49
COURIER
MUSICAL
J a n 11 a r y 11, 192 3
VOCAL TEACHER AND COACH
Consultation by Appointment Studio : 25 WEST 86th STREET, NEW YORK CITY
Phone: 8107 Schuyler
mCURCI
words by Thekla Hollingsworth. A bright, gay little encore number, just as the composer has asked that it be sung.
Leidner Music Company, New York
BREATH OF APRIL. Louis Hintze has adapted this solo from Grieg’s Spring, and has created a number that will find its place on many concert programs. Carol Raven has written appropriate words.
LONGING. Another arrangement by Louis Hintz, and the words are also by Carol Raven. This solo is adapted from Zdenko Fibich’s Sketch.
Joseph Williams, Ltd., London
CHILDREN’S MUSIC COPY BOOK and A B C’s OF MUSIC, by Alice Verne Bredt. Just like a regular copy book that all have or should have in school. Judging by some of the penmanship seen today, one is led to suppose it is no longer considered necessary to write legibly. In teaching children the fundamentals of music, the same lack of attention cannot prevail. A very good idea is this little book.
BY THE RUSTIC GATE, for the piano, by Dorothy Harris. Of medium difficulty,
Arthur P. Schmidt, Boston
WHEN JOAN OF ARC WAS A LITTLE GIRL. A suite for the piano, by Gena Branscombe. Third grade study. There are four tone poems in the set, each built around an incident in the life of the little girl. The composer has told this story on the opposite page in simple words so that the student may have the proper atmosphere for the music. A very fine set, musical and poetic.	M. J.
Ida Haggerty-Snell’s Students’ Recital
Great success attended the concert given by pupils of Mme. Ida Haggerty-Snell at her studio in the Metropolitan Opera House building, 1425 Broadway, on the evening of December 30. The program contained many interesting numbers and was rendered by the pupils in a manner to reflect much credit upon Mme. Haggerty-Snell. The Jewel Song from Faust, sung by Mrs. Mary O’Neil Clime; Inter Nos, Anna Donnelly; Her Dream, Walter Haller; A Fairy Went a Marketing,■ Kate Evans; The Birthday, Lillian Kelly; Noel, Mrs. Walter Duke, and Night Wind, Marie Rosie, were among the compositions which received hearty applause.
Bertram Miller at the piano ably assisted the singers with his excellent accompanying.
MacDermid Songs Recorded for Phonograph
The January bulletin of Vocalion records has listed two songs by James G. MacDermid—The Ninety-first Psalm and Sunset Trail of Gold. The former is exceptionally well sung by the tenor, Charles Hart, while the Sunset Trail of Gold, a semi-popular number, is a well balanced recording by the Criterion Quartet, composed of Messrs. Mellor, Young, Reardon and Chalmers.
Daniel Gregory Mason Lectures
The second lecture of the series on The Orchestra, under the auspices of the Philharmonic Society of New York, was given at the University Settlement on January 5, by Daniel Gregory Mason, ■well known composer, author and lecturer and associate professor of music at Columbia University. The subject of the lecture was The Orchestra of Beethoven.
JOSIAH	ZURO
Director of
THE ZURO GRAND OPERA COMPANY COACHING	TEACHING
Phone: Circle 0100	744 7th Ave., N. Y. City
the titles for this intermediate teaching material. Good study in technic and melody. Published separately.
SIX VACATION DAYS. Descriptive pieces for the piano, by Mamie Eliza Nelson. Second grade study, attractive and of educational value. Published separately.
THE HARMONIOUS BLACKSMITH. A paraphrase for violin and piano, by Henry Such. Handel’s music has been־ given an elaborate transcription, offering to the violinist many advantages by developing the left hand and bow technic. The theme appears first in a simple form, then after a phrase in triplets, he introduces chords with harmonics and scale embellishments. The whole arrangement is effective and at the same time an excellent study in spiccato bowing.
LIEBESTRAUM. A transcription of Liszt’s music, by Henry Such, for violin and piano. A good arrangement of the popular piano number, it gives to the violinist a selection well suited to the instrument. The melody first appears on the G string, later repeated on the A string. The climax has been developed by double notes and octaves. There are several cadenzas that add to the brilliance of the arrangement. For study or the concert hall.
