33 Kubey-Rembrandt Photo MME. LA CHARME Mme. La Charme Makes Debut Maud La Charme, French coloratura soprano, appeared in the Academy of Music Foyer, Philadelphia, on the evening of February 26, in the following program: Je marche sur tous lès Chemins, from Manon, Massenet ; Les Larmes and Deception, Tschaikowsky ; Viens mon Bien-Aimé, Chaminade; D’une Prison, Reynaldo Hahn ; Dans le Jardin, words by M. La Charme; Una voce poco fa, from The Barber of Seville, Rossini; Extase, Duparc; Soir, G. Fauré, To a Violet, La Forge ; In My Beloved’s Eyes, Chadwick ; Ashes of Roses, Woodman, and the Proch Theme and Variations. Arthur E. Hice furnished the accompaniments. Much interest was manifested in this first appearance of Mme. La Charme, as it is said by those who. have heard her sing that she will make a name for herself in the world of song. Sundelius to Appear in Providence Again This Season Marie Sundelius, the Metropolitan soprano who sang in Providence, R. L, on November 26 for the Verdandi Swedish Male Chorus, has been re-engaged to appear in that city on Sunday afternoon, March 11, as soloist with the Providence Symphony Orchestra. Mme. Sundelius will sing an aria and a group of songs. Denver String Quartet Has Party The twenty-third chamber music party of the Denver String Quartet was held at the home of Mr. and Mrs. D. A. Millet, on Sunday afternoon, February 18. The program consisted of the Smetana Quartet in B minor and the Beethoven quartet in G major, op. 18, No. 2. Horace E. Tureman is director of the quartet. MUSICAL COURIER LAMOND TALKS OF TSCHAIKOWSKY March 1, 1923 Francis Rogers’ Concert Rogers was scheduled to give Francis Rogers was scheduled to give a song recital before the St. Andrew’s Society of New York at the Waldorf-Astoria on February 27. In conjunction with Mildred Dilling, harpist, he will give a concert for the Association of the Fine Arts, Washington, D. C., March S. Mrs. M. E. Florio Dies Mrs. M. E. Florio, wife of the. former New York vocal teacher and coach, now located in Toledo, Ohio, died in that city on Friday morning, February 23, at the Robmwood Hospital. TRUMBULL LONDON Praised by the critics of PARIS BERLIN Few women know how to display such manifold intensities offeeiinz.—Le Menestral, Paris. For Engagements Address MANAGEMENT FLORENCE TRUMBULL 430 Orchestra Building, Chicago however, seems to have gone his own way and it is difficult to discover the influences which led to his matured style. ־ Tschaikowsky was a poor conductor, perhaps owing to his nervousness, and almost always when he had to conduct his own works selected those he felt most sure of. He hesitated to conduct his symphonies, and preferred to display his talents with the baton through the simpler appeal of his suites. These suites are very lovely, and the third, op. 53, appears to have been one of the composer s favorites, it is curious that Tschaikowsky was not greatly appreciated m Russia until after he had won foreign successes, and still more curious that he has never been appreciated in France, where his music is considered harsh and brutal or banal. Speaking of himself, and it is difficult to get him to speak of himself, Lamond mentioned the catholicity of his musical leanings, the breadth of his views as to programs. He expressed himself as being opposed to any limitations of school or epoch in the making of programs, and said that any worth-while player would certainly not confine himself to the works of any one composer. He is including in his programs not only the classics but the moderns: Debussy, Ravel, Scriabin, Glazounoff, Liadov, and so on. When he was very young he had the privilege of studying the Brahms concerto in B flat, and the Paganini variations, with Brahms himself at Meiningen. But, he added, even this has not led him to make a specialty of Brahms, or of any other composer, not even Beethoven, although he has won a far-flung reputation as a Beethoven exponent, as has already been mentioned at the beginning of this report. Lamond lets that go as it will. Naturally it is gratifying, but• he has never allowed it to force upon him a narrowness of view, or to limit his program making, except• where there are distinct demands for Beethoven programs. Therewith talk drifted back to the orchestra—Lamond does not like to talk about himself (some artists can talk about nothing else!). There was a long discussion shop talk—about the relative tone qualities of French and German bassoons and other wood-wind instruments, and Lamond seemed particularly fond of the French wood-wind for its peculiarly charactertistic tone. He mentioned the numerous solos for the bassoon, displaying a most surprising knowledge of instrumentations, and an intense interest in all the matters, both of the historical conduct of orchestras and theaters and the improvements that have come about in the orchestras themselves and in the standard of living of the players. Afterward, pondering on all this, the interviewer had the impression of having had one of those rare moments of communion with the musically great, the giants of the art. Lamond has had that absorbing and single-minded interest in the masters that has made him one of them, one of the succession, and his New York appearance was noted by one reviewer as being one of the outstanding events of the musical season. It was! E. P. Lamond’s success at his several recent American orchestral appearances and at his brilliant Aeolian Hall recital is already a matter of record and need not be enlarged upon. It is evident that his art has been appreciated not only by the critics but also, what is more important, by the public as well. His powerful as well as emotional interpretations have been a matter of common talk, and. it is realized by those competent to judge that he is also a master of tradition, Nr׳»״«' Щ \ \ LAMOND Anna Case Soloist with Schola Cantorum Anna Case, soprano, has been engaged as soloist for the second subscription concert of the Schola Cantorum, under the direction of Kurt Schindler, at Carnegie Ha l, Wednesday evening, March 