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45
sages might well be the envy of many a coloratura soprano. Edith Orenstein sang admirably Schumann’s Widmung and Dargomyzhsky, besides Hansel in the opera scene. She, too, met with the full approval of the listeners, and had to add several encores. The Hansel and Gretel scene was most cleverly done by the two young singers, Edith Orenstein and Helen Derzbach, who gave a realistic idea of this Humperdinck work and won a real ovation. So great was the applause at its close that part of the scene had to be repeated to satisfy the delighted hearers. At the piano, Mrs. Devries was a pillar of strength both in the solos and the operatic excerpt, all of which received most efficient handling in her capable hands.
An orchestra, made up of members of the Chicago Symphony, under the leadership of Alexander Zukowsky, played splendidly numbers by Weber, Scharwenka, Moskowsky, Massenet, Handel, Bizet and Rossini, adding to the pleasure of the evening.
Sherwood School Recitals.
On Tuesday evening, March 13, Gwendollyn Llewellyn, pianist, and Katheryn Llewellyn, soprano (artist-pupil of Else Hartban Arendt), furnished a program at the Sherwood School Recital Hall. Mme. Arendt furnished the accompaniments for the singer.	_ .
Pupils of the piano and dramatic departments participated in a recital at the school recital hall on Friday evening, March 23.
Casella and the Chicago Symphony Orchestra.
There was much that was new and some that was old in Conductor Stock’s scheme of music making for this week’s Chicago Symphony Orchestra concerts. Perhaps the chief attraction centered around Alfredo Casella—known here only through his Italia rhapsody—who appeared in the three-fold role of conductor, composer and pianist. Let it be said that in all three capacities he made a splendid impression, winning the full approbation of the eager listeners. As conductor he led our admirable body of symphony players through his Pupazzetti—five pieces for marionettes —and his Italia rhapsody, both exquisitely set forth and shedding new light on this stirringly beautiful rhapsody and proving the first mentioned number another ultramodern mixture of discord, jazz and what-not. His arrangement of the Albeniz Spanish rhapsody served to portray the versatility of Casella, he playing the piano part masterfully. The reception tendered him was nothing short of an ovation, and justly so, for here is a most commanding personality of the musical world. New also to this city was the ballet suite by the Spanish composer, Manuel de Falla, called The Three Cornered Hat, which won immediate success with its wealth of color and melody and lilting dance rhythms so characteristic of the Spaniards.. This, with the Liebes-fruehling overture of Georg Schumann, and Robert Schumann’s B flat major symphony—the performances of which (Continued on page 64)
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his lecture Mr. Bolm had made a strong plea for a return of the social dance of former days with its stately charm and graceful figures.	.
Folk dances of other nations were given in costume by Amata Grass¡ and others. The Dalcroze work, which is also a strong feature of the school, under Lucy Duncan Hall, was illustrated by a group led by Miss Roberts.
Marguerite Heaton, head of the New York School of Dal-croze, will arrive in Chicago April 20 to present a full course in Dalcroze at the Bolm School for a period of ten days. During that time there will be lectures and class work daily, with the allied subjects of solfege, ear training and sight reading, also a part of the intensive course. Miss Heaton will then return to New York, coming back to Chicago to be a member of the Bolm School faculty for the Summer Session, which begins June 18.
Ten French Operas Announced for Civic Opera Season.
Of the ten French operas announced to be given by the Chicago Civic Opera Company next season only one is new to Chicago—Tarass Boulba, which however is mentioned only as a possibility. Louise, Cleopatra, Jongleur de Notre Dame, Monna Vanna, Thais, Lakme, Manon, Romeo and Juliet, and Samson and Delilah are the old favorites to be heard again after a season’s omission.
Alexander Sebald in Recital.
Alexander Sebald, Hungarian violinist, was presented in recital at Orchestra Hall March 21, and rendered his program in an excellent manner.
Columbia School Notes.
Columbia School had two contestants in the recent contest for young artists held under the auspices of the Society of American Musicians at Orchestra Hall. They were Margaret Farr, pianist, and Geraldine Rhoads, contralto, pupil of Louise St. John Westervelt.	.
It is by this time musical history that Miss Farr was the winning pianist, which means an appearance as soloist in the “popular” series of the Chicago Symphony Orchestra. Miss Farr is a pupil of Walter Spry, and owes practically all of her musical training to that eminent pedagogue’s guidance.
Students of Columbia School broadcasted a concert from the Daily News station Monday, March 19. Those taking part were Mary Lucille Purcell, pianist, and Elizabeth Hayes, soprano.
David Polikoff, a student of Ludwig Becker, appeared as soloist with the Tri-City Orchestra, Ludwig Becker, conductor, in Davenport, Iowa, March 18, and Moline, 111., March 20.
Mrs. Herman Devries and Pupils on Educational Program.
Fortunate -indeed was the Chicago joint board of the Amalgamated Clothing Workers of America to have secured the services of Mrs. Herman Devries and three of her artist-students for its fourth and last educational concert, Friday evening, March 23, at Schoenhofen’s Hall. The very large audience on hand was afforded a rare treat by this splendid combination—Helen Freund, coloratura soprano; Edith Orenstein and Helen Derzbach, sopranos, in individual solos with Mrs. Devries at the piano, ■and a scene from Hansel and Gretel with Mrs. Devries conducting. The participation of Mrs. Devries alone lent distinction and interest to the program, but with the appearance of the talented soloists, the concert was made doubly enjoyable. An unusually gifted soprano, Helen Freund, won first honors, singing the Polonaise from Thomas’ Mignon, in fine style and with telling effect. So well was she liked that the audience insisted upon more and she had to add several encores which met with the same hearty approval^ She later sang a French group, which also made such a hit that extra numbers had to be added. These columns have often contained high praise for Miss Freund, whose fine talent has been trained to a high degree of excellence. The abandon and ease with which she dashes off difficult coloratura pas-
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doesn’t forget to lie even the adder that stings Cleopatra with its fatal fangs! This scene is exactly in the genre of which Trevisan is an inimitable master, and he makes of it a tremendous tour de force.
