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MUSICAL COURIER
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“The Artist Stieff” is one of the few musical instruments still made according to the fine old art of piano building. The “Stieff Tone” is famous with the artists of three generations. It is the voice of the Stieff alone. It is inimitable.
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and with much operatic experience, her command of stage technic and deportment has added materially to her ability to enhance a naturally resplendent stage presence. Her appeal invariably comes as an entirely new vocal sensation from a singer with a distinctive message. Such is her power over audiences that she is able to sway them to her own mood.	S. K.
Many February Dates for Schumann Heink
Tampa and St. Petersburg (Fla.), Birmingham (Ala.), Greenwood (Miss.), Bowling Green (Ky.), St. Louis (Mo.), Muskogee and Tulsa (Okla.), Fort Smith and Little Rock (Ark.) will be the cities to hear Ernestine Schumann Heink during the month of February. The diva, completely recovered from her recent serious illness, is once more establishing new records for popularity and sold-out houses.
A Busy Fortnight for Samaroff
Beginning with an appearance at Philadelphia on February 13, Olga Samaroff has a busy fortnight ahead. On February IS she will be heard in Harrisburg, on February 19 in Philadelphia again, on February 20 in Beaver Falls and on February 24 in Niagara Falls.
Keener Returns from Canada
Suzanne Keener, coloratura soprano of the Metropolitan Opera Company, has returned from Canada where she gave a number of concerts with much success. Since returning, she has appeared in Cleveland, Pittsburgh and New Wilmington.
Gunster for Syracuse Festival
Frederick Gunster, the American tenor, has been engaged for a performance of The Seasons (Haydn) at the Syracuse Festival, May 1. ׳Mr. Gunster is at present on a recital tour in the South.
Mrs. Hareum Entertains
Mrs. Hareum, of the Hareum School, Bryn Mawr, Pa., will entertain at dinner in honor of Count Victor de Wierz-bicki before his lecture on French Literature Since 1914.
wegian Government as this year’s candidate for the Nobel Prize. She has become famous in Russia for her work in rescuing thousands of war prisoners exposed to the hardships of Siberia. It is in their interest that she is here in America lecturing.
Evans and Salter to Manage D’Alvarez
Marguerite D’Alvarez, the contralto, will be under the exclusive management of Evans and Salter next season. With this addition, they will have four of the biggest artists before the public today—Amelita Galli-Curci, Tito Schipa, Josef Lhevinne and Marguerite D’Alvarez.
Mme. D’Alvarez is well known in this country and abroad. Her fame and popularity are. coincident both with opera and concert. Her tours, covering the leading musical centers of the world, have been of a sensational order, while the echoes of her triumphs have reverberated around the globe. Last season was the busiest, also the most notable, of her remarkable career. All peoples and individuals have rendered tribute to the exceptional talent of this exceptional artist, who has heen blessed with a voice of such engaging quality as to incite most fulsome praise—a voice that delights the connoisseur and the dillettante and which has been alluded to as “A Miracle of Nature,” because of its supernatural elements.
That she lives in her songs and that they live again in her is probably the simplest way in which to convey her power of fascination upon an audience. Due to her inalienable heritage of temperament, brilliancy and grace, as well as numerous and divers opportunities of culture, education and environment, she brings to her interpretations a composite of those attributes that enables her to rise above things mundane and thereby transport those who look and listen to ethereal realms. With everything to offer, including an absolute homogeneity of register and scale, it is only natural for her to catch the inner meaning of a song and transmit it with equal intensity to the listener.
Had she been American or English ׳born it might not have been possible to record that statement, for the desire to express emotion externally is less pronounced with these races than with Latins, because the Anglo-Saxon conceals emotional display. In this Mme. D’Alvarez has an advantage. Although a native of England, where she was born during the residence there of her father (Marquis Alvarez venere de Lobaton) as Peruvian minister, she is a real daughter of the Incas through her grandmother, who was the last queen of :that extinct line. Having travelled extensively
February 15, 1923
Nyiregyhazi’s Tonal Knockout
Nyiregyhazi’s triumphs continue on the Pacific Coast. The following appeared in the Los Angeles Record:
First, Nyiregyhazi won his audience. Then in its infectious enthusiasm the audience won him. Then in mutual admiration the two lingered on, paying homage to the masters, the pianist playing encore after encore to the delight of thousands.
