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MUSICAL COURIER
January 11, 1923
A RECENT PIIOTOGKAPII OF BERNICE DE PASQUALI,
who is said to he in splendid vocal form and who created a fine impression recently when she sang in Milan. Since then Mme. De Pasquali has had many offers, and although her stay in Italy is for a limited time she may appear in a feio operas of her repertory at several of the important theaters, in addition to filling contracts in Italy for next season. Mme. De Pasquali and her husband, who is recovering from ill health, will return to America about the first of February, and the singer may make a spring tour here before returning to Europe. (Photo by Ermini)
Harvey College, Barboursville, W. Va. The juniors of the Hyde Park Music Club gave a concert at the Hyde Park Library on the morning of the same day.
Selma Baur Rennemeier, soprano, and Mary Steele, contralto, were soloists at the New Year’s services at the Clifford Presbyterian Church on December 31.
Lillie Finn presented pupils of her piano class in two programs at her North Cincinnati studio on the afternoon and evening of December 29.
The Hyde Park Music Club gave a delightful program at the Hyde Park Library on January 2.
The Messiah was sung by members of Christ Church choir on the evening of December 31. Lillian Tyler Plog-stedt was the organist and the following were the soloists: Ruth Heubach, Myrtle Stradtman and Fenton Pugh. John Hersh was choirmaster.
The First Presbyterian Orchestra, under the direction of George R. Myers, gave a concert on December 28, at the American House. It was made up of popular numbers and was varied and enjoyable.	W. W.
Shattuck a Favorite in Texas
Arthur Shattuck is a great favorite in the State of Texas, where the genius of this American pianist has always been highly appreciated. In December he scored great successes at Houston and Fort Worth, appearing before the Girls’ Music Club in the former city, and the Harmony Club in the latter. Mr. Shattuck has played in both cities before, in Fort Worth two years ago as soloist with the New York Philharmonic Orchestra.
who are anxious to hear him. Following his first appearance in New York several years ago, the interest shown in the finished art of this master of the violin has steadily grown. His playing leaves nothing to be wished for, which accounts for his unusual drawing power. So much has been written in the columns of the Musical Courier about Mr. Heifetz that it would be superfluous to dwell further on his extraordinary merits. Suffice it to say however, he kept his audience spellbound throughout the entire program which comprised: Sonata, op. 29, Joseph Achron; Spohr’s beautiful but rarely heard concerto No. 8, (Gesang-scene) as well as two groups containing Aus der Heimat, Smetana; Berceuse, Spalding; Valse (Arva), Juon, which had to be repeated; Fileuse, Popper; Melodie, Tschaikow-sky; Caprice No. 24 by Paganini-Auer. At the conclusion of his program he was obliged to add five encores: Melodie, Glazounoff; Hebrew melody, Achron; Zapateado, Sarasate; La Chasse, Cartier-Kreisler, and Grasse’s Waves at Play.
His accompanist was Samuel Chotzinoff. In the opening number, sonata for violin and piano by Joseph Achron. Isidor Achron, brother of the composer, assisted Mr. Heifetz.
In commenting upon this recital, the New York Times says in part: “He gave satisfaction in his closing groups of short pieces and arrangements by Paganini-Auer, Tschaikow-sky, Smetana, Popper, Juon, and a graceful Berceuse by Albert Spalding,” while the New York Tribune writes: “But Heifetz touched surely and deeply when he played Spohr’s concerto No. 8, and stirred to demonstrative applause when he gave his audience the sheer exuberance of melody in Spalding’s Berceuse. How can he play this without smiling? Even the famous Sphinx-like Heifetz’s face should have warmed a little to this.”
PABLO CASALS
On Sunday afternoon, Pablo Casals gave the following program at the Town Hall: Sonata, G major, Handel; concerto in B flat, Luigi Boccherini; suite in D major (for cello alone), J. S. Bach; Chant Elegiac, FI. Schmidt; Pa-pillons, Faure; Spanish Dance, Granados; Allegro Appassionato, Saint-Saëns. Edouard Gendron was at the piano.
CINCINNATI SYMPHONY “POP”
SERIES GROWING IN FAVOR
Other Notes of Interest
Cincinnati, Ohio, January S.—The first concert of note after the holidays was that given at Music Hall on Sunday afternoon, December 31, one of the popular series by the Cincinnati Symphony Orchestra. Under the able leadership of Fritz Reiner, the orchestra was delightful. The program was composed of numbers that are not often heard at mu-sicales of this kind. The opening selection was the Carnival overture by Dvorak, which was followed by the symphonic suite by Rimsky-Korsakoff. Scheherazade and numbers by Armas Jarnefelt, Sibelius, Smetana and Tschaikowsky. Emil Heermann, concertmaster, had an opportunity to display his talent in the beautiful Scheherazade. The concert served to demonstrate the possibilities of popular concerts by a fine musical organization.
