March 8, 1923
51
MUSICAL COURIER

The Instrument of the Immoitals
"p ,ISZT, greatest 1"׳"of all pianists, preferred the Stein way. Wagner, Berlioz, Rubinstein and a host of master-music i an s esteemed it more highly than any other instrument. It is these traditions that have inspired Steinway achievement and raised this piano to its artistic preeminence which is today recognized throughout the world.
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been scored only by an unusually versatile artist. Her coloratura soprano was often—as in the tender little Coolan Dhu of Leoni— appealingly warm, and at times thrillingly dramatic. Against the handicap of all young singers—a necessarily limited experience—she has the compensation of youthful freshness. In Miss Erstinn’s work, too, was perceptible a temperamental vividness which resulted in a pleasing degree of originality.	#
The young singer was, perhaps, at her best in the familiar Caro Nome. This somewhat hackneyed number she rendered with sympathy and earnestness, which her unusually large audience instantly rewarded. The second half of her program, of a rather popular nature, pleased immensely. . . . There is nothing but admiration for Miss Erstinn; she has developed far in advance of her years; and we may expect brilliant achievements when she shall have added to her knowledge of technic and innate sense of beauty, the richness of persona־! experience.—Times Dispatch, January 24.
Kelly Commemorates MacDowell’s Death
On January 23, at the Ccrtintry Club of Cincinnati, Thomas James Kelly commemorated the fifteenth anniversary of the death of Edward MacDowell in a lecture-recital for the Tuesday Lecture Club of that city. He was assisted by a group of his talented students.
Of this event the Cincinnati Enquirer in a lengthy article said the following:
The occasion was the commemoration of the fifteenth anniversary of the passing away of the beautiful spirit of Edward MacDowell. There was a prologue on the music of the American Indian, in which songs of the Red Willow Pueblos, the Ojibways, the Navajos, and the Zunis were sung. This was suggestive of MacDowell’s lqve f<?r the Indian music-lore, which eventually crystallized its emotions in the Indian Suite.	.
As an epilogue, after allusion to the composer s interest in the tales of the negro, there was presented a few choice negro spiritu-
But, of course, the main strength and central thought of the program was the music moods of Edward MacDowell. The program was most unusual, its thought being delightfully consecutive. It was divided into Spring, Summer, Autumn and Winter. For the first group there were The Robin Sings in the Apple-tree, Deserted (Ye Banks and Braes) in which the Spring feeling was Keltic, with the strain of sadness which the Keltic nature feels in Spring and which is not always bubbling over with joy. Then A Maid Sings Light and a Maid Sings Low tor the other mood.	״
Summer was represented by Midsummer Lullaby, .followed by Moonlight (Claire de Lune) for pianoforte, and in the moonlight, io a Water-Lily, which led naturally to the song The Swan Bent Low to the Lily. This group ended with The Sea, a magnificent climax.
Autumn was there with Folksong (Is it the Shrewd October Wind.) and In the Woods closing with Long Ago, Sweetheart Mine.
Winter is come to me—the closing line of The West-Wind Croons in the Cedar-Trees introduced the lovely Slumber Song (Dearest, sleep sound, the stream’s ice-bound) and gave the Winter atmosphere.
Mr. Kelly read several of the poems of Mr. MacDowell and spoke at some length of his work and life and the necessity of taking a deep interest in perpetuating his ideals: .
“Mr. MacDowell never needed nor desired his work to be wrapped in the Star Spangled Banner in order to have it studied or listened to, but rather it must appeal as music, and not as American music, and it has succeeded. It has gone to the hearts and souls of people on its merits, and we are glad that he was an American, of course.
“There are sonatas of his which should be better known, and concertos which should be heard with orchestra much more often, said this interesting lecturer. He also spoke of die visit which he and Mrs. Kelly paid to Peterborough on the invitation of Mrs. MacDowell last summer, telling briefly of the colony work.
The students assisting were Margaret Rowe, Ohio; Nell I names and Louise Butterfield, Mississippi; Virginia Barry, Kentucky; Lyda Darlington, West Virginia; Grace Payne, Indiana; Christine Davies, Pennsylvania, and Grace Woodruff, pianist and accompanist, all ot whom contributed to a rare and radiant hour.
Ithaca Conservatory Orchestra Fleases Teachers’ Association
The Elmira Advertiser of February 2 carried the following, under the heading of “Ithaca Conservatory Symphony Orchestra Real Musical Feast”:
Hornell, N. Y., February 1.—Discriminating people interested in hearing good music delightfully and attractively presented had their fling at the opera house this evening when Director Patrick Conway brought his Ithaca Conservatory Symphony Orchestra here, under the auspices of the Hornell Teachers’ Association. ,	_
Those who attended bear eloquent testimony that Mr, Conway s organization stands at the top in sheer ability. The selections, mostly from the standard classics, were on a lofty plane of artistic endeavor and the elaborately arranged de luxe program stimulated the listeners.
