45
MUSICAL COURIER
cess through his knowledge of that art. Musicians should advertise their concerts months in advance; they should not wait until the eleventh hour to inform through the voice of the musical press that they are coming to a certain city. As soon as they sign one engegement, they should advertise the fact and by so doing they would create not only greater name value for themselves but also a greater demand for their services, as the more dates an artist fills, the more in demand he is. Although Neumann does not sell a course, each of his attractions being individual, his advertisement in the Chicago Tribune probably will bring the same patronage to the various artists that are scheduled in the advertisement. A very happy coup of managerial sagaciousness.
Stearnes Feted by Arimondis.
Just previous to the close of the opera season and as a fitting tribute to Theodore Stearnes, composer of Snow Bird, which met with considerable success at its world premiere at the Auditorium, Vittorio Arimondi, basso, and Aurelia Arimondi, vocal teacher, gave a reception in their studios in the Fine Arts Building. The principals heard in Snow Bird were among the guests, and Stearnes made an impromptu speech that was much enjoyed by the large and distinguished gathering. Stearnes owes a great deal to the Arimondis, as they practically “took him up” when he first came to this city.
MacBurney Studios Recital.
Fine Arts Recital Hall was well filled January 25, where an expectant audience had gathered to listen to advanced pupils of the MacBurney Studios in a program of old song favorites, headed by Elsa Fern MacBurney. The fourth program in this season’s series was well selected and met with the hearty approval of all present. It is refreshing to hear the old supposed to be worn out tunes of years ago, especially when well rendered and each and every number seemed to be in good hands. Into the selections sung each participant put spirit and feeling, giving good interpretations with a degree of assurance, which gave much pleasure to the enthusiastic auditors. Those taking part besides Mrs. MacBurney were B. Fred Wise and Hawkins Nelson, (Continued on page 61)
INSTITUTE OF MUSICAL ART OF THE CITY OF NEW YORK
120 Claremont Avenue, corner 122nd Street FRANK DAMROSCH, Director
A Rare Opportunity
for advanced piano students, teachers and music lovers, as performers and listeners CARL FRIEDBERG’S EVENING CLASSES Ten weeks, beginning February 12th Criticism, Explanation and Demonstration
Fees moderate	Send for special Circular
marred the program, which was so well rendered as to add new laurels on the orchestra, its conductor and the soloist.
Secret of F. Wight Neumann’s Success.
F. Wight Neumann, the Chicago impresario, who is celebrating this year his thirty-sixth successive season in the managerial field, most of the world famous artists_ having appeared at one time or another under his direction, has made his name synonymous with success. During his long career as an impresario Mr. Neumann has had many competitors but the majority of them soon entered other fields of endeavor, having made a failure as musical providers for Chicagoans.
Mr. Neumann, from the first, made a name value for himself as well as for the artists appearing under his management. He created here a clientele of his own; concert-goers from the beginning of his career have had faith in him, and to stimulate that faith he, a staunch believer in advertising, uses publicity to create name value for unknown artists who make debuts under his management and to strengthen the hold of the favorites on the public.
All these thoughts came to mind while perusing last Sunday’s Tribune and seeing an advertisement of Neumann, in which the astute manager advertised concerts or recitals to be given under his management not only in the near future, but as far away as next April. This advertisement is so uncommon that it is reproduced here, reduced to fifty lines, one column, while in the Chicago Tribune of January 21 it appeared as a double column display advertisement.
This advertisement gives food for thought to those who do not understand the art of advertising—an art which is very complex, but of which Neumann has made a deep study, judging by the acumen with which he writes copy for the papers in which his advertisements appear. Neumann is a shrewd manager, not a prodigal man nor one that squanders money unwisely, yet he spends liberally on advertising to announce recitals to be given in the far future. He informs the Chicago public that orders are taken for all the concerts now and to send in sdf-addressed, stamped envelopes to his office, so that two months in advance Neumann knows approximately how many additional seats he will have to have placed in addition to the seating capacity of_ the Auditorium or other halls where he presents his attractions. When all the seats have been sold, he will reduce his advertising, thus saving money in the long run. By his advance notice he attracts the attention of the music-lovers, none of whom can have an excuse for being turned down at the box-office the week of any recital, as they have ample time to make their reservations; and having made the reservations, they will not have other engagements that will interfere with their attending the concert. Very often musicians complain that they would have attended a concert had they known long enough in advance that it was to take place, and Neumann, the wideawake manager, comes out now and informs them through the voice .of the press months in advance the date at which concerts they would like to attend will take place.
Musicians should profit by the experience of F. Wight Neumann. He believes in advertising and has made a suc-
MME. CAHIER’S
First New York Recital
TOWN HALL Monday Afternoon FEB. 5
© Mishkin
MME. CHARLES CAHIER
Contralto
uses and endorses
$hrÌalòiDin׳jIùmci
exclusively
New York City, Jan. 15, 1923.
