53 MUSICAL COURIER spoon to eat milk-soup with—that would make me skip like a child for joy!” But, as indicative of Jenny’s true sincerity and depth of feeling, the anecdote nearest our hearts concerns a certain night at the Royal Theater in Stockholm, when, just before sailing for New York, the young prima donna was bidding farewell to, the Dowager Queen of Sweden who had been very kind to her. The Queen asked the songstress to choose one of several magnificent bracelets from her jewel casket. . But Jenny, with tears in her eyes, begged to be allowed the favor of having sung once before the Queen, without any further reward than the tiny bunch of forget-me-nots she lifted from a vase on the table. Activities of Rubinstein Club The second choral concert of the Rubinstein Club will be given February 13, in the Grand Ballroom of the Waldorf-Astoria. The Club Choral of 150 voices, under the direction of William Rogers Chapman, will sing ten new part-songs. The assisting artist will be Marguerita Sylva, soprano. The program will be followed by dancing. A card party for the benefit of the philanthropic fund of the club, given January 26, at the home of Mrs. John H. Friesel, proved very successful. The next card party will be given February 23, at the home of Mrs. Rufus B. Cowing, 333 West Eighty-seventh street. Mellish and Middleton in Joint Recital Mary Mellish, the soprano of the Metropolitan Opera Company, and Arthur Middleton, baritone, have been engaged for a joint recital at Mt. Carmel, Pa., on April 2. The artists will sing duets, operatic arias and songs of more popular appeal. May Hughes Gives Recital May Hughes gave a song recital at Philipburgh Hall, Yonkers, N. Y., on Sunday afternoon, January 28. OF UNITED ARTS Comprehensive Courses in Music and Other Arts Conservatory of Music, January 22, an artistic success. She gave an excellent rendition of Chopin’s G minor Ballade and created such enthusiasm that she was compelled to give an encore. Other artists who attracted favorable comment were Meta Christensen, contralto; Florence Prall, soprano; Frank Veres, pianist, and Wendell Hart, tenor. The Irving Quartet offered several selections and the Long Island Symphony Orchestra, Adolph Whitelaw, conductor, played some excellent numbers. Besides celebrating the twenty-fifth birthday of the conservatory, this concert was given for the benefit of the Industrial Home for the Blind. There was a record attendance and the affair was remarkably successful financially. JENNY LIND IN NEW YORK (Continued from page 10) excelled by none. “She makes a conscience of her music,” says Benedict. In her acting she had carefully studied the finesse of the French players—particularly that of Rachel. Apparently she possessed, to a marked degree, that rare gift of completely effacing her personality and becoming a vital part of each role or song she essayed. To quote Mr. Willis once more: “Her whole soul and being goes out in her song ׳and her voice becomes the 1impersonation of that song’s soul.” An enthusiastic Philadelphia lady, in writing to a friend, graphically states a pertinent impression : “As soon as she said ‘ ’Tis the last rose of summer,’ I felt an interest in that particular rose, profound and moving; and when she said ‘Oh who would inhabit this bleak world alone?’ I really felt as if there was a wintry blast within and about me. To hear Jenny Lind once is a treat to last until we go to Heaven.” Her character—expressing charming simplicity, unaffected generosity and high moral principles. “Why is it,” asks a certain worthy clergyman, “that everybody loves that singing lady, now giving concerts in our city? Not on account of the matchless skill of her performances, not because of the bird-like sweetness of her tones, but because she goes about doing good; because by her many acts of disinterested benevolence she shows that she loves everybody.” In the first eight weeks of her concert tour Jenny Lind’s share of the profits amounted to nearly $50,000; out of this