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MUSICAL COURIER
and; Clemens Krauss, and the following appreciation of his ability is given :	“He is a conductor in whom one notes
the beginner only by reason of his extreme youth. Fire and energy are united in him with thoroughly healthy musical understanding and elegance of form. He inspires the greatest confidence and will no doubt make his way in his chosen career. He has received most of his musical education in Vienna and is reputed to be an excellent pianist.”
Peterson Delights Tacoma
Tacoma, Wash., February IS. —On February 2, May Peterson was heard in a recital at the Tacoma. L. L. Clemans, one of the local critics, commented upon her singing as follows:
Entranced by a smile that radiates a warmth that reaches the heart, captured by two eyes that sparkle with roguishness and entranced by a voice of rare beauty, Tacoma music-lovers bowed at the shrine of an Amenran singer, May Peterson, the “golden girl of the Metropolitan,” at the Tacoma Theater, last evening.
Miss Peterson’s voice 5s a rich and full-bodied soprano of exceptional beauty, clear and ringing, remarkably pure in intonation and with a freshness and loveliness of color that is rarely found.
Her skill in interpretation is one of her greatest assets, for she handles her numbers with a keen feeling for dramatic values, at all times phrasing most intelligently and with a sincerity that cannot be denied.
Her program was varied, combining Italian, French and German offerings in the more difficult arias, and then American numbers that brought out all of the beauties of her artistry. Perhaps the best aria offered was Korngold’s aria, Marietta’s Lied, from Die Tote Stadt (The Dead City), which was first sung in its entirety by the Metropolitan, last season, with Jeritza, the Viennese star, in the principal role.
Of her lighter numbers, it would indeed be hard to pick her best offerings. There is a lyric of different theme in nearly every one, and one has the impression that each is the best until the next is sung Her programmed .numbers that the audience demanded so insistently for an encore that the singer graciously repeated them were: Sigurd Lie s Soft-footed Snow, Mahler’s Hans and Grete, Dalcroze’s Le Couer de Ma Mie, and Grant-Schaefer’s negro spiritual, Little David, Play on Your Harp.
In addition to the program of seventeen numbers, the singer sang eight encores, some of them request numbers that had endeared Miss Peterson to Laconians on previous occasions, and ending the evening with one of the sweetest little songs imaginable, Flirtation.
Miss Peterson was a revelation to her many friends in Tacoma, for in the short time that has elapsed since her last appearance in this city, her voice has grown fuller, sweeter and more brilliant.
At the conclusion of the program, friends of the singer flocked back-stage where an informal reception was held.
Miss Peterson has with her as pianist Charles Touchette, a finished musician, whose playing of the accompaniments placed him in the first rank as a pianist, and his artistry was one of the bright spots in the evening’s entertainment.	s. R.
A LaForge-Berumen Musicale
An interesting program was presented at the LaForge-Berumen studios, 14 West 68th Street, New York, on March 8. Helen Schafmeister played the opening numbers, Romance of Schumann and Dedication of Schumann-Liszt. She was followed by Esther Malmrose, whose work in two Staub numbers, L’heure silencieuse and L’heure delicieuse, delighted her audience. Ruth Carlmark, at the piano, lent valuable assistance. Charlotte McCoy, contralto, was heard to advantage in two arrangements of Frank La Forge, a Mexican folk song, The Swallow, and a Cuban folk song, En Cuba.
Edna Bachman contributed an aria from Verdi’s La Forza del Destino and Merry C. Harn gave a group of French songs. Especially interesting was the group of Mac-Dowell contributed by Elinor Warren, who not only is a fine pianist but also has shown considerable talent as a composer. Voi lo sapete, from Mascagni’s Cavalleria Rusticana, and Voci di primavera of Strauss were sung by Mathilda Flinn and Verna Rabey. The remaining vocalist on the program was Irene Nicoll who was heard in Quilter’s The Blackbird’s Song, MacDowell’s The Sea, Schubert’s Die Forelle, and Franz’ Im Herbst. Erin Ballard brought the program to a successful close with Humoreske of Rachmaninoff, Lotus Land of Cyril Scott, and Etude Heroique of Leschetizky.
The accompanists for the evening—Eleanor Haley, Merta Work, Helen Moss, Minabel Hunt and Florence Barbour— each deserve a special word of praise for their excellent work.
Maude Tucker Doolittle Pupils in Program
Maude Tucker Doolittle, who has charge of the Mecca School of Music, Jackson Heights, will give an afternoon of folk music at Wanamaker’s Auditorium on the afternoon of March 28 at 2:30. She will present her pupils, from eight to twelve years of age, which she has trained in Jackson Heights during the past winter. They will wear the costumes of eight different countries and will play, sing and dance to selected folk melodies. The novel features of the presentation will be the Toy Symphony and the dance. Mrs. Doolittle has arranged the tunes for piano and Toy Symphony. Mildred Fairchild is directing the ensemble and Mary Anne Edwards has charge of the folk dances.
