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recitals by Mrs. Burton Kurth, Norrie Duthie and Berthe Breitner; piano recitals by Leonard Heaton, Annette Dostest, and Beryl Ferguson; a two-piano recital by Thea Mason and Ella Archibald.	1• T.
New York Trio with Philharmonic
When the New York Philharmonic Orchestra engaged the New York Trio as the solo attraction for its Carnegie Hall concerts, March 7, 8 and 9 to play the Beethoven triple concerto with the orchestra, a great compliment was paid this admirable trio. While this concerto has been played bv symphony orchestras at other times by famous artists who have been specially engaged to perform it, it is probably the first time a chamber music ensemble has ever been engaged as an organization as soloist for one of our leading symphony orchestra concerts and the New York Trio’s managers are justly proud of the engagement.
During the past month both Mr. Van Vliet and Mr. Guidi, the cellist and violinist of the New York Trio, of which Mr. Adler is the pianist, have appeared as individual soloists with the Philharmonic Orchestra.
Rémy to Teach at Fontainebleau
Messrs. Widor and Max d’Ollone, directors of the Fontainebleau School of Music, announce that M. Rémy, teacher of violin at the Paris Conservatory, will head their violin department next summer, in place of Lucien Capet, who has resigned. Mr. Rémy is the teacher of many of the best French violinists and is also well known to American students. Maurice Hewitt remains as assistant. Andre Hekking, head of the cello department, and Marcel Grandjany, head of the harp, are both of them announcing American tours for the season of 1923-24. André Bloch will conduct a course in ensemble and conducting and Pierre Chereau, stage manager of the Paris Opera, will conduct a course in stage acting and deportment for singers.
Bencheley Artist-Pupil Scores in Concert
Mrs. J. T. Clapper, an artist-pupil of M. B. Bencheley, vocal teacher of Minneapolis, scored a splendid success recently when she sang for the Billings (Mont.) Woman’s Club, assisted by members of the Babcock Orchestra. Her numbers included: Un Bel Di from Madame Butterfly (Puccini), Serenade (Schubert), I Love a Little Cottage (O’Hara) and Vienna Melody, Liebefreud. A local paper in commenting upon the singer’s work, said in part: “Mrs. Clapper, as usual, at once won the heart of her audience. The charm of her personality as well as the unusual beauty of her voice was well shown in all her numbers, but especially in the rendition of the aria, Un Bel Di, from Madame Butterfly.”
Southwick Pupil to Go to Italy
William Katsaros, dramatic tenor and the possessor of a voice of golden quality, will leave for Italy in May to prepare for the operatic stage. Mr. Katsaros has been a pupil of Frederick Southwick of Carnegie Hall, New York, for the past four years.
Winnipeg, D. C., February 17—The entire Minneapolis Symphony Orchestra gave four concerts; all were well-attended and the opportunity of hearing the orchestra, under the leadership of Verbrugghen, was keenly appreciated. Eva Clare, pianist, of Winnipeg, was soloist at the first concert, playing the Grieg concerto and winning very favorable comment. E. Joseph Shadwick, formerly of Winnipeg and now a member of the orchestra, was soloist in the Wieniawski violin concerto, No. 2 in D minor, at the second
concert.	_	_	.
The Winnipeg Oratorio Society was heard at its last concert in Sir Villiers Stanford’s The Revenge.
The Winnipeg Choral and Orchestral Society made its initial bow in Elgar’s Spirit of England, giving a thrilling performance of the work. This society numbers 225 voices and an orchestra of sixty-five and is conducted by Arnold Dann. Mae Clarke was soloist. Piano and violin solos and selections by the orchestra rounded out a very attractive program.
The Winnipeg Philharmonic Society appeared with Anna Case as soloist. The choir, under the leadership of Hugh Ross, proved to have a command of interesting effects and fine tone. The selections given included Bach’s motet, Blessing, Glory, Wisdom and Thanks, Elgar’s Death on the Hills, some North Country folk songs and a group by Bantock, Parry and Palmgren.