she presented over $18,000 to deserving institutions, besides contributing widely to private charities. “It is indeed a great joy,” she writes her guardian from Boston during the very height of her triumph, “and a gift from God to be allowed to earn so much money and afterwards to help one’s fellowmen with it. This is the highest joy I wish for in »this life. . . . Few suspect how unutterably little the world and its splendor have been able to turn my mind giddy. Herrings and potatoes, a clean wooden-chair and a wooden- February 8, 1923 DETROIT SYMPHONY IS A BUSY ORGANIZATION Orchestra Offers Numerous “Pop” and Young People’s Concerts, Besides Regular Series—Paderewski, Garden and Chaliapin Are Heard Detroit, Mich., January 20.—The program of the seventh pair of subscription concerts given by the Detroit Symphony orchestra January 11 and 12 was called a Faust program. Richard Crooks and the Orpheus Club, with Charles Frederic Morse, assisted. The orchestra, conducted by Mr. Ga-brilowitsch, played Wagner’s Faust overture, the Dance of the Sylphs and the Rakoczy March from the Damnation of Faust, by Berlioz. Mr. Crooks sang the aria, Salut demeure chaste et pure, from Gounod’s Faust, and had high acclaim from the critics. His unusually beautiful voice, used with intelligence and discrimination, called forth so much applause that it seemed that the rule of no encores would be broken. The recalls were many as the audience seemed determined to hear him again; however, no encore was allowed. The closing number on the program was the Faust symphony by Liszt, in which the orchestra was assisted by Mr. Crooks and the Orpheus Club, with Mr. Morse at the organ. Three Popular Orchestra Concerts. The first popular concert given by the orchestra after the holidays presented an Italian program with Lilian Poli, soprano, and Thaddeus Wronski, bass, as soloists. Victor Kolar conducted. The numbers were by Verdi, Rossini, Mascagni, Leoncavallo and Ponchielli. Greta Torpadie, soprano, sang Je suis Titania from Mig-non and a Swedish melody When I Was Seventeen, at the concert, January 7. The orchestral numbers included the overture to The Mastersingers (Wagner), Valse Triste (Sibelius), two movements from a chamber music suite by Debussy, A Night on Bald Mountain by Moussorgsky, and the third movement from Suite Americana (Victor Kolar). The familiar Marche Slav by Tschaikowsky concluded the program. The concert given January 14 introduced Kathryn Meisle, contralto, and Solon Robinson, pianist, as soloists. Mr. Robinson played two movements from the concerto in D minor by Rubinstein and Miss Meisle sang the Spring Song from Samson and Delilah (Saint-Saëns) and Les Filles de Cadiz (Delibes). The orchestra, conducted by Victor Kolar, played the overture to Mignon, The Sirens (Gliere), prelude to The Deluge (Saint-Saëns) with solo by Ilya Scholnik, concertmaster; pantomime from Les petits riens (Mozart) and Caprice Espagnol (Rimsky-Korsakoff). Two Concerts for Young People. The program for the fourth concert for young people given at Orchestra Hall, January 6, was devoted to the modern period. Charles Frederic Morse explained the characteristics of modern music, giving a short description of each composition before it was played. The program consisted of the overture to The Bartered Bride (Smetana), third movement from Suite Americana (Victor Kolar), Farandole from L’Arlesienne (Bizet), Legend from Indian Suite (MacDowell), and Procession of the Sidar, from Caucasian Sketches by .Ippolitoff-Ivanoff. The fifth and last concert of the series was given January 20.. The subject was Absolute and Descriptive Music. The program consisted of the first movement of Unfinished symphony (Schubert), the second movement of Rhenish symphony (Schumann), and two movements from the Symphonic suite, Scheherazade, by Rimsky-Korsakoff. Detroit String Quartet Gives First Concert. The Detroit String Quartet gave the first of a series of five concerts, January 8, at Memorial Hall, Woodward Baptist