63
MUSICAL COURIER
New York School of Music and Arts, Ralfe Leech Sterner, director. Other recent novelties were concertos for piano by Rubinstein and Grieg (with accompaniment on the two-manual electric organ of the school), performed by Beatrice Pinkham and Howard Green, all of which goes to show the school is alive to the importance of up-to-date things in the musical life.
It is this up-to-dateness which turns out pupils able to fill important positions in the musical world, for many of them are leaders in the vocal and instrumental activities of their respective localities. Sophie Russell, returned after a brief absence on professional work, sang the aria from Louise, and Cuckoo (Lehmann), with especially clear enunciation and good effect. Mrs. Edwin H. Eilert appeared for the second time at school concerts, playing the waltz in E (Moszkowski) with poetic expression and brilliancy, and Miss-Maloney sang Wings of Night (Watts) particularly well. Mercedes Rubrecht, pianist, put considerable originality in the prelude in G minor (Rachmaninoff), and Miss Hitch sang To a Rose (MacFadyen) enjoyably. Gladys Birkmier is musical in feeling and singing, and pleases her audiences everywhere, and Miss Gleason sang the Queen of Sheba aria in French. Miss Pinkham plays Beethoven especially well, and demonstrated this in the Beethoven E flat sonata.
A feature worth noting is that all these young people played and sang from memory, and that the audience listened and applauded with enthusiasm. Mr. Warner played accompaniments with sympathetic finish.
March 1, 1923
A MESSAGE FROM HELEN HARRISON MILLS
6.	The establishment of music columns or pages in at least fifty per cent of the leading newspapers in each state. Already a fine showing is being made by Arkansas, Arizona, Iowa, Montana, California, District of Columbia, and Illinois.
7.	A greater showing of excellent talent than ever before in the contests for the young professional American musicians, in voice, violin and piano, the finals of which take place at the biennial. Next month sees the start of the state contests and keenest interest is felt among the young artists.
New booklets in aid of this propaganda are: a History of Junior Clubs and a Course of Study in Symphonic Music. As the National Federation of Music Clubs stands for the best in the music of our native land, so it bespeaks utmost support by all clubs and communities throughout the length and breadth of America.
Helen Harrison Mills.
American language and lectures given by American music educators on American music subjects.
What the Federation Hopes to .	Accomplish.
1.	Doubling of the number of clubs
in each state by May 31. Arkansas and West Virginia have already done so.	...
2.	Doubling of the number of junior clubs so that the number will reach 1,000, with proportionate increase in all individual memberships.
3.	Splendid results from campaign to affiliate more men’s organizations, such as choruses and orchestras.
4.	Completion of the statistical survey now being made of club, state and national organizations, showing concrete progress and accomplishments for the past ten years.
5.	Demonstration of a new form of group singing being recommended to the clubs, with song fest preceding each day’s sessions.
What is YOUR club doing to help make the thirteenth biennial festival of the National Federation of Music Clubs, which meets next June at Asheville, N. C., more successful than any previous convention?
This is the question the national organization is asking of its members, and already the 1,400 music clubs, representing 150,000 women and men, give every evidence that the occasion will be the greatest in the history of the Federation.
Each department has set itsejf a goal of accomplishment which it is bending every effort to fulfill. In this the co-operation of every individual member as well as every club is needed. “If the Federation is to prove that.it stands for American music and musicians,” says the Board, in effect, “the time to do so is NOW.”_ Hence, the all-American program being prepared for the biennial, which means^ the presenting of American compositions by American artists, songs sung in the
Whitney Pupil Popular
Myron W. Whitney, eminent Washington singer and teacher, for the past two seasons has been dividing his time between that city and New York, in the latter city teaching at the David Mannes School.
Among Mr. Whitney’s Washington pupils is Helen Howi-son, for whom he confidently predicts great things. Others who hear her evidently share his views, for she is a popular singer in the Capital. January 14 she sang at a musicale given at the home of William Philip, First Assistant Secretary of State; January 21, at the home of Robert Bliss, Third Assistant Secretary of State; February 1, 8 and 17 at the home of Mrs. E. H. Everett. Miss Howison also appeared with the Ram’s Head Players and at the Russian Relief concert given at the Wardman Park Hotel under the patronage of Princess Cantecuzene and other prominent Washington ladies.
A recent program included Bachelet’s Chere Nuit, Massenet’s Cleopatre, Sibella’s La Girometta, Danza, Danza, Deh Vien (Mozart), Non ho parole (Sibeila), In Waldein-samkeit, Wie Melodien, Lullaby (Brahms), Belles of Seville (Samuels), Twilight (Glen), and My Heart Is a Lute (Marum).
