37
around perfection of music. He said much of vast interest to all, and his paper should print his talk.
Friday Afternoon.
Modern French Piano Music was an interesting paper by H. H. Bellaman, of Columbia, S. C. Harold Randolph (Baltimore) spoke on The Feminization of Music, saying the boy was likely to belittle music, hearing others say it was too refining. There is over-effeminacy in music, a thought which has come down to us from the ancients. The male has stronger rhythmic sense than the female. Teach children music as soon as they leave the cradle; women prove better educators of children than men. Leon R. Maxwell (New Orleans) had a paper on Changing the Point of View. He said too much technic produced nothing but “show-off,” and this is perfectly true of all the arts. Mr. Bellaman also gave his report on colleges and universities. There should be no segregation of . colleges, for all have similar problems. Messrs. Le Baron and Lewis spoke on this, and a committee of three was appointed for ways and means of forming a College Section.
Convention Notes.
Ursula Greville gave a talk, not scheduled in the prospectus, December 28, morning session, on English Songs.
The smallest attendance was on Wednesday and Friday afternoons, when members were specially invited to the Dupre and Courboin organ recitals at Wanamaker’s.
Leonard McWhood, of Dartmouth College, formerly of Teachers’ College, Columbia University, introduced a resolution favoring the founding of a Federal Music School; it was passed.
The following were elected members of the Executive Committee of the Association : Charles D. Boyd, of Pittsburgh; James D. Price, of Connecticut, and Frederick Holmberg, of Oklahoma; this committee, in conjunction with the members, electing the new officers by ballot. This has been the custom for some fifteen years past.
The noticeable absence of leading New York teachers was remarked. Why do they not attend ? Do they possess all the knowledge, or did holiday festivities (and family duties) prevent?
Faithful Waldo S. Pratt, treasurer for many years, was greeted by many old friends; he had able assistance in Louise Keppel, who wore a different costume at each session.
Hotel Pennsylvania authorities did everything possible for the comfort of members. The bare hard-wood floor and constant shuffling of chairs, with the prolonged “strumming on catarrhs” (says Woolcott, of the Herald) annoyed some of the speakers, however.
Why do so many representative men agree to prepare and read papers, then remain away? Such were Boyd (Pittsburgh), Holmberg (Oklahoma), Henderson (Herald, New York), Maxwell (New Orleans), Swarthout (Decatur), Benbow (Buffalo), Cole (Chicago), York (Detroit), Baldwin (Hartford), and Earhart (Pittsburgh). Pains have been taken to print a correct list of these absentees. It is but just to President Erb, however, to state that in every case their papers or reports were read. Many teachers inquired for certain men named in the foregoing list; others attended certain sessions in order to meet them; all in vain!
Exhibits by Music Publishers.
Ten New York and Boston publishers of music were represented, having excellent exhibits, displayed on long tables in the ante-room. They were as follows:	John
Church Co., represented by Messrs. Dale and Goodall, W. L. Coghill, member of the firm, on hand as an interested observer; A. P. Schmidt, represented by Mr. Schultz; Witmark & Sons, represented by Miss Joseph and Mr. Vanderpool; G. Schirmer, Inc., represented by Messrs. Mar-quard and Dilworth; Ditsons, represented by Mr. Martel; Carl Fischer, represented by Mr. Fischer; J. Fischer & Bro., represented by Joseph A. Fischer; Boston Music Co., represented by F. E. Kneeland; McKinley Music Co., represented by Mr. Luders; Schroeder & Gunther, represented by Mr. Schroeder.	F. W. R.
MUSICAL COURIER
January 4, 1923
Metropolitan Opera Company
BASS-B ARIT OISJ E
Concert. Recital. Opera. Oratorio Mgt. : Standard Booking Agency 17 East 42nd Street, New York
Phone Vanderbilt 7196
BARITONE
TEACHER OE VOICE Available for Concerts. Recitals and Oratorio Studio: Metropolitan Building Orange, N. J N. Y. Branch: 105 West 130th Street
GUEST ARTIST San Carlo Opera Company
SEASON 1922-23 Available also for concerts
New York
Direction:
Julea Daiber, Aeolian Hall
Harold Bauer
IVfaster FManist
NOW TOURING AMERICA
Management:	Metropolitan Musical Bureau
Aeolian Hall, N. Y. City	Mason & Hamlin Plano
THAIS AND ERNANI THE CHRISTMAS
DAY OFFERINGS AT THE METROPOLITAN
Jeritza, Whitehill and Harrold Star in the Former, and Ruffo, Martinelli and Ponselle in the Latter—Die Tote Stadt Repeated—Waikure Arouses Marked Enthusiasih, Featuring Elizabeth Rethberg, Matzenauer, Gordon, White-hill, Bender and Taucher—Bori’s First Appearance as Manon—Aida Repeated
Thais, December 25 (Matinee).
