June 8, 192 2
MUSICAL COURIER
ONE MILLION-
ONE DOLLAR CAMPAIGN
Under the Auspices of the
OPERA IN OUR LANGUAGE FOUNDATION, INC. and the
DAVID BISPHAM MEMORIAL FUND, INC. To Establish an American Opera House
And further purposes of these organizations, which are:
Opera in Our Language Foundation.
To further in every possible way opera in our language in the U. S. A., to organize, reorganize or assist companies, and if foreign works are given, to acquire adequate translations. (Foreign works and artists to be heard only in English.)
David Bispham Memorial Fund.
To assist the American composer, notably of operas, and to keep alive the name of David Bispham and his art through a fitting memorial.
Checks of $1 or more may be mailed to Mrs. Louis E. Yager, treasurer-director, at National Campaign Headquarters, Room A-18, Congress Hotel, Chicago.
National Officers—Mrs. Archibald Freer, Mrs. Rockefeller McCormick, Mrs. Albert J. Ochsner, Mrs. Louis E. Yager.
DONATIONS up to May 29 on the One Million One-Dollar Campaign are as follows:
On campaign books of fifty One-Dollar subscrip-
tion-receipts:
Mrs. Archibald Freer, Book 61. ........................ $39
Mrs. Louis E. Yager, Book 43, 86....................... 87
Irene Frieder, Book 2.................................. 50
Mrs. J. Lindsay Wells, Book 34......................... 25
Mrs. Mary Stevens Regler, Book 53...................... 17
Ambrose Wyrick, Book 80.־..............................21 
S. E. Macmillen, Book 94............................... 1
Curtis Johns, Book 3................................... 32
Edna Rahn, Book 10..................................... 11
Mrs. G. S. Galloway, Book 58........................... 1
$284
Mary Madden, ’22, Thursday evening; dramatic recital by members of the pantomime and rehearsal class, Friday afternoon; informal dance by Alpha Omega Sorority, Saturday evening.	J. C.
When Hess Meets Hess
An event of great importance in the life of Hans Hess, cellist, occurred recently in the coming to America of his father, Adolph Hess, from Kiel, Germany, where the cellist was born, and where his father heads his own business of developing and perfecting special machinery. This is the first meeting of father and son in eighteen years, since the time when Hans Hess was a struggling student of the cello who set out for America to realize his dreams and ambitions. In just what measure this end had been accomplished the father was able to judge only from letters and papers received now and then.
Mr. Hess, senior, arrived in Chicago just in time_ to celebrate his seventieth birthday, which was the occasion of some little festivity. A number of cello students had been quietly gathered together, and at a given signal there stole upon the company from behind the curtains of the music room, the sv/eet strains of a quartet for violoncellos, written by Crell. The personnel of the quartet was composed of Goldie Gross, Anne Slack, Beulah Rosine and Ethel Murray, who had drawn lots for their positions. The four noble instruments sang together like a great organ, with a grandeur and loveliness that moved the hearers deeply. Other music followed. Besides quartets by Volkman, Klengel and Popper; Godard’s “Berceuse” and
A REUNION AND A BIRTHDAY PARTY Hans Hess (left), the cellist, and his father, Adolph Hess. The young ladies are pupils of Hans Hess who played to celebrate his father’s seventieth birthday. (Left to right) : Beulah Rosine, Ethel Murray, Goldie Gross, Genevieve Brown, Anne Black.
the "Nymph Dance” of Popper, played by Miss Gross. The “Bee” by Schubert, played by Miss Murray; “Andante" from Klengel Concerto, played by Miss Rosine; “Trau-merei” by Schumann, played by Lillian Rehberg, and the “Andante” from Second Concerto of Romberg, played by Genevieve Brown.
