MUSICAL COURIER
10
January 4, 19 23
of her voice. Miss Stanford was engaged to sing at Shea’s Hippodrome in Buffalo the week of December 18.
Howell a Favorite at Colleges
Dicie Howell is a great American college favorite, for she has appeared and reappeared at many institutes of learning and been acclaimed wherever she has sung. Season after season, of the several years she has been in the concert field, Miss Howell has appeared at festivals, in oratorios and in concert in the colleges and college towns, but the appearances are too numerous to record retroactively. Recently the soprano appeared in recital at the Greensboro College, Greensboro, N. C.; at the Central State Normal School, Lock Haven, Pa.; twice at Columbia University, New York City, and at the Salem College, Winston Salem, N. C., where she appeared both in recital and at the festival. She had two appearances at Rutgers College, New' Brunswick, N. J., and was soloist with Julia Claussen at the University of North Carolina Festival. Miss Howell sang the Verdi Requiem at Wooster College, Wooster, Ohio, and has been engaged to appear at Miami University, Oxford, Ohio, January 12.
Miss Howell made her debut in New York City just three seasons ago. It might be here recorded that she was born in North Carolina and received her early education in the Southern schools. She is a graduate of Salem College.
Miss Howell began her musical studies and her elemen-mentary education in the regular curriculum at Salem, but her sound musical foundation work is not entirely due to her’ vocal study, as she was at first an ardent student of both piano and violin, and only gave up these instruments when her voice was later recognized.. The last two years at College, 1910 and 1911, were devoted exclusively to vocal work.
After leaving Salem, Miss Howell went to Boston and continued her work in the New England Conservatory for one season. She then came to New York and has pursued her vocal studies for the past four and a half years in that city.
Dicie Howell had two years of concertizing before she made her New York debut, and has filled many interesting and important engagements with orchestra, in recital and in oratorio. She sang with the New Haven Symphony Orchestra under the late Dr. Horatio Parker; at various times with the Columbia University Orchestra, under Walter Henry Hall, also with the Newark Symphony, the Volpe Symphony and the National Symphony Orchestra, under Walter Henry Rothwell. Miss Howell has appeared with the Bridgeport Oratorio Society, under the famous Dr. Mees, and at numerous spring festivals.
Miss .Howell has already established a reputation as program builder, and being an untiring student has a large repertory at her command. In addition to the best song literature in four languages, she has all of the standard oratorios.
Francis Moore a Busy Pianist
Francis Moore’s reputation as a soloist is constantly on the increase, and during the past month he has filled many engagements in various parts of the country. He appeared in Rome, N. Y., in a piano recital, opening the series of concerts being given by the Woman’s General Study Club. He was heard in recital at Miss Mason’s School, at Tarry-town-on-the-Hudson, November 10, and November 27 he and Hugo Kortschak, violinist, gave a sonata recital at Red Springs, N. C., in the auditorium of the Flora McDonald College, playing sonatas of Bach, Brahms and Grieg. Mr. Moore played in Brewton, Ala., November 29, under the auspices of the Brewton Woman’s Club, and on December 2, in Birmingham, Ala. The latter program was given in the ballroom of the Tutwiler Hotel, under the auspices of the Birmingham Music Teachers’ Association. At each appearance there were enthusiastic audiences, and Mr. Moore received flattering press notices at each place.
Clarice Balas Having Active Season
Clarice Balas, a Cleveland pianist, is having an active season locally. She appeared recently at the second concert of the Cleveland Musical Association, at Masonic Hall. The Cleveland papers commented on her excellent technic, her beautiful tone and interpretation, and many other fine qualities, as exhibited in Liszt numbers and Spring Breezes, !dedicated to her by -the composer, Wilson G. Smith. Miss Balas gave a joint recital with Lila Robeson on December 19 for the Lecture Recital Club, when the latter sang one of Miss Balas’ songs. This was Miss Balas’ fourth concert in Cleveland this season and she is booked for another on January 5.
