29
MUSI C AL COU RI E R
June 22, 19 2 2
WHAT NICHOLAS KRESKOWSKY THINKS
OF THE ART OF ERNEST SCHELLING
At this moment Nicholas opened his big, brown eyes sleepily, but seeing he was not alone, he jumped up with great dignity and presence of mind and barked his apology.
Mr. Schelling introduced us and Nicholas shook our paw— er—hand cordially.
“Nicholas,” Mr. Schelling told him, “this young lady has come to interview you. Do you want to show her how well you can play the piano?”
“If it won’t bore her to listen,” Nicholas politely barked, and at my protest at such an idea, he walked sedately over to the piano, ascended the stool, and played the scale “perfectly,” after which tea was served, Nicholas getting his reward for musical proficiency in a piece of his favorite sponge cake.
Thus the interesting interview was ended.	R. R.
Nicholas Kreskowsky was fast asleep as Ernest Schelling greeted me in .the commodious and beautifully furnished drawing room of his New York apartment. The American pianist-composer had spoken often and enthusiastically about his pal, Nicholas, and I considered it a great privilege for Mr.
Schelling to have arranged this interview. As I looked down upon the sleeping Kreskowsky, his milk-white body reposing comfortably, yet with great dignity, on the soft cushions of the couch, his pink nozzle snuggled against his fore-paws, I realized that Mr. Schelling was fully justified in his extravagant praise of his friend, for here was the most thoroughbred English bull-terrier I had ever laid my eyes upon.
Mr. Schelling was about to poke Nicholas in the ribs and thus awaken him to the responsibility of being interviewed, but I begged that his nap be allowed to take its natural course. We could talk in the meantime of Kreskow-sky’s long career as the companion and sympathetic critic of one of America’s foremost pianist-composers.
“I declare”—Mr. Schelling needed no urging to talk about Nicholas—“that dog has as good an ear for music as I have. I often tease him by purposely playing the wrong notes, and every time I do that he comes over to the piano, puts a. paw on my knee and vigorously shakes his head, while his eyes look mournfully into mine in sad disapproval.
“Nicholas has been with me for more than fourteen years,” Mr.
Schelling said in answer to my question. “I got him when he was only a few weeks old from a Russian friend of mine. Although a thoroughbred English bull-terrier, Nicholas was born near Moscow, on the Island of Kreskowsky, whose name he now bears. He has been mine, and Mrs. Schelling’s, companion on all our travels—we treat him like a member of the family.
“Early in our acquaintance with Nicholas we discovered his fondness for music. As I practiced he would sit for hours on his haunches near the piano. We soon discovered he had a preference among the things I played. For instance, he especially likes all of Paderewski’s compositions. He is inclined toward modernism, and was the first living soul to show his complete approval and appreciation of my ‘Impressions from an Artist’s Life.’ After he heard this composition for the first time he came over to the piano, put his head on my knee, wagged his tail, and said as plainly as any human, ‘Thanks, master, that’s what I call music.’ And he is not easy to please, let me tell you. Some of my compositions leave him quite cold.”
Photo © by Underwood & Underwood.
ERNEST SCHELLING,
American com poser-pianist, and his pal, Nicholas Krckowsky, the “only piano playing
dog in captivity
waltz (Komzak), “The Chimes of Liberty” march (new), by Goldman.
Mr. Goldman was. enthusiastically applauded for his artistic work. The audience demonstrated its approval of the new march “The Chimes of Liberty” and demanded its repetition. This stirring number aroused marked enthusiasm and promises to gain wide popularity. Encores played by the Goldman Band were: “Volga Boatman’s Song,”^ Russian; “Semper Fidelis” march, Sousa, and “American Patrol,” Meacham.
Lotta Madden, soprano, sang charmingly the Suicidio aria from “La Gioconda,”' Ponchielli. Her powerful voice and artistic rendition brought forth sincere applause which necessitated her singing two encores—“Ouvre tes yeux bleus,” Massenet, and “Love’s In My Heart,” Woodman.
June 16.
Judging from the crowds in attendance and the excellent programs presented thus far, these concerts bid fair to be even more popular than in former seasons. The band continues to play with admirable finish, clarity of tone and precision of attack. One of the׳ best numbers on the June 16 program (a Wagner-Tschaikowsky program) was the “Tannhäuser” overture by Wagner. The beautiful and stirring strains of this opera are particularly adaptable to band arrangement. Three other Wagner numbers were “The Valkyrie” fantasy, “An Albumleaf,” transcribed from one of the master’s few piano works, and the impressive “Emperor March.” Tschaikowsky’s “Marche Slav” was rendered with splendid contrast between the solemn first part and the brilliant ending. Ernest S. Williams’ cornet solo, Tschaikowsky’s “None but the Lonely Heart,” was given with smoothness of execution and beauty of expression and feeling, and he was compelled to give two encores. Edwin Franko Goldman conducted in his customary efficient manner. His march, “Chimes of Liberty,” was enthusiastically applauded and had to be played twice.