This, then, was the achievement of that fair stripling who courageously shouldered his cello and marched away many years ago to a new land. These people had acquired the beauty and charm of their playing under his teaching! But later in the evening, even this charm was superseded by the playing of the master himself. For Hans Hess played for his father—played the wonderful Bergonzi, which is replete with the musical traditions of centuries, but with none more worthy or more noble than those contained in the past few years, during its period of service to its present master. Hans Hess played to his father, and won his heart anew, not' as the child of long ago, but with the forceful, manly intelligence with which he unfolded and displayed the beauties of the music he played; as the matured artist, who had fought and won—the man. It is in this way he wins the hearts of his audiences.
on account of a dense fog which seriously delayed the trains, he arrived at the hall about forty-five minutes late, but still in time to do his part of the concert—much to the disgust of a local bass who was about to go on as substitute.
On the other hand, Mr. Flint has filled many dates for singers who were less fortunate, several times arriving barely in time to go on—in street clothes and without rehearsal, which he sometimes found a bit exciting, but as he says: “nothing to worry about if you know your music,”—which he always makes a point of doing.
The following notice from the Nashua Telegraph of May 20, is evidence that his power to move audiences is not yet on the wane:	“Willard Flint, as Mephistopheles,
lent his distinctive touch to the part. Comment on his performance is superfluous, for every lover of opera has seen and heard Flint in his interpretation of the exacting part of His Satanic Majesty in this work. It is distinctly refreshing to see a character taken with absolute confidence and assurance, without the use of score or libretto and with every attention paid to the interpretation of the part. This is where Mr. Flint excels and his
WILLARD FLINT,
oratorio bass and coach.
devilish conception was more than ever convincing. He showed no evidence of any tendency to retrogression, although it has been a number of years since he last sang the part here. More and more it was apparent to the audience that a local performance of Faust without Flint as the Mephisto is salt without its savor.”
Schroeder Pupil for Augusta Festival.
Another pupil from the studio of Theodore Schroeder, the well known vocal instructor and coach of Boston, has been engaged for a music festival. Anita Sanford, the young dramatic soprano, will be heard at the Augusta, Ga., Musical Festival on June 9. Miss Sanford will sing the aria “Depuis le jour,” from “Louise,” besides being heard in a group of modern songs. While in the South, Miss Sanford will also fill several other engagements.
Conservatory Notes.
A reunion committee of the Alumni Association of the New England Conservatory of Music is making an especial effort to bring out a large attendance at the annual business meeting, banquet and commencement exercises of June 19 and 20. The nominating committee has prepared and mailed to alumni the following list of officers for the ensuing year:	President, James E. Bagley; First Vice-
President, Mrs. Charles H. Bond; Second Vice-President, Walter J. Kugler; Treasurer, Alfred DeVoto; Financial Secretary, Homer C. Humphrey; Auditor, Henry M. Dunham; Recording Secretary, Bertha S. J. Graves; Corresponding Secretary, Minnie B. Fox; Directors, William L. Gray, Mrs. C. L. Overlander, Alice Hamlet, Harold H. Logan.
Events of the past week at the Conservatory were: pianoforte recital by Doris Carver, ’22, Monday afternoon; pianoforte recital by Lucille Buck, ’22, Monday evening; meeting of the junior class, Wednesday noon; pianoforte recital by Amy J. Markel, ’22, assisted by Louis W. Krass-ner, violinist, Wednesday evening; pianoforte recital by
16
SAMUEL CARR ACCORDED
FINAL HONORS BY DISTINGUISHED MUSICAL COMPANY
Barrows Pupils Win Success in Providence—Willard Flint Never Missed Concert Date in Career of Thirty Years—Conservatory Notes
Boston, Mass., June 3.—Samuel Carr, prominently identified with banking interests, and a musical benefactor of unusual activity, died Monday morning at his home, 403 Commonwealth Avenue, in Boston, after an illness of several months. Although a man of extensive business interests, being perhaps, on as many boards of directors as any man in Boston, Mr. Carr had always been deeply interested in music.
