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MUSICAL COURIER
WHEN IN BERLIN
please register at the office of the Musical Courier, Schel-ling Strasse 9, so that our correspondents throughout Europe can be of service and assistance to you wherever you may sing or play, or just visit.
in importance. This is regrettable, as she is acknowledged a well schooled singer, having had tuition under the best pedagogues, including William Shakespeare and David Bispham. She is a disciple of Albert E. Ruff, the noted science voice builder, and when he was drafted by New York City she it was who took over his large clientele of pupils at his request. Since Mrs. Johnston’s recent return to Chicago, after her summer work at Flint, Mich., where she was kept busy with her teaching and many singing engagements, she has occupied the same studio in the Metropolitan Conservatory, Chicago.
National Opera Club to Give Radio Program
Baroness von Klenner, founder and president of the National Opera Club of America, has arranged for WEAF radio broadcasting on the evening of February 26, of a program in which artists of the club will take part, including herself, in a talk on opera in America. Mme. dePas-quali, who has returned from operatic triumphs in Italy, and Yakova Loukin, baritone, will give excerpts from Pag-liacci, and the Opera Choral, under Signor Sapio, will sing choruses. The time set is 8 to 10 p. m.
parent, marking it extensively, one hand sometimes playing on two manuals, a thing impossible in Mendelssohn’s time, for the keyboards were too far apart. The excited introduction to" Act II, in polonaise tempo, has individuality, with crashing chords and brilliancy; some Far East echoes are found in the middle section, with grand climax and pompous close.	F. W. R.
Lillian T. Johnston a Successful Teacher
It is conceded by many that Lillian T. Johnston has established herself firmly as a distinct force in the teaching field
LILLIAN T. JOHNSTON
in Chicago. This opinion is reinforced by the evidence of her work, which has grown from year to year until the expansion has taken all of her time both night and day, which means that her work in the concert field, where she is accorded a high place, has had to be made secondary
February 2 2, 1922
by Gibson-Butler. Salon music for students of the intermediate grades. Tuneful and effective.
Idols of Ind is a collection of five fanciful pictures describing the Gods of the Orient, by Jean Le CJercq. Interesting, colorful and full of atmosphere. Students’ recital piano pieces for advanced grades.	M. J.
{Boosey & Co., New York and London)
KASHMIRI SONG (Arranged for the Piano)
By Amy Woodforde-Finden KASHMIRI SONG (Arranged for the Violin)
By Spencer Dyke
One of the most beautiful songs ever written is Amy Woodforde-Finden’s Pale Hands I Loved, or Kashmiri Song, from her cycle of songs, Indian Love Lyrics, and not so long ago the composer arranged it as a piano solo for the intermediate grades. Later Spencer Dyke arranged the same melody for violin. It is very easy, in first position. He begins with the violin carrying the melody as written in the song, then later playing an octave higher. These are always popular with students. New edition.
(JP. and J. Chester, Ltd., London)
LA CIMAROSIANA (Suite for Piano)
•By Malipiero, Arranged in This Form by Eric Blom
Malipiero took five little things of Cimarosa and fixed them over for orchestra. Doubtless they would be interesting to hear in that form. Eric Blom took Malipiero’s score and made it back for the piano. The result sounds much like Cimarosa, with a few furbelows and frills. It is nice, agreeable, cool, pleasant music, though nothing to get very excited over. If you can close your eyes and tell it from Mozart, you are entitled to the brown derby.
H. o. o.
New Music
(Willis Music Co., Cincinnati)
WHEN PETER JACKSON PREACHED Poem by Vachel Lindsay, Music by Louise Snodgrass
This is a fine American song. It ought to make a big hit, and it will. For there is still an American public in America, still a few hangers on of the old guard not yet driven out by the foreign invasion, and they will love this song. It is a plain statement, a perfectly plain, bald statement. That is the best thing about it: no evasions or affectations. It will get _ by. It will go wherever American singers go, and it will get into American homes, among Americans who will understand exactly what jt means and what it is all about. This is a prophecy. It is a safe one.
(Carl Fischer, New York)
MEMORIES (for Violin and Piano)
By Richard Czerwonky
This is a charming little piece, a folk song, perfectly simple, a useful exercise in double stopping. The first part of the melody is played all in thirds, the second phrase runs up to the third position, then there is a repetition of the first and a series of harmonics at the end. A useful and valuable little piece.	F. P.
(/. Fischer & Brother, New York and Birmingham, Eng.)
CANZONETTA (for Organ)
By S. Marguerite Maitland IN FRIENDSHIP’S GARDEN (for Organ)
By Rollo F. Maitland
The Maitlands, father and daughter, prominent in the musical life of Philadelphia, compose in natural, free-flowing fashion, the canzonetta being a cheerful, almost child-like melody in E, a reiterated pedal-bass coming^ later, with syncopated chords; then follows a slower portion in minor, sweetly sad, and ending as it began.
The “Garden” piece is expressive, broader in _ outline, with plentiful modulation, an animated middle section, and soft finish, all nice music. The pieces are dedicated respectively to Charles M. Courboin and James Robert Gillette.
SPANISH MILITARY MARCH (for Organ)
By Humphrey J. Stewart
This is the composer’s own transcription of the march from his music-drama, Gold, produced by the Bohemian club of San Francisco in the summer of 1916, at the annual Grove Play. The libretto is by F. S. Myrtle, and the story is based on the early days of Spanish occupation, this march describing in music the entry of the exploring party, led by a company of soldiers. Of course,^ it is bold, big, good, natural, spontaneous music, beginning with bugle calls, a forceful melody in minor, with a quiet trio in neighboring key. Much of it is made of staccato chords, and it closes brilliantly. But the only thing Spanish about it is its name!
(G. Schirmer, Inc., New York)
TOWARD EVENING (for Piano)
By A. Walter Kramer
The unusual and artistic green and yellow sketch, encircled, at the top of this pastoral piece, attracts attention, and the music inside continues this attention, for it is all very unusual in freedom of harmony and melody. Hardly two measures are in the same key; from all of which it may be gathered that composer Kramer is treading the paths of the modernists, who find in America many followers, for we are folks who like whatever is new, whether it has merit or not! Dedicated to “Der Allerschoensten,” which probably means his new wife.
(Oliver Ditson Company, Boston, New York, Chicago, London)
INTERMEZZO AND INTRODUCTION TO ACT II (from Cleopatra’s Night, for Organ)
Opera by Henry Hadley
Of the few American composers who have heard their operas produced at the Metropolitan Opera House, Henry Hadley is distinguished. This composer, conductor, former organist, etc., keeps at it everlastingly, publishing music in all forms. Gordon Balch Nevin has arranged the two excerpts from his latest opera for organ in practical fashion, so that the molidious simplicity of the intermezzo is ap-