49
June 2 2, 1922
MUSICAL COURIER
Flotow, the former being rendered brilliantly and the latter with much charm. Rose Accurso, lyric soprano, despite the fact that she is a first season pupil of Miss Sparks, sang her three numbers with certainty as well as with a freshness of voice and style, earning a well deserved encore. Alexis Sokolow, baritone, won enthusiastic applause by his fervor, singing “The Night,” Tschaikowsky, and prologue from “Pagliacci,” Leoncavallo. Helen O’Leary, dramatic soprano, an advanced student with brilliant voice and power, rendered charmingly Schubert and Schumann songs with excellent German diction and interpretive beauty, as well as English and Italian songs.
Harold Bray, who possesses a tenor voice of an appealing quality, sang admirably two groups of songs. Alice Davenport, an advanced pupil with a rich dramatic soprano voice of unusual range and power, sang “Elsa’s Dream” from “Lohengrin,” Wagner; “From the Land of the Sky Blue Water,” Cadman, and “Ouvre tes yeux bleus,” Massenet, and as an encore she gave the berceuse from “Jocelyn,” Godard. Julia O'Leary, contralto, sang two Strauss songs well, also “Mon Coeur s’ouvre a ta voix,” Saint-Saëns, and “Way of June,” by Willeby. Lillian Hallock, possessing a soprano voice of great purity, which she handles skillfully and with ease, made a profound impression with her fine rendition of “Depuis le Jour,” from “Louise,” Charpentier, and “Caro Nome,” from “Rigoletto,” Verdi. Winifred Clark, a dramatic soprano of unusual power and charm, revealed skill and fire in her singing of an aria from “Aida,” Verdi; “O Mio Bambino,” Puccini; “Ah! Love But a Day,” Mrs. Beach, and “Your Kiss,” Fay Foster. The program closed with a duet from “II Trovatore,” Verdi, sung by Miss O'Leary and Mr. Bray, in which their voices blended beautifully.
The long program was listened to with much interest by an audience that filled the large studio and overflowed into the hall. Miss Sparks, herself a dramatic soprano and concert pianist, accompanied her pupils.
Beddoe a Welcome Singer in McConnelsville
An artistic recital from every standpoint was that given by pupils of Dan Beddoe, the noted tenor of Cincinnati, at the recent McConnelsville May Festival. In reviewing the event, the McConnelsville Weekly Herald had many.complimentary things to say about the fine work done by the students. In speaking of Mr. Beddoe’s part in the program, the critic of that paper had the following to say:
Personality is a wonderful thing . . . and experience makes one appreciative as well as appreciated. When Dan Beddoe stepped out in view of the audience and greeted them with a smile that seemed' to say “glad to see you” there was nothing else to do but fall com-’ pletely in love with him, and that is just what happened. After thirty-five years of public singing he knows just what an audience wants and how to give it to them. The aria from “Pagliacci” was> sung with dramatic fire that electrified his hearers. This in contrast to Weatherly’s “Danny Boy” which he sang with such feeling that many eyes were wet when he had finished. We will welcome Mr. Beddoe any time he may return to our community.
The high spot of this performance (Lehmann’s “Persian Garden”) was Mr. Beddoe’s singing of “Ah Moon of My Delight” which rve would like to have heard repeated. .... Mr, Beddoe with his superb artistry and gorgeoiis voice lends dignity to any performance in which he participates.
Mr. Beddoe’s class for the summer session at the Cincinnati Conservatory of Music is bigger than ever, included in which there are many fine voices. After a recent recital at the Conservatory the Cincinnati Times Star said that Mr. Beddoe’s pupils displayed many of those admirable traits which have made their instructor celebrated, such things as exceptionally fine English diction, admirable phrasing, careful development of resources. That paper also stated that under this approved method, the personality of the students asserted itself, indicating what may be anticipated from many of them when completely master of Mr. Beddoe’s process for developing the voice.
