June 22, 19 22
MUSICAL COURIER
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Southerner, which have been successful and have caused much laudatory comment. His latest, “I Heard a Mighty Rumbling,” a negro spiritual, will be used by Reed Miller next season.
WHAT THE JURY THINKS
[The music critics of the New York dailies constitute the jury in the appended extracts from criticisms which have appeared in our local newspapers. Many concerts and operas are given in the metropolis, and the following day the critics agree or disagree on the merits or demerits of the performer. However, on most occasions the writers do not agree, and this department is run for the purpose of reproducing some of the flat contradictions, showing that, after all, the review constitutes but the personal opinion of the critic who covers the performance.—Editor’s Note.]
Russian Grand Opera Company in “Roussalka,” May 8
Herald.
The musical performance . . . was thin and generally cold. . . . As for the conductor, he had enough to do to keep things going without making any attempt to indulge in the finer details of his art.
Evening Journal.
The chorus was really the hit of the evening.
Sun.
The chorus sang with a zest and fire that were a truly Russian revelation.
Evening Mail.
The chorus put color of voice and enthusiasm into Dargom-isky’s score.
“Pique Dame,” May 10
Evening Mail.	World.
There are many familiar Eugene Feurst conducted the exquisite melodies which Eu-	orchestra, which made hash of
gene Feurst, conducting, per-	Tschaikowsky’s “Pique Dame.”
suaded from his orchestra with creditable skill.
“Cherevichky,” May 26
World.
The orchestra . . . played glaringly out of tune, in addition to its normal crimes of bad balance and poor tone.
Herald.
Miss Marie Mashir as Oxana and Miss Valentina Valentinova as the witch were distinguished chiefly by shrillness of tone and ligneous action.
Herald.
The scenic effects which the opera loudly demands were barely indicated, and the lighting was far from meeting the requirements of the work.
Tribune.
Mr. Feveisky did well with his limited orchestra.
T ribune.
Marie Mashir, as Oxana, and Valentinova, as Scolocka, were satisfactory, especially the former in a long “mirror song.”
Times.
The gay little opera was the best staged and most complete in scene among all the eight works . . . that have been presented.
American Institute Artists’ Student Concerts
Carnegie Chamber Music Hall was crowded June 8 to hear a program of fourteen numbers for piano, voice and violin, performed by students of the American Institute of Applied Music, Kate S. Chittenden dean. Jacob Peck showed musical talent in his violin playing, and Sidney Shapiro was very effective in Hubay’s “Hejre Kati;” John Everett Sarles sang with smooth voice and spirit, and Elsa Duffield showed artistic poise and a lovely voice in German sbngs. Marika Kerekjarto and Elsie Rockwell were necessarily absent. Margaret Spotz played piano pieces by Brahms and Chabrier with spontaneity and brilliancy. Grace McManus Smith sang with .excellent voice control, giving forth several fine high A’s. Agnes Rygg has a bright and high voice and sang a lullaby especially well. Irene Miller has splendid pianistic talent, and played the Schulz-Ever “Blue Danube” waltzes so delightfully that she had several recalls. Mabel Besthoff, a smiling young girl with a coloratura voice, contributed “A fors’ e lui” beautifully indeed, with high notes and good style. Charles Brandenburg has a voice of power and excellent range and sings with much temperament. Alveda Lofgren offered “Black Roses” (Sibelius), and: “Life” (Curran) with much ardor and excellent enunciation. Samuel Prager, fifteen year old boy, has undoubted piano playing talent, with a fine future if he continues on present lines; he played ,the finale from Bortkiewiez’ concerto with imposing effect.
These pupils are all studying with the following members of the faculty:	Nicoline Zedeler-Mix, Lotta Mad-
den, Miss Chittenden, Messrs. Spiering, Tebbs, Kliban-sky, Moore and Lanham. Needless to say everything was performed from memory.
