MUSICAL COURIER
66
January 2 5, 1923
Miss Eakin, and I went to the top of the mountain in a sleigh to see the opening night of the winter sports here in Montreal. I’ll never forget it—the air so cold and clear, the snow so white and scrunching under the runners of the sleigh and the horses’ feet, the lovely moonlight falling down on the snow through myriad birches of silver, endless processions of dark figures climbing the mountain, hikers from the town, a regular parade of horse-drawn sleds and sleighs, with laughter and gay words coming from them.
“Then at the top—colder air (a greater need for the huge bearskin rugs about us), glorious fireworks bursting into showers of brightly colored stars right over our heads, toboggans rushing around, men on skiis with poles in their hand, a runway down the mountain that seemed miles in length—thousands of people! I was so glad to get here on the opening night and see it all—even if it is four degrees below zero !—Brrrrrrrrrrr !
“P. S.—Well, I am back from the concert. All went too beautifully for words. The people were so kind, and I sang every encore I took with me. All I hope is that I can come again to this lovely city where I was treated so well. With best wishes to all, I am. cordially, (Signed) Suzanne Keener.”
Laurie Merrill’s Costume Song Recital
Of the young sopranos before the public, none has more personal charm than Laurie Merrill, whose Song Recital in Costume at the Twenty-third street Y. M. C. A., January 11, was heard by a large audience. Her old-fashioned pink English costume (period 1725), she carrying a white Leghorn hat; her Spanish costume of red, with black and red gold lace (period 1850), and her French costume (period 1780) of blue, with songs sung in those languages, completely captivated everyone. Her encores included Mighty Lak’ a Rose (with violin) and The Cuckoo Clock, and these followed her fine success in singing My Lovely .Celia, Who’ll Buy My Lavender? Clavelitos, and two Czechoslovak songs.
Her personal appeal to natives of these countries present was immense, one of her hearers sending her a hand-colored panoramic photograph a yard wide, of his native city, Prague. Flowers in abundance were also sent her, and splendid applause rewarded the fair singer as well. Assisting her were Milan Lusk, violinist, who played pieces by d’Ambrosio, Sarasate, Kocian, Wagner, Novacek, Smetana and himself, receiving warm applause, and Mme. Wetche, who provided sympathetic accompaniments.
Easton’s Song “Pure Joy” in Mozart Revival
Such was the verdict of Maurice Halperson, one of the New York music critics, after Florence Easton had appeared on January 10 in the first performance of the season of Mozart’s Cosi fan Tutte at the Metropolitan Opera House. And Richard Aldrich, of the New York Times, penned his opinions as follows: “Florence Easton once more showed her fine, artistic capacities, her versatility, her authority in outlining and composing a character and her perfection of the true vocal style of Mozart and her qualifications to realize it brilliantly, with power and expression.”
Mario Chamlee, in Manon, December 29
T imes
Mr. Chamlee .	.	. seemed,
at least in the beginning, a little hoarse, and this fact had its unfavorable influence upon the power and resonance of his tones.
Tribune
His voice was in good shape. . .	. His moderate and softer
notes had an especially clear, agreeable quality.
Toscha Seidel, Violinist, January 1
A merican
Yet there was hardly to be felt the fire of a kindling temperament in the classical pieces that he played.
A merican
His tone is large and sonorous, though hardly of a quality to impress through its beauty.
Globe
He is as fiery, as vital, as magnetic as ever . . . flaming temperament.
World
. . . beautiful tone. . . . Tribune
He had a full, warm tone.
City Symphony, January 1
Evening Journal .	.	. the fifth symphony of
Beethoven, wherein his drums played a fearfully violent part. This was not Fate knocking at the door but crashing in the panel with his heel. Sometimes it Seemed as if dynamite were being brought into operation.
Herald
Mr. Foch’s men . . . began the new year by giving a good soldierly account of themselves in the great Beethoven classic, read without extravagance or exaggeration.
Georges Enesco, Conductor, January 2
American
Nor could his gestures be described as graceful or elegant.
World
This (Tschaikowsky’s Pathe-tique) was a singularly uninteresting performance.
Evening Post
The first movement has perhaps never been played in such a ragged, wobbly way as last night since the day when Walter Damrosch had it on his program as a novelty.
World
Mr. Enesco as a conductor is graceful in movement, with a touch of elegance and refinement in his gestures.
Times
Still more remarkable for some , reason was the performance or perhaps the conducting of Tschaikowsky’s Pathétique symphony.