Massenet’s Thais was repeated on Christmas afternoon before a large audience. The cast was the same as before and the performance ran along smoothly, the principal artists holding the interest of their spectators throughout.
Mme. Jeritza repeated the admirable impression she made in the title role, singing her lines with a tonal beauty that was at once appreciated, and acting with her accustomed skill. Clarence Whitehill again was excellent as Atlianael, both vocally and histrionically. Mr. Whitehill is ideally suited to the part and also made a deep impression. Orville Harrold as Nicias made the most of his difficult part. Others in the cast were: Ananian, Ryan, Robertson, Telva and ReSchiglian, all of whom were satisfactory and_ rounded out a fine performance. Hasselmans conducted with skill and gave an especially good reading of the score.
Ernani, December 25 (Evening).
Verdi’s Ernani was repeated at the Metropolitan, Monday evening, December 25, with the sa,me cast as at the previous performance. Again Rosa Ponselle impressed with her richly colored, dramatic voice and her vigorous impersonation of the role of Elvira. Martinelli, as Ernani, was in good voice, singing brilliantly. Ruffo brought to the part of Don Carlos a powerful, sonorous and excellently controlled voice and impressive acting. Papi conducted.
Die Walkuere, December 27.
There was a fine performance of Die Walkuere at the Metropolitan Opera on Wednesday evening, December 27, a better performance of the Wagner work than any German opera house can give today. What house over there can offer five singers like Elizabeth Rethberg—the most promising German woman singer that has come here in a long time—Margaret Matzenauer, Jeanne Gordon, Clarence Whitehill and Paul Bender in leading roles in one cast?
And Curt Taucher, who is as good a tenor as can be found in Germany today, when there are no great German tenors, was unusually good and less tremulant than usual as Sieg-mund. Artur Bodanzky, per haps inspired by his unusually brilliant band of associates, seemed to direct rather less mechanically than usual.
Die Tote Stadt, December 28.
Die Tote Stadt was repeated again on Thursday evening, with Maria Jeritza and Orville Harrold in the principal roles. Both artists lived up to the high standard set previously in the opera and came in for a large share of the audience’s applause. Schutzendorf was heard in his two impersonations—Frank and Fritz—giving a fine account of himself. Others in the cast, each familiar in his part, were:
George Meader, Angelo Bada, Mmes. Delaunois, Telva and Anthony. The performance was a smooth, enjoyable one and attracted a capacity house.
Manon, December 29.
On Friday evening Lucrezia Bori appeared for the first time at the Metropolitan as Manon in Massenet’s delightful opera. Miss Bori’s conception of the part was exquisite
MUSIC TEACHERS’ CONVENTION
(Continued from page 28.)
N. H., where he was one of three behind screens; they all wanted to see as well as hear the artists. He was followed by Winthrop P. Tryon, of the Christian Science Monitor.
Friday Morning.
Musical Aspects of the Community Music Movement was the subject of P. W. Dykema’s talk. The former Ethical Culture School musical director (New York), now of Madison, Wis., who created a stir in his talk on the subject at Atlantic City not long ago, mentioned the various movements, such as the war-singing, the women’s clubsinging, the music work under municipal control in various cities, etc., 60,000 voices raised in song at a football game awed visiting foreigners, as well it might. The failure of ' continuing musical instruction, begun in high schools, was deplored. The Lindsborg, Kan., and Bethlehem, Pa., festivals, with that of the Berkshire festivals, were named as special propaganda for good music in small places. He spoke of the many choral societies which featured only celebrities in their performances, and said that this came from the desire to create metropolitan standards. He spoke of the memorable Tree of Light at Christmas-time, first seen in Madison Square just ten years ago, due to Jacob Riis’ efforts, the Christmas Caroling still done in many small towns, the noonday luncheon clubs, with singing, and the important Music Memory Contests, first started by C. M. Tremaine, in which thousands of public school pupils now participate.	,
Hans Schneider, of Providence, R. I., followed, giving a model talk on the Subconscious Memory, in which he showed how dreams often precede certain manifestations of memory. He gave many instances, serious and amusing, and this up-to-date and successful musician and businessman (his school is most prosperous) gave much food for thought. Five papers on the important subject, Evolution of Public School Music in the United States, followed.