״ Huston Ray, pianist and composer, who was at Keith’s Theater recently, appeared on the program given under the management of E. F. Albee, of the theater, at the first Keith Forum Concert. It was free to the public. J. H. Thuman, manager of the College of Music, co-operated with the management and presented two of the most talented students of the College of Music—Marie Sabian Houston, soprano, and Arthur Knecht, cellist. The program was high class and pleasing. The accompaniments were played by Constance Cochnover.
The initial performance given by the students .of the dramatic department of the College of Music, a dramatization of Rip Van Winkle, was much enjoyed on December 29 at the Odeon. It was repeated on December 30. It was under the direction of John R. Froome, Jr., head of the dramatic department of the college. The _ performances were very creditable, and marked the beginning of a more widespread plan for dramatic work at the College of Music.
The Hyde Park Music Club gave an interesting program on December 29, at the residence of Mrs. Henderson Nave. The program was made up of folk songs of Persia, France, Africa, Italy, Spain, Ireland, Russia, Norway and Louisiana, given in costume by members of the club. Two violin solos were played by Lucie Landen, a member who has recently returned from a season’s teaching at the Morris
NEW YORK CONCERTS
(Continued from page 45)
firm chin, spoke—seriously, meditatively and with pride. This pianist knows how to make stern tones, unrelenting and yet beautiful.
The E flat sonata revealed unwavering faith in early Beethoven. It was played with a most appealing, naive sincerity. The Davidsbundlertanz, op. 6, by Schumann, are surely as typically Teutonic as anything in the literature with their full-bosomed laughter and luxurious melancholy. Mr. Bauer’s rhythmical devices and velvety legatos mitigated the obviousness of the thematic content and made the group highly interesting. The final group included Chopin’s Polonaise Fantasie, rich with dynamics and fire, Ravel’s Jeu d’ Eau, and Liszt’s Hungarian Rhapsody, No. 13, played with appreciation for its strength and exotic color. The Ravel was the only watercolor of the afternoon and it was delightfully delicate and clear. Every thread of the tonal fabric was shining silver.
Mr. Bauer’s display of technic is apt to encourage encores. The audience that had filled the hall, crowded forward, cheering and clapping and making suggestions. A delicious bit by Rameau, a Chopin valse and prelude and Mendelssohn’s horn scherzo, which had an eerie elfin quality, were added. And still an enthusiast in a box beckoned Mr. Bauer back with an enticing forefinger and the crowd below kept up insistent applause. Mr. Bauer appeared with a friendly smile in an already donned overcoat. The lights were turned off and the picture gallery was closed for the afternoon.
SUN DA Y, JANUARY 7
NEW YORK SYMPHONY: ALBERT COATES GUEST CONDUCTOR
At the Sunday afternoon concert of the New York Symphony at Aeolian Hall, Albert Coates, the young English conductor, began his third annual series of guest appearances as conductor of the Damrosch organization. When he came out on the platform the orchestra stood up and expressed its hearty approval of him; the audience did the same with its hands. Mr. Coates began with that magnificent work of the twenty-four year old Strauss, which, every time it is heard, makes one wish that Strauss had remained twenty-four years old—Don Juan. It was a performance that moved with the vigor and energy characteristic of Mr. Coates, a splendid, electrifying reading. Next came a short number for strings and a small band of woodwinds, On Hearing the First Cuckoo in Spring, by Delius. This little work, built mainly on a Norwegian folk song, reminds one inevitably of the songs of his own which Grieg arranged for orchestra. There is clever and unobtrusive use of the clarinet at the end, to “cuckoo.” It is pleasant music and it was pleasantly played. There followed the scherzo from Tschaikowsky’s Manfred music, a clever bit of orchestration, in constructing which, however, the composer unfortunately forgot to put in the music. After the intermission the concert finished with the sixth symphony of Glazounoff, C minor. Glazounoff is a master of everything except the art of inventing themes that sound either individual or original. As a piece of construction his symphony is as good as anything that is produced today; but as a piece of music, it suffers from the composer’s lack of invention and super-abundance of facility. The second movement is on a theme that almost threatened to be Russian for the minute and was followed by a set of ingenious variations.