The production will be put on with full staging and action, and the musical accompaniment in the capable hands of Isaac Van Grove, who will direct the orchestra ensemble.
It is a performance no lover of opera can afford to miss. It will be sung in Italian.
Eric Delamarter in Educational Organ Program.
The second of the series of organ recitals was heard Tuesday evening, March 20, at Kimball Hall, before an exacting audience. Eric Delamarter, presiding at the organ, played a program by French composers exclusively, which was stirringly delivered and brought out many fine points in key and pedal manipulation, always displaying a definite technic which gave value to every tone and effectively defined educational strength to students for whom this program and interpretation were apparently arranged and _ which intensified its worth to the student through the medium of interpolated explanatory talks relating to different coloring in rendition, all of which Was made in a happy, off-hand way with no effort to lecture. It is to be regretted that more students were not present, as it meant the loss of an unusual chance to engraft a more profound insight to besetting difficulties in the way of organ mastery. The audience was very responsive, although the recital was probably not in the vein anticipated by the many of Mr. Delamarter’s admirers, he having sacrificed to education the opportunity to play a program which would bring out his well appreciated brilliance as a player.
Margaret Farr "Prize” Soloist With Orchestra. Margaret Farr, ■artist-pupil of Walter Spry, followed up her success as winner in the contest held under the auspices of the Society of American Musicians, by playing with the Chicago Symphony Orchestra at last Thursday night’s “Pop” even better than she did at the contest.
The critics were unanimous in their approval of her playing. She came through her “baptism of fire” in the form of a public appearance with flying colors. Karleton Hackett (Post) said:	“She immediately settled the question as to
the value of such contests. . . . She had a winsome personality with ■a happy combination of maidenly timidity at the ordeal and good Yankee grit that was^ ready to fight for every ounce that was in her. .	. Walter Spry, her
teacher, and the Columbia School may well feel proud of her performance.” Eugene Stinson (Journal wrote. Her projection of its many moods and colors (the Saint-Saëns G minor concerto) was excellently planned, and was provided with contrast, speed and copious skill of finger.” Herman Devries (American) said: “The young lady is undoubtedly worthy of the honor of such an entourage as was afforded last night for the exploitation of her talents.” Maurice Rosenfeld (News) thinks “that her training was all acquired here—is to the credit of both Miss Farr and her instructor.”
Recital at MacBurney Studios.
The fourteenth season program, number six, was given in Fine Arts Hall of the MacBurney Studios Thursday evening, March 22, before a very appreciative audience under the title of The Growth of Song. The advanced or artist pupils hereinafter mentioned participated in groups of songs including Folk, Classics, Russian, Modern French and American songs—a program well built to show to advantage the equipment of the different singers. Hawkins Nelson sang his numbers with a clear resonant tenor; W. O. Kling-berg, bass-baritone, has a good sonorous voice of telling quality; Paula Schlueter has a soprano of very good quality; Edward Poole Lay, baritone, sang in good tone, and Dwight Stephenson, tenor, displayed a resonant organ having both power and good range. All sang in good taste and with aplomb, with good interpretation and evenness, reflecting the inculcation of the precepts employed in their tuition, and provided a very pleasant evening of song ably assisted at the piano by the efficient Anna Daze.
New First Congregational Church Festival.
For four nights this week—March 20, 22, 23 and 25—there was a spring festival at the New First_ Congregational Church, participated in by the United Choirs with George L. Tenney, director, and the Chicago Business Men’s Orchestra, Clarence Evans, conductor. Mendelssohn’s oratorio St. Paul (dramatized) was given for the first time here, and enlisted the services of Rollin Pease, Mrs. George L. Tenney, J. Hartman and Leon Jones. Mr. Tenney has presented the Elijah with his United Choirs twenty two times with much success, and his first performance of St. Paul proved as interesting and well done and won the appeal of the large audiences.
American Conservatory Notes.
Allen Spencer and Karleton Hackett will present a number of their advanced students in recital Saturday afternoon, March 31, at Kimball Hall. The program^ will include three concertos—the Beethoven G major, the Liszt A major, and the Saint-Saëns C minor, played by Mr. Spencer’s pupils.
The eminent Italian composer, Casella, spent part of an afternoon at the conservatory last week as guest of Silvio Scionti.
Advanced piano pupils of the Misses Kuechler, Kaehler and Cookingham and Mrs. Kiesselbach performed a number of difficult selections in such a manner as to merit the highest commendation.
Aletta Tenold and Grace Welsh, of the faculty, and accom-plished pianists, will give a two-piano recital April 7, at Kimball Hall.
The Girvin Junior Orchestra, composed almost entirely of Mr. Girvin’s pupils and conducted by Henry Sopkin, the talented young violinist, appeared in recital Saturday afternoon, March 24, at Kimball Hall. The program included a Mozart string quartet played by four youngsters, and some violin solos.
George G. Smith, artist-pupil of E. Warren K. Howe, who won both the National Women’s Federation prize and stood first in the final contest of the American Artists’ Association, will start on a six months’ tour, covering a large territory under the management of Ellis & White.
Adolph Bolm.
Adolph Bolm gave a highly entertaining and informing lecture on the art of the dance, before the Fortnightly Club last Thursday afternoon. The lecture was afterward illustrated by artist-pupils of the Bolm School. One group performed a series of oldtime dances which ■are being taught in the folk dancing department, under Charlotte Foss. In