27
MUSICAL COURIER
PLAYING WITH OTHERS HELPS YOU
By B. H. Wike
January 11,1923
tra. Oliver Mellon, who for two seasons sang the leading baritone roles with the company, will return to Washington to sing Escamillo. Charles Tittmann will be heard in Rigo-letto, and Netta Craig, in Carmen, and Ruby Potter and Albert Shefferman will both be remembered. Paul Tcherni-koff and Elizabeth Gardner will lead the ballet.
Mr. Albion has cast Marguerite Meakin in one of the leading soprano roles. Mrs. Meakin gave a difficult program, which showed to great advantage the splendid range of her voice, when she appeared with the Fortnightly Salon at the Playhouse on December 14. The development of this singer under Edouard Albion the past year deserves great credit. In the summer and early fall Mr. Albion gave a series of studio concerts for Mrs. Meakin, which met with great success.	J. H.
FOREIGN NEWS IN BRIEF
New Weingartner Work for Vienna Philharmonic.
Vienna, December 12.—Only now the Philharmonic Orchestra has announced its list of novelties for this season, which is even more modest than in former years. The only real novelty will be conductor Weingartner’s own Variations on a Theme by Reisenauer. All other new works on the list, including Ottorino Respighi’s second symphony and Stravinsky’s Firework, have had previous hearings elsewhere.	P. B.
Strauss Junior Made a Doctor.
Vienna, December 10.—Franz Strauss, son of Richard Strauss, who visited America with his father last season, has just been made Doctor of Laws by the University of Heidelberg, Germany.	P. B.
Reinhardt Posthumous Historical Operetta Successful.
Vienna, December 13.—A posthumous operetta, The Lucky Trumpeter, by Heinrich Reinhardt, composer of The Spring Maid, who died at Vienna a few months ago, has been produced at the Komödienhaus here with tremendous success. It is interesting from a historical viewpoint, the chief character being Johann Nepomuk Mälzel, the Austrian “Court Mechanician,” who was the inventor of the metronome and who constructed, among other mechanical devices, a panharmonicon (a machine combining the sounds of a full orchestra), for which Beethoven especially composed a piece. Mälzel took his instrument to America and died there in 1838 at the age of sixty-six.	P. B.
Tristan Facsimile to be Published.
Munich, December 10.—The Drei Masken-Verlag, which has just brought out a beautiful facsimile reproduction of the original score of Richard Wagner’s Meistersinger von Nürnberg, is now preparing with the special permission of the heirs of Wagner a similar edition of Tristan und Isolde, which is to come out next spring.	A. N.
Another Glasgow Choir-^Refuses to Sing God Save the King.
December 16.—The Glasgow Orpheus Choir and its conductor, Hugh S. Roberton, have brought upon themselves the ridicule of all loyal Britishers, not by their mere refusal to sing God Save the King at all concerts at which they are taking part, but by their feeble attempt to excuse their action by stating that their object is to educate, and they desire to leave their hearers with a musical thought in their minds.	W. S.
Dohnanyi’s Silver Anniversary.
Budapest, December 11—The concert of the Philharmonic Orchestra today was the occasion for a celebration of the twenty-fifth anniversary of the debut of Erno Dohnanyi, who played the same work which he gave at his debut, then under the conductorship of Hans Richter. He was the object of a series of tremendous ovations.	S.
Gainesville (Texas):
In addition to fine musicianship, there is a charm and youthful spirit in their playing which captivates.
Memphis (Tenn.) Commercial Appeal:
This is, in truth, an ensemble of the highest musicianship, of rare temper and intelligence, and of vast value to appreciation of the content and texture of musical composition. Such a presentation as was given yesterday is all too rare for anyone to miss it, and the absentees can very well mourn a delicious treat.
Laurel (Miss.) Dally Leader:
The program was' a most brilliant success from every standpoint. The Norfleets played in a manner that could not have been more beautiful.
Indianapolis (Ind.) News:
It was a fine example of ensemble playing.
Indianapolis Star:
One of the most delightful musical programs ever given here.
Kansas City (Mo.) Journal-Post:
The Trio showed a keen sense of appreciation for the composers' text and an ensemble of refined tastes.
200 Claremont Avenue, New York
Morningside
of the melody. Here also comes in the factor of ear training, which helps you to recognize tone quality and allows you to try out your powers of working for another factor called “sympathy.”
If you work with others at the piano, whether it be in the form of duets or trios, it will prove valuable in leading to a greater familiarity with various sections of the keyboard. You may be often scared when playing alone to think that you must at times venture into notes above or below the staff; but playing alternately^ the primo and secondo parts will help this failing. In trios you can take the middle player’s place and see how it goes to work there.
