59
MUSICAL COURIER
♦
March 22, 1923
fine voices lack the resonance that cuts into the wax and makes the tones; likewise there are those who make splendid records who could not entertain otherwise.”
A circlet of diamonds, worn on the love finger and guarded by a ring of diamonds and sapphire, prompted the query: “Is there anything as precious to you as your career?”
“Yes, my husband,” and here the happy face became a bit wistful. “He too loves music and is so generous that he is willing for me to go on with my work, even though it takes me away. But I will be home again soon,” she added happily.
At the age of eight years Miss Williams made her debut in the Great Mormon Temple in Salt Lake City, the city where she was born and reared. Five years ago she went to New York to become the artist pupil of Adelaide Gescheidt.
She stands today at the golden morn of signal powers.
Grace Denton to Manage Toledo’s Rivoli Concerts
A new development in the musical life of Toledo, Ohio, will be inaugurated next season with a series of concerts to be known as the Rivoli City Concerts, to be managed by Grace E. Denton. This name comes from the Rivoli Theater, the largest and most beautiful playhouse in that city, which is made available through the generosity of Edward Sourbier, of Indianapolis, owner of the theater, and Howard Feigley, manager.
The house has held out firmly against the ever-renewed offers of concert managers, and it is a distinct feather in Miss Denton’s cap to have secured the house and with it the co-operation of its backers. Among the attractions which Miss Denton has already booked for next season are John McCormack, Schumann Heink, one of the leading symphony orchestras of the country, as well as a number of other leading artists. Consequently, this will be a course of which any city might well be proud. Miss Denton will also co-operate with Ada Ritchie, manager of the School Teachers’ Concert Course, in taking the Chicago Opera Company to Toledo.
“This bit of co-operation between what might easily prove rival concert courses is regarded by booking agencies in New York and Chicago to be the most remarkable and praiseworthy ever to come within their knowledge,” declared the Toledo Times in speaking of the plan. “The joint plan is indicative of the caliber of the two women managers and augurs well for the future musical life of the city.”
The backing of the influential people of the city is assured with Mrs. Frank Stuart Lewis as chairman of the committee to secure guarantors.
Miss Denton’s home is in Toledo, but she has had a wide musical experience. For some years she was supervisor of music in the government schools of Porto Rico and subsequently was a member of the editorial staff of the Musical Courier. Recently she has been engaged in booking artists and in concert management, the scene of her latest activities being Detroit, Mich.
Announcement of the complete course will be made shortly.
A Boston Recital for Elly Ney
Elly Ney, who was recently heard as soloist with the New York String Quartet, will be heard in recital in Boston on the 24th of March.
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gave the tuneful Chimes of Normandy, with a local cast. Both Operas were well patronized and received favorable comment.
Erika Morini Gives Well Chosen Program.
The Philharmonic-Central Concert Company presented Erika Morini, violinist, in recital at Arcadia, March 1. Her program was well chosen and admirably played.
Winnipeg Choir Heard at Orchestra Hall.
The Winnipeg Male Choir under the direction of Hugh C. M. Ross, was heard at Orchestra Hall, March 1, and won a high place in the memory of all who heard it. The critics waxed most eloquent over the excellencies of its work, praising without stint its precision, its admirable phrasing, its splendid quality of tone and its smooth flowing legato. Encores were enthusastically demanded and courteously given. Alberto Salvi, harpist, was also received most cordially.	J. M. S.
Irene Williams, On Tour, Gives Interview to Arkansas Writer
Irene Williams, soprano of the William Wade Hinshaw company, now on tour presenting Cosi Fan׳ Tutte, was recently in Pine Bluff, Ark., when she was interviewed by Annie O. Stuart of the Daily Graphic, whose article is reprinted here:
GLORY OF YOUTH, ITS IDEALS, IS ADAGE EXEMPLIFIED IN SUCCESS O'F IRENE WILLIAMS, SOPRANO.
The glory of youth is its ideals—quite interesting it is to take a glimpse, however brief, into the character of a woman who must have from childhood held tenaciously to the ideals that are successfully
IRENE WILLIAMS
as Fiordiligi.
meeting with realization today—such is that of Irene Williams, soprano prima donna, who sang the leading role in Mozart’s comic opera, Cosi Fan Tutte, in Pine Bluff last week.
“Work is the joy in living if you have found your forte,” she said as she talked with me in her room at the Hotel Pines, wearing a frock of Persian crepe, whose soft coloring accentuated the beauty of her eyes and hair.