Ney’s European Activities
Elly Ney, whose first American tour last year was one of the outstanding successes of the season, will return to the United States in the early fall to continue concertizing under the management of the International Concert Direction. The pianist is already heavily booked for next season; her tour to reach the Pacific coast some time during December.
Mme. Ney’s spring in Europe has not been an idle one. On April 27 she played to a sold-out house in Hamburg, repeating her success later in Aachen and in three• recitals in Bonn. After concerts in Wiesbaden and Frankfort, Mme. Ney played at the Beethoven Festival in Bonn, on May 23, 24 and 25, leaving on May 26 for a tournee of ten Swiss cities. She was scheduled to be the soloist at the Brahms Festival in Munich, on June 15 and 16.
Rosing Returns to Paris for Third Concert
Rosing was scheduled to give another recital in Paris on June 16. This was his third recital in the^ French capital since May 1, where he met with great acclaim.
is in a flourishing condition, being known all over the United States wherever music exists.	.
These details are given as there is no mention of the Stoughton Society in the books of reference available, excepting that such a society was founded in the year mentioned.
Resumé of Fred Patton’s Season
The 1921-22 season has been replete with engagements for Fred Patton. In October he appeared twice at the Worcester Festival, in “The Damnation of Faust” and “Pilgrim’s Progress.” Other festivals include Halifax, where he sang in “The Messiah” and Verdi’s “Requiem,” besides giving a recital ; Spartanburg, “St. Elizabeth ’ ; Danville, “Cavalleria Rusticana”; Bethlehem Bach Festival, “St. Matthew Passion”; Norfolk, Conn., “Beatitudes”; Wolfville, N. S., “Prodigal Son,” and in recital. Mr. Patton’s appearances in “The Messiah”^ with important oratorio societies are as follows: New York Oratorio Society, Boston Handel and Haydn Society (twice), Washington Oratorio Society (twice), Worcester Oratorio Society, and the Meadville Oratorio Society.
The baritone was soloist five times with the New York Symphony Orchestra, singing the first act of “Rhinegold” and Wotan’s “Abschied” from “Valkyrie,” in Washington, Baltimore, Philadelphia, and twice in New York. He appeared twice with the Ottawa, Ont., Symphony Orchestra. He sang “Elijah” in Brooklyn and Yonkers, and also with the following societies: Reading Choral Society, East Orange Community Chorus, Danbury Community Chorus, Truro (N. S.) Philharmonic Society, and the Sydney (N. S.) Philharmonic Society.
Mr. Patton was one of the soloists in the historic per-
formance of the Bach B minor Mass by the New York Schola Cantorum. He scored a decided success at the Bach Festival in Plainfield and Elizabeth, N. J., under the leadership of Albert Stoessel. conductor of the New York Oratorio Society, and at St. Bartholomew’s Church with the combined choirs of St. Bartholomew’s and the Cathedral of St. John the Divine. He also sang Bach’s “Coffee” cantata at the Union Theological Seminary. Other oratorio engagements booked for the baritone during the 1921-22 season include “The Creation,” with the Port Chester (N. Y.) Community Chorus; “Songs of the Fleet,” with the Hamilton Centenary Choir, and Dvorak’s “Stabat Mater” at the Cathedral of St. John the Divine, New York.	.
Engagements with musical clubs and organizations nllea by Mr. Patton include the New York St. Cecilia Club, the Utica B Sharp Club, Peninsula Music Club of Newport News, Bohemian Club of New York, the Ridgewood Glee Club, the New York Lewis and Skye Association, etc. Recital and concert engagements were as follows: South Norwalk and Norwich, Conn.; Washington, D. C.; Monessen and Pittsburgh. Pa.; East Orange, Roselle and Jersey City, N. J.; Yonkers, Tarrytown, Flushing, Amity-ville, Brooklyn and Peekskill, N. Y.; Sackville, N. B., etc., totalling about eighty engagements.
