February 22, 1923
38
I SEE THAT
Willem Van Hoogstraten will succeed Josef Stransky as conductor of the Philharmonic Society of New York.
Handel was born February 23, 238 years ago tomorrow.
Vladimir Dubinsky has opened a studio in Rochester for teaching the art of chamber music. This is said to be the first class of its kind formed there.
Titta Ruffo has finished his season at the Metropolitan and is now touring in concert.
Lillian T. Johnston is one of Chicago’s successful vocal teachers.
The New York Music Week Association will hereafter have charge of the observance of Music Week in New York.
Charles Hackett was given an ovation at his first appearance of the season at the Teatro Liceo, Barcelona.
Henrietta M. Rees, music editor of the Omaha Bee, is spending a fortnight in New York.
An audience of 10,000 heard Daisy Krey when she sang recently in Brooklyn.
William Simmons entertained many prominent musicians at his New York studios on February 7.
Armand Tokatyan, tenor, made a promising debut at the Metropolitan in Anima Allegra.
The Harcum School prepares girls for Bryn Mawr, Vassar, Smith, Mount Holyoke, Wellesley, etc.
Olga Samaroff will be soloist with the Philharmonic Orchestra under Mengelberg on March 1 and 2.
Albany is to have a new music association, to be known as the Albany Association Glee Club.
Arthur Hackett has completely recovered from an attack of appendicitis.
Guiomar Novaes, the Brazilian pianist, is having an unusually busy concert season in the United States.
A tentative program of the Music Supervisors’ National Conference in Cleveland will be found on page 58.
Mischa Elman will give his fourth New York recital at the Hippodrome on the evening of February 25.
Mieczyslaw Munz, the Polish pianist, sailed for Havana recently, to be gone until the end of the month.
Cecil Arden sang for the Music Students’ League on February 4.
Arrangements have been made for Jascha Heifetz to make a tour of the Orient this coming summer and fall.
Artur Schnabel will give a private series of subscription recitals at the David Mannes Music School.
Opera, a new magazine, has just made its London debut.
The dates for the Lindsborg Festival are March 25 to April 1.
Ernest Davis has been winning success filling concert dates at short notice.
Johanna Gadski and Ashley Pettis will appear in concert at the DeWitt Clinton Auditorium on February 25.
Washington, D. C., may hear three performances by the Metropolitan Opera Company in April.
Commencing June 1, May Peterson will be under the exclusive management of Haensel & Jones.
Maria Carreras will give another New York recital at Aeolian Hall on February 26.
The Elizabethan Music Competitive Festival in London will take place in March.
Word comes from Vienna that Weingartner is entangled in no less than four law suits brought against him by former officials of the Vienna Volksoper.
Offenbach has been made the hero of an opera by Karl Wiegand, poet, and Oskar Ulmer, composer.
Ganna Walska’s concert tour was scheduled to commence last Monday in Elmira, N. Y.
Marcus Loew has engaged Dorothy Jardon for two of his theaters, in San Francisco and Los Angeles.
Eighty per cent, of Frieda Hempel’s engagements for next season have already been booked.
The London Women’s Symphony Orchestra is the name .of a new organization in London.
After twenty-five years of service, Prof. Anton von Fuchs has resigned as stage-manager of the Munich Opera.
Mona Lisa will have its first American performance at the Metropolitan on the evening of March 1.
The income from the ten million-dollar Juilliard Foundation is now available.
Clara E. Thoms came from St. Louis to present Marshall Reed, heroic tenor, for a metropolitan hearing.
The International Music Exhibition will be held at the Crystal Palace, London, from June 8 to 30.
Dr. Dickinson’s Tuesday afternoon lecture recitals at Union Theological Seminary are drawing large crowds.
Conductor Moerike, of the German Wagner operas, was a member of the New York Symphony a dozen years ago.
Elizabeth J. Edwards, daughter of Senator Edwards, made her debut in concert with the Mozart Society.
Mabel Ritch, contralto, has sung Stabat Mater a dozen times within a month.
Galli-Curci was a guest at a recent Friday musicale held by Emma Thursby.
Commissioner Berolzheimer has sent to Mayor Hylan a report of the committee on licensing music teachers.
Helen Teschner Tas, violinist, will play several little-known works at her forthcoming New York recital.
Josef Fuchs, after a tour of Europe which lasted over a year, is enroute to America.
Bruno Walter registered a dignified success at his debut in New York as conductor.
Owing to engagements in Europe, Albert Spalding has declined a tour of forty concerts in South America.
The Philadelphia Orchestra will introduce a new work by Schelling in Carnegie Hall on February 27.
Benno Kantrowitz is the possessor of a large number of treasures which he gathered in Leipsic.
Anna Reichl is the name of another Soder-Hueck pupil now before the public.
Marguerita Sylva has gone to Cuba.
Frederick Gunster scored a success at his recent appearance in Atlanta, Ga.
Ruth Posselt, an eight-year-old violinist, will give a recital in Carnegie Hall on March 6.