Claire Dux to Sing in New Orleans
Claire Dux will have a recital in New Orleans, La., on March 6. Her program will include Old Italian airs, French songs, a song by Schubert, and a group of American songs by Hageman, Carpenter and others.
“AMERICA’S MOST UNIQUE DRAMATIC ARTIST”
“A charming personality and a great artist.”—Columbus (Ohio) State Journal.
Season 1922-23 Now Booking;
Management: Caroline Evans
326 West 76th St., New York City.	Tel. 4616 Columbus
Krey, whose beautiful voice recently won the first prize in the contest held by the Federation of Women’s Clubs, contralto of the Bushwick-Central M. E. Church, was warmly applauded for her singing.”
Many Concert Dates for Matzenauer
Four orchestral concerts, two more recitals and a festival have been added to the list of appearances for Margaret Matzenauer this spring. The prima donna, who recently gave her first recital in New York City in three years and again proved her preeminent position in this field as well as in the operatic, has fulfilled her contract at the Metropolitan for the season 1922-23, and has started on her early spring tour? in fact, she began concertizing before her scheduled appearances at the opera house was complete by appearing in recital in Utica, N. Y., January 24.
The recently signed contracts call for Mme. Matzenauer s appearance in St. Louis, Mo., on March 2 and 3, with the St. Louis Symphony Orchestra; in Syracuse, N. Y., in recital March 26; in Boston, Mass., April 20 and 21 with the Boston Symphony Orchestra in Symphony Hall; m Rippon, Wis., in recital on May 1, and the end of May she will be soloist at the Evanston Festival, Evanston, 111.
After Mme. Matzenauer’s Utica appearance, the Dispatch on January 25 stated: “Mme. Matzenauer gave_ an unforgettable concert at the Colonial Theater last evening, packed by music lovers who had long anticipated her coming. It is true that the amazonian volume _of^ Matzenauer’s voice is its outstanding quality, but to this is added all the finer qualities of phrasing, the lights and shades and artistic restraints that mark the consummate artist and the woman of musicianly brain. The people showed' their appreciation by a warmth of applause and tumultuous insistence on encores.”
Novelties at School of Music and Arts
James Ross, at the age of twelve, playing Wieniawski’s Legende with very good tone and interpretation; Howard Green, piano, Miss Crockford, harpist, and William Maise, violinist, uniting in a trio to play Godard’s adagio pathetique and shorter works by Haydn and Boisdeffre, were two novelties by pupils at the regular weekly recital at the
FRANK WALLER, AMERICAN
CONDUCTOR, IN DRESDEN
Hermann Rovinsky, American Pianist, Gives Recital—Carl Perron, Baritone, Reappears as Member of Dresden Opera
Dresden, January 26,—Frank Waller, the favorably known conductor of Chicago, made an excellent impression on his Dresden audience at his recent concert when he offered Scriabin’s rarely heard second symphony in C major which despite the fact that it does not display any specially characteristic traits of the Russian modernist, nevertheless calls for serious attention. It is brilliant and sparkling from beginning to end except in the slow movement, which breathes deep feeling and a reposeful mood—an agreeable deviation from the somewhat showy technic of the work as a whole.
Mr. Waller cocnvinced by his inspiring influence on his men, who seemed to respond to his minutest wish. This was especially noticeable in the Poème de l’Extase, the closing number of the program. The soloist of the evening was Elsa Alsen, a dramatic soprano. Mr. Waller was greeted with loud and long applause by the enthusiastic audience and the־ big success which he achieved was well merited.
Hermann Rovinsky Makes Good Impression.
In his recital here another young American, Hermann Rovinsky, proved himself to be a remarkable pianist, full of storm and stress, who promises as the years go by, to develop into artistic maturity. His reading of Mozarfs A major sonata, as well as the Liszt sonata annd Bach’s Chromatic Fantasy and Fugue won hearty approval. Bartok, Debussy and Walter Niemann were other composers on the program.
A New Young Composer.
At a morning concert in the Bertrand Roth Hall, Bruno Stuermer, a composer quite unknown here, stepped forth as a creative musician of note. He seems to have a message and although using a modern medium of expression he does not resort to an exaggerated “expressionistic” style. A sonata for piano and violin, a set of variations for piano, and several songs were equally impressive and interesting.
Several other novelties were heard in the recital given by Margarete Thum, vocalist, among which were the Chinese Songs of Hubert Patâky and a sonata for flute and piano by Jules Mouquet, a work of notable value, played by John Amans and R. Pembaur.
Carl Perron is Heard Again in Opera.
