January 25, 1923
MUSICAL COURIER
GAY MacLAREN,
after her concert at Norwich, Conn, Reading from left to right: Ethel Odgers, president Teachers’ League; Rose Leonard, secretary Teachers' League; Gay MacLaren, dramatic artist, and Grace Benjamin, manager of artists.
Maratea and Miriam Klar, who played pieces by Bach, Schumann and Dutton, showing a thorough training in memorizing, rhythm and tone. Helen Clark sang several songs, with Miss Hofheimer at the piano.
Miss Hofheimer plans to give a series of musicales monthly until May.
New York School of Music and Arts Recital
Ten numbers, made up of piano, vocal and violin pieces performed by the young students at the New York •Schooi of Music and Arts, Ralfe Leech Sterner president, held the interested attention of the audience at headquarters January 11. Of decided interest was the first performance of a concerto for piano, with organ accompaniment, played by talented Howard Green (prize-winner at the Becker Aeolian Hall contest), with Professor Riesberg, his instructor, at the organ. The work was Rubinstein’s in D minor and will be followed a fortnight hence by Grieg’s, to be played by Beatrice Pinkham. The latter was heard in a Chopin etude, played with clean-cut technic, and the Rachmaninoff prelude in G minor, which contained much life, and was unusual as well for poise. Sarah Frances Espy played brilliantly the seldom-heard variations on a Swiss air by Chopin, this intelligent and musical pianist showing serious study.
Miss Pinkham, Miss Espy and Eunice Rees played the Sousa Washington Post March as a piano trio, and it is safe to say the composer himself never put more snap into it! Little Ida Rosen, violinist, was heard in Wieniawski’s Legende; she is making fine progress under Professor Stoeving. Charlotte Heath’s voice, of sweet quality, united with distinct enunciation and pretty personal appearance, and Janice Maloney, soprano, who has considerable execution, as displayed in Sanderson’s waltz-song, were the new singers heard. Others on the program who have previously appeared were Marguerite Hitch, Gladys-Birkmier and Rocco Carcione, and Frank W. Warner played musicianly accompaniments. An interested listener was Byron H-udson, tenor robusto, who began his serious studies at this school
Juliet Griffith Mosher Soloist
On Thursday afternoon, January 11, Juliet Griffith Mosher was the soloist for the tea recital at Sherry’s under the management of Katharine McNeal. The tea room was well filled with an appreciative audience to listen to Mrs. Mosher, in whom much interest has been manifested since Mme. Calve recognized her ability and took her to Europe last summer with her to study. Mrs. Mosher’s voice is a soprano of sympathetic quality and rich coloring. Her first group consisted of numbers by Massenet, Fourdrain and de Falla, the latter’s Seguidille meeting with special favor because of the spirit with which it was given. Mozart’s Alleluia was rendered with fine style, clear tone and flexibility of voice. Protheroe’s What Is There Hid in the Heart of a Rose? was interpreted with feeling and Martin’s Come to the Fair concluded the group. Mrs. Mosher sings with much expression and has a charming personality.
Milwaukee Concerts Please
Milwaukee, Wis., January 6.—Rachmaninoff played to a large audience at the Pabst Theater December 17. This concert was on Marion Andrews’ course.
On December 28 the^ Arion Club gave its annual presentation of The Messiah in the auditorium before an audience numbering between 5,000 and 6,000. The club gave a splendid account of iself, and the assisting artists, Elsie Harthan Arendt, soprano; Eva Gordon Horadesky, contralto; Arthur Boardman, tenor, and William Phillips, basso, were received with enthusiasm. Dr. Protheroe deserves much credit for what he has accomplished this year.	M. A.
tered, but ploughed its way magnificently on. That woman was Mme. Clara Novello Davies.
“No,” that noted teacher-conductor replied later, in answer to a reporter’s question, “I was not in the least afraid. First, it was a beautiful and awe-inspiring spectacle—then, too, the sporting spirit of the ship’s musicians, who continued to_ play all through the terrific hurricane, seemed to be infectious. If they go on 'calmly playing in what seems to be the face of death I told myself, the least I could do was to remain quietly in my cabin and not add to the confusion and turmoil. So I stayed in my stateroom and watched the wondership battle with the storm. I have crossed the ocean twenty-seven times, but never have I witnessed a sight so splendid.”
This is but one incident that throws much light upon the character of Mme. Davies, who has come to New York to continue her great work of voice-liberation. Here her magnetic personality will serve as an inspiration and a model to her students, who may hope to acquire by their association with Mme. Davies, the poise and philosophy which characterized her actions aboard the Aquitania.
Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
Who Smokes?
“Would y°u be kind enough to let an old reader of the Musical Courier know the names of the great singers who have the habit of smoking? Also the reasons why smoking is injurious to the voice?”
The general opinion seems to be that all the great singers are smokers, but in moderation. As to why smoking injures the voice it would be necessary to obtain the opinion of a physician to decide that question. The specialist consulted by the Information Bureau said that smoking injured the voice when indulged in to excess; but what was moderation for one person might be excess for another.
Schubert’s Der Atlas.
“I had planned to use in my public work this season a song which lies rather well for my voice, and have already used it twice; it was easily the thing the people liked best. But upon buying a. new, well-edited copy, I find it says in parenthetical clause (and it is only the male voice which should essay this song—at least in public)’. Now there are so many songs obviously written for one sex so generally sung by the opposite, but on account of appearing in some of the larger cities, I do not want to do anything ridiculous, and would appreciate it so much if some person there could authoritatively tell me whether Franz Schubert’s Der Atlas is ever used on the program of a soprano, and whether it would invite severe criticism from those better versed in German Lieder tradition than myself.”
