MUSICAL COURIER
51
VOCAL TEACHER AND COACH
Consultation by Appointment Studio : 25 WEST 86th STREET, NEW YORK CITY
Phone: 8107 Schuyler
CURCI
G.
M.
Letters from
MUSICAL COURIER READERS
RECOGNIZED PRINCIPLES
Zerffi Replies to Marafioti and Bogest
December 23, 1922.
To The Musical Courier:
The letters from Dr. P. N. Marafioti and Walter L. Bogert, published in the issues of November 23 and December 21. respectively, have been read by me with great interest. It does appear, however, that both writers failed to perceive the significance of the title of the editorial to which they refer, which was Nothing New Under the Sun, and in addition to this it was expressly stated that: “Certain principles have been recognized by more than one authority, and may therefore be assumed to be based upon a solid foundation of fact>’
Since the question of priority has been raised, I wish to state that the fundamental principle of relieving the vocal organ of unnecessary interference was taught by me in 1912, three years before the publication of Dr. Muckey’s book, The Natural Method of Voice Production, to which Mr. Bogert refers, and nine years before the publication of Dr. Marafioti’s.book.
However, the question of priority is comparatively unimportant in the face of the work to be done in disseminating the facts of voice production, which are accessible to all who will employ rational methods of investigation. Truth cannot vary, and "all who find the truth must inevitably reach the same conclusions.
I may say, that I yield to no one in admiration of Dr. Muckey’s excellent book, which I consider to be one of the most important contributions to the subject of voice production, and I have recommended it whenever opportunity occurred.
I wish to thank Mr. Bogert for his kindly commendation of my writings and his expression of sympathy with the views therein expressed.
Yours very truly, (Signed) William A. C. Zerffi.
Laurie Merrill Using Three Popular Songs
Laurie Merrill, the New York soprano and vocal teacher, is using Cadman’s Dream Tryst, Dawn in the Desert, by-Gertrude Ross, and Henry Hadley’s new song. Since You Have Gone. Miss Merrill especially considers Dawn in the Desert a wonderful song, “bringing a sweeping touch of breadth, color and power.”
Otis Sings Cadman Numbers
Florence Otis, soprano, is just completing a very successful concert tour. She is using a number of well chosen songs by American composers, including two by Cadman, called The Popinjay and Dream Tryst. Miss Otis writes that “both songs win unusual response from audiences, and I love to sing them.”
JOSIAH	ZURO
Director of
THE ZURO GRAND OPERA COMPANY COACHING	TEACHING
Phone: Circle 0100	744 7th Ave., N. Y. City
fir.־ement were characteristics of his personality and his voice was notable for sympathy, tenderness, strength and resonance.
Another Sioux Falls paper wrote:
His style was finished and his manner suave and persuasive. To those who heard him, his singing will stand out as a big event in the season.
The above press comments are representative of the criticisms he received everywhere on this tour.
January a Full Month for Konecny
The month of January will be a full one for Josef Konecny, the Bohemian violinist, who has the following engagements on his Western tour: January 3, Laramie. Wyo. ; 4, Rawlins, Wyo. ; 5, Rock Springs, Wyo. ; 8, Evanston, 111.; 10, Ogden, Utah; 11, Brigham City, Utah; 12, Logan, Utah; 15, Preston, Ida.; 16, Salt Lake City, Utah; 18, Provo, Utah ; 18, Payson, Utah ; 19, Nephi, Utah ; 22. Manti, Utah; 24, Milford, Utah; 25, Beaver, Utah; 29, Las Vegas, Nev., and 31, Redlands, Cal.
When appearing in Colorado Springs (Colo.), in December, the critic on the Colorado Springs Gazette had th? following to say regarding Konecny and his assisting artists, with the following headline: “Bohemian violinist proves self master of instrument” :
Joseph Konecny, the great Bohemian violinist, was greeted by a packed auditorium last night at the High School. At both afternoon and evening concerts Konecny proved himself a thorough master of the violin. His tone quality was subject to such shadings of feeling as to make his performance :of the various numbers most interesting and delightful. . . . Luella Lash, assisting artist, possesses a lovely lyric soprano voice, and delighted her audience with h r wonderful capabilities in Spanish and French, as well as English. . . . Margaret Gary is a most competent accompanist. Her solo numbers were given with marked clearness and beauty.
