January 25, 1923
not refrain from expressing his admiration by joining his plaudits with those of a delighted and enthusiastic audience.
Schwarz sings lieder as well as he does oratorio and operatic excerpts. He is a master singer and his interpretations are those of the great artist. This auditor would have been happy to have him encore the Sinding Sylvelin and insisted vehemently upon a repetition, but Schwarz thought otherwise and, unfortunately, that number was not heard again. This was a pity, as his rendition was a classic. Another contribution that made a big and lasting impression on this reviewer was Over the Steppe, by Gretchaninoff, and Moussorgsky’s Mephisto’s Song of the Flea—the latter heard very often in Chicago—was sung with such mastery as to obliterate from mind all other conceptions of the number and to recollect only the sarcastic manner in which the recitalist presented the song. Even Schwarz’s face was satanic in this number and he made it so effective that the audience refused to allow him to proceed with his program and compelled him to repeat the selection.
It might have been stated that the enthusiasm of the audience knew no bounds from the beginning of the program to the end. After the concluding number on the printed program, Schwarz had to give three operatic encores, and, as his hearers clamored for more, the management thought best to turn out the lights, although many stayed in the hall and in semi-darkness Schwarz and his accompanist came back to receive once again the sincere approbation of the listeners. It was a unique recital, one long to be remembered, and one that should be taken as a model by many other recitalists. Schwarz not only sang beautifully all through the evening, but also his phrasing and diction were a joy and his stage deportment was as dignified and noble as that of a courtier in the days when gentlemen were more numerous than nowadays.
Van Gordon at Opera Club.
Cyrena Van Gordon, mezzo soprano of the Chicago Opera, appeared in a song recital before the Opera Club, Tuesday, January 16. Superbly gowned in a dress that must have gained the envy of many of the patronesses (all members of the “400” set), and wearing a gorgeous hat, the popular songstress looked regal to the eye, as this Juno of the operatic stage is also a goddess on the concert platform. Her contributions included operatic arias and songs of the German, French, English and American schools. Miss Van Gordon’s singing compelled her listeners to “loosen up” and though only three men, including this reporter, were among the audience, the recitalist received most generous plaudits. She was ably supported by Alma Putman, accompanist, who, by her playing, added materially in the success of the afternoon as well as to that of the singer.
Karl Reckzeh Presents Pupils.
The justly popular Karl Reckzeh, conductor, pianist and pedagogue, afforded a large, well entertained audience an opportunity to hear fourteen of his students in recital at Lyon & Healy Hall, Sunday evening, January 14. The numbers heard included works of Haydn, Mozart, Beethoven, Chopin, Liszt, Carpenter, Brahms, Grieg, Rubinstein, Chaminade, Grainger, Arensky, MacDowell, Powell, Klum, Palmgren, Sgambati and Poldini, and were delivered with surprising aplomb, and the individuality indicative of the method inculcated by this able piano tutor, fingering, agility, taste, tempo, light and shades—all pronounced and evenly balanced. It would be hard to discriminate as to predominance of any one rendition. An exception must be made of one participant, however—little nine-year-old Harriet Mason, who has had but fourteen months’ tuition. All she knows was taught her by Mr. Reckzeh. Her performance was a pleasant surprise, as was also that of all the others. The recital throughout created much enthusiasm. Those taking part were Goldie Golub, Miriam Horwitz, Rose Kwiat, Esther Wunderlich, Mabel Schneider, Harriet Mason, Miriam Lundgren, Mildred Heyman, Mary Evans, Celia Steinpress, Wilhelmina Harrison, Kathryn Anderson, Alice Letarte and Leonard Shure.
__Big Demand for Time with Sevcik at Bush
Conservatory.
Reports received from Bush Conservatory indicate that many applications have been received for time with Prof. Otakar Sevcik, the famous violinist, who will begin his teaching there on March 1. Many of the foremost violinists of Chicago have expressed their intention of coaching with this famous maestro, who has been the teacher of such well known artists as Erika Morini, Jan Kubelik, Kocian, and dozens of others.
Huberman in Recital.
Bronislaw Huberman made many friends at his debut at Orchestral Hall last year, judging by the very large audience that crowded the same hall at his first engagement this season in this city last Tuesday evening. A year ago the same reporter found Huberman’s playing praiseworthy
CHICAGO COLLEGE OF MUSIC
Esther Harris Daa, President	A. G. Dua, Mgr.