Members of the organization are more than entertainers, they are educators in that their concert was uplifting and cultivates a taste for better things and that, too, without performing over the heads of their audience.	.	.	,	,
Beginning with the overture of Brittanicus by bcassola, and concluding with Pomp and Circumstance by Elgar, there was everything that may be desired in a splendid orchestra, while small numerically they were big artistically, the program was shared equally, there was no star and no inferior supporting members.	. ,. . .	,
Associated with the orchestra was Frances Yontz, a violinist, who plays with a warmth and precision that are a joy. 1 he violin is the most popular of instruments. Miss Yontz’ legitimate artistry, unmarred by mannerisms, delighted; her charming personality enhanced her performance wonderfully.	., .. . T u
For a youthful singer, it may be truthfully said that John (juine, baritone, holds an enviable position among vocalists. Nature has been more than kind to him; to a voice of wonderful depth and richness, he adds a charm of manner and magnetism that must be felt to be appreciated, a versatility which is positively unique, and a perfect enunciation which in itself is an especial gift and a constant joy to his auditors.	. .	. .	,	.	. . ,,	״
All in all the Hornell Teachers’ Association are to be highly commended for their selection of these artists and the Ithaca Symphony Orchestra.
Mr. Conway is dean of the Conway Military Band School, associated with the Ithaca Conservatory of Music.
Jessie Christian with Little Symphony
Jessie Christian is filling engagements throughout the country with increasing success. She recently made a distinct hit at Battle Creek (January 18), where she gave a recital before the Civic Music Federation, which is presenting ׳a series of notable artists this season. The next concert in this same course will be given by Harold Bauer nnd Pablo Casals.
The Enquirer and Evening News of Battle Creek says of Miss Christian:
Most gracious and engaging personality and striking appearance .... a good house appreciated fully each number rendered .... Miss Christian is a coloratura soprano with high range and possessing two particularly endearing traits, perfect enunciation and interpretation.
She sang with the Little Symphony at South Bend, Ind., February 1, and shared honors with the group of symphony players. The South Bend Tribune said, “Miss Christian sings exceedingly well, is imbued with the spirit of the song, and is sympathetic in interpretation.”
Miss Christian’s program ranged from well known coloratura opera arias to simple folk songs, among which some quaint English songs by Oliver elicited unusual appreciation. Here again it was evident that her superb command of English diction is one of the big reasons why audiences like her so well. Other singers might well take a leaf out of this artist’s book.
“Miss Christian also scores triumph here,” was the caption of the News-Times' account of the concert. The criticism continues:
Miss Christian, clear in diction, polished to a degree, perfection in her command of an unusual range, won the enthusiastic approval of
OPINIONS OF THE PRESS
Victor Wittgenstein Lauded
Victor Wittgenstein, American pianist, who, at his recent New York recital in Aeolian Hall on December 21, last, scored another big success, has to his credit a large number of successful public appearances, not only in the metropolis but also in all parts of the United States as well. The following is a partial list of press comments:
Victor Wittgenstein is a pianist of excellent technic, unerring taste and sense of proportion. He played music by Mozart, Loeilly, Scarlatti and Rossi delicately, without “prettifying” them and brought mature understanding to his performance of the Beethoven Waldstein sonata and a Brahms group.—New York Tribune.
Mr. Wittgenstein played the Waldstein sonata and Brahms group with his usual technical facility and ability to create a mood, and interpreted Emerson Whitehorne’s Pell Street with feeling and nimble fingers.—New York Evening Mail.
The rondo of the Beethoven Waldstein sonata was played with verve.—New York Evening Sun.
Mr. Wittgenstein has abundant technical skill, a thorough grasp of musical structure and design; he shows a proper feeling for the special characteristics of music of various times and schools and he plays thoughtfully and discriminatingly. . . . He was heard to good advantage in the Brahms E flat minor rhapsodie. In Chopin’s heroic polonaise in A flat major he had music that suited him well, and he did as much as might be done for the composer’s seldom heard Tarantella.—Boston Evening Transcript.
He played the stormy Brahms scherzo in E flat minor with dramatic accent and power and the Intermezzo in C major with charm. He has a constantly beautiful tone, grace and insight into the meaning of great music.—Boston Herald.
Wittgenstein is undoubtedly an artist—an artist with rather an original manner of his own and a personality that bends Beethoven to his will. For in his rendering of the master’s sonata, op. 53, the piece took on a rather liquid cadence, and in the brighter and swifter movements there was a frolicsomeness that almost became defiance. Other selections were cleverly and brilliantly given.—Boston Telegram.