No artist has so ruthlessly and savagely assaulted the keyboard in Los Angeles as did this young Hungarian Monday night. But in spite of his unrelenting power, he managed to keep his instrument singing. Great volumes of tone engulfed the Auditorium, but it was pure tone. Nyiregyhazi was not just an energetic thunderer.
Sitting stilly erect, with hands that moved in machine-like and flawless rhythm, the pianist hammered out the Bach-Busoni Toccata in D Minor with a virtuosity that dazzled his audience. Before it could recover, he had his instrument alternately rippling and shouting with that peculiar hard brilliance that is Nyiregyhazi’s own in a Liszt arrangement of Schubert’s Wandererfantasie. It was surprising!
The Scriabin numbers were masterly. The pianist actually plucked new musical values out of the Poeme in F sharp, op. 32, making the strings yield sounds not in the traditional category. Glittering flame points projected themselves through the crashing pyrotechnics of the Poeme Satanique, op. 36. It sounds like exaggeration, but it is simple fact.
The Liszt Rigoletto Paraphrase was a total knockout. Runs, trills, arpeggios, smashing octaves, all intermingled in a way that will send any house in America wild.
The fluency of the Chopin Mazurkas was amazing. The program proper closed with Percy Grainger’s arrangement of Tschaikowsky’s Flower Valse—a succession of intoxicants in heavy rhythms and of technical marvel after marvel.
The longer Nyiregyhazi played the more spontaneous of mood he became.
And, oh boy! Talk about your cornet triple tonguing! Did you ever hear anyone get away with that sort of thing better than Nyiregyhazi in Schubert’s Erl King?
Princess Alice Meets Lancellotti, Her Former Teacher
Chevalier de Lancellotti, piano teacher and operatic coach, who now has a studio .in New York, was delighted- to be remembered by a former pupil of his, Princess Alice of Greece, who is now visiting this country. Princess Alice was a piano pupil of Chevalier de Lancellotti when he was in Malta where, for many years, he was the leading teacher at the Malta center of the Royal Academy of Music and the Royal College of Music of London, and also impresario of the opera companies that played in the Malta. Opera House.
Chevalier de Lancellotti was greatly pleased to receive the following note from Princess Alice:
Dear Chevalier de Lancellotti:
I was away in the country all day yesterday and found your beautiful flowers here _ on my return. I was very much touched and thank you most sincerely.
I did not know that you had left Malta and were over here now. I have always remembered my lessons with you as the most enjoyable ones I have ever had.
I would very much like to see you again, but I supp-ose you are very busy and I do not know what sort of hour would suit you best. Will you only let me know beforehand, so as to be in when you come.
Thanking you once more,
Yours sincerely,
(Signed) Alice, Princess of Greece.
He was received by the Princess, who was visibly touched by their talk of the old days at Malta, where she lived for several years with her parents, the Prince and Princess Louis of Battenberg.
Von Klenner Pupil “Saves the Day”
The Jamestown״ N. Y., Journal of January IS gives an account of a concert of the Mozart Club of that city, telling of Aimee Clayton-Jones’ success as soloist. It begins with the head lines “Mrs. Jones Saves the Day,” following this with “Singing of Jamestown Woman Easily the Feature of the Mozart Club Last Saturday Morning—Voice of Wide Range—Great Power—Richness of Quality.” Part of the article read:
The singing of Mrs. Clayton-Jones was easily the feature of the program. She achieved an artistic success in the aria, Ah Rendimi (Rossi). She has lately returned from studying with Mme. Katharine Evans von Klenner. She sang the aria with full tone, great flexibility in the allegro movements, and with much emotional expression. It was really a most excellent rendition. She received genuine and spontaneous applause.
Mme. Cahier to Sing Often in New York
Mme. Charles Cahier, whose first New York recital—a most decided success—took place on Monday, February 5, and is reviewed on another page of the Musical Courier, announces a second recital for the afternoon of March 16, this time in Aeolian Hall. Mme. Cahier, an American by birth, who is planning her first season in her native land after a career of eighteen years abroad, is singing not less that five times in six weeks in New York, with the Friends of Music (December 31 and February 25), with the Beethoven Association (January 8), at Miss Brandstrom’s lecture (February 9), and in her own two recitals (February 5 and March 9).
Miss Brandstrom is a daughter of the Swedish Ambassador at Petrograd, and has been nominated by the Nor-
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