All Branches Masical and Dramatic Art. Opera, etc.	1234 KIMBALL HALL
MacBURNEY
Full Stage Experience	\/ |־| T g ’ kn ״
Each Week	» V/ 1 Hi
608-609 Fine Arts Building. Chicago Phone. 8988 Wabash
M	TENOR
Management Samuel D. Selwiti	1512 S. Trnmbnll Ave.. Chicago
COLLINS
CHICAGO MUSICAL COLLEGE
Exclusive Management: Fulcher & Bohan. McCormick Bldg., Chicago
PIANIST
Columbia School of Music	Chicago
44	MUSICAL COURIER
CHICAGO ENJOYS ANOTHER WEEK
OF HIGH CLASS ATTRACTIONS
Joseph Schwarz Scores in First Recital, Drawing Large Audience—Cyrena Van Gordon Delights Opera Club—Morin! and Beethoven Trio Heard in Interesting Programs—Chaliapin Recital Postponed—Great Demand for Sevcik’s Time—Huberman’s Program—Other News
mosphere of the ,clubroom adds materially to the receptive mood of the listeners and acts as an inspiration for the performers. Heard in the Quasi Variation¡ from Rachmaninoff’s Trio Elegiaque, the Beethoven Trio demonstrated anew its claim as a very first class organization and its ensemble playing was so uniformly good• as to give entire satisfaction to the most demanding auditor. Such chamber music as is given by the Beethoven Trio makes that kind of elevating entertainment more and more in demand, and that wonderful combination of three excellent players made each contribution an object of admiration. The second group included Goossens’ The Village Church and The Water Wheel, and Debussy’s L’Enfant Prodigue, and the program was concluded with the Beethoven Trio, op. 1, No. 1. The Beethoven Trio plays with beautiful accent, each member content to harmonize his tone with that of his colleagues instead of trying to shine separately; they scintillate by their very union. They played with tender melancholy the Rachmaninoff music, and they “sang” exquisitely the passages of the Beethoven Trio; they gave a poignant reading of the pathetic music of the Debussy L’Enfant Prodigue and their reading of Goossens’ numbers enlightened the public as to the real merits of those two exquisite contributions to the chamber music literature. A very interesting concert that presaged well for the two successive ones to be presented on February 11 and March 2S.
Themy Giorgi.
Themy Giorgi is a tenor who has sung operatic roles in municipal theaters of Germany, possessor of a sweet voice and a too-great use of the “sob” note, which makes some of his contributions extremely tedious. The newcomer impressed by his musicianship, excellent diction and beautiful medium. His high tones are generally tight and guttural. The recital took place at the Studebaker Theater, under the management of F. Wight Neumann.
Anna D’Argell.
A fine voice and good stage presence are the best assets discovered at the first recital here of Anna D’Argell, who has appeared in opera on the British Isle.
Harriet Case.
Formerly of Chicago and now of New York, Harriet Case gave her first recital at the Blackstone Theater before a friendly audience. The voice is not pleasing, but its use is all in the favor of the recitalist, who knows how to interpret songs even though her medium is deficient. The recital was under the management of Rachel Busey Kinsolving.
Joseph Schwarz’s Recital.
Among the great masters of bel canto must be named Joseph Schwarz, the baritone, who gave his first Chicago recital at Orchestra Hall, under the management of Wessels & Voegeli, on Monday evening, January 15. Although Garden appeared at the Auditorium on the same evening in Carmen, and although Monday night is known in the parlance of theaters as an off-night, Orchestra Hall was practically filled from pit to dome and this in itself must have assured Schwarz of his popularity in our midst—popularity well deserved and won by most effective work on the stage of the Auditorium, where he was sadly missed this season. To a reporter, who for years has attended concerts and recitals, Schwarz was able to give many thrills, and though generally this reviewer is not lavish with applause, he could
VITTORIO TREVISAN
of Chicago Opera Association VOCAL STUDIOS
428 Fine Aita Building,	CHICAGO, ILL.
INICOLAY
Basso for twelve consecutive seasons with Chicago T	Opera Co., now free to accept dates.
j^j	For further information
Address: AMERICAN EXPRESS, PARIS, FRANCE
Jessie CHRISTIAN
Cnnaonn Management: Harrison & Harshbarger, supidliu	17f7 Kimball Bldg., Chicago, III.
HERBERT GOULD
BASSO
Management: Harrison & Harshbarger 1717 Kimball Bldg.	Chicago. 111.
