S3
MINNEAPOLIS PLEASED WITH
VERBRUGGHEN’S ACCEPTANCE
Wagner Program Presented—Eleventh “Pop” Concert Heard—Yale Glee, Banjo and Mandolin Clubs Enj oyed—N otes
Minneapolis, Minn., January 3.—That the selection of Henri Verbrugghen as permanent conductor of the Minneapolis Symphony Orchestra met with popular approval was clearly demonstrated by the ovation tendered him by audience and orchestra when he stepped out on the stage, preparatory to taking up his baton for the seventh concert. Announcement had been made through the daily press a few days prior that Mr. Verbrugghen had been chosen to fill the place made vacant by Emil Oberhoffer’s resignation last spring. The concert was further made memorable through its being the first Wagner program for a number of years. There was no soloist. Instead, all the extra instruments needed to present the original orchestration had been engaged and added to the usual orchestra. The effects produced were at times overwhelming, the orchestra doing fine work under Mr. Verbrugghen’s compelling baton. The program opened with Wagner’s Faust overture, which was followed by the prelude and finale from Tristan and Isolde. The first part of the program was brought to a close with the prelude and introduction to the third act from Lohengrin. The second part opened with a tenderly conceived representation of the Siegfried Idyll, which was a fitting introduction to the following Ring selections. Mr. Verbrugghen had very cleverly welded together Siegfried’s Rhine Journey and the Funeral March from Gotterdam-merung. Other numbers were the Entrance of the Gods into Walhalla, from Rhinegold, and the Ride of the Valkyries, which latter number brought the concert to a stirring close. Conductor and orchestra were greeted .with enthusiastic applause after each number, and Mr. Verbrugghen had to return to the stage a number of times to bow his acknowledgments of the enthusiastic and appreciative audience.
Eleventh “Pop" Program.
The eleventh “pop” concert was given by the orchestra on Sunday afternoon, December 31. Henri Verbrugghen and his men presented a well chosen program, opening with the march and closing with the overture from Tannhäuser. Other numbers were the theme and variations from Tschai-kowsky’s suite No. 3, and the prelude to the Deluge. The soloist was Grace Wagner who, in the aria, Dich theure Halle, from Tannhäuser, and the aria, Ritorna vincitor, from Aida, disclosed a pleasing soprano voice. At the insistence of the audience she sang an encore after each aria. A novel variety was given to the program by the Yale Glee Club, which with orchestral accompaniment, and under the direction of Marshall Bartholomew, sang the Yale College song, Bright College Years.
Yale Glee, Banjo and Mandolin Clubs Enjoyed.
On the evening of January 1, the combined Yale Glee, Banjo and Mandolin Clubs gave a very enjoyable concert to a large and enthusiastic audience at the Auditorium. The glee club deserves much praise for its fine work, its ensemble and good tone quality being especially noteworthy. Most of the music sung was in quality much above the usual glee club concert.
Notes.
Walter Damrosch, the next guest conductor of the Minneapolis Symphony Orchestra, arrived in the city a few days ago, and immediately entered upon his duties in preparation for the two symphony and the two popular Sunday concerts which he will conduct here. His visit in Minneapolis is arousing much enthusiasm and he will be the center of much social as well as musical activity during his stay of two weeks.
The Civic Music League is preparing for its first Civic Music Week, which will begin January 10. A number of events are scheduled, among them a concert made up of songs by Minneapolis composers, a luncheon for Walter Damrosch, a dinner and dance by the Civic Music League, concerts by the school orchestras and choruses, etc. The week will close with a recital by Paderewski on January 17, under the management of Mrs. Carlyle Scott.	G. S.
MUSICAL COURIER
Baer played mostly too loud accompaniments. Miss Clough and Mr. Baer united in Dreaming Alone in the Twilight (Moore), which appealed to all in its sentiment.
Rudolf Polk Gains Warm Favor in Germany
During the month of October Rudolf Polk, the American violinist, appeared frequently in Germany, winning the favor of his audiences, as well as the approbation of the critics. After an appearance in Mecklenburg, the Zeitung of October 9 said in part:	“The fact that Rudolf Polk’s
impulses of his musical being are indebted to the Romantic period, was proved not only by his program, but also by his style of interpretation. Even Max Bruch’s Scottische
Keener and Thomas for Haarlem Philharmonic
In connection with the three hundredth anniversary of the settlement of Manhattan Island by the Dutch, the annual breakfast and musicale of the Haarlem Philharmonic Society, which is to take place at the Waldorf-Astoria, Thursday, January 18, promises to be of unusual interest. There will be an informal reception in which the president, Mrs. Everett Menzies Raynor, will be assisted by Mrs. Frank Littlefield, Mrs. Thomas Jacka, Mrs. Sturges L. Dunham, Mrs. Alvah A. Swayze, Mrs. William G. Brady, Mrs. James E. Burt, Mrs. L. H. Irwin, Mrs. William H. Sage. Mrs. J. Clarence Sharp, Mrs. Orison B. Smith, Mrs. Edwin K. Stewart, Mrs. Warren Van Kleck, ■Mrs. C. Victor Twiss and Mrs. J. H. Land. During the breakfast, the Conrad Orchestra will ׳)lay, and following it there is to be a program by Suzanne Keener, coloratura soprano of the Metropolitan Opera Company, and John Charles Thomas, baritone.
