MUSICAL COURIER
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2 he will be soloist for the annual singing contest of the Monmouth County schools, New Jersey.
Oscar Seagle Captures Minneapolis
Press comments following Oscar Seagle’s recent recital at Minneapolis, his “home town,” reveal the enthusiasm which the singing of this well known baritone aroused. These comments read, in part:
There is not a singer in this city who could not have profited by hearing Mr. Seagle last night at the Auditorium. As a lesson in vocal technic it was incomparably the best we have had in a long time. Mr. Seagle’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 register does not diminish the effectiveness of his lower notes. In brief, there is not a weak note in his voice, and every tone is at the service of the singer. . . . His art apparently has no limitations, for he is equally at home in serious songs, songs that contain a spice of humor, dramatic songs, and songs of tender romance.—Morning Tribune.
Mr. Seagle is a master of tone production and phrasing; every note is perfectly formed, and every musical phrase has its full value. No matter how swift the enunciation or how vivid the dramatic emphasis, he never forgets to sing, nor to give each tone its individual beauty. And more than this, he is an interpreter.— Daily News.
Van der Veer Enthuses Halifax
“Go to Halifax,” says Nevada Van der Veer, “if you want to see truly enthusiastic people. I had a fine time there,” and this is evident by perusing appended press clippings :
When Mme. Nevada Van der Veer sang her first solo, “Liber scriptus proferetur,” every person in that packed house recognized the beauty and richness of her voice. At times it was like a flute, so clear and mellow, and again like the deep tones of a cello.— The Morning Chronicle, Halifax, N. S., April 25, 1922.
Mme. Van der Veer is -the newcomer, and for her we have this sincere compliment—that if New York has a contralto with a more rich vibrant alto quality of voice, of a clearer and sweeter quality in the mezzo register, we have never heard of such a rival New York soloist. Her tones were pure beauty, and her phrasing, as well as her vocalization, was by itself a delectable surprise in vocal art, especially the “Liber scriptus,” the adagio trio “Quid sum miser.” and above all in the gem of the Requiem, the duet “Agnus Dei.”—Halifax, N. S., Herald, April 25, 1922.
May 17 Mme. Van der Veer and Reed Miller were booked for the performance of “Elijah” in Amsterdam, N. Y., under Conductor Briggs. They are favorites there.
What Deems Taylor Thinks of Felix Salmond
Deems Taylor recently reviewed the activities of the past musical season for the New York World, and in his article of May 21 he paid tribute as follows to the English cellist, Felix Salmond:
The most interesting new cellist of the season, Felix Salmond, broke with the customary virtuoso rule at his single New York recital, by playing not one piece that was bad and not one that overstepped the bounds of real cello music. Everything he played had been written by composers who understood and respected the possibilities and limitations of the instrument. The result was one of the most thoroughly enjoyable afternoons of the year. Although he never produces fireworks for their own sake, Mr. Salmond is a prodigious technician, and plays with a velvety tone of rare loveliness. He is an Englishman, and has already established a reputation abroad as a serious and gifted musician. We shall probably hear a great deal more of him next year.
“Schofield Tells of Noted Woman Teacher”
The accompanying interview with Edgar Schofield was culled from the Houston Post of Monday morning, April 10:
The marvelous ability of Eleanor McLellan, of New York, as a voice teacher was told by Edgar Schefield during his visit here last week. Both Mr. Schofield and Tom Burke are pupils of Miss McLellan and both have the same praise for the excellency of her teaching, and the excellent technic of both is proof of what they say.
Like the man hunting for the wishing gate is Mr. Schofield’s story of his search for an ideal voice teacher. “I left America to study in Europe,” he said. “All over the country I traveled in quest of the best teacher, only to return to America and find her right in New York, in the person of Eleanor McLellan.”
