49
MUSICAL COURIER
from the fine quality of Miss Passmore’s voice, the power and range, her technic is a joy because of its surety and fluency. One can sit back and listen to her most difficult technical work with no feeling of uneasiness. Her staccato work and her trills are especially commendable. Added to this is a charming personality. Richard Hale is another Saengcr artist who always wins the admiration of his audience. Wotan’s Farewell from Die Walküre, was excellently rendered, with understanding of the Wagner style. The vivid dramatic coloring and the emotional force, combined with a voice of unusual quality, elicited genuine enthusiasm from his hearers. Captain Stratton’s Fancy, written for Mr. Hale by Deems Taylor, proved a particularly apt song for him. His feeling for rhythm and accent and his clean diction are among his well known assets. Tom Dobson’s Cargoes was added as an encore.
Hostesses at the tea table were Phradie Wells and Mae Davis.
Werrenrath’s Recitals a Musical Treat
Reinald Werrenrath recently appeared in Ridgewood, N. J., and following is what the Ridgewood Herald says of him: “After an absence of two years, Reinald Warren-rath, the ever-popular baritone, again appeared before his Ridgewood friends and admirers. He charmed his audience as before with his signal powers, both musical and dramatic. All his numbers were sung with that finish and discrimination that make the 'Werrenrath recitals, without fail, a genuine musical treat.”
Mr. Werrenrath will have his third and last New York song recital of the season in Carnegie Hall on Sunday afternoon, April 8.
Nikisch to Play with Many Leading Orchestras
Mitja Nikisch, who gives every promise of being one of the most interesting new pianists to be introduced in America next season, is already booked for solo appearances with many of the most important orchestras in this country, among them the New York Symphony, Minneapolis, Chicago and Cincinnati orchestras. Reports of his appearances in recital and with orchestra in .London last summer indicate that he is in every respect worthy of the great name that he bears. His American debut will take place in recital at Carnegie Hall on October 23. His tour will be under the management of Daniel Mayer.
Appointed Associate Director of Music at Chautauqua
Howard Lyman, professor of choral music and voice, at the Syracuse University, conductor of the Syracuse Music Festival and musical director of the First Baptist Church of Syracuse, N. Y., has been appointed associate director of music at Chautauqua Institution, Chautauqua, N. Y., for the summer season, July 1 to August 25. He will share with Director H. Augustine Smith, of Boston University, in the conducting of the season’s programs with the large Chautauqua Chorus and the New York Symphony Orchestra.
GAY MACLAREN
“AMERICA’S MOST UNIQUE DRAMATIC ARTIST”
“An emotional actress of undoubted power.”—Concord Evening Monitor.
Season 1922-23 Now Booking
Management: Caroline Evans
326 West 76th St., New York City.	Tel. 4616 Columbus
IN DRESDEN CONCERTS
Audience—Violinists and Singers Score
appeared as soloist with the Lindner Orchestra as well as in recital, and Mr. Ross likewise left a favorable impression.
In the department of chamber music the Schubert Quartet, consisting of four gifted women musicians, scored a success with Paul Hindemith’s quartet, op. 10. Their performance of this genial work, especially the final movement, with its breathless swing and impulse, took the audience off its feet.
Two American Sopranos.
Marcella Craft, internationally known for her wonderful Salome and Madame Butterfly, was immensely successful in the Dresden Opera on February 5, when she was heard here, for the first time since the war, as Butterfly. She was equally remarkable histrionically and vocally.
Another American, Rosalie Miller, of New York, was enthusiastically acclaimed in her recent recital, when she offered a model program. Her interpretations of old Italian selections were not only marked by excellence of vocal technic but above all by a vivid individuality. Miss Miller, ■being a singer of outstanding' intelligence, and one having a distinct sense for mood, was able to give Cyril Scott’s poetic Night Song in an entrancing manner. Other composers represented on the program were Strauss, Josef Marx, Hugo Wolff and Karl Pembaur, who ■also played Miss Miller’s accompaniments in a thoroughly artistic manner.
A. Ingman.
high musical standards will be selected, and no artist will be chosen without at least the two hearings mentioned.
Last year over one thousand applicants appeared and but five were chosen out of these. Very many of those who did enter were obviously out of the question, because of inexperience. The Stadium Committee feels that this js now so well understood that the applications this year will in all likelihood not number over five hundred.
The Auditions will be open to anyone, anywhere in the country. Last year applications came in not only from New York, but from far outside of it, from Boston and Philadelphia, New York State, and even beyond.
Musical-Tea at Oscar Saenger Studios
The ■attractive studios of Oscar Saenger were again the scene of an interesting musicale-tea on Thursday afternoon, March 1. As usual at this series, the large number of guests who attended enjoyed the afternoon immensely. Those who furnished the musical program were Melvena Passmore, Gertrude Fell Osborne and Gladys Mathew, sopranos ; Richard Hale, Norman Yanovsky and Max Weinstein, baritones; Helen Chase, Emily Miller and John Daley, accompanists.