The Baldwin Piano takes its place today in the first rank of master-pianos through its sterling qualities, beauty of tone, sonority, power and a melodious singing quality that harmonizes perfectly with the voice.
I am happy to know that the Baldwin is to be my comrade on all my tours.
(Signed) Mme. Charles Cahier.
Ih?!talìimn3ÌMn(! (tonipani!
Cincinnati	Chicago	St. Louis	New York
Louisville	Indianapolis	Denver	Dallas	San Francisco
February 1, 1923
of Nottingham was as funny and well conceived a portrayal as has ever been seen in a professional company. Space allotted this reporter is limited, so ail the other participants are given praise collectively for their work. They all did well and the evening was pronounced a huge success for all concerned.
American Conservatory Notes.
An event of very unusual importance is the special engagement of Delia Valeri for the' Master School of the American Conservatory next Summer. At a previous visit in Chicago several years ago, Mme. Valeri was absolutely overwhelmed with applications for instruction, her class including professional singers and teachers from all parts of the country.
At the annual Mid-Winter Concert, February 6, four piano concertos, two violin concertos, and one organ concerto , will be played by artist-pupils with full orchestra under Adolf Weidig’s direction. The vocal department will be represented by three arias from standard operas.
Berenice Viole McChesney, pianist, Betty Baxter, contralto, and Edward Eigenschenk, organist, will give the regular Saturday afternoon recital of the American Conservatory at Kimball Hali today, January 27.
The North Side branch school of the American Conservatory of Music, located at 4611 Kenmore avenue, corner Wilson avenue, will give two recitals by members of the faculty next month at the Y. M. C. A. on Wilson avenue.
Louise Winte, soprano, and George Smith, baritone•, filled a second engagement at McVicker’s Theater during the. past week.
Interesting Organ Recitals.
Arrangements have been made for three interesting organ recitals to be given at the First Presbyterian Church, Forty-first street and Grand Boulevard. The first one is to be offered by William E. Zeuch, organist of the South Congregational Church of Boston, on Wednesday evening, February 21. The second will have Marcel Dupre, the noted organist of Notre Dame Cathedral at Paris, and the .bird will be given by Francis S. Moore, who has been organist of the First Presbyterian Church here for the past twenty-six years. The proceeds of these recitals will go towards paying the balance on the new organ which was just recently installed in the church.
Sturkow-Ryder Student in Recital.
Ernau Akely, artist-pupil of Mme. Sturkow Ryder, gave her annual recital today at the Cable studio. She played the Schumann G minor sonata and numbers by Bach, Chopin, Dohnanyi and others. Anne Hathaway and Mme. Sturkow Ryder assisted by playing the fourth sonata by Beethoven for violin and piano.
Symphony Orchestra Concert.
It takes a musician of the calibre of Frederick Stock, conductor of the Chicago Symphony Orchestra, to dare to revise a symphony of Robert Schumann. This Stock accomplished to his own glorification, that of the composer and to the enjoyment of his public. Stock completely rescored the symphony and his orchestration makes the Rhenish by Schumann practically a new work. Colorful in its new instrumental garb and. admirably played by the orchestra, it was received' with marked enthusiasm by a delighted audience on Friday afternoon and Saturday evening, January 26 and 27. The _ sixteenth program was auspiciously opened with a beautiful reading of the Bach concerto in B flat minor for string orchestra and at the close of the first part of the program Dukas’ interesting dance poem, Le Peri, splendidly played, made the orchestral part of the afternoon and evening as enjoyable as the work of the soloist, Josef Hofmann, to whom was given the second part of the program, the Saint-Saëns concerto in C minor. The great pianist thrilled his audiences by the virtuosity with which he performed, with the able assistance of the orchestra and Stock, the seldom heard work of the French composer. Long ago Josef Hofmann has been called an extraordinary pianist and long ago the Chicago public has recognized him as such, but it is seldom that such a fine interpretation of a work as Hofmann gave the concerto comes before the notice of a musical audience. His playing was of the kind that quickens the pulse and that makes life worth living after all. It was playing that reflects not only the great artist and musician, but also the sincere interpreter, who at times sacrifices himself by blending his tone with that of the orchestra. Hofmann gave a clean-cut reading of the concerto and so enthused were his listeners that they recalled him innumerable times to the stage, begging for an encore, which the pianist wisely refrained from granting and as the audience would not leave the hall, some one came to the stage, closed the piano and then, the public slowly filed out of Orchestra Hall, recollecting some of the most brilliant piano playing ever heard in this city. The concert, as a matter of fact, can be written in golden letters in the yearly book of the Chicago Symphony Orchestra, as no flaw of any kind
Knupfer Studios
SCHOOL of MUSIC and DRAMATIC ART
under the direction of
WALTER KNUPFER
PIANO PEDAGOGUE
assisted by an able corps of instructors in all branches of Music and Dramatic Art.
Students prepared for professional careers. Teachers’ Certificates, Diplomas, and Degrees.
Address—Secretary, Suite 400, Fine Arts Bldg., Chicago, Illinois.