February 15, 1923
MUSICAL COURIER
36
GIUSEPPE
BOGHETTI,
New York and Philadelphia vocal teacher, whose artist pupils are busy concertizing. Anna Adams is filling engagements in Philadelphia, North Wales, Lansdale and Bad field, Pa., and Marion Anderson has sung with success in Youngstown and Cleveland, Ohio; Chicago, III.; Columbia, St. Louis and Kansas City, Mo.; Huntington and Charlestown, W. Va. Lisa Roma, another Boghetti artist who gave a highly interesting and successful recital at Witherspoon Hall, Philadelphia, will go to Italy in the spring to sing in opera there.
whose contralto voice is much admired, gave pleasure in two songs. Florence Nelson added much to the enjoyment of the program with some lovely children’s songs and two Indian numbers. One of the best liked numbers of the afternoon was the duet from Madame Butterfly, sung by two artist-pupils, Lillian Crosman and Sarah Edwards, to which they gave Mighty Lak’ a Rose as an encore. Clear diction was a notable feature in the singing of each one of the Morrill artists. Efficient accompaniments were furnished by Irma Grange.
The next musicale will take place on February 18, at which time Grace Nott will be heard in some interesting songs. Mme. Nyssens also will sing. Miss Nott presented a program with success in York, Pa., on January IS.
“Kelly—the Great Revealer”
Many pleasant things have been said of the work and the art of Thomas James Kelly, but it remained for August O. Palm, music critic of the Cincinnati Enquirer, whose brilliant writings are eagerly looked for, to coin just the phrase which perhaps best describes the work of Mr. Kelly in his artistic career.
It came in this way: Mr. Kelly has been for several years one of the leading artist-teachers of the Cincinnati Conservatory of Music, and while his work, through increasing demands on his time, has been lately confined to his teaching of singing and a few recitals of rare songs with his talented wife, he has been prevailed upon to continue his work with the Cincinnati Symphony Orchestra as the interpreter for the Young People’s Concerts. Those who had heard Mr. Kelly’s splendid interpretations of song-literature were not surprised when he made such a brilliant success of this feature of his work, and after a recent concert—the first Young People’s Concert conducted by Fritz Reiner, the i!ew conductor of the Cincinnati Symphony Orchestra—Mr. Palm said in the Enquirer the next morning: “Mr. Kelly long since has proved himself admirably fitted for his work as the great revealer. He sets about to gain the interest and the sympathy of the child—furrows the ground, as it were —so that the musical seed can fall on fertile soil. He succeeds admirably.”
Crooks to Sing at Halifax Festival
Richard'Crooks, the season’s new tenor, who has scored so substantially in concert and recital everywhere he has sung, has been engaged for the Halifax, N. S., Music Festival, April 9, 10 and 11. The works to be given are Saint-Saëns’ Samson and Delilah in concert form, the Verdi Requiem, and a miscellaneous concert program. He will sing Gounod’s Redemption with the noted Boston Handel and Haydn Society that month.
Mr. Crooks has already appeared seven times this season as soloist with the New York Symphony Orchestra, under Walter Damrosch, in New York and on tour.
Four Gescheidt Artists Successful in Baltimore
Della Samoloff, nineteen-year-old dramatic soprano, was soloist for two weeks, December 25 to January 8, at the Rivoli Theater, Baltimore. Irene Williams and Judson House gave a performance in Cosi Fan Tutte with the Hin-shaw Opera Co., January 4. Richard Crooks, twenty-two-year-old tenor, appeared in a joint recital with Siloti, pianist, on January 16. This registers four Adelaide Gescheidt pupils’ success in Baltimore within four weeks.
ren. The Beethoven quartet was played with the perfection of style and refinement of tone for which the Flonzaleys are famous.
Cleveland Institute of Music Recital.
A recital was given at the Institute of Music by Carlton Cooley, violinist, and Erna Banks, pianist, of the Institute faculty. These recitals are open to all music lovers as well as students of the institute. Beryl Rubinstein of the faculty was soloist on Tuesday evening, January 23, with the Detroit Symphony Orchestra in Buffalo, playing the Spanish rhapsody of Liszt.	M. B. P.
Interesting Musicales at Morrill Studios
Great interest has been manifested in the musicales held this season at the New York studios of Laura E. Morrill. At the one on January 21 Grace Nott, Leah Lannamann and
LAURA E. MORRILL,
vocal teacher of New York.