Typically American is she, with the intonation that distinguishes her as coming from the West. Charmingly happy, filled with a great love for humanity, free from all the so-called artistic eccentricity, she impresses you with her sincerity and faith, that with hard work one can reach the goal, and that to be without a goal is the most distressing thing in life.
‘ “One does not have to be born a genius or a beauty. With hard study and training you can make of yourself what you will. To me music is divine. The keynote of most unhappiness is the lack of some definite purpose or interest in life. I pity the woman who has nothing to do. But women are becoming more ambitious, and one can love and have a home and still have a career.
“I have not been abroad. There is so much here in America to see and learn. New York is the musical center of the world. The best teachers of the day are there. And with this big wonderful country of ours to see, why leave it? I am enjoying being a trouper this winter since it takes me over my own country.
“Your people are hospitable, warm hearted and generous. And not many towns can boast of so beautiful a hotel And the fine water! Do you know that we have been in places where the water was so hard that we could not wash off our make-up!”
When asked about her recording for the talking machine, Miss Williams’ eyes sparkled. “Being a new thing in a musical way we naturally think it the most fascinating in the world. And I regard it as a stimulant. Hearing yourself as others hear you, fires you with an ambition to perfect each detail. I suffered horribly with horn-fright at first, but now I sing quite naturally when before the recording instrument, and I am so happy that my voice will record. Many
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LAURA JONES RAWLINSON, Port-,An<kJ?re61 ׳־ North 16th St., June 19, 1923; Seattle, Wash., Aug. 1, 1923.
VIRGINIA RYAN, 828 Carnegie Hall, New York City, March.
ISABEL M. TONE, 469 Grand View Street, Los Angeles, Cal., April 16 and June 18, 1923.
MRS. S. L. VAN NORT, 2815 Helena St., Houston, Texas.
MRS. H. R. WATKINS, 124 East 11th St., Oklahoma City, Okla.
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Normal Classes as follows:—
MRS. CARRE LOUISE DUNNING, Originator, 8 West 40th Street, New York City.
JEANETTE CURREY FULLER, 50 Erlon Crescent, Rochester, N. Y.
TRAVIS SEDBERRY GRIMLAND, Memphis, Tenn.; for booklets address, Clifton, Texas.
IDA GARDNER, 15 West Fifth Street, Tulsa, Okla.
CARA MATTHEWS GARRETT, “Mission Hills School of Music,131 ״ West Washington, San Diego, Calif.
MRS. JULIUS ALBERT JAHN, Dallas Academy of Music, Dallas, Texas.
MAUD ELLEN LITTLEFIELD, Kansas City Conservatory of Music, 1515 Llnwood Blvd., Kansas City, Mo.
CLARA B. LOCH RIDGE, 223 N. Fifth St., Mayfield, Ky.
CARRIE MUNGER LONG, 608 Fine Arts Bldg., Chicago, III.; classes monthly through the year except Feb. and Mar. In Indianapolis.
MRS. ZELLA E. ANDREWS, Leonard Bldg., Spokane, Wash.
ALLIE E. BARCUS, 1006 College Ave., Ft. Worth, Texas.
ANNA CRAIG BATES, 732 Pierce Bldg., St. Louis, Mo.; classes held monthly throughout the season.
MARY E. BRECKISEN, 354 Irving Street, Toledo, Ohio.
MRS. JEAN WARREN CARRICK, 160 East 68th St., Portland, Ore., March.
DORA A. CHASE, Pouch Gallery, 345 Clinton Ave., Brooklyn, N. Y.
ADDA C. EDDY, 136 W. Sandusky Ave., Bellefontaine, Ohio; Summer and Fall Classes—Columbus, Dayton, Cincinnati and Bellefontaine, Ohio; Atlanta, Ga.
BEATRICE S. EIKEL, Kidd-Key College, Sherman, Texas.
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BRUNO WALTER CONDUCTS
DETROIT SYMPHONY
Pops Offer Excellent Soloists—Concert of Organ Music by Detroit Composers Reveals Excellent Talent
Detroit, Mich., March 2.—The tenth pair of subscription concerts given by the Detroit Symphony Orchestra, February 22 and 23, introduced Bruno Walter as guest conductor. The program consisted of the overture to Euryanthe, Weber ; symphony in D major, Mozart; overture-fantasia Romeo and Juliet, Tschaikowsky; overture to A Midsummer Night’s Dream, Mendelssohn; Interlude (No. 3) and Ballet Music (Nos. 1 and 2) from Rosamunde, Schubert, and overture to Rienzi, Wagner. A large audience greeted Mr. Walter and listened appreciatively throughout the long program. The conductor was recalled repeatedly after each number but modestly insisted upon the men’s sharing the applause with him. His interpretations were found satisfying for the composer’s intent seems to be given with meticulous care. Whether the praise bestowed upon the orchestra by Deems Taylor, in his recent visit here, or the warm commendation given by Mr. Walter after the first rehearsal had the effect of stimulating the men or not, the orchestra proved itself equal to all demands made upon it and proved most sensitive to the desires of the leader.