The above letter was read to a well known New York music critic, and immediately came this opinion: “She would make herself ridiculous in singing Schubert’s Das Atlas in public. No woman sings that song.” Another critic who overheard the conversation at once acquiesced in the above opinion, saying: “That is perfectly right, it is not a woman’s song.” So there you have the verdict of two authorities on music.
The Viola.
“Will you kindly answer a couple of questions for me? I read the Musical Courier and, with one or two exceptions, have never seen any remark or advertisement on the viola. I gave up violin and bought a very expensive viola and it seems to be a freak among—well everything and everybody, as I have hit a lot of big towns and no one uses a viola. ' In the orchestra they throw the viola parts away at once. Now is it not practical for solo work? If not please tell me why and I will sell it.
“Will you also tell me where I can get solos, third or fourth grade, with piano accompaniment? Thank you.”
Answering your second question: Write to any of the large music publishing houses explaining what you require and you will be able to obtain music of any grade desired. Your local dealer can supply you with names and addresses.
It is difficult for the Information Bureau to quite understand the nosition that the viola seems to occupy as told by you in your letter. The viola is one of the important instruments of the orchestra, being in the first classificatiqn of the main groups. There are four main groups, the first consisting of violin, viola, violoncello and double bass, so you see the viola is second only to the violin; in fact it is “the tenor violin” according to the musical dictionary. The dictionary continues giving the number of instruments that compose a grand or symphony orchestra as follows: Fourteen first violins, fourteen second violins, nine violas, nine violoncellos and six double basses. This is the number in the orchestra of the Gewandhaus, Leipsic. ־ The other instruments are not mentioned as you are interested in violas and stringed instruments. In all string quartets, the members are usually soloists who form the combination, the viola coming next to the violin, as it would in an orchestra. Throwing away the parts of any orchestral composition, sounds rather arbitrary and very unmusical. The small orchestra is reduced by leaving out the trombones, some of the horns, kettledrums and clarinets, but apparently no change in the “strings.”
The Large 3.
“Recently I purchased a piece of music and it had a large 3 apparently to indicate the time as it came directly next to the sign for the treble clef. Will you tell me exactly what it meant?”
In the French notation the large 3 is still employed instead of Y.
Seraphina.
“Was there ever a musical instrument called the seraphina, and if so what was it like?”
The seraphina was like the harmonium, the latter instrument being evolved from it. The tone was very harsh, and when John Green invented the harmonium in 1833, it soon disappeared.
Grace Hofheimer Gives Studio Recital
Grace Hofheimer gave a musicale at her Staten Island studio, 956 Tompkins avenue, Arrochar, on Sunday, January 7, One of her students, Ruth Rosensweig, presented the main part of the program, playing compositions by Bach, Beethoven, Chaminade, MacDowell and Rachmaninoff.־ She was assisted by Helene Ries, an artist-student of Miss Hofheimer, and two eight-year-old children, Josephine
42
Rachel Allabach in Toledo Concert
Rachel Allabach, the young and gifted coloratura soprano of Toledo, appeared in a successful concert in that city on January 10, at the Scott Auditorium. The audience was a large one, including many music lovers who applauded the young artist to the echo after each number. Miss Allabach is the possessor of a somewhat phenomenal voice, and at
RACHEL ALLABACH
the close of the program the audience crowded to the front of the stage and called for additional numbers to which she graciously responded.
■ In commenting upon the concert, the News-Bee said: “Besides her rare gifts, young Rachel Allabach was lovely to look at.”
This young artist is grateful to her maestro, M. E. Florio, for all the success she has achieved. She has been well schooled and her coloratura work is admirable. In the Proch. theme and variations as in the famous Shadow Song from Dinorah, which was given with flute obligato, Miss Allabach thrilled her hearers with the smoothness and ease of her singing. Her program, always devoted to the exposition of the highest type of music, included Qual Farfaletta (Handel), two groups of songs, the Proch air and variations, and the Shadow Song.
Sheer Pluck
_ Waves fifty feet high swept over the decks of the Cunard liner, Aquitania, on one of her recent return trips to America. Captain Sir James Charles, R. N. R., admitted that never in all his forty-two years of experience had he seen so rough a sea. Water poured in through the lower portholes in such floods that the passengers were swept along before it. Women fainted; stout-hearted men fled to the comparative shelter of the stern of the boat; stewards rushed about in a vain attempt to reassure the panic-stricken. And all the while, one woman stood calmly at her porthole, watching the great waves buffet the ship, which never fal-
Manager: ONA B. TALBOT, Indianapolis, Ind.
The American Contralto with international fame
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FIRST NEW YORK RECITAL TOWN HALL
February 5th at 3 P.M.
BALDWIN PIANO USED
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Maier and Pattison in Only Recital Here
At their only New York recital of the season in Aeolian Hall on January 26, Guy Maier and Lee Pattison, the two-piano recitalists, will feature the Weber-Godowsky Contra-puntal Paraphrase on the Invitation to the Dance.
GIUSEPPE ADAMI ™¡¡SS*
Management: Internaliona! Lyric Bureau, 1452 Broadway, N. Y. Tel. 2836 Bryant
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