November Dates for May Leithold
The November engagements filled by May Leithold included the following:	1, Lu Lu Temple, Philadelphia, reception to
Imperial Potentate from Honolulu; 2, Chester, Pa.; 3, Phil-lipsburg, N. J.; 8, Essington on the Delaware; 10, Columbia Society, Philadelphia; 14, Ladies’ Auxiliary foreign relief concert. Philadelphia; 17, reception at the Metropolitan Opera House. Philadelphia; 21, Quakertown, Pa.; 22, Odd Fellows’ Society, ׳ Philadelphia; 24, Holmesburg, Pa.; 26, Camden, N. J.; 29, Philadelphia. On December 3 Miss Leithold sang at a special service at St. Paul’s Lutheran Church. This was a reengagement.
a fair ratio to her pianistic talents, then one may expect a great deal from her.
Nicolai Orloff.
A much-heralded Russian pianist, who has recently appeared in Paris and other European cities, made his debut here, and his native fame was attested by the strong attendance of that highly perfumed sort of semi-oriential audience which is characteristic of certain Berlin concerts these days. Orloff showed, like a number of his compatriots, a very sure and facile technic, but failed to impress us as an interpreter of rank. His tone seemed rather_ dry and his pleasant, elegant personality did not translate itself into artistic charm at the instrument. His choice of program, even in its Russian section, was conventional.	C. S.
Isidor Achron.
Isidor Achron, the Russian pianist now on his way to America, has in a short time acquired an extraordinary reputation. Entirely unknown in Germany a year ago, he is at present counted among the most prominent of the younger recitalists. His third and last recital here showed him in his best form. Endowed by nature with the most brilliant qualities, he has the passion of playing, the ease and vivacity of the born pianist. This does not mean that I consider his art already perfect in every respect. As regards the spiritual and intellectual side he will no doubt grow in authority, clearness of conception and purity of style. H. L.
Marguerita Sylva to Give Second Recital
Following the notable success of her recent New York concert Marguerita Sylva has decided to give another At Home Recital with an entirely new program, in the near future. Owing to an important concert tour starting December 20, this concert cannot be given before February, as Mme. Sylva will be away from New York, appearing in the South and the West. If the proper date can be
“Her diction, enunciation and interpretation were exceptionally commendable and she was compelled to respond to four encores
The Allentown (Pa.) Record said the above about May Peterson, soprano of the Metropolitan Opera Co.
Concert Direction: MUSIC LEAGUE OF AMERICA
712-718 Fisk Bldg., New York Mason & Hamlin Piano Used	Aeolian-Vocalion Records
secured, the second At Home Recital will be given at the Broadhurst Theater again, and will be announced shortly.
Mme. Sylva has just been engaged to give^ one of her unique and artistic recitals before the Rubinstein Club in New York, on Tuesday evening, February 13, under the direction of William R. Chapman.
Engagements for Boris Saslawsky
Boris Saslawsky, Russian baritone, sang a program of Russian, German, French and' English songs at the first of the series of three musicales given December 14, by the Thursday Evening Club of New York, at the Park avenue residence of Mrs. Paul Tuckerman. He also gave a recital at the residence of Mrs. Christie, in Pleasantville, N. Y. On the evening of February 5, he is to sing for the Bohemian Club, of New York.
Ruth Peter at Midnight Mass
Edna Bishop Daniel, “an exponent of the common sense system of voice placement and tone production used by true voice culturists and real artists of all nations,” announced that one of her pupils, Ruth Peter, besides her Church of the Covenant work, was engaged as soprano soloist for the Midnight Mass on Christmas Eve at the Church of the Holy Comforter. An organ and orchestra furnished the accompaniment.
Eldora Stanford Sings in Schenectady
Eldora Stanford, coloratura soprano, was the soloist during the opening week of the new State Theater in Schenectady, and in writing about her part in the performance the Schenectady Union-Star said that she completely captured the big audience with her exquisite singing. The critic of that paper praised especially her pleasing quality of voice, her clear diction, and the pianissimos in the upper register
Mabel Garrison at the Berlin Opera.
