27
MUSICAL COURIER
June 8, 1922
WITH MYRNA SHARLOW
ON THE ISOLA DI CAPRI
Mme. X in a recent article printed in the Chicago Tribune entitled, “Impressions of a Storm Bound Stay on Lovely Capri,” mentions among the Americans she encountered there Myrna Shadow, now Mrs. E. P. Hitchcock. Mme. X says in part: “Myrna Sharlow a few days ago sang selections from ‘La Tosca’ and ‘Mme. Butterfly.’ The anguish of Tosca never seemed more poignant than as the artist sent forth the cry of suffering to the echoing vaulted ceiling, nor did Mme. Butterfly ever seem more tragic than as Myrna Sharlow gave voice to the Japanese woman’s grief that day. When Mrs. Hitchcock, or Myrna Sharlow, as she will continue to be known, returns to life on the operatic stage, those who knew her and followed her development during the five years she was with the Chicago Company, will be surprised at the fulfillment of the promise of those years, for she has been studying with the foremost teacher of the Italian method, Alfredo Lagana, the director of the Naples Opera, and has gained greatly in dramatic intensity and in the quality of her naturally delicious voice.”
In another article, which appeared also in the Chicago Tribune, entitled, “Pausing to Let the Isle of Capri Cast its Spell,” Mme. X gives some idea of the environment of the island: “Capri sometimes casts an instant spell over visitors. What was the island that made Ulysses and his men forget their wives and their homes and settle down there to live? It must have been Capri for she has in recent times cast this same spell over many.
“Some thirty-five years ago two Americans, the Misses Wolcott-Perry of Keokuk, la., and cousins of the late Senator Wolcott came to the island for a week’s stay and were so enamored of it that they sent for all their transportable belongings and settled right down to live on and be a part of the life of the place. They built a beautiful villa, one of the most conspicuous here, and have practically lived here ever since.
“The younger sister died a few years ago and the elder Miss Kathryn Wolcott-Perry returned to her old home. She was, however, so unhappy there that she soon came back to her white tower, her lovely vine covered pergolas, and her delicious garden.
“She has living with her at present her cousin, Capt. Edward Bering Hitchcock and his wife. The latter is of special interest to Chicago people, as she was a popular member of our Chicago Opera Company. She was Myrna Sharlow, and sang in many a role before she met and fell in love with Captain Hitchcock. They were married here last June in the gleaming white little Greek temple, which in the central feature of Miss Wolcott-Perry’s garden.
“This temple is a circular affair of white columns like the temple of the Vestal Virgin at Tivoli near Rome. It is paved with strange African stones, which were dug up from the vineyard of the villa and which once were used in one of the palaces Tiberius must have built on that site.
“Among the objects excavated in the same garden was half of what once was a huge Phoenician glass platter, a lovely piece of opalescence. The imperishably lifelike qualities with which the Capresis endow Tiberius and his family are illustrated in the reply of Miss Wolcott-Perry’s gardener when she asked him why all the things, the glass and pottery, found in her garden were in such a shattered condition:
“ ‘O, signorina, don’t you know that Tiberio’s mother had a terrible temper, and when she fell into rages she broke everything she could lay her hands on?’”
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meyer’s “Paraphrases from the Japanese,” Mr. Zeckwer has composed an orchestral number with a modern touch, of illusive coloring and in which he has achieved extremely fascinating effects. It is gracefully orchestrated and is not without expression, individuality and imagination. It was superbly played by Conductor Stock and the orchestra and the audience liked it immensely.
Unfortunately, the same cannot be said of Mr. Grainger’s chorus. It is not like most Grainger compositions, bubbling over with melody, but it abounds in treacherous rhythm and vague ideas of just what he is striving at. The chorus under Mr. Lutkin strove vainly with its difficulties to make something out of it, but “The Bride’s Tragedy” left but a vague impression.
Magnificent performances were given the overture to Weber’s “Freischutz,” the prelude to “Tristan and Isolde,” by the orchestra under Conductor Stock, besides splendid accompaniments for Mme. Matzenauer and the chorus in Grainger’s chorus and the “March and Chorus” from “Tannhäuser,” with which the program came to a close.
Festival Notes.
