63
Musical coukíEk
MaïcÎi È¿, Í923
“Yes, Its a Steinway”
JSN’T there supreme satisfaction in being-able to say that of the piano in your home? Would you have the same feeling about any other piano? “It’s a Steinway.״ Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words‘*It’s a Steinway״ will mean more and more to you, and again and again, as you continue to enjoy through life the companionship of that noble instrument, absolutely without a peer, you will say toyourself: ‘*How glad I am I paid the few extra dollars and got a Steinway.״
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literature about the
STEINWAY
Steinway & Sons, Steinway Hall
107-109 East Fourteenth Street, New York City Subway Express Station at the Door
MÀSTËR INSTITUTE OF UNITED ARTS PLANS EXTENSIVE SUMMER SESSION
ALBERTO BXJltíoÑl,
one of the members of the vocal faculty.
SIXA T.IOIITMANX;
who will give ike
give master classes.
•T. BERTRAM FOX,
one of the mem bere fjf 11i < vocal faculty.
WILLIAM COAD, who tMl tfive the violin master classed.
Before coming to America, Mr. Coad was professor at the New South Wales Conservatory and was concert master and soloist with the Symphony in Sidney, under Henri Ver-brugghen. In the theory department, the summer session will include courses specially designed for school teachers and advanced students. In this department, a new addition has been made in Eduardo Trucco, student of Rinaldi, Rossi, Matelli, and teacher in Milan from 1889 to 1903 and professor of Composition for ten years ill the National Conservatory of Mexico, He was also composer of several operas^ and symphonies performed under Toscanini, and is ail eminent critic and musical editor,
Other Courses,
The solfege and ear-training work will be under Mme. C. Trotin, teacher of Brussels and Paris, former teacher in the Voh Ende School, endorsed by leading teachers in America, and also under Margaret Anderson, graduate of the Ellisott-White Conservatory in Portland and of the Institute of Musical Art in New York, and teacher in Portland and New York.
A ballet course for teachers is to be held by Rosa Munde of the Metropolitan Opera, one of the best known teachers in her field and especially eminent for her corrective work itt ballet. The course in theater decoration is to be given by Edward J. Wimffler, formerly of Vienna and associated with the Royal Opera House in Vienna.
The session will also include courses in painting, Dal-croze Eurythmics, interior decoration and modern design and applied art and drama, and will also have in its faculty, such names as Mary Fanton Roberts, William Virrick, St. Clair Bayfieid, Max Drlttier, Chester Leich, Mathilde Tfudco, and Others.
■ An extensive summer session has been planned for the Master Institute of United Arts in New York. Opening on June 25 and lasting until August 4, the six weeks’ term will include normal and master courses, as well as private instruction, in all branches of music and the other arts. In piano, the normal and master classes will be under the supervision of Maurice and Sina Lichtmann, now well known in America, and formerly associate teachers of Leopold Godowsky at the Vienna Meisterschuie, atld later in America An especially forceful vocal department has been enlisted for the summer session including Alberto Bimboni, J. Bertram Fox, Amie Stevenson and fit, Reginald Spier. Miss Stevenson is well known as the exponent of the Emilio Beiari vocal method, and has had many successes with her students. Mr, Bifflborti, prominent as teacher, eondltctor and composer, was long assistant to Vincenzo Lombardi and Ceccheriiii, teacher of Tetrazzini, and was Conductor With Ppiacco and With Hanimerstein and other Companies. Mr. Fox is another of the Well kiloWn teachers Of New York, and is a member of the faculty. He was formerly assistant teacher to Victor Maurel, with whom he Studied, As a Composer, Mr. Fox’S songs have been sulig by many of the leading singers and his choral Works have recently been given by the St, Cecelia Club and the Schu-Inailh Club. Mr. Fox’s studies in composition and piarto were pursued under Max Spicker. Mr. Spier has long been successful as a vOCai teacher and coach, having been associated with such artists as Reinaid Werrenrath, Marcia Van Dresser, Cotoghi and others.
William Coad, the Australian violinist, will conduct the normal and master classes ill that department. His studies Were pursued under Cesar Thompson and Achille Rivarde.
training in tlie easy and natural way that she used her voice, änd made her greatest success in two of Mr. War ford’s songs, Armenia and LoVe’s Eestasy.—New York Evening Mail;
Her beautiful, resonant dramatic sopranö Voice achieved fine resuits in songs of niarked character.—NeW York Staats-Zeitung;
Edna Thomas a Good Judge
Edna Thomas was accorded an ovation at her second recital in New York, which took place several weeks ago at the Belmont Theater. So complete was her success that her management has been forced to give an additional concert the first day of April.
