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MUSICAL COURIER
June 1, 19 2 2
student in technical development, demonstrated on May 17, at his studio in the Metropolitan Opera House building, the results achieved with a young pupil who commenced her studies with Mr. Maurer at the end of December last. The young pupil, Lillian Fayer, who never had a lesson upon any musical instrument prior to going to Mr. Maurer, revealed satisfactory results.
The method employed differs materially from the old form inasmuch as the pupil is taken through the seven positions from the very beginning in a comprehensive manner, thereby gaining much time and experience. In demonstrating his method, Mr. Maurer asked his pupil to play various studies in different positions and keys, and in every instance her work proved satisfactory. She revealed equal command of all the seven positions.
Mr. Maurer believes this interesting method will advance beginners far more rapidly than has ever been the case with the old ideas.
Eddy Organ Recitals
Clarence Eddy gave an organ recital at the First Baptist Church, Jonesboro, Ark., May 2, playing works by classic composers as well as by the following Americans : McKinley, Yon, Kinder, Browne, Dunn, Marshall and Rogers, the last-named introducing the national melodies of the leading civilized countries of the world. Some of the same numbers were included in his recital given at Yazoo City, Miss., May 4, and much of this music is dedicated to Mr. Eddy by the composers.
Y. M. C. A., Reading, Pa., May 3. The Reading Eagle said: “Though a young girl, Miss Heinbach has a voice of wide range and clearness. Her French and Italian numbers showed excellent enunciation.” The Norristown Herald stated: “Miss Heinbach, who is one of our younger singers and soprano soloist at the Reformed Church of the Ascension, has a voice of extreme beauty which is being cultivated by Lazar Samoiloff, of New York.” The Reading News and Times wrote: “Despite the unpleasant weather a large audience greeted Miss Heinbach last evening . . . . Miss Heinbach’s voice is a soprano of great range and clarity, and although the majority of her numbers were French and Italian, the audience appreciated them thoroughly.”
The following week Miss Heinbach appeared as “Bo Peep” in Victor Herbert’s “Pied Piper,” which was given at the Grand Opera House, Norristown, Pa., May 8 and 9. The Norristown Times praised her performance saying: “Venida Heinbach was a lovely Bo-Peep. She has a stage presence which won her audience at once, and her soprano voice was heard to fine advantage.” The Norristown Herald commented : “Venida Heinbach was a charming Bo-Peep, and especial mention should be made of her wonderfully clear enunciation and the unaffected simplicity of her manner.”
Maurer’s New Violin Method
H. W. Maurer, New York violin pedagogue of long experience, who has been hard at work for a considerable period on his new idea of broadening the scope of the violin
Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
More About Pitch.
“Will you kindly inform me as to the following questions?
Is the Philharmonic pitch 440V standard pitch now instead of International 435V? If so when was the change made so? When have the symphony orchestras changed from 435V to 440V or have they not changed?”
It is not understood that there has been any change in the pitch made by orchestras or other musical organizations. The International pitch has been in use for many years to the exclusion of concert pitch. The Germans held a congress at Stuttgart and raised the pitch to 440 at one time, but the French pitch (A-435 double vibrations at 59° Fahrenheit, or 439 at 68° F.) is, as all the authorities say, “the only real standard.” It was adopted at the Vienna Congress in November, 1887, and superseded concert pitch in concert and operatic performances. This pitch was universally adopted in France in 1859.
Musical Plays and Operas.
“Will you kindly give me a list of books on the technic of drama, especially in regards to the production of musical plays and operas?”
There are no books relating to opera such as you require, but here is a list of some that may be useful in the direction of musical plays:	Barrett H. Clark, “How to Produce Amateur Plays;”
Evelyn Killiard, “Amateur and Educational Dramatics;” Harry Osborne, “How to Stage a Play” (a manual); Clarence Stratton, “Producing in Little Theaters;” Emerson Taylor, “Practical Stage Directing for Amateurs.”
Playing Without the Score.
“I should be glad to have your opinion about soloists on any instrument playing from memory, that is without the score in front of them? Do you think it is the best way? I often hear the boast made that someone played or conducted without the score. Is it something to be proud of, or is it done for effect?”
There are always two sides to nearly every question, and this one of yours is no exception. It can be said that it does have an effect on one to see a conductor going through a difficult and lengthy composition, leading his players correctly through all the intricacies without having the music in front of him, but that side of it may not enter into his mind at all. It may just be that the score is so familiar to him from frequent repetitions that turning the leaves of the book is an unnecessary exertion. A conductor would have to work hard to get into trouble with a well-rehearsed orchestra, for the musicians would carry on by themselves in case of a momentary slip of memory on his part. With song recitalists, pianists and violinists it is practically the invariable custom now to perform without notes. The vocalists use them only in singing the solo parts of a choral work, and the instrumentalists only when playing chamber music. On the whole, it may be said that the practice of singing and playing without notes has every thing to commend it, for a piece of work can hardly be sufficiently prepared without being absolutely committed to memory. There are, unfortunately, some excellent musicians who seem unable to memorize and are thus prevented from making public appearances.
