MUSICAL COURIER
June 2 2, 1922
35
shows what they think of the young. American violinist at that particular institution :
EASTERN STATE PENITENTIARY
May 31, 1922.
Philadelphia, Pa.
Mr. Sascha Jacobinoff.
Dear Friend:	We, the inmates of the Eastern State Penitentiary,
who were so fortunate as to be present in the Chapel Hall last• Sunday when you honored us with your presence, and delighted and thrilled us with your masterly playing, take this method of voicing our heartfelt thanks and our sincere appreciation for your magnanimous consideration in coming here to play for us.
Mr. Jacobinoff, we rise and give you a hearty and sincere vote of thanks.
“Thank you kind and generous friend.”
We sign ourselves, if we may be privileged to do so,
Your grateful friends,
The Inmates of the Eastern State Penitentiary.
Respectfully yours,
A.—8432
Sinigalliano Pupil Heard
Helen Sinigalliano, wife and pupil of A. Sinigalliano, created a good impression on Monday evening, June S, when she appeared as soloist at a concert in Wurlitzer Hall, New York City. The young violinist played “Caprice Viennois,” Kreisler; caprice, No. 22, Paganini-Brown; “Slavonic Dance” in E minor, Dvorak-Kreisler, and concerto (first movement), Mendelssohn. .
Theodora Sturkow-Ryder played with her accustomed artistic finish and virtuosity the suite in D minor by Arthur Foote, and in conjunction with the Apollo player-piano she rendered a march from “Tannhäuser” (for two pianos), Wagner-Messager, as well as “Le Soir,” Chaini-nade, and Chopin’s waltz in D flat. Mme. Sturkow-Ryder also played Rachmaninoff’s famous prelude in C sharp minor, in which the Apollo alternated. Her playing won well deserved recognition.
“Messages” Used by Hoffmann
John A. Hoffmann, on the artist staff of the Cincinnati Conservatory of Music, aside from his many other good qualities, uses rare judgment in selection of songs both for his own use and for that of his pupils. It is with satisfaction that one notices a fair sprinkling of American color in programs received from the Cincinnati Conservatory. Mr. Hoffmann has been using liberally Frank H. Grey’s “Messages” and “Last Year’s Roses.” Lily Strickland’s “Dreamin’ Time” also is frequently used.
AUSTRALIA-NEW ZEALAND-HONOLULU
INTERNATIONAL TOURS, Ltd.
Capitalization $125,000 Head Office: Sydney, Australia
Organized solely for the purpose of bringing artists of international reputation to Australasia.
L. E. Behymer, Los Angeles—American Representative
Frederic Shipman, Managing Director 15 Castlereagh St., Sydney, Australia.
finished performances. Nathan Radoff and Irma Frisch created a veritable furore, and were obliged through prolonged applause to give several added numbers. All present commented upon the rapid and pronounced progress made by these young artists since their last appearance a few months ago. There were also “hits” among the students of the elementary and intermediate grades, many indicating plainly the results of Mr. Goldenberg’s excellent development. At the conclusion Mr. Goldenberg was sincerely applauded and recalled innumerable times. The young performers received floral gifts in abundance.
The participants were H. Perskin, F. Tappis, G. Droshin-cop, E. Laski, R. Kittograd, G. Garbowski, A. Dunn, L. Steveband, F. Goldsmith, N. Annenberg, J. Baker, L. Son-shine, E. Rubin, L. Ostrom, J. Schacter, W. Harrigan, J. Bernstein, M. Kalman, V. Morgenthal, G. Schneider, H. Siegelson, S. Weingast, S. Austein, A. Wagner, S. Kaplan, B. Jager, G. Wiener, R. Radoff, I. Frisch and N. Radoff.
The composers represented were : Dancla, Blumenthal, De Beriot, Teris, Franke, Singelée, Seitz, Mlynarski, Farmer, Wichtl, Keler Bela, Brahms, Paderewski-Montana, Hauser, Alard, Borowski, Sarasate, Wieniawski, Vieux-temps and Mascagni.
“Ave Maria” Makes Prisoners Weep
Sascha Jacobinoff, violinist, is somewhat of a wit, and on the principle that “you never can tell where you are going to land,” he frequently takes a day off between tours to go over to the Eastern State Penitentiary to play for the
SASCHA JACOBINOFF
violinist.
prisoners. Upon the occasion of his most recent visit, two big negroes paid him the tribute of tears when he played to them the Schubert “Ave Maria.” The following letter
(Mrs. George McManus)
SOPRANO
30 Central Park South New York City
Florence McMANUS
SOPRANO
Direction: J. H. FITZPATRICK, Windior-Cliftoa Hotel, Chicago, III.
(yfcp QlgbglattftTnBtitutg of (Dugfc ERNEST BLOCH, Musical Director
3146 EUCLID AVE., CLEVELAND, OHIO, Mrs. Franklyn B. Sanders, Executive Director
VIRGINIA GILL Lyric Soprano
“A Voice of Distinctive Charm'*	Now Booking for Season 19211922־
CONCERT-ORATORIO-OPERA
Address : 1014 Division Street	Camden, New Jersey
JACQUES THIBAUD
The Internationally Famous French Violinist
Now Concertizing in Europe—Ten Sold Out Recitals in Paris Alone In America All Next Season—Now Booking
Management:	METROPOLITAN MUSICAL BUREAU
33 West 42nd St., New York City
Mason & Hamlin Piano
MILAN RODER
Musical Director the Operetta “Marjolaine,” Broadhurst Theatre, N. Y.
