June 8, 19 22
MUSICAL COURIER
40
ates endowed with repose and assurance as well as efficient training, and this feature was pronounced in every number delivered.
New Practice Organ at Bush Conservatory.
Good news for students of pipe organ comes in the announcement that Bush Conservatory has installed a fine new practice organ in its spacious organ studio in the Conservatory buildings. Thus the great problem of the student of organ is eliminated and the means of successful practice in a convenient time and place is put at the disposal of Bush Conservatory. This fact, combined with the excellence of the organ department, means that summer students of the instrument will flock to the Conservatory in great numbers, unlimited opportunity to practice in comfort being in the nature of a luxury for the organ student in Chicago.
The personnel of the organ faculty includes Edgar A. Nelson, Florence Hodge, Harry Carlson, Robert Yale Smith, Jessie A. Willy and others. The studio is artistically decorated and furnished, there are pictures of typical organ installations with specifications of the instrument shown. Although the organ has been installed primarily for the use of the Bush Conservatory organ department, it will be available to others at all times when not in use by the department, at the same low rates charged to Bush students. The instrument was designed by William Ripley Dorr and installed under his supervision.
Sunday School Association's Festival.
A vast audience occupied the Auditorium April 26 and listened with pronounced and justifiable enthusiasm to the lengthy program provided by those participating in the twenty-ninth. annual May Festival of the Chicago Sunday School Association. The occasion presented a Woman’s Chorus of over 500 splendidly attuned voices with organ, orchestral and piano accompaniments, the “tout ensemble” being under the direction of H. W. Fairbank with Francis S. Moore as the organ. Several chorals were delivered with fine effect, trueness to pitch, tempo, blending and shading. In fact much favorable comment was deserved by both ensemble and Conductor Fairbanks for their work. Interspersed were numbers by the Oriental Quartet, which captivated by the character of their encore, by Olive June Lacey, soprano, Charles Edward Lutton, baritone, both agreeable singers, and Mischa Violin, violinist, who was a delight. His selections, though ambitious, were delivered with tne spirit and finish of an artist.
During the evening A. Alfred Holmes, chairman of the executive committee, del.vered a pleasing address which included the presentation of large beautiful American flags to the several bodies which had contributed by their work to the success of the Festival, after which a patriotic composition, “On to Victory,” by Mr. Holmes was rendered and proved very melodic music with much “go” in it. Following, Chicago's greatness was told in “Where the Breezes Blow,” by H. W. Fairbank, words by Elsie Janet French. The last choral which closed a delightful evening was “Loyal and True” also by Mr. Fairbank, words by A. M. Goodman, intensely patriotic and heightened in effect by the introduction of the startling innovation of an instantaneous transition of the chorus into an American Flag through quick rearrangement of dressing and at the close a fitting climax was reached by the unfurling and waving of hundreds of American flags (which had been concealed) by the entire body of singers and which provided a happy ending to the enjoyment of the evening.
Commencement at the Knupfer Studios.
The annual series of students’ recitals was brought to a brilliant conclusion by three programs of superior worth presented by eight students of Mr. Knupfer’s advanced classes, assisted by vocal students of Eusebio Concialdi, Zerline Muhlmann and Margaret Lester at Recital Hall, Fine Arts Building. The playing of Mr. Knupfer’s students was a convincing proof of the high standard of technical and musical training which prevails in Mr. Knupfer’s school.
Refinement of style, tonal beauty, artistic phrasing and mechanical perfection are the results for which Mr. Knupfer is known to work with his pupils and all those qualities were fully demonstrated in the course of these recitals. Special praise should be given to talented young Nellyrose Wester -heide for her brilliant and musicianly rendition of Mendelssohn’s B minor capriccio and to Zelda Cohn, who performed Mendelssohn’s G minor concerto with spirit and technical abandon, while the last concert brought forth four young pianists for whom one may safely predict professional careers. Paderewski’s “Polish Fantasie,” played with genuine feeling and temperament by Eunice Thompson, and Liszt’s “Hungarian Fantasie” in a rhythmically pronounced and dashing rendition by Juliet Cohn were the high lights of the final program, which was opened by Bertha Garland as the intelligent and dignified interpreter of an Allegro de Concert by Blumenfeld, presented for the first time in America, and effectively closed with a power and authoritative performance of the first movement of Tschaikowsky’s
UMBERTO BEDUSCHI
formerly leading tenor, Covent Garden, London; Royal Argentina, Rome; Royal Theater. Madrid.