Estelle A. Sparks’ Pupils in Recital
Estelle Ashton Sparks presented eleven pupils in recital at her studio, 1425 Broadway, New York, on Thursday evening, June 8. The musicale opened with a group of three numbers sung by the Debussy Choral Club, directed by Miss Sparks. Martha de Weir, although a beginner, revealed a voice of great possibilities. Christine Lowman, dramatic soprano, sang with much fire an aria from “Forza del Destino,” Verdi, and an Irish folk song by Foote. Arthur Chamberlin, tenor, was heard in “The Summer Fields,” Brahms, and an aria from “Martha,”
Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
German Opera.
“Do you think there will be any German opera the coming season? I am watching for the announcements for the Metropolitan season, but if they have appeared in the Musical Courier I have missed them. I so often wish there would be a season of German opera as I am told there used to be years ago just to see how the public would like it and if it wc/uld be supported as formerly.”
It might not be that a whole season of German opera would be as popular as it was thirty years ago when conditions were quite different from the present time. It might be said that Wagner was the fashion at that time and then there was the man Anton Seidl,׳ whose education and temperament were essentially of that school of music. His name was sufficient to hold an immense audience of music lovers all over the country who flocked to New York to hear their favorite operas in their mother tongue. It surprises one to know that for thirteen years, from 1885 to 1898 Seidl was the idol of opera goers, the public never seeming to tire of the constant repetitions of their so often repeated operas. The scenes of enthusiasm which took place at the close of the season, night after night, when Seidl was acclaimed as their own “greatest conductor” make one realize that much of the popularity of German opera was due to the individuality and magnetism of the man. When middle aged women in their enthusiasm stood up in the chairs and screamed their delight at a specially fine performance, this sort of thing going on for what seemed hours, one wonders if there could be such results from another season, when the baton was held by a less experienced hand. The Metropolitan next season will add “Tann-haeuser,” “Der Rosenkavalier” (Strauss) and “Mona Vanna” (Schillings) to its present German repertory.
Church Music.
“Why is it that in many country churches the organist selects. such poor music for the Sunday service ? In a very pretentious building, with stained glass windows, the music was given the honor of a separate program, but such unheard of names as were attached to the selections made me wonder why a better class of music was not sung, for the choir ״wa!s| really rather a good one, and the organ a fine specimen.”
There is no excuse for poor selections of music being given in churches. Any amount of excellent compositions can be obtained and there is not a publisher of church music but what would willingly send lists of all kinds of music, solos, quartets, duets, choruses, etc., on application. It must be the organist is badly educated in his profession, or thinks what he selects is the most suitable for the services. Program making, even in churches, is an accomplishment that does not seem to be understood by everyone.
The Banjo.
“Recently I have been learning to play the banjo, not a very high class musical instrument perhaps, but neither is it very difficult to learn. However, that is neither here nor there; what I would like to know is what country is responsible for it. Was it of American origin or was it introduced to this country years ago.”
The origin of the banjo is not really known, but certainly America can almost claim it as it is nowhere played as in this country. It may be possible that it was taken by Arabs into West Africa and thence brought to this country in early days, for that it is the favorite musical instrument of the colored people is a well known fact. The musical dictionaries name it as a species of guitar. The many varieties of small stringed instruments now existing, mandolas, mandolins, and even the ubiquitous ukulele, have to a certain extent usurped the place the banjo formerly occupied.
What Is a Fugue?
“Would you be kind enough to give me a definition of a fugue, as I have been unable to find one for myself? Thank you in advance.”
The musical dictionaries give rather a lengthy definition of a fugue, the beginning of the sentence being “The most highly developed form of contrapuntal imitation.” An English edition of the dictionary, no American one being at hand, has this which seems explanatory:	“A form of composition in which the subject is
given out by one part and immediately taken up by a second, its answer, during which the first part supplies an accompaniment or counter subject.” This׳ seems understandable, easy to remember and not too long or involved. In the last year of his life, Bach wvote “The Art of Fugue” teaching the art by examples, not by rule. This was in 1749. The fugue BACH, which is according to the German notation, wa$ left -unfinished.
Oldest Musical Organization.