Playing for a choir is not bad practice; but how often you will find players who want to shun this! The world is full enough of players who can perform very well in solo and orchestra but make a botch of playing such an apparently easy thing as a common church hymn. Moreover, you will come across sacred music with the voice parts written on separate staves, with no regular accompaniment, and the player who can play all four as if they were set on just two staves will be a help to another some time. Reading four staves trains the eye to watch. Music for church services is none too good anyway, and if its improvement does not devolve upon the players and the singers, the composers excluded, whom else does it depend upon?
So make the most of your opportunities to^ play with others. It is a good deal like the hermit who thinks he can be valuable to society by living to and for himself alone; it can’t be done. In too many cases it amounts to selfishness.
Club, entertained at tea for Mile. Jean the afternoon before the recital, when the guests had the pleasure of hearing Mile. Jean sing with that individual grace which adds much to the charm of her personality.
Paul Bleyden’s Pupils Win Praise.
Paul Bleyden, one of Washington’s leading vocal teachers, conducted his pupils in a Christmas play at Keith’s Theater, in which music was the foremost feature. Twenty of his pupils sang old English carols in costume each afternoon of Christmas week.
At the annual celebration, at the Willard Hotel, of the Yorktown Tea Party, a brilliant affair, where the elite of Washington society are always represented, Mr. Bleyden presented his pupil, Margaret Callahan, soprano. Miss Callahan won much applause with a group of period songs, which she sang with excellent tone, finish and artistry.
Mr. Bleyden also recently presented a program of songs at a concert at Central High School. Two of his pupils, Helen Harper, soprano, and Thelma Smith, contralto, gave several duets, which were enthusiastically received; in fact, so persistent was the applause that three encores were׳ given before the audience would permit these talented young artists to retire.
Charles S. Wengerd’s Success in Baltimore.
Charles S. Wengerd, director of the Washington Choral Society, made a fine impression in Baltimore in a recent concert at Christ English Lutheran Church. Mr. Wengerd gave a full and varied program which only an artist of ability could have interpreted. His program included Handel’s Where’er You Walk, two Shakespeare songs, dialect songs and songs of Schumann, Schubert, Tschaikow-sky, Franz, and old folk songs. Elizabeth Gardner Coombs was the accompanist.
Washington Opera Plans.
Edouard Albion announces that the first operas to be given by the Washington Opera Company will be Rigole'tto and Carmen, to be presented at the President Theater on January 22 and 26, and a matinee and evening performance a month later. Arturo Papalardo, Italian conductor of the Aborn Opera Company, who will conduct both operas, will come to Washington early in January to establish the orches-
Dallas (Texas) Morning News:
From every possible standpoint the concert given Monday night by the Norfleet Trio was one of the most successful events of the current musical season. The auditorium was virtually full, the audience was both appreciative and enthusiastic and the Norfleets rendered one of the most brilliant programs of chamber music ever given in Dallas. The program ranged from the somber and morbid Trio in A minor by Tschaikovski to Percy Grainger’s Clog Dance, “Handel in the Strand.” Everything pleased the most discriminating audience, and one number—Goossen’s Water Wheel—proved so popular that the Norfleets graciously repeated it.
Dallas (Texas) Musicale:
The Trio is welded in unity and precision and its interpretation of the severely classic and equally interesting lighter numbers was marked by punctilious regard for balance and dynamics, finesse in shading and artistic finish. The program was one of sheer beauty—a revel in absolute music.
Sherman (Texas) Democrat:
A crowded house welcomed the Norfleets and listened, first critically attentive, then elated and spellbound, to the Trio’s rendition of Tschaikovski and Beethoven and a group of modern music. Such precision in a well-proportioned ensemble, broad and musicianly interpretations, and fine, clear finish of nuances even in the most intricate passages is rarely heard.—Frank Renard.
NORFLEET TRIO Management,
Tel. 0211
[There is plain sense in this little article put in a plain way. It is just the sort of thing that students of music need to know, just the little piece of advice or useful hint that may make all the difference between success and failure.—The Editor.]
A player soon hears and sees much of interest when he takes up ensemble work. Aside from seeing how others do certain things, whether they do it well or badly, you are bound to be helped in matters in which you may have been faulty.
I have seen solo players who had a faulty rhythmic sense helped considerably by working with others. No matter how large an orchestra may be, you will soon begin to notice, for one thing, that you must keep up your part and in time with the others, neither faster nor slower, but all together in order that the effect may be that of one harmonious whole. There are practically sure to be at least one or more in such an assembly who know time values either through instinct or practice, and these are the ones who can be watched in order to keep things moving right through to the end. If you have trouble with your counting, playing with others will keep you. In time you will find the time element taking care of itself to a great extent, for the pulse will go through your mind somewhat automatically.