Florence Gauggel opened the program with some beautiful trio work, their voices blending exquisitely. Florence Mc-Cullagh-Cole sang the Robin Woman’s Song from Cadman’s Shanewis, and displayed more dramatic ability than ,she had on former occasions. Later in the program her lovely lyric voice was heard to advantage in four songs. Mrs. Lannamann, among other numbers, sang Dawn by Curran and well merited the applause she received. Miss Gauggel,
CLEVELAND’S MUSICAL
ACTIVITIES NUMEROUS
Elman, George Smith, Josef Hofmann, Maier and Pattison, De Gogorza and Edlin Among Soloists—Organ Recital at the Museum of Art—Chamber Music Society Concerts—The Flonzaley Quartet Welcomed— Cleveland Institute of Music Recital Cleveland, Ohio, February 5.—Cleveland has had its share of excellent concerts this w.nter. About ten thousand greeted Mischa Elman and great enthusiasm was displayed for his fine performance. George Smith, pianist, and Weyert A. Moor, flutist, were soloists at a “pop” concert. The fifth symphony program was made notable by the appearance of Josef Hofmann as soloist who played the Schumann A minor concerto in his usual finished manner. Guy Maier and Lee Pattison, the noted duo-pianists, gave great enjoyment to a large audience in their interesting and admirably rendered program. De Gogorza, baritone, and Lois Edlin, violinist, and Rachmaninoff were also heard in recitals.
Organ Recital at the Museum of Art.
Dr. J. Fred Wolle, of Bethlehem, Pa., gave a recital of Bach’s organ music at the Museum that drew an audience composed largely of musicians or patrons of music. There were comparatively few outsiders present. Dr. Wolle’s fame as an exponent of Bach is established and his playing, as well as the widely varied character of selections presented, was appreciated.
Chamber Music Society Concerts.
Owing to the serious illness of Mr. Lifschey of the Cleveland String Quartet, the local organization has appeared only once this season. Happily Mr. Lifschey is now fully recovered_ and has resumed his place as principal of the viola section of the orchestra as well as in the quartet.
The second concert of the series was given by the Detroit String Quartet with Gabrilowitsch at the piano and Gaston Brohon playing the bass viol in the Schubert quintet in J\ major, op. 114 (Forellen), for piano, violin, viola, cello and contra bass. The opening number, Beethoven’s quartet in C m.nor, op. 18, No. 4, proved somewhat of a disappointment. Ilya Schkolnik, first violin, lacked authority to a noticeable degree. Herman Kolodkin, viola, was easily the best player of the quartet. Three Idylls by Frank Bridges were novelties of more or less musical value. Gaston Brohon proved to be a superior player of the string-bass, and the Schubert offering was in the nature of a novelty. The admirers of Gabrilowitsch tried their best to secure an added number from him but he modestly refused to separate himself from his colleagues.
A program of charm and interest was given at the residence of Dr. and Mrs. Charles Edwin Briggs, the first of the private concerts given by the Chamber Music Society. The Oberlin Trio, consisting of Mrs. William Mason Bennett, piano; Maurice Koessler, violin; and Friedrich Groener, cello, played the Beethoven trio, op. 1, No. 1, three movements from the Dumky trio by Dvorak, and Trio Elegiacque by Rachmaninoff.
The Flonzaley Quartet Welcomed.
No visiting organization ever is more warmly welcomed than.the Flonzaleys. As usual they brought forward a musical. novelty of worth. The offering on this occasion was by Arnold Bax, a young English composer of unusual tal-ent. While modern, he writes with grace and a delicacy quite lacking in the dissonant outbursts of so many of his breth-
CHARLES TROWBRIDGE
TITTMANN
BASSO
Sings in Haydn’s Creation with
Baltimore Oratorio Society
JOSEPH PACHE, Conductor—Feb. 20
Comments on Past Creation Appearances
Charles Tittmann, bass, doubtless made the most favorable impression on the vast audience. He has a wonderful voice, range, absolute trueness and sureness, strength and pleasing full rounded quality. His artistic interpretation was as great as his voice was magnificent.—Daily Sentinel, Bowling Green, Ohio.
Mr. Tittmann easily carried off the honors of the occasion. _ He was in exceptionally fine voice, delivering his recitatives with authority and good diction and especially in the aria “Now Heaven in Fullest Glory Shone,” singing with smooth phrasing.—Washington, D. C., Star.
For Recitals, Oratorio, Festival Address Personally
1718 Connecticut Avc. Washington, D. C.
Washington to Hear Kindler March 2
Hans Kindler, following his appearances in Philadelphia, Harrisburg, Pa., and Baltimore, will be heard in joint recital with Helena Marsh in Washington, D. C, on March 2.
Noted Conductors at Philharmonic Concert
Ossip Gabrilowitsch, Bruno Walter and Theodore Spiering were seen in a box at the Sunday afternoon Philharmonic concert which was conducted by Mengelberg.
HAZEL
WEGNER BACHSCHMID
COLORATURA SOPRANO
Concert	Recitals	Oratorio
“The Voice of Quality, Brilliancy, and Unlimited Range”
Management ol HAZEL BACHSCHMID, 93S Pa. Avenue. N. W.	Washington. D. C