Elsa Fischer Quartet Concert January 29
The Elsa Fischer String Quartet (Elsa Fischer, first violin; Isabel Raush, second violin; Lucie Neidhardt, viola and Carolyn Neidhardt, cello) will give a concert in Aeolian Hall on January 29. The program will comprise two quartets—Glazounoff’s op. 1 in D major and Mozart’s in C major—as well as César Franck’s piano quintet for which Heinrich Gebhard will be the assisting artist.
The Elsa Fischer String Quartet is a well and favorably known chamber music organization which has been heard in New York and throughout the country in successful recitals for many years, and which has established for itself an excellent reputation' for sincerity, balance, tone-color, idealism and general musicianship. The four young ladies, who are indefatigable workers rehearse continually, and present works by the old classic and modern composers with great artistry. They work like real idealists devoting much time to bring out every minute detail, and this care, together with their co-ordination, has earned for them an enviable reputation and has placed the Elsa Fischer String Quartet among the leading organizations.
Roberts’ Pierrot to Be Issued Soon
George Roberts, the able accompanist of Florence Macbeth, also assumes the role of piano soloist at many of her recitals. Two of the compositions which George Roberts plays frequently are A Fragment (A. _ Walter Kramer), a composition Percy Grainger introduced in many of his programs, and also a Western novelty, The Ride of the Cowboy (Gertrude Ross).	.
Roberts’ charming song, Pierrot, a favorite with Florence Macbeth, is soon to appear in print, published by J. Fischer & Brother, New York.
January 4, 1923
Grand Opera Company a year or so ago, renewed his success at a song recital which he gave at the Civic Auditorium on December 12. The proceeds of the event were given to St. Ignatius Church and College. Mr. Hackett’s naturally warm and vibrant voice was heard to advantage in a fine program. He sings with purity of intonation and diction, splendid vocalization and a subtle - significance of the text. In all that Mr. Hackett does there is refinement and polished style. Gordon Hampson played Mr. Hackett’s accompaniments in a fine manner. The concert was under the management of Frank Healy.
Notes.
Laura Janos Fuessel, contralto, appeared before the Forum Club and gave an interesting group of songs. Miss Fuessel showed good training and her fine conception of the songs won the approval of a large audience.
The Arrillage Musical College gave a two-piano recital in its recital hall and was assisted by Isoline Harvey, violinist. The program was artistically performed.
Eleanore Drew introduced one of her advanced pupils, Carmel Lemmermann in a piano recital at the Social Hall of the Y. M. I. building. The young pianist played in a praiseworthy manner numbers by Bach, Grieg. Mac-Dowell and Debussy.
A musical program was given by the San Francisco section of the Council of Jewish Women at the Native Sons’ Hall on December 12. A number of San Francisco’s prominent musicians participated namely, Caroline Caro Hyman, Margaret Waldrop, soprano, accompanied by her husband, Uda Waldrop; Alexander Kozlov, pianist; Nathan Firestone. violinist, accompanied by Mrs. Ludwig Rosen-stein, and Margaret Jarman Chesseman, contralto.
Victor Lichtenstein, who has been giving a series of lectures on the history and appreciation of music, under the auspices of the extension division of the University of Calfornia, completed that course with an interesting illustrated lecture of the Cesar Franck symphony, Beethoven’s Appassionata sonata, and music of the present. These lectures have proved of intense value.	C. H. A.
SACRAMENTO EUTERPEAN
CLUB GIVES CONCERT
Notes
Sacramento, Cal., December 12.—The Euterpean Club gave its first concert of the season at the Tuesday Club House, December 11. This chorus of female voices, organized some years ago by Edward Pease, now- stands at the head of musical oragnizations in this city. Beautiful tone quality and excellent phrasing were apparent, the sopranos better than ever, and the lower voices splendid. The program was well received by the large audience present. A large amount of credit is due to Zue Geery Pease, the club’s accompanist; her fine sense of balance makes the finer tonal shadings of the chorus possible. Two Sacramento musicians assisted—Russell Keeney, violinist, and Rudolph Caffaro, tenor.
Notes.
Arthur Straub, vocal teacher, has come to Sacramento from Detroit where he has an excellent reputation.
The Martine School of Music has been conducting a series of student affairs which has been well attended and which merits praise.
The Saturday Club presented the violinist, Emil Tel-many i, in concert at the Clunie, December 7. Judging from the applause this artist was well liked. His accompanist, Sandor Vas, gave several solo numbers which were also much enjoyed.
