MUSI C AL COURIER
18
March 22, 1923
Allen H. Moore, George Meeker, Barnard Casady, Elizabeth Pearre, Monroe R. Owsley, Richard Bartell, Ellsworth Jones, Enos Jones, Gladys Clarke, Olga Brent, Sterling Holloway, Roy Carpenter and Rosalie Herrup.
Maria Carreras an Incomparable Pianist
As bold as this assertion may seem, it is correct; namely, that in Mine. Carreras are amalgamated all the pianistic and musical qualities one may desire to find in a virtuoso.
When Maria Carreras plays the classics, her classicism, her dignity and repose are impressive; when she interprets the romantics, her fantasy, her poetry and her gracefulness are inspiring; in Liszt her fire and passion are striking; in the moderns, her coloring and her touch are fascinating. The deep impression that she made on the public and press upon the occasion of her American debut was emphasized upon her second appearance. The numerous auditors were literally thrilled by her phenomenal technic and the fascinating beauty of her tone.
Before coming to the United States, Maria Carreras was scarcely known to our public,■ but her art was familiar to the musician, as her activity as a pianist has already extended to twenty countries, two hundred cities, and it is said that she has played more public recitals than any other living pianist. For many years—since that time, in fact, when she appeared in her native Rome playing Sgambati’s G minor concerto under the composer’s baton—Maria Carreras has played continuously in every European country and throughout South America. Her latest achievement consisted of a series of sixteen concerts in Mexico within six weeks.
Though of Spanish descent, Maria Carreras was born in Rome and in the eternal city gained her musical education under the direction of the great Giovanni Sgambati. At the age of five, she won the much coveted prize of a free scholarship to the Royal Academy of Santa Cecilia. It was at the expiration of her studies in this venerable institution that Mme. Carreras made her aforementioned debut with the Roman Philharmonic. Later followed concert tours in Germany, Russia, Scandinavia, England, France, Portugal, Italy, and lately a three seasons’ tour of two hundred and fourteen concerts in South America.
In Europe Mme. Carreras appeared under the baton of Colonne, Safonoff, Stavenhagen, Mlnarsky, Steinbach, Lan-don Ronald, Cajanus, Reznicek, Birnbaum, Oscar Fried, Marinuzzi, Molinari, Sgambati, Halvorsen, Chevillard, Jehin and other celebrities.
At the Czar’s special invitation she played in Kieff as the only soloist in the commemoration of the tenth anniversary of the death of Anton Rubinstein. In February, 1913, she appeared as the fourth of the four pianists in the series given by the Philharmonic of Warsaw, the other three being Paderewski, Busoni and Rosenthal. This was her fifth appearance at that old and celebrated musical institution and her success with public and press was not inferior to that of her illustrious colleagues.	A. S. B.
Louis Dornay and Betsy Culp in Recital
Louis Dornay, dramatic tenor of the National Opera, The Hague, Holland, and his wife, Betsy Culp, pianist, have arranged what is called an International Song Recital. They are introducing ancient and modern Holland folk songs in this country. Both artists appear in native costume and this combination promises to be one of unusual artistic standard. Mr. Dornay is at present located in Kansas City. A long concert tour has been arranged for him, and together with Betsy Culp, in joint recitals, he is a very busy artist these days.
For the present Mr. Dornay is conducting a master class at the Kansas City Conservatory of Music, Kansas City, where he has not only become a favorite in .the city and won many admirers by his lovely voice, but also is a teacher of advanced students and is rapidly taking his place in the foremost ranks.	__________
Paderewski Compliments Miura
On Washington’s Birthday Tamaki Miura sang at the University of Southern California, when the degree of Doctor of Laws was conferred upon Ignace Paderewski. During the evening she sat next to the great Polish pianist and by accident some water from her flowers spilled on him. Paderewski, in order to pay the Japanese prima donna a compliment, remarked: “See how your singing moves me to tears!”
Mme. Miura sang an aria from Madam Chrysanthemum, some Japanese songs, and two numbers by Alda Franchetti, who accompanied her at the piano; these were Samurai and Dille tu Rosa. After Mme. Miura had sung the Samurai, Paderewski turned to Mr. Franchetti and told him that he had great talent and his song was a rare gem.
Hurlbut Artists in Joint Recital
James Hinchliff, baritone, and Mrs. Charles W. Thompson, soprano, pupils of Harold Hurlbut, the de Reszke disciple, were enthusiastically applauded in joint recital before the New York Sunset Club on February 28. Mrs. Thompson won especial favor in The Morning Wind, by Gena Branscombe, and in a French number, in which her excellent diction was a delight to those who understood the language. The ease with which she sang many difficult high phrases won the confidence of her audience.