GUSTAF HOLMQUIST
BASS-BARITONE Private Address: 1430 Argle Street Address Bush Conservatory, 839 North Dearborn Ave., Chicago
EDGAR NELSON
Piano and Organ Instruction
BUSH CONSERVATORY 839 North Dearborn Street, Chicago
ALEXANDER RAAR
Pianist
RATHAUS STR. 20, VIENNA, AUSTRIA
Chicago, January 20, 1923—Quite a few recitals took place on Sunday afternoon, January 14, but the most interesting were the ones of Erika Morini, violinist, who performed at Orchestra Hall, and the Beethoven Trio, which was heard in the first of a series of three programs of chamber music in the drawing room of the Cordon Club. The other recitals were those of Themy Giorgi, tenor; Harriet Case, soprano, and Ann. D’Argel, contralto. The recital of Feodor Chaliapin, scheduled to take place at the Auditorium Theater on Sunday evening, was postponed until Sunday afternoon, January 28.
Erika Morini.
Under the management of Wessels & Voegeli, Erika Morini gave a violin recital that rightly delighted a large audience, as this young wizard of the bow was found to be in her best mood in the Mendelssohn concerto in E minor, which opened the program and which served as the basis of this review. “A devil of the bow,” she has been called and that appellation seems to characterize her playing, as a more fiery interpretation of the so often played E minor concerto has not been heard in these surroundings. She took it at top-speed without missing a note, and her amazing interpretation astounded her hearers; at the conclusion, she was recalled many times to acknowledge ra! turous plaudits. The balance of her well built and interesting program was not heard by this reviewer, but in all likelihood she found in her other Selections the same approval as ¡n her opening number, and the audience the same enjoyment derived from her first contribution.
The Beethoven Trio.
There are organizations of which Chicago is justly proud, among which must be mentioned in first line the Beethoven Trio, which has for its personnel M. Jennette Loudon, pianist; Ralph Michaelis, violinist, and Theodote Du-Moulin, cellist. Those three artists—each well deserving of the name—furnished an hour of real musical enjoyment in the drawing room of the Cordon Club; this is a well chosen location for chamber music, as the at-
FRANC ESCO T'b/KT^bT'bl'
Of Chicago Opera Association B JB JJL Specialist io Voice Placing and Coaching for Opera, Stage and Recital
Studio: 720 Fine Arts Building Chicago. 111.	Harrison 5755
Bush Conservatory
CHICAGO
Kenneth M. Bxadlky Edgar A. Nelson President	Vice-President
Edward H. Schwenkxx Secretary
An Institution of National Prominence, offering accredited courses leading to Certificates, Diplomas and Degrees In
Acting
Dancing
MUSIC
Expression
Languages
Normal Courses in these subjects and PUBLIC SCHOOL MUSIC The greatest faculty ever assembled in any American institution of Music and the Kindred Arts, Including over 85 artists, many of international reputation. Special announcement is made of the exclusive teaching engagement of
OTOKAR SEVCIK, world-renowned violin pedagog and teacher of Jan Kubelik, Jarlslov Kocian, Erika Morini and many leading violinists. Applications accepted NOW.
BRUNO BTEINDEL, famous cellist, for twenty-five years soloist with Chicago Symphony Orchestra.
MASTER SCHOOL (Tuition Free)
Charles S. Peterson, Patron. Edgar A. Nelson, Dean.
For training of exceptionally advanced students of Piano. Volet. Violin and Composition. Write for further information.
FINE DORMITORIES FOR STUDENTS Only Conservatory in Chicago maintaining extensive dormitories for men and women students. Excellent equipment. Make Reservations NOW.
NEXT TERM OPENS FEBRUARY 5th Write for catalog and full information (mentioning your courses of study) to
M. C. JONES, Registrar, 839 North Dearborn Street. Chicago. 111.
AURELIA ARIM0NDI
First Prize, Milan. Italy. Conservatory
VITTORIO ARIM0NDI
Leading Basso Chicago Opera Association and all the Principal Theatres of the world
Voice Placing, Coaching for Opera, Stage and Concert Deportment
Studio: 612 Fine Arts Building	Chicago
Chicago Musical College
ARONSON
MAURICE
PIANIST
PEDAGOG
VERA- KAPLUN
CONCERT
PIANIST
HERMAN DEVRIES
Formerly baritone with the Metropolitan Opera House, New York; Covent Garden, London; Grand Opera, and Opera Comique, Paris; theatre Royal de la Monnaie, Brussels, etc.
------VOCAL TEACHER---------
MRS. HERMAN DEVRIES asSrt״cto°rcal
Studios: 518-528 Fine Arts Building Chicago, 111.
MARSHALL, World’s Famous Tenor
MANAGEMENT: HARRISON AND HARSHBARGER	1717 KIMBALL BUILDING, CHICAGO, ILL.