Gigli Honored by Italian King
R. E. Johnston received a cable from Naples, dated June 14, from Beniamino Gigli, announcing that the tenor has completely recovered his health and that King Victor, as soon as i't was known that Gigli had arrived in Italy, conferred on him the ribbon of Commander of the Crown in recognition of his work for the diffusion and affirmation of Italian art in foreign countries and particularly in the United States.
This is a decoration that the King of Italy gives “muto proprio” solely to those who render great services to the Mother Country. Only to the foremost public personalities is this honor conferred.
Gigli at present is the only Italian tenor of the Metropolitan Opera Company thus honored. Before coming to the United States he was a Chevalier of the Crown. The late Caruso was also a Commander of the Crown of Italy.
Fiqué Musical Institute Concert
The one hundred and fifty-first musicale by piano and vocal students of the Fiqué Musical Institute was held in the concert hall of the institute, 128 DeKalb Avenue, Brooklyn, N. Y., on Saturday evening, June 10. The program, which comprised compositions by Beethoven, Ar-diti, Bohm, Cowen, Weber-Leybach, Dussek, Lack, Eden, Foote, Verdi, Schumann, Sanderson, Mendelssohn, Wagner, Speaks and Spross was rendered by Esther Sawyer, Alice McLaughlin, Carola Wipprecht, Marion Diefenbach, Mary Pendleburg, May Etts, Eleanore Friese, Hildegarde Bevers, Edith Stich and Bertha K. Feitner. The pianists were all pupils of Carl Fiqué, while the vocalists received their entire training from Katherine Noak Fiqué.
MUSIC AND PUBLIC EDUCATION
By GEORGE H. GARTLAN Director of Music in the Public Schools of New York City
SCHOOL CHORUSES AND MUSIC FESTIVALS
The Co-operation of the Schools with the Larger Musical Movements, and the Ultimate Effect on the Communities
the community. The “full measure of devotion” which they shall give must not be confined to a selfish and small acknowledgment of what the community is doing for the school. It is true that in the past some supervisors failed to appreciate the value of this co-operation. They preached the doctrine of service to children, but the practice resolved itself into a narrow interpretation of their own ideas, imposed upon the pupils. The net result was a great satisfaction to the supervisor, but proved of little consequence to the community at large.
How Festivals Can Aid the Schools.
Festivals can best help the schools by the schools being prepared to help the festivals. On many occasions a music festival might have been a possibility if the schools had been prepared, to form the nucleus around which the greater idea might have been developed. Concerts by glee clubs and orchestras of high schools and elementary schools,_ special spring festivals, May-day performances, Thanksgiving celebrations, etc., all tend to encourage the spirit which eventually results in the feast of song. In the smaller cities there is nothing quite so thrilling as the excitement and enjoyment which the festival brings.
The Effect on the Students.
This, after all, is the main point. The effect of education is what counts, not the education itself. Many a college graduate has failed to make any effective contribution to the emotional, spiritual, or intellectual development of society, and yet, judged by the parchment he possesses, he should be able to “tell the world.” And so it is in music; after all the education is over, what do we know? Can we fully understand the meaning of the great message, or are we content to let the whole great scheme of betterment pass before us like a cloud of smoke?
Marguerite Nikoloric with Tillotson Bureau
The Betty Tillotson Bureau has added another artist to its list. Mme. Marguerita Nikoloric, an American pianist, will be under Miss Tillotson’s management for the season of 1922-23. Mme. Nikoloric comes from Indianapolis. Her early musical training was received in this country and she continued her study in Europe under the most distinguished masters there.
At her New York, recital this spring Mme. Nikoloric received unanimous praise for her excellent playing. Rarely has a debut made such a favorable impression. Certainly the critics were enthusiastic.
Harriet Van Emden to Sing at Scheveningen
A cable has been received to the effect that Harriet Van Emden, the young American soprano who recently went to Berlin, has been engaged to sing at the Kurhaus in Scheveningen on June 21 during the sessions of the Peace Conference at ,the. Hague.
