33
MUSICAL COURIER
June 1, 19 2 2
KALAMAZOO’S NINTH ANNUAL MAY
FESTIVAL OFFERS FINE PROGRAMS
Choral Union Presents Berlioz’s “Damnation of Faust”—Chicago Symphony Orchestra Participates—Frances Peralta, Royal Dadmun and Mario Chamlee Soloists—Excellent Children’s Concert
rected by Harper C. Maybee, was never heard to better advantage. Tonal shadings, climaxes, support of the soloists, brilliance in spirited passages and unusual balance and harmony throughout characterized the work of the singers, who responded as a unit to the director’s baton. The orchestra gave excellent support and chorus, orchestra and soloists combined to produce an admirable effect.
Harper C. Maybee possesses unusual ability as a teacher and conductor. With the assistance of H. Glenn Henderson as accompanist, Mr. Maybee has conducted rehearsals with the present personnel of the Choral Union chorus since October, 1921, at first in preparation for the annual Christmas music festival, held in the month of December, and after the New Year working on the opera to be presented for the May Festival. Not only Mr. Maybee’s chorus members, who respect him through personal association as well as for his recognized ability as a musician and director, but also the players of the visiting orchestra showed by their sureness and spontaneity of response that they recognized their conductor’s authority in leadership.
The festival closes a year of genuine musical achievement on the part of the Kalamazoo Choral Union, under whose auspices the concerts were given. Besides the artists and orchestra presented during the three festival concerts, the charming and gifted Lucrezia Bori, soprano; Godowsky, eminent pianist, and Heifetz, wonder of the violin, were secured by the Choral Union for the pre-festival concert course of 1921-22.	M. J. R.
Haggerty-Snell Pupil Charms
Marie A. Rosie, a Haggerty-Snell pupil, is fast winning her way into public esteem, having recently appeared in concert twice in one week and three times the week following.^ She has a very pleasing mezzo soprano voice, and invariably captivates her audiences with her artistic renditions and distinct enunciation. Aside from this, she reveals the sterling quality of the Haggerty-Snell method, which demands an even register with pure tonal emission.
WHERE THEY ARE TO BE
From June 1 to June 15
Gurney, Henry :
Atlantic City, N. J., June 1. Philadelphia, Pa., June 15.
Hempel, Frieda:
London, England, June 11.
Hinkle, Florence:
Norfolk, Conn., June 6-7.
Matzenauer, Margaret:
Indianapolis, Ind., June 6.
Northrup, Grace:
Oakland, Cal., June 1.
Powell, John :
Norfolk, Conn., June 7.
Stanley, Aileen:
Boston, Mass., June 12-15.
Alcock, Merle :
Norfolk, Conn., June 6.
Arden, Cecil:
Bayonne, N. J., June 5.
Baroni, Alice:
Louisville, Ky.־ June 1. Knoxville, Tenn., June 2-3. Cincinnati, Ohio, June 5-6. Columbus, Ohio, June 7. Dayton, Ohio, June 9-10. Indianapolis, Ind., June 12-13. Terre Haute, Ind., June 14.
Fanning, Cecil:
London, England, June 13, 15.
Galli-Curci, Amelita:
Eargo, N. D., June 2.
OLIVE MARSHALL Soprano
Soloist with the New York Oratorio Society “The Messiah”•—December 28, 1921 “St. Matthew Passion”—April 13, 1922 Exclusive Management:
HAENSEL & JONES	Aeolian Hall, New York
Music Students’ League
To aid Music Students artistically, financially, and socially.
Pres.	First Vice Pres.
J. Fletcher Shera	Dr. Eugene A. Noble
Second Vice Pres., Thelma B. Spear
Application for membership may be sent to
FLORENCE MENDELSSOHN, Care of Musicians’ Club
173 Madison Avenue, New York City
Kalamazoo, Mich., May 24.—The 1921-22 activities of the Kalamazoo Choral Union closed with the ninth annual May Festival, May 15 and 16. The festival program included two evening concerts and one matinee, which featured the children’s chorus and the Chicago Symphony Orchestra. The choral work prepared by the Kalamazoo Choral Union was Berlioz’s “Damnation of Faust,” presented on the second evening as the closing concert.
The festival was well attended, and drew numbers of interested musicians and music lovers from various cities of this section of the state. The concerts were all markedly successful, and it was felt that the Choral Union was particularly fortunate this year in the selection of artists. The soloists were Frances Peralta, soprano; Royal Dadmun, baritone, and Mario Chamlee, tenor, whose widely-heralded fame justified itself in his beautiful voice and dramatic sincerity.
The Chicago Symphony Orchestra has participated in Kalamazoo’s May Festival for several successive years and returned this year as welcome visitors. The players gave a splendid account of themselves at every performance. Eric De !smarter, a former Kalamazoo resident, conducted the children’s chorus and orchestra in the second concert, and Frederick Stock conducted throughout the remainder of the program, as well as the entire opening concert the evening of May 15. For personal associations, much interest was felt in Mr. De Lamarter’s appearance in Kalamazoo, and Mr. Stock’s genuine musicianship and cordial personality have won many warm friends for him in the city. His graciousness was particularly appreciated in his kindly words of commendation of the singing and deportment of the children in the chorus, likewise in introductory explanations of some of the less familiar compositions played by the orchestra.
Kalamazoo audiences feel very fortunate in being able to co-operate with the University of Michigan Choral Union at Ann Arbor in securing the Chicago Symphony Orchestra for annual festivals. By holding the Kalamazoo festival at a date preceding the Ann Arbor festival, both cities are able to have this splendid organization, which has not favored many cities en tour this season.
The Opening Concert—Frances Peralta Soloist.
Following the custom of past seasons, the opening concert, on the evening of May 15, was in the hands of Mr. Stock and his orchestra, with Frances Peralta as soloist. Dvorak’s “Carnival” was the opening number, and was played with beautiful effect. The Tschaikowsky fifth symphony in E minor was given a musicianly reading and received full appreciation from the audience. Mme. Peralta’s solo was the Wagner aria, “Hall of Song.” Her voice was clear and brilliant, and she was recalled again and again until she repeated the aria. Dohnanyi’s “Scherzo” and “Romanza” from suite op. 19 were played by the orchestra. The delicacy and melodic beauty of this number commanded attention, and in response to the applause which followed Mr. Stock graciously repeated the “Romanza.” Recognition was again given to Wagner in selections from act three of the “Mastersingers of Nuremberg.”
Second Concert—Children’s Program.
On the afternoon of May 16 a large children’s chorus, directed by Eric De Lamarter, assistant conductor of the Chicago Symphony Orchestra, gave Rathbone’s “The Singing Leaves,” a work particularly adapted to presentation by children’s voices, with fine choral possibilities in the music. The children who participated in this work were groups from the public schools and from the Western State Normal Training School. Their training for this concert was directed by Leoti Combs, supervisor of music in the Western Normal Training School, and Leslie D. Hansen, supervisor of music in the Kalamazoo public schools. Helen Hayes, Nina Reams, Evelyn Roberts, Anna Dispennette, Mabel Pearson and Amelia Gray were the teachers who worked with Mr. Hansen in the public schools to prepare the children for their festival appearance. The performance showed remarkable work on the part of the children and their teachers who had trained them.
The orchestra numbers included a well chosen program adapted to the spirit of youth, which characterized the concert. The offerings included the prelude to “Hansel and Gretel” by Humperdinck, Godard’s “Adagio Pathetique,” Tschaikowsky’s “Nutcracker” suite, and Elgar’s march, “Pomp and Circumstance.”
Third Concert.
The Kalamazoo Choral Union with the orchestra gave a splendid performance of Berlioz’ “Damnation of Faust,” Frances Peralta, Mario Chamlee, and Royal Dadmun appearing as soloists, Mme. Peralta exceeded her promise of the preceding evening in the role of Margerita, showing dramatic ability and lyric powers of interpretation in the solo passages. Mr. Damun is also a favorite in Kalamazoo, having been heard here in previous festival concerts, but never to so good advantage as in the role of Mephisto, which gave him an opportunity to display fuller vocal powers than in the more limited roles assigned to him in previous concerts. Mario Chamlee’s singing of the role of Faust won admiration for the beautiful quality of his voice, ease of singing, sympathy and intelligence of interpretation.
The large chorus of the Kalamazoo Choral Union, di-
Voice Placement and Opera Class
Telephone 5880 Schuyler
O’C QUIRKS
54 West 82nd Street, New York
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Coloratura
Soprano
BERNARDINE GRATTON
Available for Concerts in the Middle West, September, October and November, 1922
Address: 149 West 80th Street	-	-	-	New York City
matic melody tones, altogether lovely, because sustained by natural harmony. It is not hard to imagine what composer Ronald thinks of the “modernists,” with their peurile maun-derings! In three keys.
(Clayton F. Summy Company, Chicago, III.)
“THE GOOD SHEPHERD,” “SPRING SONG,” “DEAR EYES,” “SERENADE,” “HEART OF A ROSE,” “BALLAD OF TREES AND THE MASTER”
Gracefulness and naturalness are found in “The Good Shepherd,” by Carl Songer, the text poetically paraphrased from the Bible. There is much variety in the music, with change of tempi. For medium voice, range low D to E, top space.
The other five songs are by Ruth Redington Griswold, are altogether unique works, showing a composer’s gifts beyond the ordinary. The poems are high class, the music original without being “manufactured” or affected, the piano part playable and effective. The “Spring Song” is modernistic, but not too much so, with sudden changes, appropriate to the text (by Grace Peters). For high voice, range up to A flat. “Dear Eyes” (Sidney Lanier’s poem) is a two page song of real sentiment, with fine climax. “Serenade” is a real piano piece all by itself, running along prettily in sixteenth notes, smooth and easy to sing. Range low D flat to high G. “Heart of a Rose” asks a question, “What is there hid in the heart of a rose, mother mine?” replying softly, seriously. A “chromatic song” of unusual parts. For medium voice, low D to high F. “Ballad of Trees” is religious, devotional, with deep chords and basses, an effective song. (Text by Lanier.) . Range low D to high G.
