49
MUSICAL COV dl ER
April 5, 1923
IT CAN BE DONE!
(Continued from page 6)
CONCERT RECORD OF WORKS BY SOME OF OUR BEST AMERICAN COMPOSERS
Edward Ballantine
LYRICS FROM THE GREEK:
Corinth...................G.	Roberts	Lunger,	Cambridge,	Mass.
Aphrodite.................G.	Roberts	Lunger,	Cambridge,	Mass.
’Neath this Tall Pine.....G.	Rob?rts	Lunger,	Cambridge,	Mass.
The Shepherd’s Elegy......G.	Roberts	Lunger,	Cambridge,	Mass.
The Shepherd’s Elegy.............Elizabeth White, Chelsea, N. Y.
To Kale...................G. Roberts Lunger, Chambridge, Mass.
To Kale..........................Elizabeth White, Chelsea, N. Y.
My Star..........................Elizabeth White, Chelsea, N. Y.
Florence Newell Barbour
The Stream’s Secret.................Elizabeth White, Chelsea, N. Y,
0 Wild West Wind....................Thomas Newell, Chelsea, N. Y.
Marion Bauer
Gold of the Day and Night,
Mabel Beddoe, Atlantic City and Flora MacDonald College Op. 15, No. 1. Prelude in D (for the left hand) (Piano),
Mrs. H. H. A. Beach, New York, N. Y. No. 3. Prelude in D minor,	l
E. Robert Schmitz, Paris, France; New York No. 4. Prelude in F sharp,
E. Robert Schmitz, Paris, France; New York
No. 5. Prelude in B minor........E. Robert Schmitz, New York
No. 5. Prelude in B minor............Harold Morris, New York
No.- 5. Prelude in B minor...........George McManus, New York
No. 5. Prelude in B minor............Frederick Dixon, New York
No. 6. Prelude in F minor............Frederick Dixon, New York
Mrs. H. H. A. Beach
Ah, Love, but a Day..........Mme. Maria Jeritza, Chicago, Detroit
Ah, Love, but a Day.....................Louis Chartier, New York
Ah, Love, but a Day.................Rena Lazelle, San Francisco
Ah, Love, but a Day.........................Fery Lulek, Chicago
Ah, Love, but a Day..........Mrs. Clement S. Baxter, Lima, Ohio
The Year’s at the Spring................Grace Forbes, New York
The Year’s at the Spring................Gertrude Gierich, Chicago
Ecstasy......................Mrs. Clement S. Baxter, Lima, Ohio
Gena Branscombe
At the Postern Gate.....................Ernest Davis, New York
1	Bring You Heartsease.....\ ... Lucy Gates, Grand Junction, Col.
Three Mystic Ships...........Lucille Gibson Pleasants, Los Angeles
Just Before the Lights Are Lit..........Gertrude Gierich, Joliet, 111.
The Morning Wind........................Leona Heiland, Joliet, 111.
G. W. Chadwick
Thou Art So Like a Flower...................May Peterson, Boston
Allah........................Lorraine Sands Mullin, San Francisco
The Danza....................Bessie Phillips Yarnall, Philadelphia
paid full royal tribute of gratitude for each “touch of the infinite fire.”
After all, who are “they”—this audience of devoted Music Club adherents? They are you from the East, the North and South, the Middle West—who have thawed out in this land of sunshine, and expanded under the influence of the wide-spreading desert country in which the little city of Tucson is located.
Still my inquisitive thoughts were not satisfied. Given such an audience, how was it brought together? Given a delightful program, who arranged it? Given this abundance of local talent, professional, semi-professional and amateur, who discovered it and organized and created an expression for it? Given a satisfying evening, who remembered all the details that distinguish the artistic from the amateurish? Given an emergency, whose presence of mind must meet it? These are questions for you, who are sufficiently interested in music clubs to be reading this article. They are automatically answered in my own mind each time the door at the left of the stage opens and Tucson’s Music Club’s president appears—a central magnetic force, energetically and self-forgetfully devoted to a cause.