Playing with others is a help in melodic treatment. At times you may have to take up the melody yourself, and somebody else then acts as accompanist, and then there will be times when you must listen to another’s playing
WASHINGTON CHORAL SOCIETY
HEARD IN THE MESSIAH
Christmas Pageant by Washington Churches—Daisy Jean a
Visiting Artist—Local Talent Before Friday Morning Music Club—Paul Bleyden’s Pupils Win Praise— Charles S. Wengerd’s Success in Baltimore— Washington Opera Plans
Washington, D. C., December 27.—The ^Washington Choral Society (formerly the National Community Chorus), under the able direction of Charles Wengerd, assisted by Harvey Murray at the organ, Helen Nash at the piano, and William E. Braithwaite as assistant director, gave a praiseworthy presentation of Handel’s The Messiah in the Masonic Auditorium on December 18. The soloists were Netta Craig, soprano; Victor Golibart, tenor; Flora McGill Keefer, mezzo-contralto, and Charles Trowbridge Tittmann, bass. All are artists whose beauty of voice and musical ability are well known and always enthusiastically received by their appreciative Washington audiences. The choruses were unusually fine and nicely finished, sung with that fullness of the whole which is attainable only by earnest co-operation and efficient work. The Choral Society is a public-spirited organization of about eighty-five members, standing for the development of the highest standards of choral art. The other officers are Robert C. Starr, president; Mrs. H. Clyde Grimes, vice president; C. O. Fischer, secretary; John A. Gallagher, treasurer; Mrs. A. F. Tennille, chairman of patronage; H. G. King, librarian; Emma Greene, assistant librarian, and Mabel Rowlands, chairman of finance. The next recital by the society will be given in March.
Christmas Pageant by Washington Churches.
A -magnificent Christmas pageant-drama, with music arranged from the Bible by Bess Davis Schreiner, entitled The Word and the Way, was given both afternoon and evening at Central High School on December 23. The pageant was arranged by a committee composed of the rectors of the eight leading churches of Washington, assisted by Marie Moore Forrest, who was pageant master. Mrs, Forrest’s staff included Caroline McKinley, Harold Snyder, Denis E. Connell (who also appeared as Isaiah in the pageant), Albert Parr (also King Saul and the kinsman in The Story of Ruth), Victory Kerney, Anne Castle, Fred Shoemaker and George Diffenderfer, Jr. The committee on costumes included Mrs. Minnigerode Andrews, Mrs. William S. Moore, Ruth Campbell, Juliet Lyeth, Marian Chace, Florence Thompson, Evelyn Davis, Katherine Gault, Ruth Shoemaker, May Shoemaker, and Dorothy Cable, who took part in the pageant as well. The music, one of the most inspiring features of the pageant, was given by Paul Whitney Fishbaugh, organist-director; Helen Gerrer, violinist; Katherine Riggs, harpist, and the St. Andrew’s Choir of thirty voices, under the direction of Marguerite Allen Ross, with a quartet composed of Margaret A. Dudley, soprano; Sue V. Hess, contralto; Warren L. Terry, tenor, and George S. Parker, bass. Mrs. Otis D. Swett, soprano, sang the part of Mary, and Walter Terry, Harlan Randall and George Parker sang the roles of the Three Wise Men.
Local Talent Before Friday Morning Music Club.
The assembly room of the Cosmos Club was crowded to fullest capacity on December IS to hear Helen Corbin Heinl and Charles Trowbridge Tittmann in a joint recital which proved to be one of the most pleasing concerts by local talent this season. Mr. Tittmann was in unusually fine voice, and p-ave a pleasing program of songs by Caldara, Bach, Purcell, Schubert and Dunhill, and thr.ee French songs. Mr. Tittmann was ably accompanied by Miss Brickenstein. Mrs. Heinl opened her program with MacDowell’s Keltic sonata, which she played with excellent musicianship. Then followed numbers by Cyril Scott, Albeniz, Liszt and Chopin. Mrs. Heinl has a pleasing personality and was gracious in responding to the enthusiastic applause of her audience.
Daisy Jean a Visiting Artist.
Daisy Jean, the versatile and accomplished Belgian artist, was the visiting soloist with the Friday Morning Music Club the week following the above recital. She played a sonata for cello and piano, accompanied by Jean Wiswell. Her second number was a charming group of Flemish folk songs, followed by two cello numbers, and a Saint-Saëns selection for harp and piano. The last number was a group of songs sung by her, for which she played her own accompaniments on the harp.
Mrs. Eugene A. Byrnes, president of the Friday Morning
THE NORFLEET TRIO
Has just finished playing 28 Concerts. Here are a few of the press comments: