January 18, 1923
MUSICAL COURIER
fingering and finished style. She was unanimously recalled after each group and had to respond to many encores.”
MARIE NOVELLO,
Welsh ■pianist, ■who will give her first Chicago recital at the Playhouse on Sunday afternoon, January 21. Her program will include the Chopin sonata in B flat minor, op. 35, and a group of the same composer’s shorter icorks, as well as some modern selections. Miss Novello’s New York debut last season was most auspicious and her every appearance since has resulted brilliantly.
as having given her own recitals. She has also toured in South America and has just reached this country after a most successful visit to Mexico City.
Clair Eugenia Smith a Radio Enthusiast
“How far have you heard?” has become a familiar phrase to Clair Eugenia Smith, mezzo soprano, who has• recently joined the army of radio enthusiasts and installed in her home a very fine and complete set. Mme. Smith has been highly complimented by her instructor upon her aptness in “tuning out and in” and all the various other technical workings of the business.
“There seems to be a peculiar fascination for me about the air,” the young singer laughingly explains. “I shall never forget the thrill of my first flight in an aeroplane, and the glorious feeling of mastery when I finally learned to drive^ my own plane. But this thing of reaching out and drawing voices to you from just everywhere gives a different sort of thrill. It is simply uncanny. And when one thinks of the newer and more wonderful discoveries that are being made almost daily—well, it’s wonderfully good to be alive, isn’t it?”
Shaw Artists in Concert
Cora Frye and Louisa Broomell, sopranos; Lena Buehn, contralto; Howard Haug, tenor; Horace Hood, baritone’ and William E. Miller, basso, all artist pupils of W. Warren Shaw, gave a musicale in the lobby of the Central Y. M. C. A., Philadelphia, on January 6. These artists are all well known church soloists and reflected the opulence and beauty of tone and delightfully fine production of voice for which the Shaw school for singing is noted.
Noah H. Swayne, II״ basso, another Shaw artist, will appear at the Metropolitan Opera House on January 23 as soloist for the University Club of New York
Erna Rubinstein’s Second Recital
Erna Rubinstein, returning from a Western tour, will play at Carnegie Hall for the second time this season on Friday evening, January 19. Her program will include the Mendelssohn concerto, the-Ernst concerto, a group of Chopin arrangements, and a group of Brahms and Hubay.
Schelling’s First Concerto Concert January 23
At his first of a series of concerts of piano concertos on January 23 at Town Hall, Ernest Schelling will play the Beethoven E flat, the Chopin F minor, the Liszt E flat He will have the assistance of the New York Symphonv under Rene Pollain.
Sylvia Cushman on the Boston Telegram
Sylvia Cushman, contralto, editor and writer, is editing the weekly music page on the Boston Telegram.
N. A. of H. Convenes at Providence
In recognition of the work of William Place, jr., founder of the National Association of Harpists, Inc., the board of directors has decided to hold the next convention of that organization, at Providence, R. I., in April, 1923. Mr. Place and Van Veachton Rogers have been selected managers. All leading harpists are cordially invited to form an ensemble of harps, preferably music in polyphonic form, to contribute one number on the programs. Leading harpists are also invited to suggest chamber music works for harp and other instruments, or with voice. There will be no harp solos. The program will begin with a large ensemble of over one hundred harps, contributed to by every group of harpists and individual players. The selection decided upon is the Song of the Volga Boatman, transcribed from the original Russian folk tune by Carlos Salzedo and published by the Composers’ Music Corporation, 14 East Forty-eighth street, New York. All those who wish to have a part in this ensemble are requested to secure a copy of that transcription at an early date and to play it at the convention concert from memory.
The board of directors wish to express its desire of making the convention an uncompromisingly artistic event. In view of that, leading harpists are requested to select works of a markedly progressive spirit, well representative of the contemporary trend of music. This does not exclude classics adequately transcribed and presented in order to bring forth
VICTOR
GOLIBART
TENOR
His voice is trained to the last degree of art and his singing is akin to perfection.
Richmond (Va.) Times Dispatch.
1 UWlt¿ [ nutO
THE L. D. BOGUE CONCERT MANAGEMENT 130 West 42nd Street, New York
the advantage of said transcription, but it excludes all works of little musical worth. All works for harp ensemble and chamber music shall be submitted to the board of directors, to be sent insured, parcel post, addressed to the executive committee of the N. A. H., Inc., 31S West Seventy-ninth street, New York, before January 31, 1923.
^ Included in the list of officers and executives of the N. A. of H. are to be found the names of Maud Morgan, A. Francis Pinto, Salvatore de Stefano, Dorothy Johnstone Baseler, Annie Louise David, Carlos Salzedo, Mary Warfel, etc. There is a long list of well known musicians, other than harpists, who have endorsed the organization, including Ernest Bloch, Percy Grainger, Henry Hadley, Victor Herbert, Leo Ornstein, Serge Prokofieff, Sergei Rachmaninoff, Cornelius Rybner, and practically every symphony orchestra leader in the country.
Harpists desiring to become professional members of the society will be compelled to take an examination and such should notify the chairman of the examination committee before January 31, 1923. Arrangements for a date will then be made and each applicant will be given ample notice. The requirements for examination consist in the performance of six numbers. One may be of the performer’s own choosing, the others are Bach’s second piece from the ten pieces, transcribed by H. Renie (to be found at the Fine Art Importing Corporation, 130 West Forty-second street, New York), Haydn’s theme and variations, transcribed by C. Salzedo (published by the Composers’ Music Corporation, 14 East Forty-eighth street, New York), Pierne’s Impromptu-Caprice, Debussy’s first arabesque, transcribed by H. Renie (Fine Art Importing Corporation) and Sal-zedo’s Mirage, from Five Poetical Studies (published by G. Schirmer, Inc., 3 East Forty-third street, New York). The musicianship and the harpistic understanding of the applicant will have more weight with the jury than a display of technic. The jury will consist of two harpists, two composers and one conductor.
Maria Carreras in Debut
Maria Carreras, an Italian pianist, will make her American debut in a recital at Town Hall on Monday afternoon, January 22. She has played under all of the well known European conductors and in every part of Europe, as well
12
Carmine Fabrizio Wins Brilliant Success with Zandonai Concerto in Boston
Boston, Mass., January 7,—The first orchestral performance in America of Riccardo Zandonai’s Concerto Roman-tico for violin took place here this afternoon when Carmine Fabrizio played it with the People’s Symphony Orchestra at the St. James Theater. It proved to be a noteworthy event for two reasons; first—thanks to the enterprise of Mr. Fabrizio—a significant composition, grateful to player and listener alike, has been added to the repertory of concert violinists, and second, an artist of exceptional attainments has definitely established his right to be included in the vanguard of the younger generation of violinists.
Zandonai has divided his Concerto Romantico into three movements: allegro con vivancita ed energia, molto adagio, and allegro diciso. Although a contemporary of that group of young Italian composers who have often rent the atmosphere of concert halls with their ear-stabbing cacophonies, his concerto is singularly free from dissonances. Instead of selling his melodic birthright for a mess of counterpoint, Zandonai has given his imagination, creative faculties—and memory—free play, with the result that he has produced an ingratiating work which ought to find ready favor with the public. In form it never strays far from convention, although the solo instrument has perhaps more opportunity for individual display than is afforded by most works of this character. The harmonic and instrumental color of the generally effective orchestral accompaniment often suggests that Wagner and Strauss are not entirely unknown to the composer, nor is the work free from commonplaces, especially in the finale. Nevertheless, Zandonai has interesting ideas of his own and he expresses them briefly and agreeably.
Mr. Fabrizio had ample opportunity to exhibit his prowess, since the concerto bristles with difficulties, and he came through with distinction. His tone, particularly in the quietly beautiful adagio, was of uncommon loveliness, his intonation throughout was pure, his technic formidable,
CARMINE FABRIZIO
especially in the exacting cadenza of the closing movements. To these qualities Mr. Fabrizio added musicianship and a sympathetic response to the poetic content of the music. He had a brilliant success, with numerous recalls.
For purely orchestral numbers the program included Beethoven’s Leonore overture No. 1, Saint-Saëns’ symphonic poem, La Jeunesse d’Hercule, and three movements from Charpentier’s Impressions of Italy.
Forsyth Pupil “A Poetic Player”
Among the pupils of W. O. Forsyth of Toronto, attention has been called recently to the excellent work of Myrtle Webber, a gifted young pianist who gave a debut recital in that city December 7. “Myrtle Webber, a pianist from the studio of W. O. Forsyth, made a triumphant public appearance last night in Foresters Hall, when she was greeted by a large and critical audience,” declared E. R. Parkhurst in the Toronto Globe. “In a varied program, Miss Webber proved herself to be a most fluent executant, a mistress of a charming heathery staccato, as also of a refined, rich singing tone. She is a poetic player . . . who does not indulge in violent ebullitions of tone temper; on the contrary, her dynamic contrasts are always well controlled. . . . The Hegmann Fairies at Play was an example of delightful sparkling lightness, admirably graduated. . . . Schubert’s Military March (Tausig), Mendelssohn’s Serious Variations and Schumann’s Carnival, with pieces by Liszt, Chopin, Pachulski, Forsyth and Mac-Dowell, showed her poesy, her power, her plastic-equalized
NOW IIV NEW YORK
__	__ ___ FREDERIC
FREEMANTEL
Vocal Teacher for
TENOR VOICES EXCLUSIVELY
Auditions and Consultations by Appointment Only
50 West 67th Street, Secretary, MISS MAY
Telephone Columbus 1405