Easton Gives “Most Successful Recital of Series” in San Francisco
Recently Florence Easton gave a “splendid recital”—to quote the Call and Post—at the Alice Seckels matinee in the Hotel Francis, San Francisco, Cal. “It was the most successful of the series and was enthusiastically applauded,” said the music critic of the Bulletin, in reviewing the Metropolitan soprano’s performance.
Bruno Walter Guest Conductor of Boston Symphony
Bruno Walter, conductor, formerly of Berlin, Vienna and Munich, will conduct the concerts of the Boston Symphony Orchestra, Friday afternoon and Saturday evening, March 30 and 31, in Symphony Hall. It will be the first time in the forty-two. years of its history that the Boston Orchestra will be led by a guest conductor who is not a composer.
Next New York Heifetz Recital
Jascha Heifetz has closed his Southern tour, which included a visit to Havana, and is now playing through Iowa and adjacent territory. The coming week will find him in Baltimore and Washington after which he comes to New York for his last recital in Carnegie Hall on Sunday afternoon, April 1.
FOREIGN NEWS IN BRIEF
A New Fantastic Opera.
Berlin, February 26. — The première of the fantastic opera, Germelshausen—the Sunken Village—by Dr. Hans Grimm, composer of the well known fairy pantomime, The Mâgic Violinist, has recently taken place in Augsburg. The music is tamely modern, colorful and polyphonically interesting. The new work, as well as its composer, was greeted with enthusiasm by an audience among whom were the directors of numerous theaters.	A. Q.
June Festival at Dortmund.
Cologne, February 27.—The Dortmund Orchestra, under the direction of Prof. Wilhelm Jieben, is preparing a modern music festival, which is to take place in June.
Dr. H. U.
Harriet van Emden Wins New Laurels.
Hamburg, February 27,—Harriet van Emden, the American soprano, is becoming more and more a favorite in Hamburg. After her first song recital, her success led Karl Muck to engage her for the Philharmonic concerts. She attained a still greater success in her second recital, both the press and public greeting her with unusual éclat. A striking future for this young artist is looked for. A. S.
No More Operetta for Leipsic.
Leipsic, February 27,—The City Council of Leipsic has decided to discontinue the City Operetta Theater after June 30, 1924. Numerous members have already received notice of their dismissal. Economic and financial conditions, of course, are responsible for the Council’s decision, the announcement of which caused consternation among those interested in operetta performances. An effort to avert the catastrophe will be made by public spirited citizens in the form of contributions. The sum necessary is such a large one, however, that the outlook for its being met is not an optimistic one.	Dr. A.
Princess Atalie a Charming Personality
Princess Atalie, Indian soprano, was born among the hills of Oklahoma. Her father was a leader among his people, the Cherokee Indians. She was educated in Boston
Renny photo.
PRINCESS ATALIE, Indian soprano.
at the New England Conservatory of Music, and at the Boston University. In the Great War she served in France as a war worker, as entertainer, and in a responsible executive position.
Princess Atalie' has a most charming personality. She captivates every audience with her lecture-recital, which consists of singing many of the beautiful old Indian songs and relating in her charming manner some of the fascinating legends of her people. Her voice is beautiful and sweet, and has been highly trained. She has been selected to sing the leading role in the Indian Opera, Nitana, by Umberto Vesci and Augustus Post. This opera is soon to be heard in ^ New York City, Boston, and other leading American cities and in several European countries as well.
During the Peace Conference in Washington, D. C., she gave her lecture-recital, under the auspices of the Department of the Interior, before a very large audience made up of representatives of foreign countries, congressmen, President Harding, Ex-President Wilson, and others. She also appeared before the Washington D. A. R.
Princess Atalie is an expert in Indian handicraft, such as basketry, pottery, nature lore and Indian primitive cooking, and demonstrated with implements to serve with, such as the wooden mortar postle, etc. She is a specialist on Indian songs, stories and legends.
Henry Weber Conducts Opera in Vienna
An item of news that will encourage those who are interested in music for and by Americans comes from Vienna in the form of a program and a clipping from a newspaper. The program is that of a performance of Verdi’s five-act opera, The Masked Ball, at the Akademie für Musik und darstellende Kunst in Wien, given by pupils of the academy and conducted by Henry G. Weber, of Chicago, also a pupil of the academy, where he is taking a course in conducting.
According to the newspaper, clipping, this was the seventh performance of the opera before crowded houses. It is further stated that Mr. Weber is a pupil of Von Reichwein
March 22, 1923
Casella Lectures on Modern Italian Composers
Four leading composers of the modern Italian school were given an exposition by Alfredo Casella at a lecture-recital which closed the season for subscribers to the International Composers’ Guild. The lecture was in French. A brief summary was made of the younger generation of Italians who are trying to rescue Italian music from the stagnant condition opera of the old generation has caused. Of the group dealing with symphonic forms Pizzetti, Malipiero, Castelnuovo-Tedesco and Casella, himself, were represented. Respighi was said to be too well known to need introducing at this time. This group is also trying to get away from the influence of the French impressionists, but the music that one heard as illustrations of their efforts led one to doubt whether they have been entirely successful in this regard.