Mr. Coates is the same Mr. Coates of previous seasons. It seemed, perhaps, as if he. did not call upon the brass quite so often or so forcefully as has been his habit in the past. _ He has a personality which is felt both by his players and his audience, and he must be ranked as one of the foremost conductors today.
JASCHA HEIFETZ
. Jascha Heifetz attracted another record breaking audience to his third recital this season on Sunday afternoon. The popularity of this extraordinary young artist is ever increasing which fact makes one wonder whether Carnegie Hall is sufficiently large to accommodate in the future the many
JOHN HEIMEL Concert Violinist and Pedagogue Studio: 151 Second Avenue (near 9th Street) New York City Telephone Dry Dock 4070	FLORENCE M. GRANDLAND PIANIST-COACH-ACCOMPANIST SIO W. 123rd St., Tel. Morningaide 9030 New York City	DOMENICO A. BOVE VIOLINIST (Pupil of O. Sevcik and Willy Hess) Pupils accepted 1150 So. 52nd Street, Philadelphia, Pa.		LILY STRICKLAND Composer of “LINDY LOU״ and many other favorite songs published by Schirmer, Carl Fischer, Ditson, etc. Personal address: Grand Hotel,Calcutta, India.
Heizer Music School Direction of Mr. and Mrs. Frederick Heizer SIOUX CITY, IOWA 1215 Douglas Slreel	FREDERIK FREDER1KSEN Violinisi 523 Fta» Arte Bld?., Chicagro, Phone: 9166 Graceland	I	Arne. KATHERINE MORREALE SOPRANO Voice Culture—Repertoire 166 West 58th Street. New York City	Milan Lusk Concert Violinist Management: LUDMILA WETCHE 706 W Q9th St. N. Y
OPPORTUNITIES
places. Suitable for professional and business people of refinement. Club-like, business-like. Several large single studio vacancies. Leases from $900 up. Studios for short time reservation having Steinway grand pianos at 125 East 37th Street, telephone Murray Hill 0991.
A Phonograph Recording Laboratory has added a new department to their activities and can offer to musical artists a personal phonograph record of their own work for a nominal charge. $35.00 will cover recording and one dozen records. For particulars address Personal Phonograph Record Dept., care of Electric Recording Laboratories, Inc., 210 Fifth Avenue, New York.
CONSERVATORY FOR SALE—There is an opportunity to buy a large, flourishing Conservatory of Music in New York City that has been established for a number of years. The school is situated in one of the best parts of the city and occupies premises under a long lease at a very favorable rental. The registration for this season is practically filled and the proposition offers exceptional advantages. The present owner desires to sell because of ill health. For particulars address “A. L. S.,” care of Musical Courier, 437 Fifth Avenue, New York.
VANDERBILT STUDIOS of New York.
Proprietor, Mrs. Mabel Duble-Scheele; office, 41 West Ninth Street; telephone, Stuyvesant 1321. Houses in best central locations. Distinctive features of reliable service. Resident Vudios with private baths, steam heat, electric light, and fire-
FOR SALE—Valuable old Violoncello made in 1680, perfect condition, unusually sweet tone. For particulars, address “T.V.W.” care of Musical Courier, 437 Fifth avenue, New York.
SINGERS WANTED.—Sopranos and contraltos to join choral society conducted by
one of New York’s best known leaders. Address “R. J. A.,” care of Musical Courier, 437 Fifth Avenue, New York.
STUDIO—for rent by the hour. Teaching or practise. Baby grand piano. 167 West Seventy-ninth street, New York City. Telephone, Schuyler 1978.
LYON & HEALY HARP for sale, Style 21. Price, $600 cash. May be seen by appointment only. Telephone, Riverside 4122.
WANTED—Artist teachers of voice, violin and piano for next season’s positions in schools and colleges throughout the United States and Canada. Address Musical Artist •Teachers’ Agency, 56 West 39th Street, New York. Tel. Fitzroy 2185.
ALL FORMER PATRONS of Allen and Fabiani, Inc., will kindly send in their addresses to that office as the card index has been stolen from the files. Address J. E. Allen, 56 West 39th Street, New York.
ADDRESS WANTED-VThe address of Alexander Bevani, the vocal teacher who taught in San Francisco previous to 1921. Any information regarding his present whereabouts will be appreciated. Address “B. V. A.,” care of Musical Courier, 437' Fifth Avenue, New York.