Fe bruary 8, 192 3
MUSICAL COURIER .
AUSTRO-GERMAN MUSICIANS’ RELIEF FUND COMMITTEE
Theodore Spiering, Chairman
List of contributors up to and including February 3, 1923:
Theodore E. Steinway R. Mojewski Hattie Kammerer Albert Stuercke Sylvia Cushman Bern Boekelmann Madeleine S. Stern Mrs. Norman S. Goldberger Anonymous, Springfield, Mass. Francis Macmillen Hans Schneider Walter Spry Herman Epstein A. C. Wieland Emerson Whithorne John R. Ootman Rudolph Ganz H. C. Kudlich John Passaretti George Raudenbush Morris Goldberg Paul Miersch Herman Diestel August Palma Louis Lupo Carl J. Stern Frank Paul J. J. Hattstaedt David Stanley Staith Gustav Saenger Martha Martin Eugene Gruenberg Marguerite Melville-Liszniewska Georges Enesco Oscar G. Sonneck Ossip Gabrilowitsch
Harold Randolph Arthur Shattuck Josef Hofmann Amy H. Beach Dagmar de C. Rybner Dr. Cornelius Rybner Thuel Burnham Carl Busch Henry Hadley Victor Herbert Margaret A. Cox Mme. Charles Cahier Frank La Forge Myra Hess J. Lawrence Erb Nicoline Zedeler-Mix Sergei Klibansky Louise Keppel Theodore Spiering Eva S. Lester Ida S. Lester Ernest Urchs Chalmers Clifton J. B. Berkhoel Alfredo Oswald Guy Maier Steinway & Sons Joseph Regneas Fred Steinway Herman Irion Walter Fischer Fritz Kreisler Victor Harris Anna Faber B. H. Balensiefer Paul H. Schmidt
Orchestras of the Rivoli and Capitol theaters.
Contributions are to be sent to Ernest Urchs, treasurer, care Steinway & Sons, 109 East Fourteenth street, New York.
Saenger Studio Musicale
The second of the series of monthly Thursday musicales at the Saenger Studios took place February 1. The spacious rooms were crowded with an animated throng of students and friends,, at least half of whom arrived late, in company with Richard Hale, also one of the Saenger artists, who had just given his third yearly recital in Aeolian Hall, to an appreciative and enthusiastic audience. Dich Theure Halle was sung as a greeting to Mr. Hale, by Phradie Wells, a tall, comely soprano, with a real operatic voice, clear, resonant, beautiful in quality. The aria was sung in good style, as were several songs rendered by Miss Wells, who has the added attraction of a lovely facial expression when she sings. Mae Davis, also the possessor of a beautiful voice, full, round mezzo-soprano, sang songs in excellent style, to the manifest satisfaction of the audience. Helen Buchanan contributed two French songs, beautifully sung. Miss Buchanan reminds one forcibly of Mabel Garrison, whom she resembles in voice and style. Paul T. Flood, of Cleveland, sang excellently two German songs. Mr. Flood has a baritone voice of lovely, sympathetic quality and interpreted these beautiful songs with fine artistic feeling and quiet, manly style. Especially was Der Asra effectively rendered. The last number was the Card scene from Carmen (in costume), well and animatedly sung ׳by Gladys Mathew as Frasquita, Florence Munzer as Mercedes and Bertha Sisson as Carmen. The miniature stage in the Saenger Studios lends itself admirably to performances of this kind. Emily Miller, capable accompanist, played brilliant accompaniments for Miss Wells, Miss Davis and Miss Buchanan. Mrs. Flood accompanied her husband extremely well and Willis Ailing supported the Carmen trio, as only a musician can.
Mrs. Richard Phillips and Anna Doyle presided at the tea table.
IDA SYLVANIA,
the American girl who created a furore in opera in Italy this season, recently sailed from New York on the S. S. Conte Rosso for Genoa. Recalled to America from the scenes of her triumphs at the Bellini Theater in Naples, as Gilda in Rigoletto and as Lucia, hy the serious illness of her father, the soprano is returning to Italy to sing another leading role —Violetta in La Traviata—in Milan, in addition to Paris, where she has already scored success. (Photo hy Bain News Service.)
her beautiful, voice and fine interpretative powers greatly-pleased the audience.
