53
MUSICAL COURIER
June 1, 192 2
ica is an immediate necessity, and that it was up to Washington to give us an American national school of music in order to develop our own talents and help create a demand for our talents already created. When this is done, he insisted, the “jazz” and cheap music will soon be on the decline. He also strongly emphasized that every teacher or school of music should co-operate with our government and suggest means to further that standardization. These remarks brought forth much enthusiastic applause.
At the concerts to be given by Mr. Simmions in Southampton this summer the same line of thought will be followed, in which he will have the moral support of that public spirited citizen and patron of art, Samuel L. Parrish. Prominent speakers will be invited to further the necessity of standardization of musical education in America.
MORE QUESTIONS
ANSWERED BY
VOICE EDUCATION
BY
ELEANOR McLELLAN
“Maker of Singers”
Do You Know
The requirements for a successful career?
What makes a voice sound large near by but lacking in carrying quality at a distance? Why few singers are successful?
Why many soprano voices sound thin and squeaky?
Why alto voices often sound hollow and
“whoopy”?
The art of combining technique and interpretation?
Why a voice sounds “bleaty” or Myelly”?
Why many voices last but a short time?
That uncontrolled emotions affect voice technic? That it is possible to have a resonance which is not jammed, pinched or forced?
That dieting affects the breathing?
That there is a science of deep breath taking and breath control?
Why many voices sound too high or too low? Published by Harper Bros•
For sale at all book dealers, $1.75
not a difficult task at all; she rippled off the many swift scale passages, some in thirds, with amazing ease and even-ess, and her entrances were certain—in fact she was entirely at home in the concerto. (Mr. Roeder played the second piano.)
Lillian Fisher possesses a brilliant technic and vigor of style, proving it in a group consisting of the Chopin G flat etude, “Au bord d’une source” (Liszt), and MacDowell’s concert etude. The program concluded with the first movement of the Schumann A minor concerto, played by little Dorothy Roeder, with Mr. Roeder at the second piano ; this girl, of perhaps fourteen years, played with a remarkable intellectual grasp for one so young, her technic being excellent and her touch and variety of tone color admirable.
The firm, musical tones, the energy and precision and the very facile technic displayed by all the pupils who appeared speak well for the training given by Mr. Roeder. J. Thurston Noè, organist, assisted, playing the Pierné organ prelude in G minor.
Philharmonic Orchestra Notes
The Philharmonic Society is in receipt of press reviews from Budapest which speak in terms of praise of Josef Stransky’s conducting in a recent concert in that city. The program included the “Eroica” symphony of Beethoven, Strauss’ “Death and Transfiguration,” and Berlioz’ “Ra-koczy” march. Stransky will return to America in the latter part of September to begin his Philharmonic rehearsals for the coming season. Willem Mengelberg, guest conductor, will return for the second part of the season.
Present plans for next season’s Philharmonic concerts include fifty concerts at Carnegie Hall, twelve at the Metropolitan Opera House, and six at the Brooklyn Academy of Music, as in the past season. Concerts will be given in the early part of the season in Worchester, Northampton, Holyoke and Springfield (Mass.), NewHaven and New London (Conn.), and Providence (R. I.). Detailed announcements of educational concerts in Greater New York during the season will be given out later by the Philharmonic Society. Several of the performances in the tour of the New England cities are in co-operation with educational institutions, the orchestra playing under the auspices of Smith, Yale and Connecticut colleges in Northampton, New Haven and New London, while the Holyoke audience will be composed largely of the students of Mt. Holyoke Seminary.
New subscriptions and renewals are received for all series of the Philharmonic concerts at the Philharmonic offices at Carnegie Hall. A complete list of the season’s soloists will be announced in the Society’s prospectus which will be ready for mailing within a few days.
Simmions at Merrill School Commencement
At the commencement exercises on May 19, at Mrs. Merrill’s School for Girls at Oaksmere, Orienta Point, Mama-roneck, N. Y., Louis Simmions, head of the vocal department, addressed the large audience gathered from all parts of the United States. Mr. Simmions pointed out in his speech that the standardization of teaching music in Amer-
CINCINNATI
(Continued from page 14)
in true classic style, possessing, as she does, a mezzo voice of range and rich quality.
Helma Hansen, piano pupil of Jean Verd, and Dorothy Richard, violin pupil of Jean Ten Have, united in presenting a program of ensemble numbers and solos at their recital at the Cincinnati Conservatory of Music on May 12. The program opened with the Beethoven sonata, op. 12, No. 3, and closed with the Cesar Franck sonata, both for piano and violin. There was a fine ensemble between the two soloists, each of whom gave further account of individual powers in groups of solo numbers.
Luther Richman, baritone, and Leah Morris, pianist, joined forces in a recital at the Cincinnati Conservatory of Music. Miss Morris, who is one of this year’s graduate pupils of Frederic Shailer Evans, plays with taste and musical discretion that is evidently founded upon intelligent and careful preparation. Mr. Richman possesses a rich baritone voice, well schooled, and used with telling effect, particularly in those songs when color and shading are an essential for their interpretation.