The judges have been announced for the Intercollegiate Glee Club Contest.
The National Opera Club is to give a program via radio.
G. N.
MUSICAL COURIER
followed, made up of Fourdrain’s Alger le Soir, Lenormand’s Djelai {Hindoo love song), and Massenet’s Adieu petite table (Manon). After the intermission Mme. Sylva added another group—Pfitzner’s Sonst, Stevenson’s Salutation of the Dawn and Bilotti’s All From Thee (MS.)—these being followed later by two old Spanish folk songs—Seguidilla Calesera and Nana (by request)—and La Oracion de los Campanos by J. R. Gomis. It ought to be added here that Mme. Sylva was especially fascinating in these Spanish numbers. The audience, as already stated, was most enthusiastic and showed its keen delight in all she offered.
Mrs. Florence Otis deserves credit for her delightful incidental solos with the chorus. Alice M. Shaw, the club’s regular accompanist, was at the piano and Louis R. Dressier at the organ. Mrs. William Rogers Chapman, president of the club, proved a royal hostess later when the social hour followed. Dancing lasted until past midnight.
Lindsborg Festival March 25 to April 1
Frances Alda, soprano of the Metropolitan Opera Company, will open the annual Messiah Festival at Lindsborg, Kans., on Sunday afternoon, March 25. The Handel work will be presented by the well known Lindsborg chorus of 500 voices on the evenings of March 25, 30 and April 1. The Bethany Symphony Orchestra will furnish the accompaniment. The soloists will include Winifred Dewitt, contralto ; Hazel Silver Rickel, soprano; Byron Hudson, tenor, and Edgar Fowlston, basso. There will be eighteen or twenty concerts, recitals, and contests during the week. Sigrid Onegin will give a recital on April 1.
Mme. Sylva to Sing in Cuba
Marguerita Sylva left New York for Cuba on February 17, where she is to stay for several weeks. She will give one of her at home recitals there on March 7. It is possible that during her stay there, she may appear in her famous role of Carmen with the San Carlo Opera Company which soon opens its Havana season.
Cecil Arden Sings at New York Concert
Cecil Arden, of the Metropolitan Opera, sang two groups of^ songs on February 10 at the Hotel Astor, the occasion being the annual meeting of the New York Alumni Association of the Potsdam State Normal School. Miss Arden sang selections by Mozart, Rabey, Arne, Leoni, Buzzi-Pec-cia, and several Spanish folk songs.
The Frankfort Festival
In addition to the list of European festivals which was printed recently in the columns of the Musical Courier, there is also to be one in Frankfort, Germany. This is scheduled to take place from June 17 to June 24.
Henrietta Rees Here
Henrietta M. .Rees, musical editor of the Omaha Bee, is a New York, visitor, and will spend a fortnight here, attending concerts and opera.
Rubinstein Club Concert
Another of the delightful Rubinstein Club affairs attracted a large audience to the Waldorf-Astoria Hotel on Tuesday evening, February 13. It was the club’s second private concert and under the direction of William Rogers Chapman, a splendid musical program was offered.
The club opened the program with Gretchaninoff’s My Native Land, in which the voices blended superbly and some fine effects were accomplished. Husheen, by Alicia Needham, followed and again the audience showed its delight in loud applause. Friend, by Clara Novello Davies, proved a stirring piece worthy of a great many more hearings. Debussy’s Romance, Webbe’s Hide and Seek, Spross’ Invocation to Life, Coleridge-Taylor’s Candle Lightin’ Time, Bishop’s Evening Brings Rest and You and Parlow’s arrangement of The Dawn is Breaking were the other choral numbers. Conductor Chapman has trained these voices to do exactly as he wishes and the results he obtained speak volumes for his leadership.
The soloist was Marguerita Sylva, who in costume sang her various numbers so beautifully that she was obliged to add many additional selections. The aria from Gluck’s Orpheus was splendidly done as was also the group that
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An Easter Song
by
SAMUEL RICHARDS GAINES
High, G........................60
Medium, F......................60
Low, Eb........................60
With Violin obbl. ad lib.
By the same composer
“AN EASTER ALLELUIA״
Duet for a
High and Low Voice.....60
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Rumanian Violinist Receives Ovation On Last Appearance With Boston Symphony Orchestra
“Georges Enesco, the Rumanian composer, playing Brahms’ violin concerto with the Boston Symphony Orchestra last evening in Carnegie Hall, received one of those rarely earned ovations whereof ,the votes should be weighed and not counted.’ The high musician-ship of this great man, most modest of the season’s guests, has hardly been more finely shown at recent appearances in recital or as conductor with other forces.
“Motionless as a statue, denying all personal display, he made of the calm and lofty concerto no mere show piece. Instead, he restored to it, with all its dignity, a certain individuality of rhythm, transforming many a fiddler’s phrase in the rhapsodic manner of tempo rubato known to Europe’s southeast. It was racy but reverent Brahms playing, and the adagio’s contrast midway was one of the notable performances of many years.—■New York Times.
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