The fifteenth “Pop” concert was made memorable by the first performance in the Northwest of Saint-Saëns’ Carneval of the Animals. It was greatly enjoyed by the audience, which thoroughly appreciated its foolery and satire. Henri Verbrugghen and his men seemed to enjoy the fun as much as the audience. Mendelssohn’s Midsummer Night’s Dream overture and the three orchestral pieces from Berlioz’ Damnation of Faust brought the concert to a brilliant close. Gaston Dubois, second cellist of the orchestra, was the soloist and played the Dvorak concerto with beauty of tone, technical finish and fine musicianship.	G. S.
Rosalie Erck’s Debut at Regneas Studio
Rosalie Erck, for two seasons a pupil of the eminent vocal instructor, Joseph Regneas, was heard in an invitation recital at her teacher’s spacious studios, January 30, following in the footsteps of many leading artists who began their New York musical careers under exactly similar auspices. A Regneas pupil in a recital, at the Regneas studios, always means much for the young artist, and invariably draws an audience composed not only of the vast number of Regneas pupils, but also of important musical and social personages. This was the case January 30, when Miss Erck gave a taxing program of eighteen numbers, divided into five groups, viz., Italian, French, German folklore and American composers’ works. From the beginning it was evident that the fair singer was• thoroughly ready, for she sang with a poise and artistic deliberation, combined with warmth of delivery most rare. Scarlatti, Marcello, Handel, the modern Frenchmen, Poldowski, Widor and Gregh; Beethoven (Ieh Liebe Dich; who knows this song?), Rubinstein, Brahms—these were followed by Love Is a Sickness (Old English), Little David, Play on You’ Harp (Burleigh), the Schindler Sorian Spanish folk-song, and all gave delight to her hearers. In this connection it may be forgiven by the writer of the letter (a prominent tenor) if his remarks are here reprinted, ׳for they echo the spirit of the evening:
T ...	,	February 2, 1923.
It was indeed a great pleasure for the writer to hear Rosalie Erck, a young and promising American contralto, pupil of Joseph Regneas, at whose studio she sang a most exacting program, ranging from the venerable Scarlatti to the Americans Kramer, Hilton-Turvey, Logan and Barbour. Miss Erck gave evidence of wonderful training, her voice being of a bright, rich contralto quality, so rarely found in American women. Her diction in every language was excellent and her breath control perfect. She brings to the concert platform an ingratiating ..personality and should go far in .her art. Miss Erck was given excellent support by Blanche Barbot at the piano.
(Signed) G. R.
P. S. I could say a lot more, for she is really an artist.
Casella Arrives
The Mauretania, which docked last Friday, brought, among other notabilities, Alfred Casella, “the apostle of Italian Modernism,” and his wife, on a second visit to this country.
Mr. Casella has ■been engaged by the Philharmonic Orchestra for two New York appearances (February 8 and 9), when he will give the first performance in this country of Albeniz’ Rhapsodie Espagnole. A week later he plays in Cleveland with the orchestra of that city.
His first New York recital appearance will take place Tuesday afternoon', February 20, in Aeolian Hall. The program is. as follows: Haydn, Theme varie; two pieces by Scarlatti, Mozart’s sonata in A; Beethoven’s sonata, opus 110; Castelnuovo-Tedesco’s Cipressi; piano' rag music by Stravinsky; Ravel’s valses nobles et sentimentales, and the prelude sarabande and toccata by Debussy.
Hughes Artist-Pupil with Detroit Symphony
Solon Robinson, artist-pupil of Edwin Hughes, appeared as soloist with the Detroit Symphony Orchestra on January 14, giving a brilliant performance of the Rubinstein concerto in D minor. This concerto presents a work of commanding interest, full of rich melody, and offers the pianist full scope, both technically and emotionally. Mr. Robinson played with fine understanding and skill. He also appeared with the American Orchestral Society at the De Witt Clinton High School on January 31.
Onegin to Sing for Haarlem Philharmonic
Sigrid Onegin will give a recital before the Haarlem Philharmonic Society on February IS, singing songs in Italian, Swedish, German and English. Mme. Onegin is singing at least one group of American songs at her every appearance, some of the composers represented being Richard Hageman, Deems Taylor, Carl Deis, Dagmar Rybner, Victor Harris, Edward Horsman, Marshall Kernochan and William Arms Fisher.