As usual, the Northwestern gymnasium was attractively decorated and took on its festive dress. The Chicago Symphony Orchestra on the platform, backed by a great organ and flanked by a chorus ranging of from six hundred to fifteen hundred, according to the need, against a background of green foliage, made a most striking picture.
The audiences on all occasions were huge, filling the vast auditorium and at the first and last concerts,—at which Farrar and Matzenauer appeared, respectively,—part of the stage was used to accommodate the overflow from the sold-out houses.
Although it rained in torrents during the days of the first two concerts, all had cleared off by concert time and the weather proved especially enjoyable. The freshness in the air made the concerts more enjoyable and as in years gone by, there was not the excessive heat to detract from the comfort of the listeners.	Jeannette Cox.
Walter Anderson on Automobile Tour
Twenty years ago Walter Anderson, the (in) famous manager bought an Elgin watch, which is still going and keeps excellent time; moreover, the “upkeep” has not been more than a dollar in all those years. Perhaps that experience
■I
WALTER ANDERSON AND HIS RECENTLY ACQUIRED ELGIN G
may have had some influence when he bought an Elgin 6 automobile recently. Mr. Anderson has also acquired a brand new Hudson. This, however, is a tenor named Byron Hudson, who, Mr. A. says, goes equally well, particularly on high, and with one cylinder which never misses. Mr. Anderson, who recently became a member of the Kiwanis Club of New York, is making an extended automobile tour to include the Kiwanian convention at Toronto, June 20-22.
Many Engagements for Henry Gurney
Henry Gurney, a popular tenor throughout the State of Pennsylvania, filled the following engagements last month: May 2, “Martha,” Philadelphia; 4, “Rose Maiden,” Atlantic City; 6, “Women of Samaria,” Philadelphia; 7, “Messiah,” Philadelphia; 8, Art Club, Philadelphia; 15, “Rose Maiden,” Mt. Carmel, Pa.; 24, “Redemption,” Philadelphia; 30, “Stabat Mater,” Philadelphia. June 1 Mr. Gurney was scheduled to sing on the Steel Pier at Atlantic City. June 15 there will be an appearance at the Academy of Music in Philadelphia and the following day he will sing the “Rose Maiden” in Pottsville, Pa. July and August will find the tenor singing every Sunday in Atlantic City.
presented him by President Chamberlain of the Festival Association. In this contest for American composers, the judges gave first honorable mention to “In a Withered Garden” by Elliott Schenck of New York City, whose work will be given a public performance at the regular series of the Chicago Symphony Orchestra next season. The names and composers of the other three compositions in the contest are:	“Memories of France” (suite for orchestra), by
Seth Bingham of New York City; “From the Mountain Kingdom of the Great North-West” (four impressions), by Louis Victor Saar of Chicago, and “Indian Rhapsody,” by Carl Busch of Kansas City. All compositions were admirably played by the Chicago Symphony Orchestra under Frederick Stock’s lead, which added materially to their interest and enjoyment.
While the judges were arriving at a decision as to the prize winning composition, the a capella Choir of the Northwestern University, under the direction of Mr. Lutkin sang some unaccompanied numbers, winning such hearty approval as to call for repetitions and encores. The selections included a group of three Latin motets, one of two English Motets by Tschaikowsky and Christiansen and two Madrigals by Orlando di Lasso.
“Caractacus,” May 29.
At this concert the main choral attraction of the festival, Elgar's imposing "Caractacus” was given. Evanston prides itself in having some responsibility for the present popularity in this country of the Elgar work, the Evanston Musical Club having first given it there in 1904 under Mr. Lutkin, repeating it at the Louisiana Purchase Exposition in St. Louis, and then carrying off a prize of $3,500. This performance made the third at these festivals; thus the American record for “Caractacus” performances is held by Evanston, of which they may well feel proud.
For the most part, the chorus did themselves as well as their leader proud by their satisfactory work. There could have been a broader sweep, perhaps, and more exactness of rhythm at times, yet it is probably an utter impossibility to control completely at will a choir of the magnitude used at these festivals and the smaller details are lost in the effort to obtain bigness of tone, variety of tone coloring and climaxes and thus the desired results are lost. Such was the case at this hearing, yet taken as a whole, the performance was a credit to Mr. Lutkin’s untiring labors in getting these six hundred voices together and diligently training them. Conductor and chorus were enthusiastically applauded by the large assemblage on hand. The greeting accorded Mr. Lutkin whenever he appeared throughout the festival demonstrated what a great favorite he is in Evanston, where he is dean of the University School of Music.