The following facts concerning this Saturday Morning Music Club of Tucson will be of interest:
Organized in 1907 with a charter membership of fifteen.
Present membership—875.
Club is composed of active members, student members, junior-branch members and associate members.
The organization is thoroughly covered by a constitution and by-laws.
The club is also a corporation, in which active members may hold stock.
The club is controlled by seven officers who constitute the board of directors. All serve without compensation from the club.
The club holds a two-fold purpose: to stimulate in its members and in the public at large an interest and desire for the best in music as well as an appreciation of it, and to develop the talent of its members.
The club is now working towards the, erection of a temple of music in Tucson which shall have the stage facilities for making grand opera bookings possible.
“Members of the Saturday Morning Music Club, and Friends,” the firm, business-like, but pleasantly modulated voice began, and during the brief announcements that followed my mental notebook wagg86aving such memoranda as these: “‘Friends’—I see—Yes, that’s it—the whole crowd —half of them a transient group—are somehow together.— They know and rely on her.—She knows them.—They’re beginning on the minute scheduled: 8 :30.—That orchestra manages to tune up without sounding like the Bremen town musicians.■—So she directs the orchestra and accompanies it, too.—Lots of command in that uplifted arm.—Ready, you first violins,—one•—two—three,—we’re off 1”
We were. The curtain, rose slowly, disclosing the fountain, the deep blue lighting of a night sky, the Orientally costumed figures and the requisite stage background to convey us with no effort of the imagination to Omar’s garden. I closed my mental notebook and gave up to sincere enjoyment. Any latent fears I may have had that my beloved Rubaiyat should suffer many an indignity that night were dispelled. The evening certainly was an artistic triumph.
But it was not, after all, the performance that interested me most. It was the club itself. The How and Why of it. So I continued having my ticket punched at the auditorium on various Friday nights during the fall and winter, pursuing my solitary course of study in The Possibilities of the Music Club in Small Cities. The attendance was almost constant, even on nights when there were counter attractions. The temper of the audience lacked the capaciousness with which the performer must reckon in most audiences. In fact, I have seen nowhere, in the North, the South or the music-dowered East, its superior for cordial appreciation, friendly encouragement of effort, instant recognition of true art, musically, whenever it appeared, and for that spirit of generous good will which makes the moment of entrance behind the footlights a moment of assured welcome.
Looking through the attractive white and gold year book of the club, I noted the artist numbers on its calendar: D’Alvarez, Graveure, Zimbalist, the Flonzaley Quartet, and the Mozart Opera Company. Would our audience, so amazingly appreciative of the talent at home know the difference? O yes, they knew it well; and to that undescribed line which fixes the gulf between the virtuoso and the rest of us they
Ralph Cox
Aspiration............................Frances Behrens Fish, Chicago
Aspiration.....................................Mary Chard, Chicago
Aspiration................................Velma Talmadge, Chicago
To a Hilltop............Arthur Kraft, Syracuse, N. Y., Galion, Ohio
To a Hilltop..............................Harriet Stanhope, Chicago
To a Hilltop.................................Edith Johnson, Chicago
Arthur Foote
I’m Wearing Awa’...............................May Peterson, Boston
I’m Wearing Awa’........................Rena Lazelle, San Francisco
An Irish Folk Song..................Eleanor Patterson, Deshler, Ohio
The Lake Isle of Innisfree...................Gretta Masson, Chicago
Requiem...............................Myron W. Whitney, New York
The Night has a Thousand Eyes........Frances Gehing, Galesburg, 111.