Rose Dreeben Singing Silberta’s Songs
Rose Dreeben, soprano, is having much success with Silberta’s . Samson Said and The Theft. At an Intimate Recital given on Tuesday, evening, January 30, at the studios of A. Russ Patterson, she sang ׳both songs accompanied at the piano by the composer.
MINNEAPOLIS SYMPHONY
ENJOYS BUSY SEASON
Verbrugghen Scores Success a$ Conductor of First Public Concert This Season of the Minneapolis Choral Society —Paderewski Attracts Capacity Audience—Czer-wonky Soloist on “Pop” Program—Cortot Plays Duet with Himself—Myra Hess and Carolina Lazzari Heard as Soloists Minneapolis, Minn., January 31.—Kenwood armory was packed for the Paderewski recital, January 17. The audience was wildly enthusiastic and Mr. Paderewski added practically another program to the array of selections announced on the printed program. It was a memorable evening.
Verbrugghen Conducts Choral Society.
The Minneapolis Choral Society made its first public appearance this season on January 19, at the Auditorium, under the direction of Henri Verbrugghen, who demonstrated his ability as a choral conductor. Mendelssohn’s syrnphony-cantata, .The Hymn of Praise, was given in its entirety. The soloists were Clara Williams, soprano; Mildred Langtry, contralto, and Riccardo Martin, tenor. The cantata was preceded by Wagner’s Flying Dutchman overture and Liszt’s Hungarian Rhapsody, No. 1, which the Symphony Orchestra under Mr. Verbrugghen’s energetic baton played with finish and fine rhythmical discrimination. Mr. Martin sang the Flower song from Carmen and added, to the audience’s great delight, Canio’s Lament from Pagliacci.
Czerwonky Soloist on “Pop” Program.
On its fourteenth “pop” program the Symphony Orchestra played Dvorak’s Carneval overture, Debussy’s prelude to The Afternoon of a Faun and closed with a spirited performance of the Coronation march from Meyerbeer’s Prophet. A former concertmaster of the orchestra, Richard Czerwonky, was the soloist and achieved a great success with Bruch’s Scotch Fantasy.
Cortot Plays Duet with Himself.
Alfred Cortot drew a large audience to the Auditorium January 23, when he gave an excellent and greatly appreciated program which consisted of the Andante Spianato and Polonaise, and the two G flat major etudes by Chopin; his own transcription of Schubert’s Litany; Liszt’s Hungarian Rhapsody, No. 11; La Cathedrale Engloutie and Minstrels (Debussy),, Seguedillas, by Albeniz, and the bourree for left hand alone, and Etude en forme de Valse (Saint-Saëns). The program closed with the well known Saint-Saëns variations on a theme by Beethoven, for two pianos, in which Mr. Cortot performed the novel stunt of playing a duet with himself on the Duo-Art. The enthusiastic audience would not let Mr. Cartot retire until he had added four or five encores to the program.
U. of M. Presents Myra Hess.
The fourth number in the University of Minnesota concert course was a splendid piano recital by Myra Hess, who proved herself a pianist of exceptional attainments. The well balanced program contained a Mozart sonata (G major) ; prelude, chorale and fugue (Cesar Franck) ; El Puerto, Evocation and Triana from Albeniz’ Iberia suite, and closed with Schumann’s Etudes Symphoniques. Several encores were played.
Orchestra Presents Humorous Numbers.
The tenth concert by the Minneapolis Symphony Orchestra began with a finely executed performance of the Magic Flute overture, by Mozart, followed by a fine presentation of Beethoven’s Heroic Symphony. Strauss’ tone poem, Till Eulenspiegel, brought the program to a close. It was played with virtuosity and humor and was greatly enjoyed by the audience. Carolina Lazzari, contralto, was the soloist, and
TWO NEW ARTISTS ON THE HORIZON Presented by
ADELAIDE GESCHEIDT
RICHARD CROOKS, Tenor ״“,ysi“ FREDERIC BAER, Baritone
The ever increasing successes of Fred Patton, Irene Williams, Judson House and many others, are in evidence at all times.
,A	-
STUDIOS:	817 CARNEGIE HALL, NEW YORK
ADDRESS SECRETARY