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MUSICA T. COURIER
interesting and varied program. The seldom heard Widor symphony has in its splendid moments, which were well brought out by organist Farnam, for he has superabundant technic. The d’Antalffy number is of supreme grace, and was beautifully interpreted.
Last Monday’s program (February 19) was as follows: toccata on Ave Maris Stella (Dupre), carillon (Sowerby), sonata No. 2 in C minor (Mark Andrews), The Enchanted Forest (Stoughton), Plegaria (Prayer) (Torres), From God Will I Not Turn, Choral-prelude in F minor (Bach), Petite Pastorale (Ravel), Finale in B flat (Franck).
Her Name Is Mary Jean
“Her name is Mary Jean,” Emma Roberts, the contralto, who in private life is Mrs. Charles Loughhead, announced recently upon being asked how' one should address her new little daughter. “Mary Jean is the kind of name that doesn’t sound as an old-fashioned bat looks when it’s been worn beyond its prime. I think parents, when naming their offspring, should consider the fact that their children aren’t always going to remain dimpled darlings, but will grow double chins and lose their hair and teeth in time. Just imagine an old lady with rheumatism being obliged to sign her name ‘Ruby’ or ‘Pansy,’ or a truculent, red-nosed old man insisting that his name is ‘Junior.’ Parents are far too short-sighted in these matters.
“There is an interesting coincidence connected with the name of my little girl,” Miss Roberts added. “On my husband’s side, for seven generations there has always been a Mary, and their birthdays have all been in December also, like that of my Mary Jean.”
Umberto Sorrentino in Baltimore
Under date of February 12 tenor Umberto Sorrentino sends greetings from the Stafford Hotel, Baltimore. He is on a short tour previous to appearances in New York and vicinity, followed by a tour through the Middle West.
Werrenrath Vacations in Florida
Reinald Werrenrath, prior to his second New York recital, of the season to be given at Carnegie Hall today, Washington’s Birthday, went to Miami Beach, Fla., for a two weeks’ vacation. He was the guest of Carl Fisher at the Flamingo Hotel for a week, after which he took a trip on board James Allison’s yacht, The Sea Horse. Mr. Werrenrath gave a recital during his sojourn at the beach. The baritone returned north a few days prior to his Carnegie Hall recital, to appear in joint concert with Maria Ivogun in Pittsburgh, Pa., February 19. The following day, February 20, he was scheduled to give a recital in Bloomfield, N. J.
NYI REG YH AZI
(Pronounced N EAR-EDGE-HARZ I )
"Highly imaginative artist with creative genius.”—Boston Globe. Management: R. E. JOHNSTON Associates: L. G. BREID and PAUL LONGONE 1451 Broadway, New York City KNABE PIANO USED	AMPICO RECORDS
and who has been in Cleveland this season, recently ׳appeared as soloist in that city with the Orpheus Male Choir. James H. Rogers, of the Cleveland Plain Dealer, spoke of him the following day, as “a performer of outstanding merit. He commands, in abundant measure, all the ׳attributes that make up the familiar catalogue of violinistic virtues. His tone has warmth, volume, carrying power; his technical facility is well developed, and he plays with refinement, and as well, when occasion demands, with buoyancy and verve. Mr. Berkley began with the first movement of the Lalo Symphonic Espagnole, and played it with much skill. But we liked ־him best in his charming voicing of Rimsky-Korsa-koff’s Hymn to the Sun, and in the_ Sarasate Jota Aragonesa. He made the sparks fly in the whirling, pulsing rhythms of the Spanish violinist’s bravura piece.”
Encores—“They Gome In by Mail to Dorma Lee”
The above was the headline in the Newark Star-Eagle after Dorma Lee had sung to thousands in that city, under the management of Gordon Reid. The critic went on to say: “Manager A. Gordon Reid has received over 100 letters requesting an early re-engagement of Miss Lee. Al-thought only twenty-two, Miss Lee has a contralto voice that is rich in quality and wide in range. She first started to sing at the Wilson College at Chambersburg, Pa., and at the outbreak of the war, visited nearly every camp in the South, where she entertained thousands of soldiers. At present Miss Lee is studying under Joseph Regneas, who is one of the best known voice teachers in the country.”
A bit of history regarding this young singer, who is heading for grand opera, makes interesting reading. Her voice attracted the musicians of Pittsburgh, who sent her to Dr. Tertius Noble, organist and music director of the choir at St. Thomas’ Church, New York, for advice and guidance. He in turn placed her in the hands of the well known New York voice teacher and coach, Joseph Regneas. Within a few months Mr. Regneas equipped the young singer to enable her to succeed Mary Potter, the well known Newark contralto, when she left her local church to accept what is said to be the highest salaried church position in America, at the Fifth Church of Christ, Scientist, New York City.
Mr. Regneas predicts for Miss Lee a brilliant career, as she is musically intelligent. Newark has been the place c>f debut for Dorma Lee, as it was for Mary Potter and Louise Hubbard, now leading soloists in New York. All three singers are artist-pupils of Joseph Regneas, who seems to have the faculty of reaching 100 per cent, of those working with him, leading to the greatest success possible for each one.”
Lynnwood Farnam Recital
Mondays in February, 8:15 p. m., Lynnwood Farnam is giving regular recitals at the Church of the Holy Communion, that of February 5, being devoted to French composers, including the novelty in six movements, Les Heures Bourguignonries, by Georges Jacob. February 12, his principal number was Widor’s symphony in B; Drifting Clouds, (d’Antalffy), Pantomine^ (Jepson), Idylle (Rhein-berger), and Divertissement (Vierne), making up a very
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(Continued from Page 59).
and in the crush of eager auditors there was manifest a craning curiosity that very nearly hinted at defiance. Yet the young woman not only made good in every way, but created an enthusiasm that at times was almost frenzied.