The performance of the Brahms group was commendable for genuine feeling, technical competence and subtlety.—Boston Globe.
Mr. Wittgenstein has so far transcended all problems of technic that they interpose no barrier between himself and the masters whose music he interprets with such emotional power.—Greensboro (N. C.) Daily Record.
His interpretative work was entirely satisfying, and his feeling was as varied and as sensitive as the music itself.—Greensboro (N. C.) Daily News.
Under his sympathetic touch one almost forgets that the piano is an instrument of percussion.—New Orleans Musical News.
Mr. Wittgenstein is a pianist of extraordinary ability whose technic and interpretations are of a high order.—Asheville (N. C.) Times.
His program gave opportunity to reveal the strength and dignity as well as the beauty and poetry of his playing.—Charlotte (N. C.) News.
Mr. Wittgenstein demonstrated his mastery of the piano and a rare delicacy of touch.—Roanoke (Va.) World News.
Mr. Wittgenstein’s interpretations of the eighteenth century group were exquisite.—Paducah (Ky.) Evening Sun.
Mr. Wittgenstein is a pianist of fine technic, with a firm, sympathetic touch.—Owensboro (Ky.) Enquirer.
Mr. Wittgenstein played his way into immediate favor with his audience.—Houston (Texas) Post.
In every number his playing was that of an artist. One was never conscious of his craftsmanship, but always of his sensitive expression of the musical idea of the composer.—Searcy (Ark.) Daily Citizen.
Victor Wittgenstein is one of the most gifted young American pianists.—Fort Smith (Ark.) Southwest American.
Gitla Erstinn Makes Debut in Home City
The appended notices, culled from leading local papers, attest to the fine success of Gitla Erstinn. the soprano and pupil of Joseph Regneas, in her debut recital in her home city, Richmond, Va.:
Gitla Erstinn, a former Richmond girl, charmed a large audience in song recital at the Jefferson auditorium last evening. Miss Erstinn has been for the past three years studying in New York under Joseph Regneas, and during that time has developed amazingly. She has a coloratura soprano of purity and clearness, heightened by youthful freshness and aided by a gracious personality. . . . The young singer’s varied program was rendered with ease. The latter half, of a somewhat popular tone, was especially well received by the audience. It included Leoni’s Coolan Dhu, which she sang with tenderness and sympathy. Miss Erstinn is to be congratulated on her work. At her age so splendid a performance holds unmistakable promise for the future.—Evening Dispatch, January 24, 1923.
The concert was most thoroughly enjoyed by an enthusiastic audience, whose rounds of applause brought the young singer many calls and recalls after the various numbers. Her voice, a coloratura soprano, is beautiful and true, and she shows remarkable skill and intelligence in her interpretation for one so young. She sang a long and varied program (including many very difficult selections) with freedom and ease, and her phrases were beautifully sustained throughout. With a gracious and charming presence, it is safe to predict that if present indications hold good and develop, Miss Erstinn s future as a great singer is assured.—The Councillor.
A recital of more than ordinary interest was that given by Gitla Erstinn, in the fact that she was heard for the first time since she went to New York to study several years ago, and in the fulfillment of the promise of that time. She has made rapid progress, and the program last night disclosed powers that will take her far, if she intelligently pursues the course that has taken her thus far on the difficult path of becoming an artist. She has, as always, a voice of naturally beautiful quality; an easy, rippling fioriture, and intelligence in its use. Added to this, she has acquired excellent control of her resources, interpretive ability of a high order, a very good enunciation, lingual facility and a charming stage presence—all requisites of the recital singer. Her accomplishments in this brief period have been so considerable that one is both amazed and gratified. . . . She sang a program of almost herculean proportions, and to her credit be it said that she did not resort to a note book of words. Opening with the aria from Linda Di Chamonix, she sang groups of songs m German, French, the Caro Nome, songs in English, and closed with a group of nonsense songs. As a whole, the German songs were, perhaps, the best of the program. Individual numbers in the remaining group were sung with much beauty of tone and interpretation, however, among them being Chanson Norwegienne by Fourdrain, Barcarole by Godard, and Lo Fete by Geraldy, Coolan Dhu by Leoni, and Cradle Hymn by MacDowell. The nonsense songs were all charmingly sung. . . . Miss Erstinn is a singer of whom Richmond may well feel proud. Neither Galli-Curci nor Tetrazzini had greater natural gifts than this young girl. She has but set her foot upon the pathway; the road is long and arduous, but if she chooses she can find her place among the few who have reached the far places of art. —News Leader, January 24.
Gitla Erstinn delighted her audience with a singularly fresh and lovely voice susceptible of infinite color-shading, a surprisingly mature grasp of technic, and an engaging personality, predictive of a brilliant future in the music world. . . . Miss Erstinn rendered a widely varied, and at times, difficult program with success which could have