PHILHARMONIC 0F ORCHESTRA L°־S~ES
WALTER HENRY ROTHWELL, Conductor
All Communications Should Be Addressed To CAROLINE E. SMITH, Manager 424 AUDITORIUM BLDG., LOS ANCELES
A peda Photo
RUDOLF POLK
fantasie tended to the romantic and made the artist shine with a sweetness c f his cantilene and the height of _ his technic. The beautiful concerto of Nardini in E minor was played with a special devotion in the tenderest elan.”
The Mecklenburger Nachrichten speaks of his “great musical qualities, his clear, faultless and entrancing tone, his sharp rhythmic interpretation powers,” etc. His program, according to the critic, showed “elegant and finely thought out taste,” and in describing the reception he received, the same critic remarked:	“The artist was
stormily acclaimed.”
The Niederdeutsche Zeitung of October 14, in speaking of his selection of the Scottish fantasie by Bruch, declared that it was “a most grateful work for the violin, in which he had a chance to shine with his virtuoso, technic, and especially with his glorious tone and his wonderful soulful cantilene.”
Following Mr. Polk’s appearance in Hanover, the Anzeiger of October 21 stated: “A master of a beautiful tone, virtuoso, technic and musicianly interpretation.” The Kurrier, in reviewing his second concert in Hanover, said:	“The
technical, abilities of the artist, his divining sureness of the playing and bowing arm are equalled by his excellent musical qualities.” None the less enthusiastic was the report of the Tageblatte:	“The artist showed, besides beauty and per-
fection, an especially sure dealing for style in classical art.”
On October 28 Mr. Polk was the soloist with the Philharmonic Orchestra in Berlin, playing the concerto Gre-goriano by Respighi and the Schottische fantasie by Bruch, with marked success. A detailed account of his Berlin reviews will be given in a later issue of the Musical Courier. The Zeitung-Mittag of October 30, however, said in part:	“An artist of high culture and self-criticism
shows in his work that he has thought through all the details and how much freerer and broader he has grown. Everything is clearly willed, done and separated, and presented with a tone carefully shaded to slenderness. It was a rare pleasure to hear him, and one which was confirmed by the large audience.”
Francis Moore in First Chicago Recital
Francis Moore, American pianist, who has been heard in two Aeolian Hall recitals within the last year, will give his first Chicago recital in the Rachel Busey Kinsolving series at the Blackstone Theater on Sunday afternoon, February 11. So far this season Mr. Moore has played in Lima, Ohio; Buffalo, Rome, Tarrytown and Brooklyn, N. Y. On his Southern	tour, he gave	a recital	at Flora
Macdonald College, Red	Springs,	N. C.; he was	heard by
the Music Club at Brewton, Ala., and also by the State Music Teachers’ Association, at Birmingham. Late this month Mr. Moore will	give a	recital	at Miss	Spence’s
School, New׳ York; he	will be	heard	at Miss	Porter’s
School, Farmington, Conn., in February, and will appear in joint recital with Merle Alcock at Morristown, N. J.
January 11, 1923
singers often forget, that the song is in the first place for singing, and the rest must follow therefrom. The individual beauty of this tenor’s voice is of such quality that whatever he sings is at least certain to make its appeal as an instance of nature’s rich endowment, and at the most it is a memorable experience. For his recital on Friday night the Wigmore Hall was filled with an audience which was ever intent upon letting him known how highly he was favored. His program was almost entirely devoted to the “originals” which he has made us learn to love, and with Mr. Lawrence Brown as his indispensable accompanist he provided an evening of untold delight, which the audience extended well beyond the limits of his program.
People’s Symphony Appeal for Funds.
The following appeal for funds to maintain the People’s Symphony Orchestra appeared in the Boston Evening Transcript last week. The cause is a worthy one and it is hoped that the appeal will meet with a generous response.
For a period of more than twenty-five years, largely through the generosity of one of the foremost citizens, the well-to-do people of Boston have been provided with the very finest performances of symphonic music. During this time little has been done to give the less prosperous people in the community similar opportunities.
It is fairly certain that these latter care as much for music and need it more than does the other group. The concerts of the People’s Symphony Orchestra are now supplying this need. The members of the Orchestra are making great sacrifices to carry it on. As a factor in the life of Boston these concerts are of great importance.	, „
The personnel of the People’s Symphony Orchestra is composed of musicians who play in theaters or in the smaller ensemble organizations which provide music for private entertainments. Only four of them have ever been members of the Boston Symphony Orchestra.	•	,	,	,	•	,
These seventy musicians have associated themselves in a voluntary organization for the purpose of giving every season at the St. James Theater a series of twenty Sunday afternoon concerts of the best music at nominal prices of admission, fifty cents for the best seats and twenty-five cents for seats in the second balcony.