She has evolved a system of voice training of her own, Mr. Schofield said, in discussing her method and ability. She believes that if the vowel formation and the action of the throat are absolutely correct, the tone will be correct, and it is upon that theory that she bases her method. Until recently, most of her efforts have been along the line of reconstruction •work, the building up of broken voices, but the singers are going to her now, Mr. Schofield says, and it is almost impossible to get her for lessons, she is so busy.
In telling how Miss McLellan came to evolve her original and effective system of voice culture, Mr. Schofield said: “Miss Mc-lellan studied for a career. She studied all over Europe with the best musicians of the day, but after all her years of study, she found that her voice was no good. A girl of intelligence, health and a good natural voice to begin with, thus doomed to failure, there must be a reason why she had failed and she started out to find out the reason. She began by making a thorough study of the anatomy of the throat, head and chest, consulting with all the great-
The Vagabond
A New Song by OLEY SPEAKS
Poem by Robert Louis Stevenson
R. SPEAKS scores again here. It is a rollicking, vigorous song of the open, with the tang of fresh air and freedom, and a vista of hills, valleys, woods and blue sky enfolded in its color. Essentially for men singers, it is virtually certain of a place on the concert programs of many of our most prominent artists.
High in C, Mediara in Bb, Low in Ab 60 Cents, Net
G. Schirmer, Inc.
New York
plicity of line. Having a wealth of colors and combinations at his fingers’ ends does not betray Yon into splashing them about when simplicity is the demand. Nor was a fughetta by Remondi, de_ scribing the course of a falling drop, too richly registered.
The reserve vitality that lies in the slight frame of the organist was demonstrated at the end of the first and heaviest group, when the encore was the finale of the fifth Beethoven symphony. Mr. Yon almost never plays arrangements; those who heard him last night were glad he showed them how perfectly balanced, phrased and executed that one could be. The other encores were his ^ own “L’Organo Primitivo,” and when the crowd refused to leave, ‘The Star Spangled Banner.” The last brought it to its feet, and then what else could it do but leave?
But the greatest tribute to the organist whose technical resources, finesse, freedom of concept and sincerity, had opened a hitherto closed door, was the post-recital reception given him. Among those who came to shake Mr. Yon’s hand were Catholic priests, deaconesses, Rotary Club members, former pupils, singers, organists, housewives, children. He had reason to feel proud that he could reach such a diverse audience with his music.
J. A. S.
Valeri Artist Scores at Debut Recital
Ethelyn Wagner, a member of one of the best known families of Detroit, who possesses a beautiful soprano voice, well trained, made her debut recently in her native city, appearing with the Detroit Symphony Orchestra, and a
ETHELYN WAGNER,
soprano, artist pupil of ■Delia M. Valeri.
perusal of the following press notices will show the unusual success scored by the young artist. Miss Wagner is a pupil of Mme. Valeri:
An excellent singer from the standpoint of warmth and technical purity.—Detroit News.
Miss Wagner’s brilliant appearance and delightful personality won her a complete triumph from the very instant she stepped upon the stage. Seldom has a debutant of the concert stage, whose teacher in this case is the renowned Delia Valeri, stepped before a more enthusiastic audience than did Miss Wagner. Miss Wagner held her audience throughout each and every number with her sweet and sympathetic tonal quality and artistic interpretation. The young artist withstood the test brilliantly, receiving a spontaneous and ringing applause after the aria, Elsa’s Dream from “Lohengrin.” .	.	. Sang with excellent taste and thorough understand-
ing.—Detroit Abend Post.
Ethelyn Wagner, a young soprano of remarkably sweet tone and pleasing appearance, offered the aria, Elsa’s Dream from “Lohengrin” with admirable effect.
Sang with a charming touch and an appealing sweetness that brought her an ovation from the large audience.
Miss Wagner was the recipient of the most remarkable floral shower seen here for years.—Detroit Journal.