A sonata for piano and cello by Pizzetti was played by Rozsi Varady and Mr. Casella. Pizzetti is the director of the Conservatory in Florence, and is said to be exerting a great influence by his revival of the old Greek tonality. The sonata in question had moments of modal feeling, and the last movement was especially significant. The first movement seemed improvisatory, and rather lacking in driving power. The material of the second movement was more genuine, and most of it was effective. Miss Varady performed the difficult work with great skill. Pizzetti’s style is not extreme, but is an evolution of diatonic material. Mr. Casella introduced five little pieces by Malipiero by saying that upon first production a critic wrote that they had had their first and probably last presentation, which statement he was taking great pleasure in refuting at the present time. These were much more extreme in technic and much more virile in material used. They were followed by an adolescent work by Castelnuovo-Tedesco, describing the last ray of sunset which, according to an old legend, is said to be always green. There was a great deal of force, originality and ultra-modern idiom observable in the work. Mr. Casella played all these compositions with understanding and his usual pianistic excellencies. A sonatina of his own was added in which he satirized the bombastic uses to which the sonata form has been put. Mr. Casella is a musician of quality and humor. One remembers with pleasure the little encores Maier and Pattison have been using this season.
A group of his songs were sung by Greta Torpadie, the soprano, who gave such a creditable performance of Pierrot Lunaire. This cycle of four funeral songs was composed to poems of Gitanjali, by Tagore. The musical setting on first hearing appeared to be more like the chromatic atonic trend of the Teutonic composers than the Latin branch of modern music. The text of these remarkable poems was well underscored, and there was a great deal of vivid depiction, Miss Torpadie does this kind of thing in a remark-li able manner. Her sense of pitch is phenomenal and her *i sensing of moods rare. Statuesque and restrained, she £ seems a living reincarnation of the spirit of the text she is using. Her French is very understandable.
Marcel Dupre’s Organ Recital
Marcel Dupré’s eighteenth organ recital on the new concert organ, Wanamaker Auditorium, New York, attracted an audience which completely filled the large hall on February 28, and all listened with interest to the Bach prelude and fugue in D, played at high speed; to the excerpts from Vierné (music of interesting quality) ; to the organist’s own choral and finale, again music of distinction; to the highly dramatic César Franck Piece Heroique, which ends with such splendid effects; to the allegretto and toccata (Widor), from the fifth symphony, played by Dupré with splendid clearness and accuracy, and finally, showed the usual interest when Warden Frank L. Sealy was introduced by Dr. Russell (concert director) and handed the organist the written theme for an improvisation. This was in A minor, Bachish in outline, and on it Monsieur Dupré built a one-movement work of intensely interesting elements. Such a rush of applause ensued that he played by request the F major toccata by Bach, with utmost speed and clearness.
Marcel Dupré has completed the sixth and last month of his record-breaking transcontinental tour of ninety-six engagements, the largest tour ever booked for an organ virtuoso. Within the last few weeks Marcel Dupré gave recitals in the States of New York, Massachusetts, Ohio and Illinois, returning to New York City on March 19, for his farewell public recital in the Wanamaker Auditorium, New York, for this season.
Maria Carreras Greatly Honored
Maria Carreras, the Italian pianist, will give her third and last recital of the season at the Town Hall on Tuesday evening,■ April 24. Mme. Carreras’ success in New York is but what should have been expected, following her triumphs in other music centers of the world. Before the war Mme. Carreras appeared before nearly all the crowned heads, and her relations with the Spanish court are quite exceptional, having been decorated by the Queen. In her tours of South America, the pianist also had the honor of playing before the president of every republic, and more recently, in New York, she was invited to play at the homes of Mrs. Vincent Astor and Dr. Walton Martin.
Barclay a Busy Baritone
On March 27 John Barclay makes his second appearance as assisting artist at the lecture-recitals of Jeanne de Mar, in Boston. On March 25, Mr. Barclay will be heard as soloist with the New York Symphony Orchestra under Walter Damrosch at Aeolian Hall, and on April 5 he sings in New York also.
Philharmonic Program
Wilhelm Bachaus will be soloist with the Philharmonic Orchestra tonight and tomorrow (Friday) afternoon at Carnegie Hall, when the programs will include Haydn’s symphony No._ 13 in G major, Strauss’ Till Eulenspiegel, Mozart’s A minor piano concerto and the first performance in New York of Pick-Mangiagalli’s Sortilege, a symphonic poem for piano and orchestra. Mr. Bachaus will play the piano part in Sortilege. Mr. Mengelberg will conduct. Next Sunday in Carnegie Hall, the Philharmonic Orchestra will present a Wagner-Strauss program.