COMPOSER and COACH
Until June 15, 64 West 75th Street	-	-	New York
Summer Address : Quisisana, Lake Kezar, Center Lovell, Maine
REVIEWS AND NEW MUSIC
(G. Schirmer, Inc., New York)
“LULLABY״
This song, by Gertrude Ross, is dedicated “To my baby” so it is evident that the composer knows from practical experience what a lullaby should be. She has followed the usual 6-8 rhythmical form in this song (of which she also wrote the verse), a real rocking motion emphasizing the mood of the music. Sweet simplicity characterizes it all, with very soft piano accompaniment, the phrases marked with proper places to take breath, all of it caressing, dreamy, tender, dying away.
(The Orbis Edition)
“LITTLE SKETCH” (for Piano)
Herman Koehler, the composer, is the recently wedded husband of Lisbet Hoffmann, concert pianist and instructor at the Ethel Walker School, and studied with Jadassohn in Leipzig. It is a bright little two-page piece, a song without words, in A major, gentle, pretty, natural, with a cadenza in the middle and return to the first melody. Mme. Hoff-mann-Koehler recently played at a recital in Carnegie Hall. It is dedicated to Elise Traut.
(Clayton F. Summy Co., Chicago, III.)
“FROLICS AND STORIES AS PIANO PIECES”
“King Thrush-Beard,” “The Wood Nymph’s Harp,” “Yakima” (Indian story) and “Hello! Mr. Robin” are in this set of four easy piano pieces, by Florence P. Rea, and each has its special merit. All of them fit the hand of the young pianist, and are well calculated to interest youngsters who, after a year’s study, can play all the pieces. “King Thrush-Beard” is a well-known Grimm fairy story, with the proud princess who would marry no one, but one sad day was compelled to marry ... all turning out well. The old king is well pictured, with pompous tread, singing a gruff bass song; then the airy fairy princess dances about prettily, and all ends well. The harp-piece is in simple arpeggios, covering most of the keyboard, sounding more difficult than it is. “Yakima” has its characteristic open-fifth bass, in minor, with sharp contrasts, in regulation North American Indian style, very effective and suggestive. “Hello, Mr. Robin” has all the words printed between the staves, the chorus going “Diddle-de-um-dum-dum,” twice repeated, bright and merry. Whole tone ascending and descending scales occur on the second page, so accustoming the young pianist to some of the modernistic quirks. “The words are to be spoken” says the margin-note. “Fairy Frolics,” by the same composer, is another set of bright little piano pieces for beginners.
(O. Ditson Co., Boston, New York, Chicago)
“HOMAGE TO COUPERIN”
Rene L. Becker, French-born American composer now resident in Alton, 111., near St. Louis, has caught the old-time flavor in this gavotte, his seventy-first work, echoing Couperin who died nearly two hundred years ago. (He was called “Le Grand,” like some of the French kings). The piece has character, with quaintness, staccato effects alternating with legato passages. The cheerful middle section, usually occupied by a bagpipe-like movement, is noted, and the whole piece is fit for a pupil who has studied about three seasons. It is fingered.
(London and Continental Music Publishing Co., Ltd.)
(Piano) “IN THE HOTHOUSE,” “TOCCATA” (Songs) “CORRESPONDANCES” (Baudelaire), “CRE-PUSCULE DU SOIR MYSTIQUE” (Verlaine), “PANTOMIME” (Verlaine)
This is fantastic, ultra-modernistic, extremely difficult music, by Kaikhosru Sorabji, useful only for the most skilled of artists. Its manner is somewhat like that of Bartók. It is not entirely unattractive, has some ideas, and excellent musicianship. But one gets dreadfully weary of these quasi-impossibilities. Complication is not necessarily beauty, nor does it always satisfactorily cover up a lack of invention.
(/. & W. Chester, Ltd., London)
“TRE POESIE DI ANGELO POLIZIANO”
This is beautiful and effective music by G. Francesco Malipiero. Ultra-modern, indeed, but in no way sought after or affected. It evidently flows quite naturally from the composer’s pen. He uses, it is true, some of that “osti-nato” which is his habit, and becomes somewhat monotonous in the long run, but even in such passages there is real invention in the development. The voice parts admit of perfect diction. The words are in Italian but a French translation is appended.
(Universal Edition Vienna)
STRING QUARTETS by Ernst Krenek, Op. 6, and Hugo Kauder
These quartets are of small interest. They are well written in more or less modern style, but show but little real invention. Contrapuntally they are, like much modern music, masterly. These modernists, having solved the simple formula of counterpoint, go to all lengths in the writing of it. It is correct, but that is about all one can say for it.
(Raabe & Plothow, Berlin)
PIANO CONCERTO
By Ruben Lilefors. Empty, uninspired, oldfashioned, worthless!
Goldenberg Pupils in Recital
The fourteenth annual recital by pupils of Albert A. Goldenberg, well known violin pedagogue and preparatory teacher to Prof. Leopold Auer, was given in Memorial Hall, Brooklyn, on the evening of June 2, and despite the terrific storm, was attended by a very large audience. All the pupils, comprising the elementary, intermediate and advanced grades, were at their best.
The artist pupils—Nathan Radoff, Irma Frisch, Rose Radoff and Bella Jager—charmed the audience with their