February 22, 1022
44
MUSICAL COURIER
New York Concert Announcements
Thursday, February 22
Reinald Werrenrath, song recital,	afternoon........Carnegie	Hall
Philharmonic Society of New York,	evening..........Carnegie	Hall
Louis Graveure, song recital, afternoon..............Aeolian Hall
Allred Cortot, piano recital, evening................Aeolian Hall
Friday, February 23
Philharmonic Society of New York,	afternoon........Carnegie	Hall
Helen leschner Tas, violin recital,	evening..........Aeolian	Hall
Saturday, February 24
Fritz Kreisler, violin recital, afternoon..........Carnegie Hall
City Symphony, evening .............................Carnegie Hall
Cuiomar Novaes, piano recital, afternoon.............Aeolian Hall
Institute of Musical Art, evening...................Aeolian Hall
Arthur Rubinstein, piano recital, afternoon............Town Hall
Sunday, February 25	*
Philharmonic Society of New York, afternoon.........Carnegie Hall
Josef Shlisky and Patterson Choir, evening..........Carnegie Hall
Rosing, song recital, afternoon......................Aeolian Hall
Society of the Friends of Music, afternoon............  Town	Hall
Emmet O’Toole, song recital, evening................... Town	Hall
Mischa Elman, violin recital, evening.................Hippodrome
City Symphony, afternoon ........................Century Theater
Oladice Monsson, song recital, evening...........Belmont Theater
Monday, February 26
Winnipeg Male Voice Choir, evening..................Carnegie	Hall
Carreras, piano recital, afternoon...............  ..Aeolian	Hall
Clara Miceli, song recital, evening.................Aeolian Hall
Tuesday, February 27
Philadelphia Orchestra, evening....................Carnegie Hall
Beryl Rubinstein, piano recital, afternoon..........Aeolian Hall
Erwin Nyiregyhazi, piano recital, evening............Aeolian Hall
Ruth St. Denis, Ted Shawn and Denishawn Dancers, evening,
r,, ...	.	Town Hall
Philharmonic Society of New York, evening,
Metropolitan Opera House
Wednesday, February 28
City Symphony, afternoon .............................Town Hall
Beatrice Martin, song recital, evening................Town Hall
contralto the same dictionary says “the lowest female voice: also alto apparently makes the two terms interchangeable. The regular dictionary has to say of alto that “it is the male voice of the highest pitch, and not the lowest female voice, which is properly contralto, though in printed music the second part in a quartet is always called alto. Contralto is described as “the deepest and lowest species of musical voice in women.”
Mastering the Violin.
It is said that if you can master a violin, you can learn to play any instrument easily. Is this true? And if so, why?”
A violinist says: “The violin is the most difficult of instruments to master, from the fact that the player has to make the tone for himself. Having found the tone, it has to be perfected in every way, intonation of course taking first, rank. Then there must lie added to that, grace in handling the instrument, in bowing and in fingering; accuracy and beauty of the tone produced. This all takes great care and study. The ear has its training to detect any fault in the perfection of tone, and when the student has attained all these qualities, the playing of any other instrument comes easier.” Of course the viola and cello come under the same category, being stringed instruments.
Sylvia Lent Debut March 5
Sylvia Lent, who has the honor of being the first student to come under !the influence of Leopold Auer after his arrival in this country, will give a recital in Aeolian Hall on Monday afternoon, March 5. Miss Lent has won great success in Europe, having played in a number of the musical centers over there during the past year. She was born in Washington, D. C., and her first lessons were received from her father, Ernest Lent, a well known musician in that_ city. Later she studied with Ovide Musin, Franz Kneisel and Alton Wielc, remembered as concertmaster of the Boston Symphony Orchestra.
Rosing Recital February 25
Rosing, the Russian tenor, is giving his second New York recital on Sunday afternoon, February 25, at Aeolian Hall. His program includes songs of Love, God, Nature, War, Joy and Satire.
GRACE WOOD
JESS
America s Createst Interpreter of
FOLK SONGS
in COSTUME OF THE PERIOD Management: Frederick Shipman
Gertrude Lang’s Success in Blossom Time
When Gertrude Lang made her debut at the Century Theater in Blossom Time, the critics immediately acclaimed her a possible “New Shubert Star.” Not eight months previous this remarkable young woman sang at the Capitol Theater, and now, after a brief season in the Passing
Leman Pupil Wins Prize
Oscar Langman, violinist, won the second prize in the recent competition held by the Philadelphia Music Club. He is a pupil of J. W. F. Leman, conductor of the Women’s Orchestra of Philadelphia.
Rosenblatt Still Singing Yohrzeit
Cantor Josef Rosenblatt is still programming Rhea Sil-berta’s Yohrzeit, with which he has had much success.
Maestro A. SEISMIT-DODA The successful exponent of
™	"	UU" the real Italian vocal method
54 West 3dth Street, New York	Phono 4045 Fltz Roy
(Composer, member Royal Academy of St. Cecilia of Rome, Italy; formerly of the faculty vocal and coaching department National Conservatory of Music of New York, and of New York German Conservatory of Music. Chevalier of the Crown of Italy )
ERNEST TOY
Eminent Australian Violinist_______
Small Block of Time Available A priifand: Dec ember ADDRESS:
Management, ERNEST TOY, 4352 Greenwood Ave., Chicago, III.