Mr. Hinchliff sang songs of a different type, relying on a splendid pianissimo and artistic phrasing for his effects. His singing of Cimara’s Fiocca La Neve was enthusiastically received.
to dazzle his audience, but if the impression gained will last overnight—■that is another question.	A. Q.
Sydney Biden.
Sydney Biden, an American baritone, gave a recital devoted only to lieder by Schubert and Hugo Wolf, which resulted in an indisputable success. Being in good form he made a decided impression on his audience, which applauded him generously. But any singer understanding his or her art as Mr. Biden does, could hardly fail to appeal to an audience with the aid of such master compositions as those selected for this program. Wilhelm Scholz cn this occasion was an accompanist par excellence. A. Q.
Fine Music Department at Harcuni School
The Harcum School at Bryn Mawr, Pa., a boarding and day school for girls, has a splendid music department, courses being offered in piano, singing, violin, cello, harp and chamber music. Classes are held in solfeggio, harmony, counterpoint and composition. Edith Hatcher Harcum, the head of the piano department, received her early training in her home ׳city, Richmond, Va., under Frederic Hahr, a pupil of Liszt. From him she went to New York to study with Richard Burmeister, also a pupil of Liszt. Later she studied in Paris with Wager-Swayne, and, after her return to America, was one of the six accepted, out of a large number of competitors, for the artists’ class of Wassily Safonoff, who was then conductor of the Philharmonic Orchestra in New York City. Since then she has studied in Vienna as the personal pupil of Leschetizky.
Mrs. Harcum has a number of pupils under her exclusive care. Students are taught from the very first that, no matter how simple the piece, it must be played with
“She is a singer of rare gifts and attainments, whose work shows serious purpose and fine mentality, as well as the natural endowment of voice.”
The Buffalo (N. Y.) Express said the above about May Peterson, soprano of the Metropolitan Opera Co.
Concert Direction: MUSIC LEAGUE OF AMERICA
712-718 Fisk Bldg., New York After June 1, 1923, under the management of Haensel & Jones Mason A Hamlin Piano Used	Aeolian-Vocalxon Pecoras
intelligence and taste. Strong emphasis is placed on the study of the pedal and its possibilities of artistic effects.
Pedaling, memorizing and sight reading are all based on a knowledge of harmony, the rudiments of which are given during the piano lessons, if the student is not already a member of the harmony class.
The pupils are taught to memorize thoroughly, by the harmonic relations of the chords in a piece, by visualizing the notes, and by familiarizing the fingers with the keys to be played.
The ensemble classes, where the students play with other pianists, violinists and cellists, are helpful for reading rhythm and interpretation, and furnish much pleasure and inspiration to them. Advanced students on the piano, violin or cello have an opportunity to play some of the concertos of the great masters with an orchestra.
Once a month there is an informal recital, where the students play for each other and for their friends.
The idea of these musicales is not to show off the progress of the students, but to give an afternoon of pleasure for themselves and others, when they play and sing in a perfectly natural way, getting encouragement and appreciation and a new impetus to work, besides the poise which it is absolutely impossible to get without repeated playing before others.
American Academy’s Sixth Performance
Suppressed Desires (a Freudian comedy) and The Marrying of Ann Leete, were produced by the seniors of the American Academy of Dramatic Arts at their sixth performance (thirty-ninth year) March 6, at the Lyceum Theater, New York. The Freudian playlet in one act was fairly well done by Anita Damrosch (the daughter of Dr. Damrosch), Annette Pitt and Richard Bartell. The second play, a four-act comedy by Granville Barker, was produced by special permission of the author, and brought forward a cast of twenty people, of whom those who especially excelled were Bryan Lycan, Barbara Bruce, West Phillips, Enos Jones and Evelyn Kingsland. All these showed physical and mental aptitude for their parts. The remaining actors were Spencer Tracy, Charles Callahan,
BERLIN CONCERTS
Carl Nielsen.
Compositions of Carl Nielsen, the eminent Danish master, were heard in two concerts during the last week. Rudolph Schmidt, a very able pianist, pupil and assistant of Leonid Kreutzer, had been entrusted by Nielsen with the first German performance of Nielsen’s Theme and Variations, for piano, op. 40. This set of variations is one of the most valuable contributions to modern piano literature. It is eminently characteristic of its composer in its mixture of solid workmanship, clear design and melodic charm with modern color and harmony. Nielsen is always intent on giving a healthy and solid musical substance and never forgets himself in that passionate search for undigested new material, in which many of the younger people consume most of their force. Schmidt gave a very clear and impressive reading of the difficult and weighty composition and obtained an undoubted success for the new work and for himself.