Leo Polski was heard in a piano recital at the Cincinnati Conservatory on April 28. The past three years he has devoted to serious study under Jean Verd, and during this period he has been under the personal supervision of Bertha Baur. Although rather young in years, he has made notable progress, and his recent appearance was a fine demonstration of his talent. He played the Beethoven sonata, op. 101, a group of Chopin, modern French and Liszt numbers.
The Students’ Music Club held its regular meeting on April 29. A number of the members appeared on an interesting program. •
The piano pupils of Harry Spangler were heard in a recital on April 27, at the Parkway Avenue M. E. Church.
The pupils of Giacinto Gorno and Romeo Gorno, in the Dayton studios of the College of Music, gave a recital on April 26.
Vocal pupils of Lino Mattioli, of the College of Music faculty, were heard in a recital on April 28, in the Odeon.
Some of the pupils of Lloyd Miller, of the Cincinnati Conservatory of Music, were heard in a piano recital on April 28, at the conservatory.
The final students’ noon recital of the season was given by the College of Music on April 29, in the Odeon. Those appearing were from the classes of Frederick J. Hoffman, William Morgan Knox and Louise Dotti.
On April 29, pupils from the classes of Mrs. Jenner, the Misses Moses, Runinger and Hausen and the Messrs. Sa-verne, Paalz and Kraupner, of the Cincinnati Conservatory of Music, were heard in a recital.
The pupils of Hans Schroeder, voice teacher at the College of Music, were heard in a recital on April 27.
Freda Slauter, violin pupil of Haig Gudenian at the Cincinnati Conservatory of Music, was heard in a recital on April 29, giving a demonstration of her fine talent.
A number of voice pupils from the class of Giacinto Gorno, of the College of Music faculty, gave a program of opera songs on׳ May 8, in the Odeon.
Pupils of Jemmie Vardeman, of the Cincinnati Conservatory of Music, appeared in a delightful recital May 5.
Jessie Deane Crenshaw, a pupil of Jean Verd, gave her graduation recital at the Cincinnati Conservatory of Music, on May 3. Her program proved that she possesses a fine technic and has a more than ordinary talent for the piano. Both classic and modern compositions were included.
A delightful concert of ensemble music was enjoyed a; the Cincinnati Conservatory of Music on May 1, the participants being Mary Louise Gale, violinist, and Jessie Dean Crenshaw, pianist, from the class of Andre de• Ribaupierre. Miss Gale will soon leave for Paris, where she will enter the Fontainebleau School of Music.
Lydia Cleary, coloratura soprano, a pupil of John A. Hoffmann, of the Cincinnati Conservatory of Music, appeared in a recital at the Conservatory on May 8. She possesses a voice of rare beauty and brilliancy, which was demonstrated in notable numbers that demand a singer of power and uncommon art. Herbert Dieckman was the flutist at this recital.
Lawrence Hess presented some of his piano pupils in a recital in the auditorium of the Price Hill Library on May S.
Voice pupils of B. W. Foley, of the College of Music, were heard in a song recital on May 4.	W. W.
Leo Polski to Study Abroad
Leo Polski, the fourteen year old protege of Bertha Baur at the Cincinnati Conservatory of Music, sails for Europe in June with his teacher, Jean Verd, who will place him for further study at the Paris Conservatoire. Polski has been at the Cincinnati Conservatory for three years, during which time Miss Baur has given him the most watchful care, personally supervising his school education and daily life as well as providing every possible advantage.
April 28 she presented him in a public piano recital, in the nature of a farewell to his admirers at the Conservatory. The program included selections from Beethoven, Chopin, and Liszt and showed his capacity as a pianist of promise. • The fruition of her hopes was realized for Miss Baur on May 1, when Polski left for Washington to be the guest of Senator and Mrs. Willis. While there he gave a recital at the Congressional Club, May S, and a group of prominent Jewish women sponsored another recital by him on May 7. From Washington Polski went to his home in Memphis, where he will stay with his parents until he sails for Europe in June.
Piano Recital by Roeder Artist-Pupils
Five artist pupils of Carl M. Roeder gave an excellent recital at the Wanamaker auditorium May 17. Therese Obermeier displayed sound musicianship and good style in the rendition of her group, which included the Chopin B flat minor scherzo, “Chansonette” (Cyril Scott) and Segui-dilla” (Albeniz). The Brahms rhapsody in G minor was given with fire and freedom of expression by Claire Friedmann. “May Night” (Palmgren) was presented with sentiment, and the caprice, “Alceste” (Gluck Saint-Saëns), was rendered with crispness and accuracy.
To Harriet Merber, who looks not more than nine years old, the Mozart D major concerto (first movement) was
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