Voice placing and development, Coaching for Grand Opera, etc. Suite 70, Auditorium Bldg., Chicago
Marie LIGHTHALL
¡Soprano	s'•
GRACE WELSH
PI ANIST—C OMPOSER
American Conservatory	...	Chicago
COLLINS
CHICAGO MUSICAL COLLEGE
THEODORE HARRISON. «ariion«
Dir. Music Dept., Lyceum Art« Conservatory, will conduct summer normal class in Interpretation and Repertoire for Students. Teachers and Professionals.
1160 N. Dearborn St., Chicago.	Avoiloblt Solo Engagement!
ALL CHICAGO MUSIC SCHOOLS BUSY
WITH THEIR COMMENCEMENT PROGRAMS
Bush Conservatory Installs New Practice Organ—Its Training School Orchestra Does Fine Work—Columbia School of Music Starts the Commencement Season—Chicago Musical College Students in Opera—Westervelt Pupils Honored—American Conservatory Pupils Successful in Examinations—Studio Notes
form excellence of its playing proving the value of the training received. Conductor Czerwonky led his forces through a telling reading of the prelude to Humperdinck’s “Hansel and Gretel,” a worthy performance o_f Smetana’s symphonic poem, “The Moldau,” and the overture to Wagner’s “Flying Dutchman,” besides supplying most satisfactory and helpful support to the soloists. Nor does all the glory of the concert go to the orchestra; the four soloists added much to the enjoyment of the evening and shared honors with Conductor Czerwonky and his players. In the Bruch G minor violin concerto, Ebba Frederick-sen revealed unusual violinistic qualifications, giving a most effective rendition of this difficult number. She scored heavily with the listeners, who left no doubt as to their pleasure. Miss Fredericksen recently won in competition the fine old Italian violin presented by Lyon & Healy to the best student in Richard Czerwonky’s class at Bush Conservatory. The “Caro Nome” from “Rigoletto” was delicately and effectively delivered by Leola Aikman, a soprano of pleasing quality. A dominating, stirring interpretation was given the first movement of Rubinstein’s D minor concerto by Melita Krieg, a pianist of no mean ability, who should go far in her art. Jennie Peterson’s full, rich soprano voice served her well in the rendition of Micaela’s aria from “Carmen,” and she sang with ease, surety and understanding. Their teachers can well boast of these students, who are all members of the Master School at the Conservatory, as they reflected the excellence of the training received under their tutelage.
First Commencement of the Season.
The Columbia School of Music had its twenty-first Annual Commencement Concert at Orchestra Hall, Wednesday evening, May 31, which in all respects proved an auspicious event. The participants were not disappointing and the audience large and receptive.
First of all, the orchestra of thirty-five, under the leadership of Ludwig Becker, played its accompaniments in a manner that left nothing to be desired.
The opening number, the Chopin F minor concerto, was very acceptably played by Ardis V. Daily. An aria, “O Don Fatale” (“Don Carlos”), by Verdi, was sung by Geraldine Rhoades and gained the approval of her audience. Two movements of the violin concerto in G minor by Bruch were played by Raoul Kantrow in good tone and with much assurance, with an abundance of ease and swing. Two movements of the Rachmaninoff piano concerto, op. 18, met with surprisingly good treatment at the hands of Genevieve Lau-back Davison. She obtained good tonal values. The vocal aria, “Depuis le Jour,” from "Louise,” by Charpentier, was sung by Marion Capps, who disclosed a dramatic soprano, clear and telling, fully up to the requirements of the selection and indication of definite musical understanding. Paderewski’s A minor concerto was the ambitious number played by Mary Katherine Allen. Much credit is due her, which her audience evinced. “Symphonie Espagnole” by Lalo afforded John Brambach an opportunity to display good tone, technic and bowing. Ruth Mills’ rendition of "Amour viens aider” (“Samson and Delilah”), by Saint-Saëns, was well received as was the piano concerto JL flat major by Liszt, played by Anna Hanschmann, and the choral conducted by Louise St. John Westervelt added immeasurably to the enjoyment of the evening.