The season has provided many recitals by great artists. Louis Graveure attracted a large audience and was given a fine reception. Sophie Braslau was supported by the Band of Princess Patricia’s Canadian Light Infantry, considered the best military band in Canada. Benno Moisei-witsch gave a piano recital in the Walker Theater, displaying virtuoso technic. Mabel Garrison was heard here for the first time recently and proved irresistible through her winsome personality, beautiful voice and finished artistry. Alfred Cortot gave a recital which attracted much interest, a feature of the program being the twentyrfour Chopin preludes. Erna Rubinstein was heard in recital February 6, and astonished her audience by her technic and the bigness of her tone.	_	_	.
Several fine pop concerts were given in the Board of Trade auditorium Saturday nights, under the auspices of the Music Bureau. The nominal sum of twenty-five cents is charged for these concerts, which consist of performances by outstanding local talent and amateur organizations. The first was given by the Winnipeg Male Voice Choir and assisting artists, another by the St. Cecilia Ladies’ Chorus, under the direction of Burton L. Kurth; one by the Philharmonic Society and one by Knox Church choir.
Savoy Opera week, at the Walker Theater, presented Gilbert and Sullivan’s Iolanthe and The Gondoliers. Very creditable performances of the well loved operas were given, the stage settings, costuming and incidental dances being excellent and the singing and acting good. The principals included Mrs. Burton Kurth, Mrs. Alex. Johnson, Mrs. J. M. Rice, Mrs. E. T. Hulatt, Alice Hunter, Mrs. Ernest Mills, Bartley Brown. Norman E. White, F. H. Hughes, C. N. Graham, J. Richardson Irwin and Arthur McFadyen.
Recitals given by various music teachers include vocal
LEO ORNSTEIN
O(rom apain&ruj 6j/ £eon Cfávll in tkc c4r¿Institute ofC/rïaiÿo
LEO ORNSTEIN Writes: —
“Tome the Knabe is a living instrument. Its resources are amazing. It is full of moods as man. It vibrates to the finest demands which I may ask of it.”
LEO ORNSTEIN
Knabe Piano Exclusively
WILLIAM KNABE &. COMPANY
437 FIFTH AVE. Division American Piano Company	NEW YORK
March 8, 1923
this group. He starts not out anew, breaking new paths or following along paths broken by Europeans, but clings to the lovely trail of Americanism.
It is a lovely trail! These pieces are heautiful, eminently satisfying, complete. They are nature pictures, and in them we wander back into the American country-side that we all love so well. The titles are expressive of exactly what they have to say: Through My Window, Whisperings, Twilight Musings, Nature Is Singing, Among Flowers. They are all of moderate difficulty and will be a source of pleasure to music lovers everywhere.
SONGS BY SEISMIT-DODA When songs are especially good it is sometimes not out of place to give them a second review. This is the case with four songs by Albano Seismit-Doda. They are entitled: My Darling, dedicated to and sung by Titta Ruffo, published by the Marks Music Company; Dream, dedicated to and sung by Enrico Caruso, oublished by the John Church Company; Can I Forget Thee, Love, and Old and Young, published by G. Schirmer. These are vocal songs, songs made for the human voice by an expert, songs^ the singer will like. And what the singer likes the public likes. The public may not know the technical reason of its liking, but it will be none the less sincere, and the success of these songs has already demonstrated their value and their public appeal.	F• P•
(Clayton F. Summy Co., Chicago and London)
SOUVENIR (for Organ) and ASPIRATION (Organ Prelude)
By Sumner Salter
Organist, conductor, composer, teacher, pupil of Thayer, Paine, Parker and other celebrities, Mr. Salter’s work in the world of music has been conspicuous and successful. After holding a prominent position in New York he was for a time at Cornell University, going thence to Williams College, where his regular organ recitals are a feature of college advantages. Souvenir is a seven-page piece dedicated to Albert Cotsworth, the composer skilfully using the initials of this person, A. C., to build up his theme, in conjunction with his own initials, S. S., represented in music by the German nomenclature, E flat being called “Ess.” On these four tones the composer preludes, repeats, announces at the outset, then goes into a moderate movement of much interest and merit. There follows a trio in the sub-dominant, using the same Es's-Ess-A-C, graceful, effective, natural and pretty, with return to the first use of the theme, and. pedal emphasis on A-C, the S-S’s finally surrounding A-C. Thoroughly good music, dignified and interesting through-
Aspiration, in E flat, five pages, is dedicated to John W. Norton, and consists of music of cheerful, happy character, in which “imitation” (the canonic form), an easy pedal-part, with climax, and ending softly, all combine to give it interest. It is easy to see that Sumner Salter has no use for the affected moderns, who set out to see what horrible tonal combinations they can create, for all his music is marked by naturalness, grace, spontaneity and good workmanship.