New England Songs.
“The other day I read an article about songs, and was surprised to see it stated that there were no songs of New England, the explanation being that the American poets had npt written verses that could readily be set to music, or perhaps it was the New England poets. Do you think this is the reason for the dearth of songs of that section of the country, if such is the case?”
Many of Longfellow’s poems have been set to music and also lyrics by some of the other old New England school, but none of those poets were much addicted to the short lyric form which lent itself best to songs. This probably is the principal reason why there are not more songs to words by New England poets, if that is what you mean by “songs of New England.” But styles change in songs, just as in dress, and settings of poems by Longfellow, et al, are no longer the mode. The contemporary New England poets—Robert Frost, for instance, or Amy Lowell, two conspicuous examples—certainly do not write the sort of thing that is adapted to musical setting.
American Songs.
“This season our club has been studying American music and we have given several programs that were enjoyed by our audiences. We would, however, be glad to have some new things to use for another public recital we intend giving. Can you send us the names of anything in the way of American compositions?”
Your best plan would be to write to the leading publishers asking for their lists. You will see many new songs mentioned in the Musical Courier. The White-Smith Music Publishing Ctpmpany of Boston has just issued a list of American songs that might be of help to you. You will see in the Musical Courier that a number of singers and clubs are featuring American music at the present time, a condition that is much to be applauded by all patriotic people who realize what an important part America is now playing in the musical world.
Neighborhood Music School Concert
The Neighborhood Music School presented Esther Arnowitz in recital on May 24, in Union Settlement Hall, 231 East 104th Street, New York City._
This institution is the first school of its type to qualify under the State law enabling, it to issue diplomas. The music school does not aim ever to become a professionally commercial school, but primarily seeks to develop more intelligent music lovers and audiences. It is the aim of ■this institution to strengthen its curriculum, etc., and to advance its students by giving them a regular conservatory training. Heretofore institutions of this kind were often obliged to send out students to regular conservatories for higher development. The directors feel that because the students at this school have a different and more sympathetic approach to music from the faculty members, they are anxious to retain these pupils and develop their talents to a high point of perfection. The results revealed at this graduating concert were very encouraging.
Miss Arnowitz rendered a graduating program which comprised: Variations in C minor, Beethoven; three Chopin numbers (C sharp minor nocturne, C major etude and B minor scherzo). She also played three of her own compositions:	“Melodie,” fugue on a theme of_A.
W. Bender, and “Improvisations.” Brahms’ trio in B major, op 8 (for piano, violin and cello, in which Esther Shaier, violin, and Nellie Ralph, cello, assisted) was rendered in a musical manner.
The senior orchestra of the school, conducted by Hugo Kortschak, played the “Oberon” overture, Weber, and “Jupiter” symphony (first movement), Mozart.
Samoiloff Student Busy
Venedi Heinbach, a young soprano who is studying with Lazar S. Samoiloff, the New York vocal teacher, made a very fine impression with her singing at a concert at the
CASELLA
Who Appeared Last Season as Pianist and Conductor with the
PHILADELPHIA MINNEAPOLIS CINCINNATI DETROIT
Symphony Orchestras
and Since His Return to Italy as Soloist with the Augusteo Orchestra
Molinari, Conductor and in Recital, Sala Sgambati
RETURNS TO AMERICA
January 1, 1923
PRESS COMMENTS IN ROME:
La Tribuna—■
He again impressed everyone with his fine executive and discerning interpretations. His is a remarkable personality. His bravura technic allows him to attain the maximum of effect whether it be in the delicate and evanescent smaller pieces or in the classics of more robust pattern. His playing was exquisitely imaginative and expressive, and the public showed their appreciation by clamorous applause.
Idea Nazionale—
The lack of space does not permit so lengthy a review as we would wish of the recital of Alfredo Casella. In the plethora of concerts showered upon us during these Spring days, so many of them worse than useless, the recital of Alfredo Casella was a comforting oasis of pure and rare art. He is a pianist of impeccable technic, splendid poise and exquisite sensibilities.
II Mondo—
It was a recital to serve as an example, ,as much for the program as for the exquisite and intelligent interpretation which was offered by that most rare combination of pianist, musician and artist, which is Alfredo Casella. He was warmly applauded after each number and was forced to give several encores.
II Presto—
Mr. Casella is not resting on his laurels after his American success. His artistic activity knows no abatement and reflects a new glory on our national art. We have not forgotten that Alfredo Casella belongs to that small minority which is bringing about the Italian renaissance of symphonic and chamber music. Thus a large and choice public gathered to hear the admirable Casellian interpretations, rich in technic, sensibility and magical play of color. The audience was unrestrained in its enthusiasm.
NEW YORK
For Terms and Dates Address
LOUDON CHARLTON CARNEGIE HALL
Baldwin Piano