G. A. Grant-Schaefer
Little David (Old Negro Song),
May Peterson, Vancouver, B. C., Eugene, Ore., Bellingham, Wash. Little David (Old Negro Song),
Charles Edwin Lutton, Williamstown, Mass. Little David (Old Negro Song),
William Neil O’Connor, Williamstown, Mass., North Pownal, Vt. A Little Wheel a־Rollin’ in My Heart (Old Negro Song),
William Nqil O’Connor, North Pownal, Vt. Down to the Crystal Streamlet (A la Claire Fontaine),
May Peterson, Boston
Down to the Crystal Streamlet (A la Claire Fontaine),
Dorothy Bowen, Chicago
The Sea...................................Margaret Lyon, Fairfield, la.
Love Came at Dawn...............Gertrude Hayden Fernley, Philadelphia
My Little Maiden................Gertrude Hayden Fernley, Philadelphia
I Opened all the Portals Wide, Gertrude Hayden Fernley, Philadelphia
Francis, Hopkinson
From “THE FIRST AMERICAN COMPOSER,” edited and augmented by HAROLD VINCENT MILLIGAN.
My Days Have Been So Wondrous Free.. .Eleanor Patterson, Ada, O.
O’er the Hills Far Away.............Rena Lazelle, San Francisco
From “COLONIAL LOVE LYRICS,” edited and augmented by HAROLD VINCENT MILLIGAN.
With Pleasures Have I Passed My Days,
Harriet Story MacFarlane, Detroit My Love Is Gone to Sea........Harriet Story MacFarlane, Detroit
J. W. Metcalf
Absent................................Frederic Baer, New York
The Sunshine of Thine Eyes...Lillian McMahon, Little Rock, Ark.
Little House o’ Dreams.............Florence Anderson, Joliet, 111.
George B. Nevin
It’s April in Killarney.........Alice N. Lippincott, Atlantic City
included in her solo numbers arias from The Messiah (Handel) and Boheme (Puccini), and songs by Sibella, Logan, Bland, Openshaw, Cadman and Nutting.
WHAT THE JURY THINKS
[The music critics of the New York dailies constitute the jury in the appended extracts from criticisms which have appeared in our local newspapers. Many concerts and operas are given in the metropolis, and the following day the critics agree or disagree on the merits or demerits of the performer. However, on most occasions the writers do not agree, and this department is run for the purpose of reproducing some of the flat contradictions, showing that, after all, the review constitutes but the personal opinion of the critic who covers the performance.—Editor’s Note.]
Sigrid Onegin, Contralto, March 8
Evening World
Her voice seemed dry yesterday and she could not summon that warmth and color that usually characterize her work.
Sun
Mme. Onegin seemed in particularly good voice, mellow and instrumental in the Mozart. . . . and deeply infused with feeling in the Beethoven.
Carmen Reuben, Mezzo-Soprano, March 12
Evening Post	Sun
Her voice is soothing and mel- Possessed of an unfortunately low.	edgy tone.
Gilbert Ross. Violinist, March 13
Evening Mail
The Tschaikowsky concerto in D came next. . . . And if the Russian’s gloomy sentimentality was missed, so was the Tschaikowsky glow of color. . . . The general effect was one of a piece of work conscientiously finished. None of the spontaneous joy of the artist informed it.
Times
He showed when playing a sudden fire and distinction, . . . . deeply sunk in the music’s mood. ... It was midway in Tschai-kowsky’s concerto that he won his house with an emotionally powerful crescendo.
Francisco Di Nogero
My Love Is a Muleteer,
Eleanor Patterson, Deshler, Ada, Ohio; Harrisburg, Pa.
Robert Huntington Terry
The Morning Is Calling.......Marjorie Ingersoll-Ashmead, New York
The Morning Is Calling................Louis Caton, Yonkers, N. Y.
The Morning Is Calling.......a.*..Paule Le Perrier, Hudson, N. Y.
The Morning Is Calling............Aeolian Waldon, Yonkers, N. Y.
Claude Warford
The Last Wish...........Florence Otis, Atlanta, Ga.; New York City
Dohnanyi’s New Violin Concerto, Played by New York Symphony and Spalding, March 14
Evening Post
A particularly tiresome one was played yesterday; a violin concerto by Erno Dohnanyi. ... It took this Viennese just forty minutes to say what could have been expressed in four, so far as pregnant, worth - while musical ideas are concerned.
