musical courier
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June 8, 19 2 2
supply of numbers which could be done with orchestra had been exhausted, the audience was still insistent, and she responded with several numbers, piano accompaniments being played at sight in a masterful manner by Mrs. George B. Rhead. During the evening’s entertainment Mr. Delamarter again presided at the organ.
Saturday Afternoon.
The fifth concert Saturday afternoon again gave Mr. Stock an opportunity to present his orchestra in a most favorable light. After Berlioz’s overture to “Benvenuto Gellini” had been played in a brilliant manner the audience settled down to listen to Rachmaninoff’s symphony, No. 2, E minor, opus 27. _ This brought down the house and gave lovers of symphonic music an unusual opportunity of hearing an attractive work perfectly performed. After a storm of tumultuous applause the second half of the program was begun when Wilhelm Bachaus as piano soloist gave a splendid reading of Beethoven’s concerto, No. 4, G major. Mr. Bachaus more than justified his position as a leading piano virtuoso and although the festival audience had already been fairly saturated with music and the hour was late and another concert was still to be heard they insisted upon calling him back for at least six encores and then it was only by leaving the building that he could escape from offering further numbers.
Saturday Evening.
The Festival was brought to a close Saturday evening in a splendid performance of “Tannhäuser” by Wagner with a cast of artists which could hardly be excelled. Mr. Stock wielded the baton over chorus, orchestra and soloists and
CHARLES A. SINK,
business manager of the Ann Arbor Festival, roho also finds time to serve his district as Senator in the Michigan Legislature.
succeeded in welding together their united music efforts in a manner which made the final concert stand out not only as the climax of this festival but as one of the greatest concerts ever given at any festival. Florence Easton as Elizabeth in her Ann Arbor debut won a host of friends and attracted the favorable commendation of one and all through her excellent singing. Cyrena Van Gordon, who sang the Venus music and who is always a welcome visitor to Ann Arbor, could hardly be surpassed in excellence of voice, temperament and a harmonious adjustment of the difficult portions which were in her charge. Paul Althouse sang remarkably well. He is a true artist and was a most acceptable addition to the cast. Adele Parkhurst, who was heard at the Thursday night concert, was again heard as The Shepherdess and in the small part allotted to her repeated the splendid impression she made at her first appearance. Carl Schlegel, who like Miss Easton and Miss Parkhurst was new to Ann Arbor, made a splendid impression. A finer Wolfram could hardly have been imagined. Rollin Pease, of Chicago, who took the role of Landgrave, also sang remarkably well, while Robert Dieterle, of Ann Arbor, who has been heard at previous festivals, represented Bitterolf.
The closing of the festival left little to. be said except words of commendation for acting-conductor Moore and his collaborator, Frederick Stock, for not only did they build up a series of climatic programs, each a unit in itself and yet each contributing to the festival as a whole, but the performances from every point of view were well conducted, well carried out and a spirit of musical seriousness was engendered during the entire week.
Music Notes.
Although Dr. Stanley, the venerable conductor, was for the first time absent from the festival his influence was felt on all sides. Greetings were received from him from abroad by the chorus, orchestra and soloists and in return a cablegram of affection was sent him on behalf of all of the participants.
Among distinguished musicians who were present may be mentioned Harper C. Maybee, director of the Kalamazoo Music Festival; Mrs. E. J. Ottoway, president of the Michigan Federation of Music Clubs; Mr. and Mrs. Carl Kinsey, of Chicago; Florence French, editor of Musical Leader, Chicago; Mr. and Mrs. J. E. DeVoe, Detroit; Mrs. Isobel Hurst, Detroit; L. H. Clement, conductor of the Toledo Orchestra; W. E. Walter, manager of the Detroit
the work, is, musically and intellectually, just the one for the part. He has made this role distinctly his own. This was Mr. Werrenrath’s first appearance in Ann Arbor for a number of years and those who predicted years ago when he was beginning to climb the ladder of fame that he would some day reach the top were fully convinced that he had now attained this distinction. Adele Parkhurst, a young soprano who sang the “I Am An Angel Fair” in the prologue, proved to be a very acceptable associate. Her voice is pleasing and her art is very good. The organ and piano parts which contribute largely to the orchestral significance of the work were handled in masterly style by Eric Delamarter, assistant conductor of the Chicago Symphony, and Mrs. George B. Rhead of the piano faculty of the University School of Music. To Mr. Moore and his singers, however, went the honors of the evening for finer choral singing has seldom been listened to.
Friday Afternoon.