Miss Thomas specializes in old Creole negro songs and spirituals. There are many which she has introduced to American audiences and over half of her program is made up of original selections arranged by her. In one group of spirituals she sang Swing Low, Sweet Chariot, Some o’ These Days, and Nobody Knows de Trouble I Sees. These three are perhaps among the best known negro spirituals we have. They have all had innumerable settings, but, as pointed out many times in the columns of the Musical Courier, the young Texas composer, David Guion, has more nearly preserved an authentic setting of these old numbers than any other composer has been able to do. This, no doubt, is accounted for by the fact that Mr. Guion is a musician and a Southerner and thereby transfers to music what he hears. It does not surprise one in the least that it was the Guion arrangement which Miss Thomas, herself a Southerner, chose for her group.
Chicago Soprano Pleases Audience
A long distance call from Rock Island (III.) asking Marie Zendt, the Chicago soprano, if she could come down the next evening and sing a recital on the fourth of the artists’ series at Augustana College (the artist announced to appear being ill) found Mrs. Zendt ready. She received splendid praise from the critics of the Davenport Times and Rock Island Argus; who stated: “The singer has a wide range of voice. She displayed perfect control of the upper and lower registers especially,” and “she sings with perfect ease; her tones are full and of bell-like clearness.”
Following are the programmed numbers and encores: Per la Gloria (Buononcini), Qui La Voce (Bellini), Alle-luja (Mozart), Die Lotosblume (Schumann), Frau Nach-tigal (Taubert), On Wings of Song (Mendelssohn), Serenade (Strauss), Det Forste Mode (Grieg), Vandring I Skogen (Grieg), Fagelus Visa (Sodermann), Titania (Peterson-Berger), II est Doux from Herodiade (Massenet), Under the Greenwood Tree (Dunn), Little Grey Dove (Victor Saar), Little Brother’s Lullaby (Broecks), I Know My Love (Old Irish), Love’s a Merchant (Carew) ; encores—Norwegian Echo Song, The Icicle (Basett), Lo, Here the Gentle Lark (Bishop).
May Dates for Arthur Hackett
Arthur Hackett has been engaged for the forthcoming May Festival in Mount Vernon, Iowa, on which occasion he will sing the tenor part in César Franck’s The Beatitudes. He has been engaged also for the performance of Elijah, to be given by the Mankato Music Club, and for a second appearance with the same club the day following. May 18 Mr. Hackett will give a recital in Northfield, Minn., under the auspices of Carleton College.
Tilla Gerriundfer: Dramatic, Lyric or Goidrhtura ?
The training of sjngers is an interesting subject, atid one Which has. been discussed by teachers almost from time immemorial.
Tills. Gehiuhder, to judge by her success, seeiiis to have Solved the problem in a_ very satisfactory manner. Before she^began the study of singing she had perfected herself as a pianist, and later became a proficient artist on the violin. This broad foundation of musical knowledge was the best possible preparation for the singing career which she later adopted, and in which she has had so much success. The
TILLA GEMUNDER
selection of a singing master was not left, in haphazard manner, to the advice of friends, or claims of various teachers; her own musical knowledge being so complete, she had no difficulty in making a decision as to the teacher she wanted. Her selection finally fell upon Claude Warford, one of the most modest men in the profession. He does not believe in the theory that all pupils can be made to sing satisfactorily. _ His work with Miss Gemunder shows in the skill and agility with which she handles her voice.
Following a recital program, one is somewhat perplexed to place her voice in a definite class. In one song her voice will have all the qualities and attributes of the dramatic; another group will show the vocie as of lyric type, while probably the next group may reveal a pure and faultless coloratura. When her New York recital was given, the critics were quite Unanimous in their praise of this sterling artist, and a few of these notices are herewith reproduced:
Her voice, which is a soprano, is not a large one, but has been trained to effective use. She sang with excellent diction and skill in interpretation.—New York Tribune.
Tilla Gemunder, soprano, assisted by Claude Warford as accompanist and composer, gave a song recital yesterday in the Princess Theater. ־ Her fresh voice and youthful style seemed to please her large audience in a list including songs by Strauss, Haile, Kramer, Warford and Nogero.—New York Herald.
At the Princess Theater, Tilla Gemunder gave evidence of splendid