This specialty, however, appealed to fewer hearers than what preceded, and many left at־ this juncture. Reprinting from the program, the following were scheduled:
From Lowell Mason to tlie Civil War—A Period of Pioneers Osbourne T. McConathy, Evanston, 111.	.
From the Civil War to 1900—Settling the Problem of Reading Ralph L. Baldwin, Hartford, Conn.
The Twentieth Century—A Singing Revival Karl W. Gehrkens, Oberlm, Ohio The Evolution of High School Music Will Earhart, Pittsburgh, Pa.
Music Appreciation—The Education of the Listener Edward B. Birge, Bloomington, 14.
At this meeting, the Report of the Affiliation Committee,
Leon R. Maxwell, came first, this being followed by W H.
Humiston, the New York critic conductor, etc. on The Lighter Side of Bach. He is well qualified to speak on this, inasmuch as he has conducted Bach s Coffee Can a a m public, and this work contains much of the Bach humor.
and always graceful, and she is certain to be heard here man}׳■ more times in a role which she had sung previously in Philadelphia and Atlanta. New York has heard many Manons, but'Bori’s conception does not invite comparison. It is in a class by itself. Vocally, she gave everything to be desired, singing throughout the evening with a tonal richness and clarity that held her audience enraptured. Her impersonation of the simple country girl s transformation was cleverly enacted and resulted most brilliantly, and she rose to unawaited dramatic heights in the St. Sulpice scene. At all times she made an appealing picture, delighting the eye as well as the ear. Her gowns were chosen in the best of taste and accentuated the charm and elegance of her performance. It was another Bori triumph.
Mario Chamlee repeated his splendid portrayal of Des Grieux, singing with unusually fine style and voice. His delivery of the Dream was superb. De Luca as Lescaut also scored, and George Meader handled the role of Guillot very skilfully. Louis Hasselmans conducted with finesse and added to the high standard of the performance by giving the score a worthy reading.
Aida, December 30.
Aida was repeated at the Metropolitan on Saturday afternoon, December 30. The performance attracted one of the largest attendances of the season. The cast was practically the same as was heard the week before with the exception of Margaret Matzenauer, who sang Airmens for the first time this season. Owing to the sudden indisposition of Edmund Burke, William Gustafson sang the role of the
It” was a brilliant performance throughout. Elizabeth Rethberg, as Aida, sang superbly and received a genuine ovation. Giovanni Martinelli, in bis familiar role of Radames, has never sung more effectively, and his duet with Madame Rethberg aroused the enthusiasm of all hearers. Danise gave a fine vocal performance of Amonasro, and Mardones, of Ramfis.
‘Madame Matzenauer created considerable comment with her elaborate costumes. She has introduced many new and startling effects. Roberto Moranzoni was the conductor. It must be said that there were times, particularly in the last scenes, when he gave a tempo that was unnecessarily sluggish.
Sunday Night Concert, December 31.
The program arranged for the New Year’s Eve concert at the Metropolitan Opera House was an especially interesting one, presented by a splendid array of artists. Lucrezia Bori, Rosa Ponselle, Elizabeth Rethberg, Queena Mario, Grace Anthony and Ellen Dalossy, sopranos; Flora Perim, contralto; Rafaelc Diaz, Orville Harrold and Armand Tokatyan, tenors; Louis D'Angelo, baritone; Jose Mardones, basso, together with the entire Metropolitan Opera House Orchestra, furnished the musical feast, which to judge by the enthusiasm and applause was thoroughly enjoyed by the large audience.
He pointed out many other instances, showing that Father Bach was not the awesome, learned composer of complicated contrapuntal works alone; that he, too, had much humor, and expressed it in his various works. Some of the gavots, especially, are full of such passages. Mr. Humi-ston’s talk .was very informing, and gave many of •his hearers much for future intellectual developing.
He was followed by James Francis Cooke, editor of The Etude, who talked on The Golden Hour Movement, making a plea for the building of the morale of a nation
ULYSSES FAQUIN
Wilson LAME
MURA
Maestro Aldo Franche!!¡ at the Piano
K