If space would allow one could dilate more extendedly on the individual quality of the talent presented. Suffice it to say, that the^ outstanding features were the earmarks of worthy methods employed by the faculty of this popular school in bringing their students to the present status. Much must be said in praise of any school that can produce gradu-
;NICOLAY
j	 ״
A
n Reengaged for eleventh season as leading ^ Basso with Chicago Opera Association Addreu: CHICAGO GRAND OPERA -	■ CHICAGO
EDGAR NELSON
Plano and Organ Instruction
BUSH CONSERVATORY. 839 North Daarborn Street. Chicago
Flora Waalkes
Soprano
1625 Kimball Bldg. -	- Chicago
GUSTAF HOLMQUIST
BASS-BARITONE
Private Address: 1430 Argle Street Address Bush Conservatory, 839 North Dearborn Ave., Chicago
ALEXANDER RAAB
Pianist
CHICAGO MUSICAL- COLLEGE
H W	C*	Wednesdays
S liLilJlJ Saturdays
THE ART OF VIOLONCELLO PLAYING
522 Fine Arts Bldg., C. Lynn Reyburn, Sec’y, Chicago For Lesson Appointment, Phone Ravenswood 5382
Chicago, June 3.—June used to be the month for commencements and most schools, including music schools, set aside that month for their closing exercises. In the past few years the principal schools in Chicago have vied with one another in the effort to have the honor of being the first to present its commencement concert and exercises, so these events now begin along toward the end of May and continue all through June, tmishing, however, before the close of this month. This week several took place in Chicago, the Columbia School of Music holding first place with its concert on Wednesday evening, May 31, at Orchestra Hall. Then the Bush Conservatory, which began its numerous programs with one by its Training Schools Orchestra in the same hall, the following evening, Thursday, June 1. First place will be given here, to the Bush Conservatory, as the establishment of the Orchestra Training School at that progressive institution is worthy of highest commendation and deserves every encouragement and aid.
Training School Orchestra In Fine Program.
One of the most cherished ambitions of Kenneth M. Bradley, the alert president of the Bush Conservatory of Music, is realized in the Bush Conservatory Symphony Training School Orchestra. Mr. Bradley has always felt the need of a training orchestra wherein players may receive the essential orchestra routine and to meet the growing demand for experienced symphony players who can take their places in the numerous American Symphony Orchestras—real American symphony players, who have received their training in America—he has established this school, with the co-operation of Richard Czerwonky, as conductor. In defraying the large expense of the orchestra school and concerts, the Bush Conservatory has been assisted by a number of Chicago business firms, who recognize the value to the community of such an educational project. Not are players only to receive the benefit of this training, for it is planned by President Bradley to give opportunities for composers to hear their new compositions for orchestra; for young conductors to secure experience in conducting and artist students to acquire routine by rehearsal of solos with orchestra accompaniment. The great national value of such a beneficial enterprise cannot be too strongly emphasized and its realization will, in years to come, be a monument of honor and glory to Kenneth M. Bradley, whose broad-mindedness and progressiveness have made him one of the big educational factors in the musical world today.
As to the concert, under Mr. Czerwonky’s experienced lead, the orchestra gave splendid account of itself, the uni-
DADDI
FRANCESCO
Of Chico Opera Association
Specialist in Voice Placing and Coaching for Opera, Stage and Recital Studio: 720 Fine Arta Building, Chicago, 111.	Harriaon 57SS
Bush Conservatory
CHICAGO
Kenneth M. Bradley Edgar A. Nelson President	Vice-President
Edward H. Schwenker Secretary SUMMER SESSION ( Ten weeks, May 24 to August 2.
„	J Eight weeks, June 7 to August 2.
THREE TERMS ־\ j^ivc weeks, June 28 to August 2.
( (Normal Courses and Master Classes) Featuring DISTINGUISHED FACULTY OF 85 ARTISTS Many of international reputation TEACHER’S NORMAL TRAINING COURSES INTERPRETATION CLASSES FREE to Summer Students FIVE BIG RECITALS BY FAMOUS ARTISTS OTOKAR SEVCIK, WORLD FAMOUS VIOLIN TEACHER
Instructor of Kubelik, Kocian, Morini, Mary Hall Kort-schak, etc., has been engaged to teach at Bush Conservatory beginning in October. Sevcik’s only ASSISTANT TEACHER, ANDREA PROUDFOOT, will be available during the Summer Session.
STUDENT DORMITORIES, especially desirable for the convenience of Summer Students. Rates Reasonable. MAKE YOUR RESERVATIONS NOW Write today for Summer Session Bulletin M. C. Jones, Registrar 839 North Dearborn St., Chicago.
AURELIA ARIM0NDI
First Prize, Milan, Italy, Conservatory
VITTORIO ARIM0NDI
Leading Basso Chicago Opera Association and all the Principal Theatres of the world
Voice Placing, Coaching for Opera, Stage and Concert Deportment
Studio: 612 Fine Arts Building	Chicago
Chicago Musical College
MAURICE
PIANIST PEDAGOG
VERA-KAPLUN
CONCERT PIANIST
HERMAN DEVRIES
Formerly baritone with the Metropolitan Opera House, New York; Covent Garden, London; Grand Opera, and Opera Comique, Paris; Theatre Royal de la Monnaie, Brussels, etc.
--------VOCAL TEACHER-----
MRS. HERMAN DEVRIES A S In s tr lj c t orA L
Studios:	.	518-528 Fine Arts Building . Chicago 111.