ONDOIEMENT. An effective concert selection for the piano, by Gustave Ferrari.
SHEEP AND GOAT. Walkin’ to the Pasture, cowboys’ and old fiddlers’ breakdown. A familiar Southwestern tune, transcribed for the piano, by David W. Guion. Here is a musician who knows what he is doing. And that is more than can be said of many composers who attempt to reproduce negro melodies and old tunes, particularly of the South. Mr. Guion’s compositions are too well known to make longer comment on this one necessary. Suffice it to say that here is another which will find as much favor as his Turkey in the Straw.
Sam Fox Publishing Company, Cleveland
CHANSON SANS PAROLES. A piano selection of medium difficulty, by Herman Heller. Published in an artistic edition, which characterizes so many of the teaching pieces from this house.
FAIR DEBUTANTE. Another teaching piece for the piano, by Jules Reynard. The same type of composition as the one above.
. LA ROSITA, for the piano, by Paul Dupont. The swing of the melody will cause this to be a favorite with students.
Clayton F. Summy Company, Chicago
TOCCATINA. Piano study for the early grades, by Mabel Howard McDuffee.
ON PARADE. A third grade teaching piece for the piano, by William Lester. Interesting and well written.
LIE AWAKE SONG. A reading to music, by Phyllis Fergus. For kiddies at school or church entertainments. For grown-ups, too, if they are clever at this sort of a thing.
ALBUM LEAF. Boy Blue As I Knew Him Then is the second title, and we like it best. A delicate bit of composition that has an appeal. Of medium difficulty, for piano students. A study in arpeggio grace notes, by Raymond Mitchell. The companion piece is About Jack and Jill—entirely different and equally as good. Published separately.
M. Witmark & Sons, New York
SUN AND MOON. A new ballad, by Arthur A. Penn, to a lyric by Gretchen Dick. Dedicated to and sung with success by Reinald Werrenrath. Rarely has one of Miss Dick’s poems lent itself so gracefully to music as does this one—“O Sun and Moon, fairy lights, My messengers pray be. Give my loved one all my love And bring back love to me.” A light, simple ballad, which makes an effective encore and just the atmosphere young vocal students want. Mr. Penn has given the poem a characteristic melody setting, which has long identified his compositions.
GAY LITTLE WILL-O’-THE-WISP. (My Own Little True Light o’ Love.) Music by George J. Trinkaus to
THE HUBBARD STUDIOS OF VOCAL INSTRUCTION
ARTHUR J. HUBBARD VINCENT V. HUBBARD
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 1922-1923
CONCERT ORATORIO OPERA
Address : 1014 Division Street	Camden, New Jersey
fypfaglatlftJngttttttg flf (D«Htr ERNEST BLOCH, Musical Director
2827 EUCLID AVE., CLEVELAND, OHIO Mrs. Franklyn B. Sanders, Executive Director
Address 408 Park Place, B’klyn, N. Y Tel. 4230 W. Prospect Mgt. Cosmopolitan Musical Bureau 1425 Broadway	New York City
SOPRANO
Concerts—Recitals
RAYMOND
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
strivings of this whole school. Like the cubist painters, who surely cannot expect to sell their paintings, these cubist writers must be animated by •some desire that has little to do with practical production, sale, or the giving of pleasure. Perhaps they are writing for themselves and their intimate circle. After all, the reviewer can but express his own likes and dislikes. To say that some music is good and some bad is to presuppose a knowledge of real values that no one as yet possesses. 'Therefore, let it be said that to the present reviewer this music sounds flat, uninspired, uninteresting. Yet it may delight others.
(Wilhelm Hanson Edition, Edward B. Marks Music Co., New York, American Agents)
Studies for the Violin, Collected and Edited by Carl Flesch
This is a large work in three thick volumes offering the aspiring student nearly 150 studies in all the grades and positions. Wherever necessary the studies are prefaced by remarks which act as a guide to the manner of performance and serve to warn the .student of the pitfalls of possible bad or dangerous habits that may be acquired by incorrect playing. The studies are gathered from all sorts of sources, most of the great masters of the violin being represented, such names as Corelli, Keyser, Kreutzer, David, etc., being a sufficient guarantee of excellence, while the name of the editor is ,so well known wherever violin playing is known that the student has assurance that whatever has been selected for his benefit has been carefully chosen and edited. The final studies are of such difficulty that only the virtuoso will be able to play them as they should be played.