Miss Wagner made a sensational impression, possessing a voice of ingratiating quality, well schooled and ably handled, a flexible organ of good range.	, .	,
The youthful artist is especially to be commended for the excellence of her diction and enunciation and fine musicianly feeling. Her noise and charming stage manner bespoke much for a successful future.—Detroit Free Press.
Wells Pleases Cleveland. Critics
John Barnes Wells, tenor, was loudly praised by Wilson G. Smith and James H. Rogers, in Cleveland, Ohio, dailies, following his appearance as soloist with the Singers’ Club of that city, as the appended notices prove:
John Barnes Wells, the assisting soloist, again delighted his local admirers with his refined artistry. In this sympathetic song interpreter we have one of the few concert singers who recognizes vocal limitations, and demonstrates the fact through his intensifying emotion and through repressed expression and utterance. I know of no other concert singer excepting Werrenrath whose artistry is accomplished through an entire absence of dramatic robustness. His interpretative appeal is of a finer subtlety and a finer modulated tonal utterance. I heard only his first song-group, but in it he gave expression to a refinement in expressive artistry that has won for him the extended reputation he enjoys. A lyricist of the purest dye, he refrains from any attempt at dramatic frenzy or heroic endeavor, and therein lies the tonal beauty of his art.— Clevelend Press, May 5, 1922.
John Barnes Wells, who was the soloist of the evening, has not been a frequent visitor of late years. But be his visits few qr many, he is always welcome. He has sung a good many times in concerts of the club, and it would be hard to name a singer who stands higher in the graces of the club’s patrons. Last night his lyric tenor was as pleasing in timbre, as smoothly and as expertly controlled as ever. There were beauty of tone, finish of style and charming expressiveness in the group of French songs with which he began his program. . . . There was also־ a goodly number of songs of amusing nature. And in these he is inimitable. He sings these ditties with engaging informality, interspersing them with informative remarks; and he misses none of the salient points of the whimsical texts, wherein the absolute clarity of his diction is the chief factor. Mr. Wells sang a pretty nearly unprecedented number of encores; which tells the story of his success convincingly enough.—Cleveland Plain Dealer, May 5, 1922.
Mr. Wells made his third appearance with the Guido Chorus of Buffalo recently, appearing there a fortnight later at the Buffalo Club, with Irene Williams, soprano. June
June 1, 192 2
number, Pierne’s “Impromptu Caprice.” The delicately liquid tones presented admirably the musical conception of the piece as the deep revery of Renee’s “Contemplation,” which followed, was brought to the understanding of the audience, and charm added in the theme of the rippling higher notes which relieved the work of its somber atmosphere. A delightful contrast came with the dancing lightness of “Bouree,” Bach-Saint-Saens, not entirely dispelled by Handel’s “Harmonious Blacksmith,” following, which contains far more of the “harmony” than “blacksmith.”
Miss Dilling’s art and execution were particularly noticeable for their perfection in her last group, Debussy’s “First Arabesque,” “Le Chanson De Guillot Martin” (marked for its cheery inspiration) and Poenitz* “Norse Ballad.”	...
Especially appreciated was Miss Dilling’s imitation of the old-fashioned music box which she “learned to play for the soldiers in France.” The tinkling notes of the harp brought reminiscence to many members of the large audience.
Adler Assists Elshuco Trio
Clarence Adler, the well known New York pianist and member of the New York Trio, was called on at the eleventh hour to take Aurelia Giorni’s place with the Elshuco Trio at three concerts given at the Morning Musical, Syracuse, N. Y., and at the Eastman School of Music, Rochester, N. Y. A fitting tribute to Mr. Adler’s ability as an ensemble artist was tendered him by the press m the cities in which he substituted, some of the notices being as follows:
Perhaps many who heard the trio last night were not aware of the fact that Clarence Adler, the brilliant pianist, is not the regular pianist of the Elshuco Trio. Aurelio Giorni, the young Italian composer, who played with the trio when it was here several years ago, met with an accident recently and Mr. Adler was pressed into service to take his place. Mr. Adler is a pianist of unusual attainment and his playing last night was one of the real joys of the evening.—Rochester Democrat and Chronicle.