Pop Concerts.
At the Sunday afternoon concert, John Barcjay, baritone, and the Detroit Symphony Ensemble were heard with the orchestra. The orchestral numbers were the overture to Ruy Bias, Mendelssohn; suite L’Arlesienne, No. 2, Bizet; and Slavic Dances, Nos. 1, 2, and 3, first series, Dvorak, led by Victor Kolar with his usual success. Mr. Barclay displayed a fine voice and excellent ability in Massenet’s Vision Fugitive, from Herodiade, and Valentine’s aria from Gounod’s Faust. The Ensemble played Beethoven’s septet, op. 20, in a manner to win them much applause. The members are E. Heyde, violin; H. Endres, viola; J. Sturm, cello; S. Elkind, bass; J. Staglione, horn; M. Arey, clarinet, and J. Mossbach, bassoon.
For the concert February 25, William Grafing King, violinist, was soloist, playing Introduction and Rondo Capric-cioso, op. 23, by Saint-Saëns. His reception and the applause following his number could have left no doubt in his mind as to׳ the esteem in which his listeners held him and his work.
The orchestra was on tour in the East during the week of February 25, giving concerts in Buffalo, Rochester and Utica.
American Indian Music Heard.
Thurlow Lieurance gave a recital of American Indian music, assisted by Edna Wooley who dramatized in costume several numbers on the program. Mr. Lieurance analyzed tribal melodies tracing their relation to tribal customs and characteristics. The program was given under the auspices of the Delta chapter of the Mu Phi Epsilon Sorority.
Sixth Recital Given by Clara Clemens.
On February 20 Clara Clemens gave the sixth recital in her series of seven historical programs. A larger audience than usual greeted her. The program was devoted to compositions by Debussy, Ravel, Chausson, Reger, Schoenberg, Pfitzner, Elgar, Bridge, Carpenter, Mrs. Beach, L. G. Mason and Horatio !Parker. Michael Raucheissen was the impeccable accompanist.
Ganna Walska Appears at Orchestra'Hall.
On February 20, at Orchestra Hall, the Detroit Concert Direction presented Ganna Walska in recital.
Detroit Composers’ Works Featured In Organ Recital.
Guy C. Filkins featured Detroit composers in his organ recital given at Central Methodist Church, February 23. His program included Festival March, Llewellyn Renwick; Elegy, Abram Ray Tyler; Spring Song, Francis L. York; Song of the Canyon, William Fishwick; Allegretto, Thomas Chilvers; Vox Angelica, Christian Henrich; Capriccio, J. L. Edwards, and Triumphal March, Francis Wrigley. With the exception of Thomas Chilvers all the composers represented were organists. Mr. Filkins had the assistance of Mildred Mitton, contralto, who sang The Man of Galilee, John Truman Wolcott, and Revelation, by Renwick.
Tuesday Musicale Features Scandinavian Composers.
The seventh concert by the Tuesday Musicale, given at Memorial Hall, February 20, was devoted to Scandinavian composers. Torjusson, Palmgren, Sjugorem, Grondahl, Merikanto, Kjerulf and Grieg were represented. Estelle Morris Goodspeed, pianist; Mina Wilson Thomas, contralto; Marian Peck Thomas, violinist; Martha Bartholomew, pianist, and Muriel Magerl Kyle, soprano, were the participants. The chairman of the day was Mrs. Theodore Miller, while Harriet J. Ingersoll, Minnie Caldwell Mitchell and Mrs. Goodspeed acted as accompanists. An innovation on the program was a charming Norwegian Folk Dance in costume, by Angela Collina and Eileen O’Donald.
Two Light Operas Given by Local Talent.
On February 20 and 21, in the auditorium of the Cass Technical High School, the Community Opera Company, Thaddeus Wronski, director, gave Robin Hood. All the cast were local singers except the title role, sung by Ralph Soule of Chicago. On February 26, the Detroit Light Opera Company, under the direction of Marcus Kellerman,
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