This is a really valuable addition to the literature of violin music.
Les Reverences. Menuet by Ign. Friedman, Arranged for Violin and Piano by Leopold Auer
A .short, pleasing piece of very moderate difficulty, taking the violin only to the sixth position, and presenting no technical catches either for the violin or the piano. Quaint and charming music in the style of the olden time.
Ave, Maris Stella, by Edvard Grieg, Arranged for Violin and Piano by Carl Flesch
A very easy arrangement of this charming melody suitable not only for recital use, where it might be in place as an encore, but also as a study for double stops running as high as the fourth position. A piece that, will be welcome in every studio.
(Edward B. Marks Music Co., New York)
Violin Solos That Never Grow Old (Musical Masterpieces for Violin and Piano, Edited by Harold Eisenberg)
This series includes the following: Largo, Handel; Souvenir, Drdla; the Swan, Saint-Saëns; Träumerei, Schumann; Ave Maria, Bach-Gounod; Berceuse, Godard; Simple Aveu, Thome; and Chanson Indoue, Rimsky-Korsa-koff. All are old-timers but nonetheless attractive for that, carefully edited and neatly printed. Violinists will enjoy the whole set.	F. P.
NEW MUSIC
Oliver Ditson Company, Boston
CONCERT CAPRICE, a wedding song for the organ, by Roland Diggle. A composition that should be welcomed by organists. Suitable music for this all important occasion seems indeed rare, and this well written number is sure to meet with favor.
Carl Fischer, New York
VALSE D FLAT. A descriptive sub-title, On a Woodland Glade, indicates the type of piano composition. It is written in a brilliant style. Huston Ray, the composer, has created a concert number for advanced students. He has simplified all difficult passages by carefully giving the correct fingering and' effective use of the pedal. Good selection.
MAIA BANG VIOLIN METHOD, provided with original exercises and suggestions by Leopold Auer, based on his teaching principles. In five parts, published separately. The volume at hand is Part V, the last volume of this excellent work, which has proven to be most valuable for students and teachers alike. The other volumes were reviewed in this column as they were received from the publisher, and the outline of the contents has been duly commented upon. The lessons of Part V begin with the sixth position, giving daily exercises in preparation for the seventh position, covering every step, minutely worked out for developing of actual technical skill for the virtuoso. A more complete or concise method seems impossible.
Composers’ Music Corporation, New York
HYMEN. A song for the low voice, by Bryceson Treharne. This belongs to a set, entitled Twelve Settings of Old English Words. Hymen is No. 8 of the series, all published separately. The words are from that beautiful old poem of Spencer’s, of the sixteenth century. A concert number of the highest classical form.
GUIDAMI TU! The Soldier’s Star, by Cesare Sodero. A tenor solo, with English translation by Alice Mattullath, from the Italian of Silvio Pichianti. The poem is most impressive and the sentiment has universal appeal. A boy’s prayer to his mother. The composer has created a musical setting that is equally fine. A recital number or for the studio.
MY SHIP’S COMING IN. A solo for the medium voice, by Herbert J. Wrightson. A descriptive setting of flowing melody. A love ballad with words by Mary Moncure Parker. Students’ recital selection, or encore.
JAPANESE SILHOUETTES. Four little tone poems for the piano, by Koscak Yamada. A most unusual edition. Printed on art paper, with four fascinating illustrations and an excellent photograph of the composer, this makes a gift which all can enjoy. The compositions, only two pages each and very easy, are most interesting.
G. Schirmer, Inc., New York
TWO VALSETTES for the piano, by L. Leslie Loth— Forget-me-not and Wild Blossoms; second grade teaching material, published separately. Good study for rhythm.
SNOWFLAKES. Four salon pieces for piano, by Emil Kronke. In Ballad Style, Trifling, Valse and Romance are
A