Last evening the trio, in personnel, was two-thirds Elshuco and one-third New York Trio, for Clarence Adler, of the latter band, took the place of Mr. Giorni, who was injured recently in a railway accident. Despite the presence of a “stranger” in its midst, the trio achieved an ensemble that was golden in its entire accord.— Rochester Times-Union.
Mr. Adler, notwithstanding that he was merely substituting, showed himself a pianist whose brilliance is never carried beyond legitimate ends and who keeps the sparkling beauty of the music that falls to his instrument a logical part of the ensemble.— Rochester Herald.
Mr. Adler’s playing throughout was characteristic of genuine sympathy and technical skill, but in the Tschaikowsky number his playing was particularly brilliant, especially in the ornamental scale work and the cadenza leading to the return of the principal subject.—Post Express.
After the last appearance of the series with the Elshuco Trio, Mr. Adler joined Messrs. Guidi and Van Vliet, who make up the New York Trio, and gave a highly successful concert at Fredonia, N. Y., under the auspices of the Fre-donia Music Club.
Pietro A. Yon’s Success in Kansas City
Pietro A. Yon, eminent Italian-American concert organist and composer, was heard in recital at Grand Avenue Temple, Kansas City, Mo., on May 4, after which the Kansas City Times wrote:
Mr. Yon is the first to do what many have attempted—restore the organ to its place as a concert instrument capable of intimate, vouthful, colorful, delicate and dynamic effects. Last year that idea was brought to Kansas City by him, and was the basis of the work of his master class here. That it has taken root was proved by the crowded house that heard him last night (every seat in the balcony, clear up to the roof was filled). None of the crowd ever will enjoy the older, heavy handed type of organist again.
The grasp Yon has on his music, his organ and his audience is illustrated by his recent appointment as titular organist at St. Peter’s in Rome. The appointment is a recognition of the Yon idea-proof that the young Italian actually had divorced the church organ from the concert organ, and subjugated both.
The music that all those students, business men and women, and music lovers generally, heard last night was, on the whole, a little nearer to the classic than in the Yon programs of the past. The organist was safe in making it so, for none better breathes life into the music usually classed as abstruse than he. There were two fugues with their accompanying preludes in the first group, and neither was the least “distant.” Liszt’s was included for its brilliance and the Bach A minor for its statuesque clarity of line. Certainly neither could have been given a better performance. In between the fugues was an “elevation” of Saint-Saëns that scored very high spiritually.	,	.
Utterly different was a “Marche Russe by Schminke. Ihe audience almost winced under the slash of its heavy reiteration of a typically Russian theme; the contrasting mood of Mr. Yons own “Elan du Coeur” was grateful indeed. The modern harmonies were not, as often, born on a rhythmless flow, devoid of melody. The piece was all color and a worthy addition to the Yon opus
iiuraocrs.	....	,	T. i
Powell Weaver’s “The Squirrel” was a real success. It has both description and melody, not such a common combination, by the way, and as interpreted by Mr. Yon ranks with his own ‘ diver-timenti.” After the audience had expressed emphatically its appreciation to the composer in person, Mr. Yon rewarded it with his Italian rhapsody, the southern fascination of which seems to grow at each hearing.
A. Walter Kramer was no more careful to preserve the Hellenic atmosphere in his “Eklog” than the player was to guard its sim-
FREDERIC
WARREN
TEACHER OF SINGING
Director of the WARREN BALLAD CONCERTS, Fourth New York Season
CARNEGIE HALL
Commencing November 4, 1922
Special Courses in TONE PRODUCTION and “HOW TO VISUALIZE AND VOICE A SONG,” from June 1 to September 1, 1922
Auditions GRATIS, by appointment
Address 370 Central Park West New York
Telephone Riverside 0136
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