Times
The performance, at least of the first movement, was a fine one.
The Boston Orchestra, January 4
American
Monsieur was not at his best in the Mozart symphony, which went on leaden feet.
Evening Post
Mozart’s E flat major symphony . . . lacked the requisite lightness and polish.
Evening World
The Mozart symphony was played with the proper light and sunny touch.
Times
Mozart’s Symphony was played with spirit and in the main with finish.
Suzanne Keener Combines Business and Pleasure
Suzanne Keener, Metropolitan Opera soprano, who is now on tour in Canada, is enjoying that country to the utmost— as is evident from the following letter just received:
“Tonight is my concert here (Montreal) and I’ll tack onto the end of this letter how it turned out. But first I want to tell you some of the news. Last night is very wonderful to me. The assistant artist, Miss Berry; my accompanist,
WHAT THE JURY THINKS
[The music critics of the New York dailies constitute the jury in the appended extracts from criticisms which have appeared in our local newspapers. Many concerts and operas are given in the metropolis, and the following day the critics agree or disagree on the merits or demerits of the performer. However, on most occasions the writers do not agree, and this department is run for the purpose of reproducing some of the flat contradictions, showing that, after all, the review constitutes but the personal opinion of the critic who covers the performance,—Editor’s Note.]
Rosalind Rudko, Soprano, December 21
Tribune
Her tone was hardly enjoyable, owning to a persistent metallic, sometimes nasal, timbre which gave an ear-piercing edge to some of her louder tones.
Herald
Her voice is one of pretty quality.
Joseph Schwarz, Baritone, December 28
Evening Mail	Globe
Mr. Stransky should be com- The singer and orchestra were plimented for his grateful and not always in perfect accord and particularly helpful support.	at times one felt that Mr.
Schwarz seemed nervous and constrained under the baton of Mr. Stransky.
Vernon Archibald, Baritone, December 28
Evening Mail	Tribune
He was at his best in his Ger- Mr. Archibald seemed more man group.	adventurous in this language
(French) and sang some Debussy and Bemberg numbers with greater freedom.
SIMMY’S CORNER
TALES FROM STORY BOOKS
By H. O. OSGOOD
Five Short and Easy Piano Pieces for Young Folks to Play and Enjoy
1.	OLD KING COLE ..................................30
2.	KIP VAN WINKLE .................................40
3.	CRUSOE AND FRIDAY ..............................)0
4.	PECULIAR LULLABY OF	THE DUCHESS.................30
(Alice in Wonderland)
5.	ROBIN HOOD AND HIS MERRY	MEN................40
(Horhs in Sherwood Forest)
Complete (Summy Edition	103).................. •90
Teachers will “enjoy" these splendid little pieces as much as pupils. There is merit in every measure, and imagination, skill, and a practiced knowledge of what the young pupil needs. They can well stand as a modern instance of Schumann's ALBUM FOR THE YOUNG.
CLAYTON F. SUMMY CO.. Publishers 429 So. Wabash Ave., Chicago
LESTER PIANO
ONE OF THE OLD MAKES
PH I LADELPHIA
OF THE CITY OF
NEW YORK
Frank Damrosch, Director
INSTITUTE OF MUSICAL ART
120 CLAREMONT AVENUE
TENOR
METROPOLITAN OPERA CO. For Concert Engagement Apply to TheWOLFSOHN MUSICAL BUREAU 712-718 Fisk Bldg.	New York
MORPHY
Lambert
THE BEAUFORT
140 West 57th Street Tel. 3053 Circle f
VICTOR HARRIS
TEACHER OF SINGING IN ALL ITS BRANCHES
N. Y. AMERICAN CONSERVATORY
163 West 72nd Street, NEW YORK
Carl Hein•—Directors—August Fraemcke
Hans Letz, William Ebann, Rubin Goldmark, and many other eminent instructors. All branches of Music from beginning to artistic perfection.
Send for Catalogue
The Steiner) Pianoforte
THE EXCLUSIVE ===PIANO==
M. STEINERT & SONS, Steiner! Hail, 162 Boylslon St
BOSTON, MASS.
	
	S STEGER ¿¡n jP^Tîie MostValuablçPianoin the\\biid״WXi-í
	
Bush ft Lane
HOLLAND, MICH.
| N G & SON, Manufacturers of the
WING PIANO
A musical instrument manufactured in the musical center of America for forty-nine years
Factory and Offices Ninth Ave., Hudson and 13th Streets, New York