Miss Osborne opened the program, singing Pourquoi, from Lakme (Delibes) ; Pardonne-moi tes jours de larmes (Rimsky-Korsakoff), and A Widow Bird Sat Mourning for Her Love (Treharne). With a voice of sympathetic quality, she interpreted these with much feeling. Hey Uchenem (Koeneman-Chaliapin) and If I Could But Tell Thee in Music (Malashkin) were sung with dramatic force by Mr. Yanovsky, who is the possessor of a resonant baritone voice of excellent timbre. Miss Mathew and Mr. Yanovsky gave much pleasure in their artistic rendition of a duet—Tutte le feste al tempio from Rigoletto. This was given with the operatic action, Mr. Saenger conducting. Mr. Weinstein gave a splendid interpretation of the prologue from Pagliacci, winning hearty applause. _
Miss Passmore especially delighted with her numbers, which included Proch’s Theme and Variations and the Laughing Song from Manon Lescaut (Puccini). Aside
Progress the Demand of the Hour
To get the most, to be the most, to do the most in a given time is the aim of the DUNNING SYSTEM for Beginners in the study of music. The very essence of success for a life work is in the five weeks’ teachers’ course given by the originator of this system and her assistants. Everywhere the specialist is respected and patronized because of his greater skill in recognizing individual characteristics, in supplying instruction adapted to each pupil, and in installing in the pupil the five greatest factors in a successful man or woman’s life; all founded upon the purest psychological and pedagogical principles. These are but a few of the fundamental features of the Dunning System.
See next issue for names and addresses of Normal Teachers
March 8, 1923
AMERICANS PROMINENT
i	------
George Antheil, Pianist-Futurist, Shocks
Dresden, February 6.—In two short weeks, Dresden has heard no less than eight American artists, among them being pianists, singers, violinists, composers and a conductor. Practically all of them made a creditable impression on their audiences, one even creating a kind of sensation. This was George Antheil, self-styled “pianist-futurist,” _ who played a program of his own compositions containing a Sonata Sauvage; Creole Festival, Tlie Perfect Modernist; and several shorter pieces. This program was evidently intended to cause a stir, and as far as the press is concerned, certainly fulfilled all expectations. All the pieces are written in an ultra-modern style, some of them revealing high aims, others merely seeking new paths and a novel musical expression.
Another modern program was that of Cara Verson, also an American pianist, who gave a program whicly by reason of its seldom heard selections, proved to be very interesting. The sympathetic artist proved to have a great deal of pian-istic ability, and her interpretations revealed temperament and taste. Her reception was a cordial one.
A Trio of Violinists.
Use Niemack, Rudolph Polk and Gilbert Ross were the trio of American violinists who vied with each other lor Dresden’s favor. The youngest of them, Miss Niemack, by reason of her soulful expression, which is admirable for one so young, earned special distinction. Rudolph Polk, who
THE STADIUM CONCERTS
(Continued from Page 5).
for the safe return of manuscripts. Therefore each composer should keep a duplicate.
The winning composers must present orchestral parts not less than two weeks before performance.
The winning composers must give the Stadium Concerts the right of performance.
There will either be a cash award to the composer or publication of the best manuscript presented.
Owing to the fact that it is impossible to rehearse more than a few new works in the Stadium season, the number of new scores will be limited.
This preliminary announcement has ■been made public by the Stadium Committee early, that composers may have plenty of time to complete existing or unfinished scores. Further announcements will be made later.
Auditions for Soloists.
Mrs. Guggenheimer has also made an announcement of the plans for the Stadium Auditions. They will be carried out upon the same successful conditions under which they were conducted last year, and under the same management. Of the coming concerts Adolph Lewisohn will be honorary chairman, as before; Mrs. Charles S. Gug-genheimer, chairman; Mrs. Newbold LeRoy Edgar, vice-chairman, and Arthur Judson, manager. Mrs. Henry Mar-tyn Alexander will again be chairman of the Educational Committee. Mrs. William Cowen, as last year, will be chairman of the Auditions. The Auditions will have then-headquarters in the Stadium offices, now permanent, Room 712, Fisk Building, Fifty-seventh street and Broadway. Here all applications should be sent, directed to Mrs.
The Audition Committee will choose without fear or favor people to sing or play at the Stadium this year. There will be no limit to the number that may be chosen, but all, it is understood, must be worthy of an appearance with the New York Philharmonic Orchestra. It is further announced that one of the winning Stadium Audition soloists will definitely appear with the Philharmonic Orchestra m Carnegie Hall during the coming winter. Applications for these Auditions will be accepted only until May 1.	.
The Auditions will begin early in April, and it is announced that it will be advisable to send in applications as soon as possible. So many applications came in last year that it was not practicable to give the candidates all the time they wanted. The attempt is to be made to remedy that this year, to give each person applying at least two
hearings.	״	...
Amateurs Not Wanted.
Only artists ready to appear with an organization like the Philharmonic will be considered. There will be preliminary hearings of all these. Established artists, however need not have more than one preliminary hearing. The’ successful contestants in the preliminaries will then be heard in Carnegie Hall for final selection. It will not be necessary for young artists at the preliminary hearings to spend money and bring their own accompanists. _ Capable accompanists will be provided for all. The Auditions will be for piano, voice and violin.
The names of the committee that are to judge will not be published until afterwards, but all who perform this service will be of recognized musical ability. There will be about twenty-five of them. The Stadium Committee wants it to be thoroughly understood that these Auditions will not be in any sense of the word “try-outs,” either for singers or instrumentalists. Those that are not ready will only waste their time in being heard. Only those of
GIACOMO
RIMINI
POPULAR ITALIAN BARITONE
EXCLUSIVELY FOR CONCERTS
March, April and May 1923
Management: R. E. JOHNSTON, 1451 Broadway, New York Associate■: L■ G. BREID AND PAUL LONGONE MASON & HAMLIN PIANO	VOCALION RECORDS
Note: They dote their season with the Chicago Opera Co., Febrnary 24th
ROSA
RAISA
GREAT DRAMATIC SOPRANO
The Phenomenal Pianist
Season 1023-1924 in America
Exclusive Management: DANIEL MAYER
Aeolian Hall, New York Steinway Plano	Amplco Records