music in the most artistic fashion.”
Miss Blye began her California engagements at Santa Rosa, November 15. The Republican, November 16, said: “Every number on the splendid program was a finished work and the audience was enthralled under the spell of her music. The large Auditorium was filled to overflowing.” This was followed by a number of other recitals in California, receiving everywhere the highest praise. Short extracts from a few of the lengthy complimentary notices written by well known California critics are quoted herewith :
Dr. R. M. Hollingsworth, in the Monterey Cypress and American, January 13, said:	“Miss Blye played superbly
and held the closest attention of her hearers which is the true test of artistic achievement.” Helen E. Ward wrote in the Salinas Daily Journal, January 6:	“Miss Blye, vir-
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