'Berlin, December 10.—Mabel Garrison, the American coloratura soprano, made two appearances as guest of the Berlin Staatsoper last week, as Rosina in Rossini’s Barber and as Violetta in Verdi’s Traviata. Both times she gave evidence of a superior artistry and of the great beauty of her voice, especially in the middle register. Her highest notes seemed a little tight at times, at other moments soaring with the freedom vouchsafed by an accomplished head tone technic. Her charming personality and graceful acting were a great asset in winning the sympathies of the Berlin audience, though of course Miss Garrison was hampered by the two-language performance. She herself sang in Italian and spoke the dialogue in German—a language all but strange to her. And yet she was—in the Barber—the only person that brought real life on the stage with the possible exception of Herbert Stock, who sang Dr. Bartolo. The performance in general was not worthy of the Staatsoper niveau, and Dr. Besl’s conducting not even a good utility. It is incomprehensible why an institution so hard up for first-class singers should not make more of such chances as having Mabel Garrison add brilliance to the season. She was not treated like a star, and as things are today she certainly is a star. America has reason to be proud of such an artist.	C. S.
Carl Friedberg.
Carl Friedberg’s first recital of the season drew, as usual, a crowd of connoisseurs of the finer sides of piano playing. They were rewarded by a beautiful and vigorous reading of the Beethoven C minor variations and the lovely E flat major sonata from op. 31. Most delicious, however, was his simple rendition of the Schmann Kinderscenen, so absolutely without affectation and devoid of any sentimentalism that a healthy child would be incapable of. It was the sort of comprehension of childhood that Robert Louis Stevenson shows in his little poems. There was also a quantity of those Chopin poetic interpretations for which Friedberg is so justly famous. It is fine to think" that America may have a chance to hear this rare artist again.
C. S.
Frederic Lamond.
It is a far cry from Friedberg to Lamond, and yet each has a message that the general public can appreciate. They are not particularists in any sense, though Lamond has earned a special reputation as a Beethoven interpreter. This time he showed his versatility by ranging from Beethoven to Liszt, taking Reger, Chopin and Glazounoff on the wav. The spontaneous response of the public after the Chopin Berceuse and the Glazounoff Miniature was such as to call for repetitions, and technically the greatest feat of the evening was the Liszt Tarantella di bravura, which I never heard played with equal mastery. Max Reger’s Variations and Fugue on a theme by Bach is a monumental work that would easily bear more frequent hearings, especially when it is built up to such telling climaxes as in the interpretation which Lamond gave.	C. S.
Maria Ivogün.
The charming Munich songbird, whom America has already come to know, vouchsafed Berliners one chance to hear her en passage to the U. S. A. She sang at the—for Berlin—revolutionary hour of four P. M., ,but the big Philharmonic was crowded, with the aisles full of standees. The beauty and witchery of her subtle art was in evidence as usual, though it seemed to me that the apparatus producing those famous flute tones clustering about high C was slightly disturbed, probably a momentary indisposition. On the other hand her lower registers have gained in richness and lustre, taking on at times that soulful timbre more characteristic of the lyric voice. Norina’s cavatina from Don Pasquaje was a wonderful feat of technic and expression, and a lovely Elegía eterna by Granados spread an atmosphere and a poetic fragrance that held the big audience captive. But in Adam’s variations on a theme by Mozart the triumph of the human voice as an instrument was complete, whatever one may think of the aesthetic value of such things. It was a delightful afternoon.
Rudolph Polk.
Just back from a tour in South Germany, Rudolph Polk stopped off in Berlin only long enough to give his second recital and left immediately afterward for another series of recitals in Schwerin, Liibeck, Frankfort, etc. The program of his second concert comprised Schubert’s Duo in A major op. 162, in which he again had the able support of Walde-man Liachowsky at the piano; an uninteresting Mozart concerto, No. 3, in G major; Korngold’s suite, Much to Do About Nothing, which was the hit of the evening, and a group of short pieces including Ave Maria. The audience showered so much applause on Mr. Polk that he was obliged to give three extra numbers after the regular program.
A. G.
Rebekka Burstein.
Rebekka Burstein’s recital introduced to the Berlin public a young American •pianist of considerable musical capacities and well developed technical skill. Her program comprised sonatas by Beethoven, Schumann, Liszt, and a number of smaller Liszt pieces, which gave her ample opportunities for displaying her achievements to best advantage. If her cultivation of taste and intellectual development proceed in
NOW IIM NEW YORK
FREDERIC	__ __
FREEMANTEL
Vocal Teacher for
TENOR VOICES EXCLUSIVELY
Auditions and Consultations by Appointment Only
50 West 67th Street, Secretary, MISS MAY
Telephone Columbus 1405