(The Arthur P. Schmidt Co., Boston and New York)
THE WORLD’S REDEEMER (Easter Cantata)
•	By Ernest A. Dicks
Words written and compiled by Edward Oxenford, this is a choral work of seventy pages, for mixed voices, easy and melodious in every page of its pleasing contents. It is subdivided into the following: Now the Queen of Seasons, Lo the Pilgrimage Is Ended (choruses), God So Loved the World (quartet), recitative with melodious solo for bass, solo for soprano—O Light of All the World; another bass solo with fine climax He is Risen (chorus in three-four tempo), O Give Thanks (tenor solo), chorus for women’s voices (Ours to Sing a Song of Gladness) which begins in two-voiced harmony and ends with tnree, The Lord Is My Light (tenor solo full of go, easy and effective), Christ Being Raised (chorus), bass solo, a chorale in six-eight time, with much canonic movement, O Come Let Us Worship (soprano solo which is fine in every respect), and final chorus. Praise to God Be Given, with an alleluia in fugatto form, solo-quartet, and close in eight-part harmony. Recommended to volunteer choirs which possess capable soprano, tenor and bass solo-voices.	F. W. R.
Galli-Curci Sings for Music Settlement
The Brooklyn Music School Settlement has had exceptional programs throughout the winter. The school has a “composer’s recital” the second Sunday in each month at which the students interpret selections from one composer; this precedes a program given by an artist guest who is distinguished not only on the concert but on the operatic stage. The February recital was postponed until the 18th, owing to the fact that Amelita Galli-Curci offered her services for a large benefit which crowded the Opera House of the Brooklyn Academy of Music. Never before has Mme. Galli-Curci sung so well; her notes were round and full, bringing forth spontaneous applause and showing deep appreciation of her talent. Manuel Berenguer, flutist, also volunteered, as did Homer Samuels in accompanying the two artists. The program was varied and pleasing, being in Spanish, Italian, Old French, and with her usual graciousness, Mme. Galli-Curci gave, as encores, several old fashioned American melodies, dear to every one’s heart, Silver Threads Among the Gold, and so forth.
During the intermission Thomas L. Leeming presented a golden vase to one who has not only a golden voice but a heart of gold. The week before Mme. Galli-Curci had written to ‘%er Brooklyn friends” expressing her keen pleasure in fostering the movement the Brooklyn Music School Settlement is launching namely, the building of a small theater in the rear of the school site on St. Felix street. This small theater will be a decided asset to Brooklyn and will be greatly enjoyed by music lovers or any one desiring to produce smaller productions. The letter further stated that Mme. Galli-Curci will come herself to lay the corner stone, hoping that this concert would lay the financial corner stone.
The postponed concert took place on Sunday afternoon, February 18. On this occasion two artists of distinction; Mme. Sigrid Onegin, contralto, sang five songs which brought forth much praise; Frank LaForge played her accompaniments adding to the attractiveness of this recital. The general public is invited to these Sunday afternoons, the next bein״ on March 11, at four o’clock.