For twenty years, up to April, 1904, he was organist and choir director at the Old South Congregational Church. His last appearance at the organ there was on Easter Sunday, 1904, when one of the numbers given was an Easter hymn from his own pen, “Break O’er the Earth, Thou Glad Prophetic Morning.” He was for many years chairman of the Music Committee of the Old South Church, President of the Board of Trustees of the New England Conservatory of Music, Honorary Associate of the New England Chapter of the American Guild of Organists, and was closely identified with the Harvard Musical Association. The two upper floors of his beautiful home constituted a large music room which housed an organ, and Mr. Carr frequently entertained his music loving friends.
Many prominent men and women attended the funeral services at the Old South Church, Thursday. Reverend Dr. George A. Gordon, pastor of the church, conducted the service. Music was in charge of Prof. William Churchill Hammond of Mt. Holyoke College, assisted by Henry E. Wry, organist of the church. The musical program included one of Mr. Carr’s compositions, “We Bless Thee for Thy Peace, O God,” sung by Mrs. Laura Littlefield, soprano.	,
Honorary pall-bearers were led by Chief Justice William H. Taft of the United States Supreme Court, and included the Rev. Dr. Alexander Mann of Trinity Church, Oliver Ames, Oliver W. Mink, Arthur S. Johnson, E. B. Bay-ley, Francis Peabody, G. W. Chadwick, Henry Sargent, J. H. Leman, Ashton Carr and Amory Eliot.
As a mark of respect to Mr. Carr’s service as vice-president of the trustees of the public library, the central library and all the branches were closed from noon until 2 o’clock, and in recognition of Mr. Carr’s position as chairman of the board of trustees of the New England Conservatory of Music, all classes were suspended between 12 and 4 o’clock. A special committee of officers and members of the faculty attended the service, including besides Messrs. Chadwick and Goodrich, Ralph L. Flanders, general manager; Henry Dunham, Joseph Adamowski, Frederick S. Converse and William B. Taylor.
Burial was at Forest Hills Cemetery, where the committal service was conducted by the Rev. Mr. Merrill.
Barrows’ Pupils Prominent in Providence Concert.
Marguerite Watson Shaftoe, soprano, and Mme. Claudia Rhea Fournier, contralto, artist pupils from the studio of Harriot Eudora Barrows, featured the spring concert of the Monday Morning Music Club of Providence recently. This concert is given annually for the benefit of the Providence Society for Organizing Charity, and is one of the musical and social events of the season. The following comment from the press of that city reflects great credit on the admirable training received in the Boston and Providence studios of Miss Barrows:
Providence Journal:	“Mrs. Shaftoe \sang her songs
with musicianly style and expressive vocal quality. The ‘Pale Moon’ by Logan, Foote’s ‘Shadows’ and Kramer’s ‘The Crystal Gazer’ were those in which she found opportunity for imaginative treatment. Following the violin solos, Mme. Fournier gave a group of songs. This excellent artist sang with more than usual warmth and dramatic feeling. Her work was a feature of the evening and she gained a flattering reception.”
The Evening Tribune:	“In her groups of songs, which
followed the trio, Mrs. Shaftoe sang her numbers with her usual fine tone quality and expression. .	.	. Mme.
Claudia Rhea Fournier, the popular contralto, is a thrice welcome addition to any program. She was in excellent voice last evening and her singing was characterized by singularly lovely timbre throughout and abundant temperament and her diction, notably in her French songs, was a joy.”
Unique Record of Willard Flint.
Willard Flint, the well known oratorio bass and coach, has a record which he believes to be unique—of having never been obliged to cancel a date in the entire course of about thirty years of public singing. On one occasion,
ALFREDO MARTINO
ANNOUNCES THE OPENING OF HIS NEW STUDIO AT 257 WEST 86TH STREET, WHERE HE WILL CONTINUE HIS REGULAR TEACHING THROUGHOUT THE SUMMER.
A FREE SCHOLARSHIP WILL BE AWARDED TO THE STUDENT POSSESSING UNUSUAL VOICE AND TALENT.
FOR APPOINTMENT FOR VOICE EXAMINATION WRITE TO ABOVE ADDRESS. APPLICATIONS SHOULD BE IN BY JUNE 15TH.