It is impossible for any orchestra adequately to maintain itself on such a scale of prices. The deficit is usually carried by an individual patron or by a committee of guarantors. In the case of the People’s Symphony Orchestra the dehcit is borne by the members of the orchestra themselves, in that they have been accepting a pittance for their services; but always with the hope that the public would, when it understood the purpose and quality of their work, contribute a sufficient amount to afford them at least a reasonable compensation. For the first season each man in the orchestra received as his share of the receipts $2.76 for each concert, including the three required rehearsals. tor the second season the receipts were sufficient (including $2,073 received from public subscription) to yield each man $4.70.	, ,
This season it is hoped that at least $10,000 can be raised by public subscription, which amount, together with the box-office receipts, would guarantee to each man about ten dollars per concert, including the three rehearsals. Even this amount is but a traction of what he could earn if engaged for the same amount of time m his regular occupation. ־	...	.
Subscriptions are solicited from the musical public to suppeirt this enterprise, in order that it may continue to afford opportunity to people of moderate means to hear the great masterpieces of orchestral music at prices within their reach. Contributions may be sent to the Assistant Treasurer, William P. Daniels, in care of Moors & Cabot, 111 Devonshire Street, Boston, Mass.
Contest Winners Announced in Springfield
In the Illinois State Journal of Sunday, December 17, there appeared an announcement of the winners in the city-wide musical memory contest among the school children of Springfield. When the contest opened some seven weeks earlier, 1750 boys and girls entered the lists. Class A, consisting of sixth and seventh grade pupils, was tested on recognition of twenty-four classical compositions and knowledge of the composers; Class B, eighth and ninth grades, on recognition and knowledge of thirty-five, and Class C, second, third, fourth year high school, on forty-
Preliminary examinations at the various schools reduced the number of contestants to 255, who took the filial test at Central High School, December 11. Kathryn Baxter, supervisor of music in the public schools, conducted the tests efficiently and conscientiously. Musicians of the city and the State Journal rendered unstinted and invaluable
cISSIStcinCO
Each entrant in the finals was assigned a number, under which nom de plume the answers were handed in, the names of the winners remaining unknown until sealed boxes containing them were opened after the winning papers were selected by the aforementioned number.
Eight prizes for each class, totalling $1,000 in value, were contributed by local stores. The first in each consisted of a gold medal and $100 worth of musical merchandise. In Class A, it was awarded to Margaret Ettelbrick, of St. Agnes (parochial) School; in Class B, to Mary Elizabeth Beck, Central Junior High (public), and in Glass G to Katherine Graham, sixteen year old senior at Sacred Heart Academy (Dominican Convent). A beautiful banner from the National Bureau for the Advancement of Music, and $25 from a local store for the school scoring highest in the final test, went to the Sacred Heart Academy, whose team of eight girls took four prizes.
As was natural, the contest stimulated interest in music to a degree greater than any other one thing. It received the heartiest support and co-operation of all classes.
M. A.
BARITONE
Fourth Year Director Westminster College of Music, New Wilmington, Pa. Available for Concerts and Recitals
PER NIELSEN
Third Mozart Morning Musicale
With the president (and founder), Mrs. Noble McCon-nell, becomingly gowned in tan and brown, her officers gathered about her on the platform, the New York Mozart Society’s third morning musicale, luncheon, motion picture and dance went off with eclat. She first thanked the hundreds who had sent her Christmas and New Year s cards; referred to the eight hundred and over paid-up members: said that she gave her very life to the Mozart Society (no one knows this better than the writer) ; announced that Graveure would be the artist for the February 3 morning musicale, and that Gigli and Miss Edwards (daughter of Governor and Senator-elect Edwards of New Jersey) would be soloists at the coming February evening concert; mentioned the two remaining Supper Dances, and laid emphasis on the Mozart Clinic and Fancy Dress Ball, grand ballroom, Hotel Astor, January 23. _ All this with the admixture of wit, wisdom and winning friendliness altogether unique in President McConnell. Not that this lady cannot be severe when occasion demands, and members well know such occasion arises only when they do not enthusiastically support Mozart affairs!	.	.	.
Susan Ida Clough’s mezzo soprano voice, rich, flowing and expressive, made most effect in The Jasmine Door and similar heart-songs;, her enunciation is a model. Frederic Baer, baritone, has a resonant voice of fane range, and sings with aplomb; he won his audience from the start in an aria by Appoloni, got applause before the close of Rosy Morn (Ronald), and sang an Irish ditty (encore) with splendid Irish brogue. Violinist Willy Stahl, in Kreisler s Tambourin Chinois and his own Viennoise, showed truly refined spirit and a way of holding attention, and Emanuel