Tollefsen Junior Students’ Recital
A very interesting recital for violin and piano was given by the junior students of Carl and Augusta Tollefsen, June 2, in the auditorium of the Manual Training High School, Brooklyn. The pupils of Mr. Tollefsen participating, on the program were David Rosenfeld, Julia Tennenbaum, Sidney Horwitz, Leona Michel, Arnold Seibell, Eleanor Johnson, Elizabeth Baker, Margaret Jensen and Manual Price. Those of Mrs. Tollefsen who took part were Edith Margolies, Bella Risikoff, Edith Markowitz, Clara Markowitz, Edith Pomeranz and Richard Bender. There was nothing amateurish in the playing of these young people, instead, however, much to be praised in well developed technic, expression, tonal quality and precision. Their appearance was good and showed decided self-control. These public appearances of pupils develop poise and inspire confidence and artistic effort.
Norfleet Trio at White House
The Norfleet Trio played a program at the Francis W. Parker School, in Chicago, May 25; gave a musical evening for the Illinois Musical Guild, May 25; a commencement program at Ursinus College, May 28, and a busy four days in Washington during Music Week. In that city they played by radio from the Naval Station at Bolling Field; gave a children’s program for 2,800 pupils at the Central high school, an evening program for the Caruso Memorial before 1,000 people in the D. A. R. Hall, and closed the week by playing at the White House, Saturday afternoon, for President and Mrs. Harding and their guests who assembled in the gold ballroom. Their last appearance was‘ before the State Federation of Music Clubs, Pennsylvania’ Hotel, June 6. The trio will spend the summer at “Maple' Crest,”’ an old Colonial farm house in Connecticut, resting and preparing programs.
remain in Europe until the end of October, returning to America around the first of November.
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BY
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“Maker of Singers’'
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The art of combining technique and interpretation?
Why a voice sounds “bleaty” or “yelly”?
Why many voices last but a short time?
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That there is a science of deep breath taking and breath control?
Why many voices sound too high or too low? Published by Harper Bros.
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and Thirty-fourth Street, an interesting program being rendered by Thomas Manzi, organ; Rose Taub, piano; Bessie Gottreich, piano; Pearl Young, piano; Frances Sievert, organ; Anna Pavia, piano, and Theodore Taferner, organ.	Several choruses were sung. Splendid work is
being done by the institute, and its teachers are deserving of every encouragement.
“My Song”
(To Enrico Caruso)
The song that is in my heart today Awakes with the thought of you,
The song is the soul of my work and play,
The gold of the sun, the heav’ns own blue.
My song is the shadows that dance and stray Beneath the Willow’s young green,
The delicate flutt’ring of Butterfly wings,
The bright burning tints of their sheen.
My song is the dew-spangl’d petals of rose That float on the air of morn,
And wave a glad welcome of joy untold—
To the days of the spring newly born.
My song is the pulse of the ages past
All mellow’d, perfections grand voice,
As soft as the sea’s clear silvery spray,
And strong as the God to Whom men rejoice.
My song is the sorrow and mad despair That sweeps o’er the lives of Man,
Its echoes are Truth and Happiness rare,
All built on a Master’s great plan.
־—John Proctor Mills.
Montgomery, Ala.
Saslawsky Engaged for Pittsfield Festival
Boris Saslawsky, baritone, who has had a successful season, left New York recently for the Berkshires to !)repare his programs for next season. His first engagement in the fall will be at Pittsfield, Mass., where he has been engaged to sing at the Berkshire Festival.
Lawson’s Second Recital in Williamsburg
On July 14, Franceska Kaspar Lawson will sing at William and Mary College, Williamsburg, Va., the oldest college in America. This will be her second recital there.
Auer to Go to Europe
Prof. Leopold Auer, who is now at Lake George, expects to sail for Europe about the first of August. He will
Dicie Howell Sings at Rutgers College
A recent engagement for Dicie Howell was the concert held at Rutgers College, New Brunswick, N. J., on Sunday, June 11, when she appeared with the Men’s Chorus under the direction of Howard D. McKinney. With the chorus Miss Howell sang Stevenson’s “Omnipotent” and a “Vesper Hymn,” by ׳the conductor. “It is certainly a splendid chorus,” said Miss Howell, “and the men did excellent work under the capable leadership of Mr. McKinney.”
Miss Howell’s last appearance this season was on June 15, when she sang at the graduation exercises of the Flower Hospital.
Oscar Steele Promising Young Baritone
Through an oversight, mention of the fine dramatic singing and unusual vocal equipment of Oscar Steele, baritone, was omitted from the account of Conal Quirke’s students’ recital in Carnegie Chamber of Music, on May 28 last. This young artist, who attained his twenty-third birthday on June 5, has studied with Mr. Quirke during two and a half years and sings such an exacting role as Rigoletto with astonishing understanding for so young a man.
Earle Laros to Summer in Maine
Earle Laros, the pianist, has left for a motor trip through the Adirondacks, after which he will spend the summer at Manset, Me., on Mount Desert Island. His plans for next season are for a very active tour, and he will prepare new programs for this week. Forrest Free, baritone, and Eleanore Garrigue Ferguson, with whom Mr. Laros studies, will spend the summer at Manset, where there is a representative musical colony.
Pietro A. Yon Sails for Italy
Pietro A. Yon, eminent concert organist-composer, sailed on the steamship G. Verdi for Italy on Saturday, June 17. Mr. Yon, who was accompanied by his wife and son, will visit the leading cities of his native Italy and return to New York in the early fall to resume professional activities here.
Blind Pupils Perform
A pupils’ recital was given ou June 13, at the New York Institution for the Education of the Blind, Ninth Avenue