Eugen Putnam Gone to France
Eugen Putnam, pianist and composer, of Danville, Va., passed through New York last week on his way to France, where he will spend the summer, part of it at Fontainebleau. Mr. Putnam has made some interesting arrangements and paraphrases of folk songs, mostly songs of the white
A great deal has been said and written recently concerning the fine contributions which the public schools of the United States have been making, not only in co-operating with the numerous musical festivals throughout the country, but also in the marked advancement of music education generally. Anyone who has investigated the subject is satisfied that the progress within the schools has been constant and unfailing. Everywhere more time is being given to music as a school subject, and as we have often predicted, it will soon be recognized by all educators as a major subject in high schools and colleges. Music has not gained this distinction merely because it is music, but for the good reason of its own efficiency as an intellectual attainment, and as a great character builder and molder. The introduction of music into the life of a normal child is the beginning of a new emotional epoch. The initial departure in the elementary grade is the realization of joy. Second comes the satisfaction of gaining the power to “do,” and the third is the feeling of emotion as music fills the mind with thoughts which heretofore had not been inspired.
Considering school children as a group and not as individuals, it is reasonable to assume that the greatest joy which school music can bring is the composite of the emotional and intellectual elements in music. The advocates of the academic side of music will oppose this with the argument that there can be no real appreciation without the ability to perform or create in some respect, at least. Is this true of art, poetry, philosophy, religion, etc.? Tennyson said that poetry should be heard, rather than read. It is the lilting music of the words that makes the symphony of language. Are we not able to enjoy the artistic beauty of nature or the handicraft of man without feeling called upon to duplicate through personal skill the art before us? Theology, like a telescope, should be looked through, not at. And so with music; it is what it brings to us, in body and mind, that establishes the efficiency of intellectual attainment. How do we arrive at this attainment?
The Music Festival.
With the adult group the music festival is the surest means for gaining the positive result. First, we must arouse the community to an interest in what music can do for it. Secondly, ways and means must be provided properly to finance the civic movement. The financial problem has frequently been the stumbling block. To make the festival attractive, an expensive professional orchestra must be provided. Amateurs can do only what their limitations permit. Secondly, vocal and instrumental soloists must be provided to assist in carrying out the programs which have been planned. All of this adds to the cost of the festival, and compels many a worthy effort to be abandoned. Yet it is gratifying to realize how many fine musical movements have been'consummated.
Wherever festivals have been carried to a successful completion the schools have co-operated to the full extent, and, judging from unbiased reports, have rendered a good account of their stewardship. School work is now being planned with an idea of participating in these movements, and so the strain on pupils and teachers is materially lessened. The importance of this co-operation cannot be overestimated. It is imperative then for schools to give full consideration to the preparation of music which shall serve
ASHLEY
PETTIS
“Romantic Poet” of the Piano
Excerpts from Recent Reviews in Prominent American Newspapers:
NEW YORK
“BEAUTIFUL PIANO TONE, TASTE AND POETIC FEELING.”—Herald.
“A scholarly performance of Bach’s Chromantic Fantasi and Fugue.”—American.
“Endowed with genuine talent.”—World.
“Discloses his dexterity at piano recital.”—Tribune. BOSTON
“Technical prowess and a straightforward sturdiness of interpretation.”—Transcript.
“Worth paying good money to hear—virtuoso of sorts as well as romantic poet.”—Globe.
“Sound qualities as a pianist.”—Herald.
“Pre-eminently virile—red blooded spirit typical American pian ist. ”—A dvertiser.
SAN FRANCISCO
“The spirit of God making itself manifest through the art of tone.”—Examiner.
“His temperament is compact of poetic fibres and his is romantic to the core.”—Chronicle.
192223־ Coast to Coast Tour Now Booking
Mgr. ANTONIA SAWYER, Inc.	Aeolian Hall, New York City
STEINWAY PIANO	DUO-ART ROLLS
Photo by Morse, N. Y.