June 1, 1922
MUSICAL COURIER
30
BETHLEHEM AGAIN ATTRACTS BACH
ENTHUSIASTS AT ANNUAL FESTIVAL
Dr. J. Fred Wolle Once More Proves His Efficient Leadership and Presents Inspiring Programs—Work of Chorus Notable and Soloists, Too, Score Success—Mildred Faas, Mabel Beddoe, Nicholas Douty, Fred Patton, Charles Trowbridge Tittmann Heard in the “St. Matthew Passion” Music, and Emily Stokes Hagar, Merle Alcock, Lambert Murphy and Henri Scott the Soloists in the B Minor Mass
ROA EATON,
international singer, known for her unusual quality of voice and fine artistry. (© Mishkin, N. Y.)
Klibansky Resumes Teaching June 5
Sergei Klibansky, who has spent the past two months in a short European trip, where he heard some of his leading pupils sing in opera and concert, returns this week and will resume teaching at his New York studio on June S. Quoting from a postcard, he writes: “I am having a very interesting time, but will be glad to be back in the U. S. A.” Later in the summer he goes to The Cornish School of Music, Seattle, as head of the vocal department (summer term), for the third year.
teenth performance of this great work by the Bach Choir under Dr. Wolle. It was first performed by the chorus in 1900 and there are today in the chorus nine members who participated on the first occasion. But even if they have not sung all of the performances, the remaining members of the chorus have sung the work so many times under their magnetic leader that they need no book, devoting their entire time and attention to the director. The effect is altogether impressive, even the most blase finding a real thrill in the spontaneous outpouring of vocal beauty and evident sincerity.
The soloists for this work were Emily Stokes Hagar, soprano; Merle Alcock, contralto; Lambert Murphy, tenor, and Henri Scott, bass. It was Mrs. Hagar’s debut at these festivals and her success was all the more remarkable for this reason. Her voice is one of rare beauty and she entered into the spirit of the occasion with the sincerity and reverence which marked the thorough artist. Her voice blended with that of Miss Alcock in most commendable fashion. Miss Alcock’s “Agnus Dei” was one of the most beautiful solos of the afternoon; she gave it with a simplicity and beauty of voice which made it easy to understand why she is a general favorite with Bach Festival audiences. The thoroughly grounded art of Mr. Murphy endowed the tenor role with a vitality and power truly inspiring. In connection with the work of Henri Scott special mention should be made of his singing of the difficult aria, “Quonian tu.”
As usual the trombone choir assembled in the belfry of the church and played for twenty minutes before each session. This is a feature of the Bach Festival which never t0 an?use much favorable comment. Members of the Philadelphia orchestra furnished excellent instrumental accompaniments.
Schelling to Play Under Mengelberg and Coates
Ernest Schelling sailed with Mrs. Schelling on the S. S. Paris to spend the summer at his chateau on the Lake of Geneva, Switzerland. Before returning to America he will play his “Impressions from an Artist’s Life” with the Con-certgebouw Orchestra in Amsterdam, under the baton of Willem Mengelberg, and will also appear in London with the Philharmonic, under Albert Coates.
University of Georgia Secures Granberry
George Folsom Granberry, director of the Granberry Piano School, has been engaged as director of music in the University of Georgia Summer School, Athens, Ga. He will institute a course for the professional training of music teachers, in addition to^ piano, theory, harmony and other regular work of a music department. Mr. Granberry will June*26 6 ^T״’vers‘ty Georgia for six weeks, beginning
Nicholas J Elsenheimer will have charge of the summer instruction after the close of the regular session at the Gran-berry Piano School in New York. Courses have been planned ior pianists, teachers, accompanists and amateur musicians.
In that Mecca of the Bach enthusiast, Bethlehem, Pa., there gathered from far and near audiences which taxed the seating capacity of Packer Memorial Church of Lehigh University to its utmost, and May 26 and 27, 1922, are certain to go down in the history of the Bach Festivals as dates on which the Bach Choir, under the direction of Dr. J. Fred Wolle, fairly outdid its splendid self. Each year the popularity of this annual event increases, so that now the auditorium is sold out long before the opening day arrives. With each succeeding year the artistic growth of Dr. Wolle’s forces is more marked until one wonders how so excellent a choral body can be excelled or can excel itself. Every member seemed animated with the desire to make this the outstanding event of the musical year, each one seemingly cognizant of the fact that it is the individual upon which depends the well rounded whole.
Under Dr. Wolle’s direction these 250 singers gave magnificent performances of the “Passion of Our Lord According to St. Matthew,” and the B minor Mass. A children’s chorus of about a hundred voices was added to the adult choir in several numbers with fine effect.
The “St. Matthew Passion” was given on Friday, May 26—part one, at four o’clock, and the part two, at eight. The soloists were excellent. Mildred Faas, who has been a favorite at these festivals for several seasons, was again heard in the soprano role. Her principal solo—“Although Both Heart and Eyes Overflow”—was given a rarely beautiful and sympathetic interpretation. Mabel Beddoe was the contralto, taking advantage of every opportunity afforded her for the display of her excellent voice. Nicholas Douty had the difficult tenor role, again demonstrating his truly artistic powers of interpretation. Mr. Douty has appeared with the Bach Choir at all its festivals since 1900—an unusual record of which both the tenor and the festival association have every reason to feel proud.
Of special interest was the magnificent work of Fred Patton, baritone, whose singing was marked by splendid style, authority and remarkable beauty and resonance of voice. In the rendition of such passages as “It Had Been Better for Him if He Had Not Been Born,” and “My Father If This Cup,” Mr. Patton rose to splendid heights which called for the unstinted admiration of his listeners. Another festival favorite was Charles Trowbridge Tittmann! who sang the bass solos impressively. Among the incidental soloists special mention should be made of the work of Dan Kocher who sang the role of Peter.
The second day of the festival was given over to the Mass in B minor, the Kyrie and Gloria being sung at one-thirty and the credo at four. This marked the seven-
OSCAR SEAGLE
Baritone
Mr. Seagle’s art apparently has no limitations. One might pass through the whole field of song and not find anything that would come amiss to this master of the art of interpretation. 1 at he is able to accomplish this is due, not alone to his commanding intelligence, but to the fact that he knows every second what to do with his voice, and how to do it. As a lesson in vocal technic, this recital was incomparably the best we have had for a long time. Mr. beagle’s voice in the upper register is produced with an ease that many well-known tenors might envy; but the fact that he is able to soar so freely into the upper regions does not diminish the effectiveness of his lower tones. In brief, there is not a weak spot in his voice.” —Minneapolis Morning Tribune.
The most completely delightful and satisfying song recital Minneapolis has heard this year, e program was a model of what a song recital program ought to be. Mr. Seagle is a master of tone production. Every tone is perfectly formed, and every musical phrase has u value. More than this, he is an interpreter. It would be hard to imagine a program de-manding a wider range of expression, and in every instance, the rendering made clear and vivid the spirit underlying the music.”•—Minneapolis Daily News.
«I
its
For Terms and Dates Address
LOUDON CHARLTON
Carnegie Hall New York
“His
Singing
Is
The
Achievement
Of
Lyric
Genius/'
Philadelphia
Public
Ledger.