American
Dohnanyi has real musical ideas, noble ideas —_ ideas that spring out of an imagination quickened by inspiration—and he has put those ideas into the form of what is virtually a symphony with violin obligato.
Radio Broadcasts
Mrs. H. H. A. Beach
Ah, Love, but a Day.................Kay Slevin, Newark, N. J.
Gena Branscombe
There’s a Woman Like a Dewdrop...................Ethel Grow
I Send My Heart up to Thee.......................Ethel Grow
By St. Lawrence Water......................J. Albert Almoney
I Bring You Heartsease................Joseph Turnbull, Boston
Ralph Cox
...................Earle Tuckerman
To a Hilltop
Arthur Foote
The Wanderer’s Song..........................Willard Flint, Boston
Bruno Huhn
Invictus....................Fred Croswell, Medford Hillside,Mass.
J. W. Metcalf
Absent (Duet) .. Ethel Vance Conrad and Josephine Clark, Pittsburgh
(Advertisement)
Friederich Schorr, Tenor, in Fidelio, March 17
Herald
Friederich Schorr seemed to be entirely out of his element as Pizzaro. There was no conviction in his acting or his singing.
T ribune
Friederich Schorr, who so far has had none but virtuous parts . . . appeared as the villain of the piece, Pizzaro ...» proving himself able to express vice as well as virtue in his deep strong voice.
Carmela Ponselle, Mezzo-Soprano, March 18
Evening World	Evening Journal
Miss Carmela’s is a fine vocal Her voice revealed considerable
signs of wear. It is of moderate power.
Der Freischütz, March 21
World
Robert Hutt was Max, singing as if most of the score were too high for him. He seemed strained and tightened most of the time.
organ of great power and agree able quality.
Robert Hutt, Tenor, in
Globe
His singing was usually excellent.
Evening Post A splendid ringing voice.
School of Music and Arts Pupils Heard
The maker of the piano, whose instruments are solely used at-the New York School of Music and Arts, Ralfe Leech Sterner, founder and president, was guest at the March 8 students’ concert. Naturally he was specially interested in the piano numbers played by Sarah Frances Espy, Mercedes Rubrecht and Celestine Rosenblatt, who come respectively from Southern and Middle Western States, and are pupils of Prof. Riesberg. Miss Espy played Grieg’s Wedding Day with spontaneous interpretation; she is a musical, highly intelligent girl. Miss Rubrecht played a Melody in A flat by Raff with broad singing tone and repose, attaining fine climax, and Mr. Rosenblatt’s dash and contrasts of tone gave Rachmaninoff’s Polichinelle (The Clown) big interest; all three pianists received warm applause. Further instrumental numbers were violin solos played by little James Ross and the youthful Ida Rosen (a mazurka by Mlynarski, Scene de Ballet by De Beriot, etc.), in which the young violinists showed undoubted talent and attainment.
The vocal portion of the evening was introduced by Nana La France, whose brilliant soprano voice and winning ways were heard and admired in Arditi’s Kiss Waltz, and songs; she was a student at this school some years ago, now returning for further study. Miss Thomas (O Mio Fernando) has a great voice of power and range, and all the other singers have been heard and noticed before. They were Misses Hitch, Rees, Birkmire,. Maloney and Heath, for whom Prof. Warner played musicianly accompaniments.
Agnes MacPeake Gives Recital
Agnes MacPeake, soprano, was heard in a recital at Memorial Hall, Brooklyn, March 9. Assisting her on the program were Mary Perhatch, contralto; Josiah B. Free, baritone; Robert K. Turner, tenor; Edwin T. Jones, basso; Cooper Boyd, violinist, and Amy Williams, accompanist. Miss MacPeake, besides singing in a duet and a quartet,