There was something of the old glory as well as excellence of production in the last Tristan performance at the Dresden Opera under the inspiring direction of Fritz Busch when Carl Perron, one of the mainstays of the old Schuck-Seebach era reappeared for the first time in ten years. But in these abnormal times even some of these already retired find it necessary to resume their former occupations. Perron at the age of sixty-six seems to be as young as ever. His artistic personality, his eminent musical delivery and his magnetic power to hold his audience are as strong and compelling as ever. By reason of his unique ability to characterize, Perron’s King Mark stood out in an almost new light, imbued with truly human traits of subdued suffering, thereby making the pitiful role even more sympathetic than it ordinarily is.	A. Ingman.
Audience of 10,000 Hears Krey
An audience of about 10,000 was very enthusiastic over the singing of Daisy Krey on the occasion of that young artist’s recent appearance in the Thirteenth Coast Defense Armory in Brooklyn. In reviewing the concert for the Brooklyn Citizen, the critic of that paper stated: “Daisy
of Improved Music Study for Beginners, Inc.
DUNNING SYSTEM
ENDORSED BY THE LEADING MUSICAL EDUCATORS OF THE WORLD
Los Angeles, Jan; New York City, Aug. 1
HARRIET BACON MacDONALD. 825 Orchestra Bldg., Chicago; Dallas, Texas, June; Cleveland, Ohio, July 2; Chicago, Aug. 6.
MRS. WESLEY PORTER MASON, 5011 Worth Street, Dallas, Texas.
LAURA JONES RAWLINSON, Portland, Ore., 61 North 16th St., June 19, 1923; Seattle, Wash., Aug. 1, 1923.
VIRGINIA RYAN, 828 Carnegie Hall, New York City, March.
ISABEL M. TONE, 469 Grand View Street, Los Angeles, Cal., April 16 and June 18, 1923.
MRS. S. L. VAN NORT, 2815 Helena St., Houston, Texas.
MRS. H. R. WATKINS, 124 East 11th St., Oklahoma City, Okla.
ANNA W. WHITLOCK, 1100 Hurley Avenue, Fort Worth, Texas.
50
Normal Classes as follows:
MRS. CARRE LOUISE DUNNING, Originator, 8 West 40th Street, New York City.
MRS. ZELLA E. ANDREWS, Leonard JEANETTE CURREY FULLER, Bldg., Spokane, Wash., January.	■=״׳*»	"'׳׳־••—♦— w
ALLIE E. BARCUS, 1006 College Ave.,
Ft. Worth, Texas.
ANNA CRAIG BATES, 732 Pierce Bldg., St. Louis, Mo.; classes held monthly throughout the season.
MARY E. BRECKISEN, 354 Irving Street, Toledo, Ohio.
MRS. JEAN WARREN CARRICK,
160 East 68th St., Portland, Ore.,
March.
DORA A. CHASE, Pouch Gallery, 345 Clinton Ave., Brooklyn, N. Y., Feb.
ADDA C. EDDY, 136 W. Sandusky Ave., Bellefontaine, Ohio; Miami,
Fla., February; Wichita, Kansas,
March; Columbus, Ohio, June.
BEATRICE S. EIKEL, Kidd-Key College, Sherman, Texas, January.
Erlon Crescent, Rochester, N. Y.
TRAVIS SEDBERRY GRIMLAND, Memphis, Tenn.; for booklets address, Clifton, Texas.
IDA GARDNER, 15 West Fifth Street, Tulsa, Okla.
CARA MATTHEWS GARRETT, “Mission Hills School of Music,” 131 West Washington, San Diego, Calif.
MRS. JULIUS ALBERT JAHN, Dallas Academy of Music, Dallas, Texas.
MAUD ELLEN LITTLEFIELD, Kansas City Conservatory of Music, 1515 Linwood Blvd., Kansas City, Mo.
CLARA B. LOCHRIDGE, 223 N. Fifth St., Mayfield, Ky.
CARRIE MUNGER LONG, 608 Fine Arts Bldg., Chicago, III.; classes monthly through the year except Feb. and Mar. in Indianapolis.
INFORMATION AND BOOKLET UPON REQUEST
GIACOMO
RIMINI
POPULAR ITALIAN BARITONE
EXCLUSIVELY FOR CONCERTS
IVlarcti, April arid May 1923
Management: R. E. JOHNSTON, 1451 Broadway, New York Associate■: L• G. BREID AND PAUL LONGONE MASON & HAMLIN PIANO	VOCALION RECORDS
Note: They close their season with the Chicago Opera Co., February 24th
ROSA
RAISA
GREAT DRAMATIC SOPRANO
The Phenomenal Pianist
Season 1923-1924 in America
Exclusive Management: DANIEL MAYER
Aeolian Hall, New York Steinway Plano	Ampico Records