“Would you kindly tell me which is the oldest musical society in this country. Libraries are not convenient to my place of residence while books of reference are not included in those available at the moment.”
The Stoughton (Mass.) Musical Society is the oldest musical organization in the L'nited States, having been founded in 1786, but is little known outside of its own town. The Handel ancJ Haydn Society of Boston is with this exception the largest and oldest living musical organization we have, dating from March 30, 1815, and well past its one hundredth birthday. It was in the year mentioned that sixteen gentlemen of Boston received invitations signed by Gottlieb Graupner, Thomas Smith Webb and Asa Peabody, “To cultivate and improve a correct taste in performance of sacred music, to introduce more generally Handel and Haydn and other eminent composers.” The state of music in Boston at that time is said to have been “low” there not being a score of professional musicians in the city. The first public performance by the Handel and Haydn Society was given December 26, 1815, with a chorus of 100, ten of them being ladies; the orchestra was less than a dozen, assisted by an organ accompaniment. It was three years after their organization that the complete oratorio of “The Messiah” was performed, December 15, 1818, with about 300 in the chorus. At the present time there are 600 in chorus and the society
class, standard manufacture desired. Address : “Parlor Grand,” care Musical Courier, 437 Fifth Avenue, New York.
MRS. BABCOCK’S AGENCY, Carnegie Hall, New York, offers September positions to well qualified teachers, men and women, voice, violin and piano.
A Phonograph Recording Laboratory has added a new department to their activities and can offer to musical artists a personal phonograph record of their omi work for a nominal charge. $35.00 will cover recording and one dozen records. For particulars address Personal Phonograph Record Dept., care of Electric Recording Laboratories, Inc., 210 Fifth Avenue, New York.
О P P 0 R T	UNITIES
ITALIAN LESSONS in conversation wanted in exchange for coaching or accompanying by well known New York coach. Address “E. V. N.,” care Musical Courier, 437 Fifth avenue, New York.	Several desirable vacancies. Resident and non-resident studios. A number of ideal, furnished studios, with or without pianos, to sub-let for summer months. Private baths, strictly modern houses efficiently conducted. APPLICATIONS NOW. Mrs. Mabel Duble-Scheele, Prop.
TO HEAR YOURSELF AS OTHERS HEAR YOU—is an opportunity now offered to musicians in the middle west. We have opened a laboratory in Chicago for recording the voice, or any musical instrument. Write or call for further information. Rodeheaver Record Company, 6th Floor McClurg Bldg., 218 So. Wabash Ave., Chicago, 111.	
	WANTED immediately, by a prominent New York singing teacher, a stenographer and typist to do light secretarial work in exchange for vocal lessons. Apply "Canto.” care of Musical Courier, 437 Fifth Avenue, New York City.
	FOR RENT—Desirable studio; one, two or three rooms, beautifully furnished; Mason & Hamlin grand piano; all conveniences; July 1 to October 1. 136 Carnegie Hall, New York.
WANTED—Address of Fay Cord, soprano, formerly of Boston, is desired. Address “F. O. R.,” care of Musical Courier, 437 Fifth Avenue, New York.	
VANDERBILT STUDIOS, NEW YORK. 125 East 37th St. and 37. 39 and 41 West Ninth St. Telephone Stuyvesant 1321	GRAND PIANO WANTED—I will buy a good second-hand parlor grand piano at a reasonable price. Only one of high
STUDIO PART TIME—Beautiful, very large studio, with concert grand piano, can be secured for part time by day or hours. Central location. Address “L. M. G.,” care Musical Courier, 437 Fifth Avenue, New York.
BERKSHIRES—Eight miles from Great Barrington, Mass. A refined family will accommodate musician; practicing no objection. Table supplied from garden; fresh eggs, milk, etc. Phone Morning-side 5120, Apartment 33, New York City.
WANTED
A musician of high standing for Dean of large Conservatory. Applications for Piano and Voice considered. Address communications direct to Baylor College, Belton, Texas.