The following night Charles Lautrup, the young Danish conductor resident in Berlin, included three Nielsen compositions in his orchestral program. Nielsen’s first symphony in G minor, though written many years ago, had never before been played in Berlin. It shows Nielsen’s starting point: Gade’s mild northern tints applied to Brahms’ symphonic technic. Decidedly more modern is a recently written score: Pan and Syrinx. Tristan and Isolde and Debussy’s L’apres midi d’un faune are the direct predecessors of this orchestral fantasy, which treats its theme with a fantastic humor of quaint and original charm. Nielsen’s brilliant Hahnenkampf (cock fight), a fragment from one of his latest operas, will always make a sure hit by reason of its electrifying rhythms, its brilliant effects and its display of vivid temperament.	Dr. H. L.
Dr. Alexander Burgstaller.
Dr. Alexander Burgstaller, from Vienna, made his successful debut as a composer. Dr. Burgstaller had acquired an international reputation in chemistry before he turned to music professionally. He comes from an extremely musical family, one of his brothers, Alois Burgstaller, being once a celebrated Wagner singer; his sister, Valesca, a pianist of extraordinary qualities. On this occasion she played the piano parts of two of Burgstaller’s sonatas for violin and cello. His music is not revolutionary nor old fashioned. In fact in listening to it one forgets to inquire its degree of modernity, because it appeals directly to the musical sense by its warmth of feeling and wealth of ideas. No doubt Burgstaller will reach a still higher technical perfection, but in these first offerings he has given proof of his ability and one will watch with interest his further development. Stella Eisner, vocalist; Georg Kulenkampff-Post, violinist, and Johnny Gaedeke, cellist, participated in the rendering of Dr. Burgstaller’s program.
Dr. H. L.
Cara Verson.
Cara Verson, an American pianist, played a program of little piano pieces with fluent technic, culture of tone and good taste. These trifles, however, are not sufficient to give an adequate idea of the interpretative powers she doubtless possesses, and one ought to hear Mme. Verson in a program of weightier and larger compositions before pronouncing a detailed judgment on her artistic achievements.
Dr. H. L.
Georg Liebling.
Georg Liebling, well known to Berlin musicians for many years, has resumed his concert work after an interruption of considerable time. For his piano recital he had selected a program of standard works, centering in Chopin and Liszt. His excellent musicianship and mature manner of playing were duly remarked and helped him to renew the sympathies which he has long enjoyed here.
Dr. H. L.
Rudolph Reuter.
The American pianist, Rudolph Reuter, was heard in his second of three recitals in the Singakademie, when he offered an early Beethoven sonata, the fine posthumous sonata of Schubert in B flat, two pieces by Charles T. Grif-fes, the Brahms-Paganini Variations, and several by Liszt. Mr. Reuter has a splendid technical equipment which enables him to give a finished performance to everything he undertakes. He is a serious artist. A pianist who can play the ,Schubert sonata as he does is much more acceptable •than a half-baked one having over-poetic tendencies. A. Q.
Edward Weiss.
Another American pianist with prodigious technical means is Edward Weiss, whose playing has already been noted in a Berlin letter. The tremendous task Mr. Weiss has set himself by giving a series of five recitals in which only works of great magnitude appear, is especially deserving of recognition. Mr. Weiss is distinctly a pianist of virtuoso dimensions. The first two programs were devoted to Busoni, Liszt and Weber, the third and fifth to Liszt and the fourth to Schubert, Schumann, Beethoven and Chopin. Marvelous energy, memory and fingers combine
FONTAINEBLEAU SCHOOL OF MUSIC
PALACE OF FONTAINEBLEAU, FRANCE
DIRECTORS: CH.—M. WIDOR AND MAX D’OLLONE. SUPERVISED BY THE FRENCH GOVERNMENT
FOR AMERICAN ARTISTS, TEACHERS AND ADVANCED STUDENTS ONLY. JUNE 24 TO SEPTEMBER 24, 1923
The greatest French Teachers, including Widor (organ), Philipp (piano), Bloch, Vidal and Nadia Boulanger (composition), Rémy (violin), André Hekking (cello) Demougeot (voice), Grandjany (harp). Opera Classes.
Tuition, board and lodging, 1,200 francs monthly. Special rates on French steamers
American Office:	NATIONAL ARTS CLUB STUDIOS	119 East Nineteenth Street, New York City
FRANCIS ROGERS, Chairman