GERTRUDE LANG
Show of 1922, she has managed to capture that enviable of prima donna roles—the naive and fascinating Mitzi. While there, was little doubt of her success, for she is in possession of a lovely voice, unusual beauty and an extremely winsome personality, few foresaw the absolute enthusiasm with which the audience responded to her charm. Despite the fact she had but one week to acquaint herself with the part, Miss Lang sang the Schubert love songs with rare appeal, her acting betraying nothing of the few rehearsals with which she had been prepared.
The newspaper cratics were exceedingly laudatory. Those privileged to hear her, previous to her triumph in the popular operetta, assured the public that her startling success was not a surprise, since, with her bewildering combination of talents, it could be but a matter of time before her adoption as a popular favorite.
At present the Subway Circuit of Blossom Time, in which Miss Lang appears, is on tour. From time to time the various papers print the fact that she is meeting with no less success on the road than she did in New York.
Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
Pronounciation.
“Please give me the exact pronunciation of Titania, in Thomas’ aria irom Mignon, and very greatly oblige.”
,	>s a French opera, the pronunciation of Titania would
fie iee-tah-nee-yah. In English it is pronounced Ti (the i like i in tick)-tay-nee־ah, although singers sometimes employ the broad A easier and more e.Tective for singing.
Position Wanted.
“I have been advised that you can assist me in obtaining a position as accompanist with an orchestra or soloist. Should your paper have a representative in Florida this winter, I would appreciate a hearing. I studied with Mr. Thalberg of the Cincin-nati Conservatory of Music and am an excellent accompanist. Any advice you can give me would be very much appreciated.”
To obtain a position as accompanist you should put yourself in connect,0״ with some of the agencies which are in that line of work. 1 he Musical Courier does not secure positions. The International Musical and Educational Agency, Carnegie Hall, or Walter Anderson, 1452 Broadway, may be able to give you advice if you write them You of course have press clippings or letters of recommendation from those for whom you have played, copies of which should be sent.
The Originator.
“Will you be kind enough to tell me who it was that originated and inaugurated the Public School Orchestra? Also I should be glad if you could inform me how the work of the public schools in music in the South compares with that done in the North. If you can give me this information I shall appreciate it.”
A leading authority on public school musical matters says that as a matter of fact he does not know the actual originator of the high school orchestra. “Many have claimed this honor, but it is so far m the past that present statistics neither support nor deny the contention of many people.” There are two outstanding cities at present in the support of public school orchestra and band music— Rochester, N. Y., and Oakland, Cal.
The same authority further says: “The North is far in. advance °f the South in all matters of public school music. This is due to the fact that the Southern Boards of Education did not support music until within recent years. However, the progress being made now in the South is remarkable. No one should feel hurt by the comparison of progress, but facts are facts.”
The above gives you a comprehensive opinion.
Indian Music.
“I am due to give an address on the composers of Indian (American) music and folk lore. Could you advise me what literature to get for this, or have you anything on this subject in any back numbers of the Musical Courier? I hope you are not too busy to give me this information. I thank you and hope to hear from you soon.”
Inquiry reveals the fact that there is an enormous mass of literature on the subject of the American Indian music; one who was consulted states that there are hundreds of books. Sending a list of all these would not be of service, as you could not decide which to select. Charles Wakefield Cadman, 2220 Canyon Drive, Hollywood, Cal., is a leading authority on Indian music, who will be able to give you the advice you־ require. If you write to Mr. Cadman he will undoubtedly help you out in any way possible, his interest in the subject being so great.
Alto and Contralto.
“Will you be kind enough to give the difference between alto and contralto. I hear both names used and do not understand whether there is any difference, or whether they both mean the same.”
The Dictionary of Musical Terms was first consulted and the information is, that alto is “the deeper of the two main divisions of women’s voices.” But immediately adds, “the contralto,” and that in Germany a difference is sometimes made between alto and contralto, the latter being reserved for the lower alto voice. For
Alice Garrigue Mott—Edith Allan
One of the most beautiful voices before the public today is that of Edith Allan, from the studio of Alice Garrigue Mott. A coloratura-lyric soprano with a range of three octaves, tones of surprising sweetness and power, Edith Allan has a masterly technic, which renders her singing most delightful. The extremely difficult music is performed without effort, and the young singer is equally gifted with dramatic stage presence.
As prima donna of the Opera in Our Language and the David Bispham Foundation, Edith Allan sang La Corsicana (I. Lewis Broune) on January 4, 1923, when it had its first staging as an opera at the Play House, Chicago, 111. The opera was composed for the Sonsogno Concorso, Milan. It was published in 1905 and has passed through its third presentation in festival concert form. I. Lewis Broune expressed his great satisfaction of Edith Allan’s presentation of Nanna, the title role, saying that he “couldn’t have written a more perfectly suited opera for Edith Allan. Her singing, acting and appearance surpassed his expectations.” Herman Devries, of the Chicago American, writes: “Edith Allan’s Nanna was a creditable and convincing creation, acted and sung with spirit and authority.” Eugene Stenson in the Chicago Journal said: “Singing the title role showed skill in impersonation and ability to fasten the interest of a large audience and a style of singing wholly acceptable. She is a find for the company.” Edith Allan has written her teacher as follows: “The people continue to call me up inquiring where I received my vocal instruction. Same answer always—‘Mme. Alice Garrigue Mott.’ ”
R. S. STOUGHTON’S Best Work Is in his NEW SACRED CANTATA
Comments from choir masters
“Shall order copies at once, and endeavor to be the first to present it.”—Edmund Sereno Ender, Baltimore, Md.
“Quite the best thing I have seen in years.”—
Harry M. Staton, Germantown, Pa.
“It is a splendid contribution • to modern choral works.”—Howard Lyman, Syracuse, N. Y.
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