NEW MUSIC
Enoch & Sons, New York and London
“OUT OF THE DEEP I CALL” (De Profundis), set to music by Easthope Martin. This work, by the popular English composer, is in a different mood from his better known ballads, but nevertheless equally as effective. A broad sweeping selection that can be sung at any religious service. In three keys—C, D and E flat.
,	Carl Fischer Company, New York
“CHANT SANS PAROLES” (Song Without Words), for the violin and piano, or cello and piano, by Willem Willeke. An original composition that is very effective. Most appropriate as an encore. Short and not dfficult. For the artist or students’ recital. Dedicated to Efrem Zimbalist.
“EILI, EILI,” a concert transcription of the familiar Yiddish melody, by Mischa Elman. Some fascinating effects have been elaborately worked out with many difficult octaves, sixths and third passages which call for excellent technic. Another composition for the artist.
The Willis Company, Cincinnati
“A HAPPY JOURNEY FOR LITTLE FINGERS,” by Jane M. Mattingly. Attractive studies for children. An interesting little poem accompanies each discriptive piece. Published separately, with large notes. There are six in this series. This house seems to specialize in a superior type of teaching material for the early grades.
“NINE LITTLE PLAYTIME DUETS,” by Helen Day Keys. This series has already been reviewed as separate compositions. Attractive edition, with large notes.
G. Schirmer, Inc., New York
“CELESTE,” a valse melodieuse for the piano by Carl Wilhelm Kern. Elementary work, not difficult, with good melody.
“BEES IN THE GARDEN,” a descriptive study for the piano by James W. Bleecker. Not difficult yet the student should have good technic in order to give the proper interpretation and nuances. Good encore selection for the popular program.
“THE MAD MARCH HARES,” a humoresque for the piano, by C. W. Krogmann. Brilliant number and can be made very effective. Good study and students’ recital number.
Huntzinger & Dilworth, Inc., New York
“TEARS OF GOD,” by Dent Mowrey. Published in two keys— high in G and low in E flat. A short encore number. The piano accompaniment is the feature to recommend this song. As is the case with all of Mr. Mowrey’s compositions he is very anxious that the artist should understand just what he־ is trying to do so he gives full and minute instructions. Nothing is left for the imagination.
Oliver Ditson Company, Boston and New York
“TWENTY-TWO LITTLE PIANO PIECES, by Franz Behr. Published in one volume. Easy studies for second and third grade work in rhythm and expression. Standard studies. Edited and fingered by Hans Lichter. Ditson’s 1922 catalogue.
FOUR PART SONGS FOR WOMEN’S VOICES.
“SING, O HEART,” by R. Huntington Woodman. One of the best compositions of its kind.
“NOW IS THE MONTH OF MAYING,” arranged for the chorus by Victor Harris from the familiar song by Thomas Mor-ley. A capella.
“WHEN DAISIES PIED,” arranged in this form by Arthur Fagge, from a song by Thomas Augustine Arne. An encore number. A capella.
“I’LL SING THEE SONGS OF ARABY,” this choral version by Victor Harris, from the lovely old song of Frederick Clay. Beautifully harmonized.
Arthur P. Schmidt Company, Boston and New York
“HUMORESQUE,” for the piano, by E. Blum. For student’s study and recital piece. Chromatic, scales and thirds. Good exercise.
“THE SPIDER,” an etude by Emile Foss Christiani, for the piano. Another exercise composition. The melody and practice for the right hand.
Harold Flammer, Inc., New York
“EVENTIDE,” a transcription for the organ by F. S. New-combe from a composition by Charles Huerter. Nothing difficult about this. A student’s selection or a little melody’to fill in on the cinema program.
“YEARS AGO,” by Harvey B. Gaul. The words are by Arden Austin Coates. Very attractive little encore number for the artist. The words are good and tell a story that cannot help but make an effect. Students also will enjoy this song.
Boosey & Co., New York and London
“L’AMOUR DE MOY” (Love’s Bower), a French chanson of the Fifteenth century. The English adaptation is by Paul Eng; land, and the music arranged by R. Vaughan Williams. In C and high in E flat. Artist recital number. Well arranged.
“A LITTLE COON’S PRAYER,” by Barbara Hope. Best suited for the studio. Pupils enjoy this type of song. Could he sung as an encore in concert, on a popular program. Not a dialect song.
Sam Fox Publishing Company, Cleveland
“DANCE OF THE ROBINS,” for the piano, by Jessie L. Dippen. Teaching piece, for not too advanced grades.
“MIGNONETTE” for the piano by Ralph C. Jackson. Another selection of the type above. Both are the usual art edition in which this house specializes.	M. J.