There is something in her manner of the jeune filie; she invites personally as well as artistically to ecstatic response. Vocally she may well be spoken of as an apparition. Not since Schumann-Heink was young and in her prime have we heard such a voice in this country. The delightful Onegin sings in her own glorious way, and her recital stands out as a memorable episode.
Her high notes were silvery clear, the mezzo smooth and mellow and the lower notes mighty in their sonority. In any part of her range she is able to swell from the finest pianissimo to a tremendous forte and back to where she started from in a manner that quite surpasses anything that has ever greeted my ear. Such clear and sustained trifling in every degree of nuance seems almost unearthly. A voice, this, which seemingly can compass anything. Its warmth, its opulence, its powers of bravura entrance. Surely she is one favored of the gods.
Critical Praise of Bonucci
Herewith are reproduced a few of the many press encomiums to the credit of Arturo Bonucci:
An exquisite exhibition of cello playing was given yesterday afternoon by Arturo Bonucci, who made his second Baltimore appearance on this occasion, augmenting the delightful impression he made here at the time of his Baltimore debut last winter. He is an unusually interesting player and there is little to be said about his performance except that it is that of a distinguished artist and all that this implies. Mr. Bonucci has a comprehensive technic, playing his cello almost like a violin. The flexibility and agility of his fingers are amazing, his tone is beautifully round and sweet, and his interpretations have both breadth and spiritual understanding. In bravura work his art is especially brilliant. He is a gracious player whose dignity gives his performance a special distinction. He was recalled many times and played many additional numbers.—Baltimore Evening Sun.
He was received most enthusiastically and generous applause elicited several encores. His playing is characterized by a nice blending of technical skill and almost unfailing correctness of interpretation that made the program one of a very high order. ... The Allegro Vivace, by Valentini, was a feat of clean fingering and bowing and showed more than a suggestion of humor -. . . The numbers were so enthusiastically received that Mr. Bonucci was recalled for two encores, the first, Paupre’s Felise, a marvel of trills and turns done with the highest technical proficiency, and the second, • the Fauret Sicilienne, given with breadth and a beautiful sustained tone.—Baltimore Sun.
Bonucci makes the cello express all moods, from deep pathos to light gayety. . . . Bonucci played with sumptuous tone, and the Guitare with delicacy and charm. Bonucci made light of the difficulties of this piece and gave it a gypsy-like character . . . adding at the end of his program Popper’s La Fileuse, with its amazing finger work, and Faure’s Sicilienne, one of the most charming things of the afternoon.—Baltimore American.
night that he is one of the outstanding cello virtuosos of the day; in the main he had selected numbers that required the talents of a technician rather than the emotion of genius, though m the two or three sentimental pieces which he played he revealed the divine nre. This was particularly true of his playing of a Chopin nocturne. The same fire also gleamed in his interpretation of Lalo s Russian Song, played on muted strings.	... t . .	...
Harmonics seem to be his specialty, and he did tricks in tins branch of his art that a violinist might envy. In a menuetto of Locatelli he played with harmonics at the end of phrases, and then threw them off‘his 200-year-old instrument in long streams, which were intercepted by clever feats of double-stopping. He played Nachez’ Allegro almost entirely in harmonics—St. Louis Star.
The cello, as Arturo Bonucci handled it in the Apollp Club recital at the Odeon last night, is an instrument for expressing the joy of living, rather than the solemnities of life.—St. Louis Post-Dispatch.
of the true masters of the cello.. . . warrnin ana byinpaiuy in the instrument’s tone and the player simply dazzled. with the cadenza of the adagio . . •The same composer s Russian Song reached superb heights of haunting melody in lyric song . . . a Chopin Nocturne, brilliantly romantic and played with feeling and the astounding La Fileuse of Popper, among the bristling technicalities of which his bow and fingers dance as so many fairies at their play.—St. Louis Times.

The Atlanta (Ga.) Journal of January 17 had the following to say of the concert given for the radio, under the direction of Martha E. Smith, a Perfield exponent, of that city:
WSB’s listeners from seven "to eight o’clock Tuesday night were given an exhibition of splendid massed choral music, when Martha E Smith, organist and director of the choir of the English Lutheran church, presented members of her chorus with individual soloists to round out the evening’s pleasure. ............ .	,	.
Inspiring sacred music by these splendidly trained singers was a fine testimonial to the coaching ability of Miss Smith, who is one of Atlanta’s best known and highest esteemed teachers of piano.
The members of the Lutheran choir who blended their voices with exceptionally harmonious beauty, were: (sopranos) Mrs. bred lan-ner, Gertrude Dismer, Kate Ruth Johnson, Mrs. W. B. Ahlgre , Mrs. T. C. Satterwhite, Evelyn Satterwhite; (altos) Mrs. E J• Con-over and Mrs. John Aiken; (tenors) E. J. Conover C. L Sease, C. E. Seng, and (bassos) V. S. Woodward and Fred Tanner.
Particularly high lights of the concert were the saxophone and cornet solos. In the Garden and O My Soul, Bless Thou Jehovah, olaved by C. E. Seng and A. C. Meixell; the cornet solo, Absent, by Mr. Meixell; thepiano solos, Prelude and Schubert s Military !larch, by Creighton' Meixell, of Boys High, who is a pupil of Miss Smith, and the tuneful and spirited an‘heI“| J’j' th£i * The ensemble numbers were an excerpt from the cantata, Glory God In the Highest; Sanctus Spiritus, with solo part by Gertrude Dismer, soprano; Jerusalem, with solo part by Fred Tanner, ban-tone, and a hymn from the Christmas cantata, Story of Bethlehem,
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