Church. Owing to the sudden resignation of Herman Kolodkin, viola, Hugo Kortschak of New York was secured for this concert. The other members of the quartet were Ilya Scholnik and William Grafing King, first and second violinists, and Phillipp Abbas, cellist. The performance was smooth and well balanced, very gratifying under the circumstances. The program consisted of quartet in G major, op. 18, No. 2, Beethoven; Italian Serenade, Hugo Wolf, and quartet in F major, op. 96, Dvorak. Week of San Carlo Opera Company. During the week beginning January 8, Fortune Gallo presented the San Cailo Opera. Company at the Garrick Theater. II Trovatore, La Boheme, Lucia di Lammermoor, Aida, Faust, Carmen, Jewels of the Madonna, Cavalleria Rusti-cana and Pagliacci were the operas given. The usual fine standard of musical and scenic presentation was maintained. Marie Rappold and Anna Fitziu were among the soloists. Paderewski Makes Triumphant Return. Ignace Paderewski played to an audience that filled the vast Arcadia to overflowing January 9. His scheduled program was augmented by several encores and the .enthusiasm of the audience duplicated that of the earlier days when the artist swayed his audiences at will. Mary Garden Chases Dull Care Away. Mary Garden appeared in recital at the Arcadia, January 16. She was in radiant spirits and gorgeously gowned. She treated her audience very informally, waving her hand at them as she came out. There is never a dull moment when Miss Garden is on the stage. She sang an arioso, by Delibes; Les Berceux, by Faure; Le Nil, by Leroux; a group by Hue, Strauss and Debussy, and the familiar aria from Charpentier’s Louise, with encores after every number. She was assisted by Max Gegna, who proved to be an excellent cellist, and Isaac Van Grove, pianist. Chaliapin Gives Recital. The Detroit Concert Direction presented Chaliapin in recital at Orchestra Hall, January 19, to a capacity audience. The singer thrilled his listeners so that they demanded more and more. Among his offerings was an aria from Mozart’s Don Juan and songs by Tschaikowsky, Malashkin, Dargo-mizhsky, Rachmaninoff, Schubert and Moussorgsky. Max Rabinovitch, pianist, and Nicholas Levienne, cellist, added much to the pleasure of the evening, the former by his accompaniments and solos and the latter by a group of solos. J. M. S. Hazel Gruppe Scores in Benefit The splendid playing of Hazel Gruppe, pianist, went a long way toward making the concert given by the Brooklyn Telephone, Circle 3954 31 2 West 54«h Street, New York MEZZO -CONTRALTO Voice Builder and Coach Studio : 235 West 102nd Street, New York Phone: River 6400 ---SOPRANO--------— FOSTER HARRIET Concert-Recital Address: 708 St. Nicholas Ave., New York Phone 3722 Audubon GITA GLAZE IVI IVI E SOPRANO Concert—Recital 731 St. Nicholas Ave., New York Phone 1163 Audubon TEACHER of PIANO Studio : 581 East 28th Street, Brooklyn, N. Y. Phone Mansfield 6973 Terms on application ESTHER DALE Julias KOEHL William Drummond FI F 1 ■■ Scientific Voice Development NORMAL TONE - ARTISTIC SINCINC 336 West 72nd St L.R Macdonald. Sec’» Phone 5791 Columbus, New York Summer Address: New Clasgow, Nova Scotia, Canada Muster M VOICE Builder B Coach 11 HEOI 10 IRI s CHROEDER “IP Jilt־. anb Jfflrs¡. ®bomas! James Eellp TEACHERS OF ARTISTIC SINGING Season 1922-23 Cincinnati Conservatory of Music II № ICl ii El IN g WHAT THE PRESS SAYS N “A contralto of fine volume and golden qual-T ¡ty.”_New York Times. L “Sang with glorious freedom of expression, X much delicacy, exquisite tone color and great ° refinement.”—Toronto Daily Star. Several Open Dates Available Enroute PRINCESS Now Engaged on Eighth Transcontinental Tour CHARLES WAKEFIELD CADMAN «״“TSIANINA Foremost American Composer-Pianist Celebrated American Indian Soprano “THE GREATEST AND MOST FASCINATING CONCERT OF AMERICAN MUSIC EVER HEARD HERE” 68 Engagements Present Season—25 Engagements Already Contracted 1923-24 WIRE OR WRITE, DAVID F. BALSZ, 2847 NORTH GRAND BLVD., ST. LOUIS, MO.