Several members of Emily Rulison’s violin class were heard in a recital given at Wiley B. Allen Hall before a small audience of invited guests. The pupils gave a good account of themselves.
Russell Keeney, violinist and former student under Theodore Spiering, is becoming well known in Sacramento as a soloist.	A. W. O.
Praise for Patton in Recital and Opera
Fred Patton appeared as Wotan in Die Walkiire with the United States Grand Opera Company in Erie, Pa., and Akron, Ohio, and won the following encomiums from the press:
Fred Patton gave a very moving portrayal of Wotan. His rich, resonant voice was well suited for the Wagnerian music.—Erie Times.
THE HUBBARD STUDIOS OF VOCAL INSTRUCTION
ARTHUR J. HUBBARD VINCENT V. HUBBARI)
BOSTON: Symphony Chambers	NEW YORK (Mr. Vincent V. Hubbard on Mondays): 807-808 Carnegie Hall
VIRGINIA. GILL Lyric Soprano
••A Voice ol Distinctive Charm״	Now Booking lor Season 1922-1823
CONCERT—ORATORIO—OPERA
Addrea. : 1014 Diviaion Street	. Camden, New Jeraey
(£)hp Qblielaniljmititutr of (PuBtC ERNEST BLOCH, Musical Director 2827 EUCLID AVE., CLEVELAND, OHIO Mrs. Franklyn B. Sanders, Executive Director
TAKE AWAY DICTION, ENUNCIATION, INTERPRETATION, PERSONALITY, TONE QUALITY, PERFECT TECHNIQUE AND EMOTIONAL FIRE AND YOU NO LONGER HAVE AN IDEAL RECITAL ARTIST.	m
CAMERON McLEAN
SCOTTISH BARITONE
has all seven of these desirable qualities; therefore his phenomenal success.
Management: W. H. C. Burnett, 626 Ford Building	-	-	Detroit. Mich.
PAPALARDO
“A master of vocal art and a coach and accompanist for artists.**
The Season of 1922-23 marks the Eighth Year of the Papa-lardo Vocal Art Studios, well known both here and abroad.
Maestro Papalardo has also conducted opera in Florence, San Remo, Reggio Emilia, Novi Ligure, Cagliari, Sassari, Italy; Odessa, Russia; Rio Janeiro. San Paulo, Brazil; New York City, and twice on tour in the United States of America.
STUDIOS: 315 West 98th Street	New York City
Telephone, Riverside 1669	Telephone, Marble 1573
Vocal honors fell to Fred Patton who sang Wotan.—Erie Dispatch-Herald.
Fred Patton, as Wotan, was majestic in the Magic Fire scene of which Camille Saint-Saëns, the French composer, once said, “The violins flame, the harps crackle, the timbers scintillate.”—Akron Beacon-Journal.
Wotan was sung by Fred Patton, bass-baritone, who was fully equal to the demands of the role.—-Akron Press.
After a recital in Youngstown, Ohio, two of the critics of that city eulogized Mr. Patton as follows:
Mr. Patton’s voice is a remarkable one. It is of excellent quality, has a great deal of resonance and a very wide range. His low tones are solid and vibrant, while his high tones are full and ringing. He sang several fine high G’s last evening. The organ is a glorious one. Mr. Patton should have an exceptional career ahead of him.— Youngstown Daily, November 28.
His is an uncommonly fine voice, resonant, rich and full, and of a quality that pleases the ear. Fred Patton is more than a singer— he is an interpreter of songs which is quite another thing. He employs his command of vocal technic and artistry for a purpose and that is to give his audience a finely dramatized interpretation of the text. Every number he sang was a vitalized conception m-vigoratingly expressed with finished artistry. His program was an uncommonly interesting one and finely balanced. Fred Patton is a singer whom we will always be glad to hear. It is hoped that he will be brought back again.—Youngstown Telegram.
Frederick Southwick Returns From Concert Tour
Frederick Southwick, concert baritone, who made a very successful concert tour through Minnesota, South Dakota and Pennsylvania (singing in some cities for the fifth time), has returned to New York.
The Argus Leader of Sioux Falls recently had the following to say of him :,
Mr. Southwick possesses a voice of unusual charm and interest, and his tone is of a pure and velvety quality. Gentleness and re-