The third concert, Friday afternoon, brought to the fore a program of wide contrast. Five hundred school children under the direction of George Oscar Bowen, head of the Public School Music Department of the University School of Music and director of music in the schools of Ann Arbor, contributed a number of interesting selections for children as follows:	“Fisherman’s Prayer” (Myrberg) ; “Gay
Liesel” (Wahlstert) ; “Shepherd on the Hills” (Madsen) ; "The Minuet” (Mozart); “The Song of Spring” (Busch); “April Folk” (Bruch) ; “Evening Bells” (Abt), the most pretentious of which was the “Song of Spring” by Busch. These little folks by their enthusiasm, joyous faces and earnestness not only gave great pleasure to the listeners but proved conclusively that under the leadership of Mr. Bowen and the careful training of his associate, Lou M. Allen, they had not only learned to sing in a creditable manner, but what is of much more importance, have acquired a love for music of the right sort. These youngsters will undoubtedly in the years to come look back with credit to the training which they received at this festival and will carry with them all through life a love for music and art in general. The soloist of the afternoon was Kathryn Meisle, a young contralto, the sincerity of whose art, .beautiful voice and fine stage presence won the praise of all. In addition to the two arias and group of songs announced on the program she was obliged to respond with many encores and was recalled to the stage many times. Her accompaniments on the piano were played by Mrs. George B. Rhead, while Ava Comin, also of the University School of Music, appeared as pianist for the children’s chorus.
Friday Evening.
The Friday evening concert, which traditionally is known as “Artist Night,” proved to be an exceptionally fine evening’s entertainment. The program was opened by Schumann’s overture, “Liebesfruhling,” following which Frederick Stock led the Choral Union in a masterful presentation of his own “Psalmodic Rhapsody.” This was its second performance, it having been given a year ago at the North Shore Festival. Mr. Stock was given a rousing reception as he stepped to the conductor’s desk, and at the close of the number thunderous applause greeted him, the orchestra joinirlg in a fanfare, a rather remarkable tribute to this distinguished composer-conductor. The work was splendidly given and attracted the admiration not only of listeners in general, but particularly of critics and managers who were in attendance. It is stupendous from every point of view and really contains sufficient melodic, orchestral and choral material for two or three important works. Mr. Stock, however, through his uncanny knowledge of musical value, has in this work so nicely balanced and woven together the various musical factors that its tremendous significance cannot be fully appreciated without more hearings. It was in this work that William Wheeler distinguished himself as soloist, for he sang the tenor role, which abounds in difficult musical technicalities, in a manner which would almost belie the fact that he had had but two days in which to prepare.
In the second part of the program the orchestra was again heard in Saint-Saëns’ symphonic poem, No. 1, “Le Rouet d'Omphale;” Glazounoff’s concert waltz, No. 2, F major, and as a final number, Alfven’s “Midsummer Wake,” Swedish rhapsody. Interspersed between these numbers were three big arias which served as a splendid vehicle for the display of Frieda Hempel’s artistic pyrotechnics. Miss Hem-pel has been heard in Ann Arbor on several occasions, but not for several years. She is always a welcome visitor, and on this occasion she more than substantiated the reputation for real art which she established at previous visits. After each number she was obliged to return to the platform many times and to respond with encore after encore. After her
ANN ARBOR FESTIVAL
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zetti’s “Una furtiva lagrima,” from “L’Elisir d’Amore.” After a rousing reception he was obliged to return many times to the stage and sing again. Later he sang Massenet recitative and aria: “Ah, fuyez, douce image,” from “Manon,” and Puccini’s aria, “E lucevan le stelle,” from “Tosca,” after both of which he was again given an ovation and compelled to contribute several unannounced numbers. The festival audience had been warned in advance that in Chamlee they would hear a tenor of exceptional ability and his splendid work fully justified these advance
© Rentschler, Ann Arbor
EARL VINCENT MOORE,
who trained the Choral Union and conducted the performance of “La Vita Nuova.”
reports. Without doubt, he ranks among the great tenors of the day. He possesses remarkable musical ability, poise and talent and is a true artist. His voice is of a particularly pleasing quality and his artistry is fine. This will not be his last Ann Arbor appearance.
Thursday Evening.
Thursday evening, the program was divided into two parts. In the first part Mr. Stock with his band of musicians proved to be the center of attraction, offering Wagner’s Procession of the Knights of the Holy Grail, from “Parsifal” and Strauss’s tone-poem, “Death and Transfiguration,” opus 24. The orchestra, always welcome in Ann Arbor, rose to tremendous heights in these numbers and Mr. Stock was given a reception such as few conductors have ever received in Ann Arbor. In the second half of the program, Wolf-Ferrari’s cantata, “The New Life” (La Vita Nuova) was sung by the Choral Union under the baton of Earl V. Moore, who made his debut at this time as a conductor. It is necessary to state this fact for his mastery of both chorus and orchestra was such that those present felt that the evening’s program was being presided over by one who was accustomed to do this sort of thing every day. The cantata has been given twice before in Ann Arbor, the last time in 1915. It was chosen on this occasion not alone for its musical worth, but in commemoration of the 600th anniversary of the great Dante, by whom the words were written.
The soloists were most acceptable. Reinald Werrenrath, who read the difficult baritone role which runs all through
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THE CHILDREN’S CHORUS,
which sang at the Friday matinee under the leadership of George Oscar Bowen.