All the soloists set forth their different tasks admirably, enhancing the performance. Luella Melius had but three days to prepare the soprano part—substituting on short notice for Emma Noe, who was unable to appear—a tremendous feat, for the Eigen part in “Caractacus” is replete with intricacies. While circumstances made it necessary for her to adhere strictly to the text, thus preventing the freedom and ease for which her appearance on Thursday evening was notable, she came out of the ordeal with flying colors, singing most effectively, with a tone of beautiful quality throughout.
Some of the finest singing of the festival was accomplished by Paul Aithouse. An oratorio tenor, par excellence, Mr. Aithouse delivered every bar of the trying Orbin music with telling effect, always־ giving of his very best. This means much, for Aithouse has established an enviable reputation for himself as one of the most artistic singers in the musical field today and the exalted position he now occupies, is the reward of ever-pleasing, finished singing that is marked by a certain elegance of style and taste besides.
Who appears oftener at North Shore Festivals than Arthur Middleton and who is better liked by the habitues? It seems safe to say no,one, which demonstrates the popularity of this splendid artist in these surroundings. Here is another artist who sings oratorio to perfection^ and makes every opportunity count. Dignity and authority of style, clearness of enunciation and musical intelligence are highlights in a Middleton performance, all of which were ever present at this hearing. Heretofore, however, Mr. Middle-ton has sung basso parts, but on this occasion he essayed the baritone role, which perhaps explains why his voice had pot its * former deep richness. As said above, however, his was a skillful performance, and he scored heavily with the auditors.
In Herbert Gould the bass part had a fine interpreter. Possessed of a voice of deep, resonant quality, used with admirable taste, skill and artistry, Mr. Gould delivers singing of a high order. He was equally as successful as the balance of the quartet and came in for a goodly share of the evening’s honors by the uniform excellence of his work. All four soloists shared in the approval and esteem of the listeners.
Operatic Night, May 30.
Terminating with a tremendous climax on Tuesday night (Memorial Day) the fourteenth annual North Shore Music Festival went into history as one of the most elaborate and most interesting staged by this association. The climax came in the appearance of Margaret Matzenauer, who at this time fulfilled her engagement to appear at last year’s festival, which had to be pos,p_neu due t„ tne u.ness ui ner mother. A review of a Matzenauer performance necessitates the employment of superlative upon superlative, for her extraordinary magnificent voice, big, broad, masterly singing and striking, majestic appearance call but for the highest praise that one can bestow upon a great artist. Pouring forth her glorious, organ-like tones in "Ocean, Thou Mighty Monster” from Weber's “Oberon,” she thrilled the audience from the very first note and at its conclusion culminating applause rewarded the singer and continued so thunderous that Mme. Matzenauer was compelled to bow acknowledgment innumerable times, but, much to the disappointment of her auditors, she did not add an encore. Later she sang_with the same majesty of style three Wagnerian songs—75In the Greenhouse,” ,‘Dreams” and “Sorrows,” one of which she had to repeat. Also she rendered “Isolde’s Love Death” to the great delight of those present.
There were also in this concert two first hearings—the winning composition in the competition and Percy Grainger’s chorus, “The Bride’s Tragedy.” Chief interest, of course, centered around the prize composition—Camille W. Zeck-wer’s "Jade Butterflies”—which proved a worthy novelty. In his suite of five movements, written on Louis Unter-
Friedman
The F״ia.nist Who Thrills
“If you want to be thrilled, hear Friedman. Audience went wild with excitement.”—N. Y. American.
“Audience cheered.”—N. Y. World.
“Cheered Master Pianist—Extraordinary Demonstration.”—Kansas City Times.
“Everyone arose and called him out time and again.”—Washington Post.
“Cheering and stamping as at a political convention.”—Toronto Saturday Night.
In America, January-March, 1923—Re-engaged Everywhere.
Management: Metropolitan Musical Bureau, 33	/чГ״Г°гк Cily