14. Miss Case will be heard in a group of Italian folk songs, recently collected and published by Geni Sadero, of Milan. Mr. Schindler, whose attention was called to this unusual collection while on a visit in Torino to Signor Guido Gatti, the noted Italian musical critic, has modified his previously announced program for this concert in order to make room for what appears to be a signficant token of a revival Qt interest in the sorely neglected folk music of Italy. Ihe specimens chosen for this concert will embrace a stornel o (love ditty) and a vine-gathering song from Sicily, a cradle song and a mariner’s chanty from Istria and Trieste, and a serenade from the Island of Sardinia that harks back to the past centuries of Spanish domination. The collector ot these songs, Geni Sadero, whose work as a folk lorist is said to be much appreciated by d’Annunzio, Elearora Duse and others, is a gifted Italian woman and herself a singer of reputation. She is at present touring Europe to make known her gleanings of the musical treasures in Italy s various provinces. . . , ,״________״< The program will also contain a group of Edward Grieg s famous settings of Norwegian folk dances for male chorus. Carl Schlegel, Metropolitan Opera baritone, will have the leading voice in these songs which, gathered by Grieg in the mountain valleys, thrill with the rustic and humorous rhythms of clog dances and stamping tunes._______________ MARGUERITE LE MANS --STANDARD BOOKING OFFICE, 17 East 42nd St., New York_Tel: 7196 Vanderbilt TENOR On Tour With Cosi Fan Tutte Co. Available May to October Haensel & Jones, 33 W. 42d St., N. Y. JUDSON HOUSE HAZEL WEGNER BACH SCHMID COLORATURA SOPRANO Concert Recitals Oratorio “Unusual Voice, Personality and Artistry” ״ . xxr Washington, D. C. Management of HAZEL BACHSCHM1D, 935 Pa. Avenue, N. W. ־ THE INTERNATIONAL SOPRANO Management of Luella Meluis 14*25 Broadway New York ÇJUJP RAYMOND WILLIAMS. Flu fist RALPH ANGELL, Pianist / without allowing tradition to overweigh his own vigorous and original personality. He has been spoken of as a Beethoven expert. ,Where that reputation came from it is difficult to say, for he has always played the moderns as well as the classics, varied programs of all that is best m piano music. . ,, , , Yet his reputation as a Beethoven expert is well-deserved. As Mr Aldrich says in the Times: “Why Mr. Lamond has a special reputation as a Beethoven player was to be perceived in his playing of the Appassionata sonata oi that master ; a performance that was not the obligatory exercise of a pianist, but one that disclosed its beauty and its passion, and, at the same time, the logic of them both.” One has but to meet Mr. Lamond personally to realize that his expertness could never be a matter of book-learning,” of erudition, or of dry poring over dusty tomes He is not that kind of a man at all. His manner is full of life one might almost say liveliness if he were not possessed oi so natural a dignity, and his interest in things is of that vivid kind that is reminiscent of an almost boyish enthusiasm. He also has eyes that twinkle with humor, and it is clear that he does not take the world of human emotion as something to sentimentalize about but rather as an element ot amusement, in which he agrees with Shakespeare and, indeed, with the great producers and interpreters of all ages. Lamond looks like Beethoven. At least he looks like the familiar pictures of Beethoven. He has the same massive frame the same shape of head, the same general characteris-tics And one easily imagines that Beethoven must have had some of the same interest that Lamond shows in all sorts of musical endeavor. It happened that the Musical Courier representative, interviewing Lamond, mentioned his interest in matters pertaining to the orchestra, and immedi-ately it became evident that he had a very real interest as well as a wide knowledge of this subject. He mentioned that as a young student, he had played the violin and the organ, and had some knowledge of the oboe and bassoon, and naturally these things brought him into contact with matters orchestral as the piano alone might not have done. The orchestration of Tschaikowsky arouses m Lamond the greatest admiration. Sitting at his piano he illustrated with a few chords and melodies some of the most interesting features in the great Russian’s works, proving his intimate knowledge of the scores. “An astonishing genius he called him “with a natural instinct for orchestration. _ His Romeo and’Juliet is a most surprising first work, and it is not easy to understand where he got his intimate knowledge of all of the resources of the orchestra, combination of instrumental color, and perfect balance From the very first Tschaikowsky’s orchestration was different from that ot all other masters. His grouping of the instruments, his flowing chromatic counterpoint, his masterly developments of the simplest of harmonies ! This work, as Lamond pointed out, wasP composed at the suggestion of Balakireff and Laroche and threw Tschaikowsky into that expressive, programmatic style of utterance which he clung to almost all through, without, however, ever sacrificing to it the demands of absolute music,, of which he was one of the greatest of mH?srSoperas, says Lamond, have never been as popular abroad as they have been in Russia. In Russia they are the most popular of all. All through Russia Bohemia and Poland they are a part of the regular repertory, just as the Wagner operas are in Germany, the Italian operas in Eng- 13 Speaking of orchestration, one naturally speaks of Berlioz, one of the fathers of the modern orchestra, and Lamond seems to have a great admiration for him at. least as a master of orchestration. Not very French, indeed, and Lamond quotes a saying: “Berlioz est un faux Français^ but important in his way, since, undoubtedly, his interest in the development of the orchestra technic, and his investigations and practical demonstrations of orchestral possibilities certainly influenced all of the modern school. Tschaikowsky,