MUSICAL COURIER
52
April 5, 1923
the Francis W. Parker School of Chicago, February 28, using Louis Versel’s Bogey Man, written especially for this trio; Charles Skilton’s Kickapoo Social Dance, and Sioux Flute Serenade, which the composer arranged for this organization. The waltz of the Negro Dolls, by Mortimer Wilson, was another popular number. More serious selections were movements from trios by Haydn, Mozart, and Beethoven.
The Port Huron (Mich.) Times-Herald says the following regarding the trio’s appearance there on February 23:
The instrumental richness achieved by the Norfleets is really remarkable, and their youth lends an effect of precocity to their mature musicianship. Each number was given in a style that left nothing to be desired, and the suave beauty of their legato passages and flawless brilliance of their bravure were equally satisfying. The earnest crusade for chamber music appreciation which these gifted young musicians are waging, could have no more convincing exponents than the Norfleet Trio.
Roland Hayes Wins Ovation in London
Upon his return to London recently, after a brief visit to the United States, Roland Hayes, the Negro tenor, sang at a concert organized by Lady Dean Paul, giving the whole program himself. His reappearance in the English capital amounted to an ovation, the audience including numerous musicians and titled people who gave the modest tenor an unusual reception. In the Daily Telegraph, Robin Legge,
ROLAND HAYES
critic of that paper, utilized the occasion to pay another tribute to Mr. Hayes, saying:
Yesterday Mr. Roland Hajes, that most gifted negro tenor who has made so many friends on this side of the Atlantic, was responsible for the entire program of the seventh of those delightful Concerts Intimes at the Hyde Park Hotel, which are organized by Lady Dean Paul (Poldowski), and take place periodically at mid-day. It was a program containing nothing but lovely things, carried out with the sympathetic partnership of Anthony Bernard, who played all the pianoforte accompaniments. Mozart, Caccini, ParadisI, and the all-but forgotten Galuppi; Debussy, Duparc, and Hugo Wolf; H. T. Burleigh and Roger Quilter. These were the composers whose songs made the three attractive groups of a program hardly any other artist but Mr. Hayes could have carried out quite in the same way. Mr. Hayes’ voice is of the kind we call silvery, and he has a knack of lifting one phrase into another without apparent effort—as in the Eviva Rosa of Galuppi and in the negro folk-song, Didn’t it rain—that is a rare joy. Too few of our own well-known singers get through one complete phrase without some kind of illegitimate sidetracking. Caccini’s Amarilli is not quite so melancholy a spng as this artist makes it, but we had naught but pleasure from his singing of the negro arrangements of Burleigh and Avery Robinson. Scandalise my name, O Rock me, Julie, and the convict Water Boy must rank among the finest traditional things of any nation, white or “colored.”
From London Mr. Hayes went to Paris for appearances at private musicales over a period of two weeks, returning to London on March 10 for public and private concerts from March 14 to April 15. He will then go back to the Continent for his first appearances in Vienna, where he will sing on April 25 and May 4 at the Kleiner Musikvereinsaal, under the direction of Messrs. Strasser and Knepler.
Boston Counts Crooks “A Singer to Be Reckoned With״
Recently Richard Crooks appeared as tenor soloist with the Boston Handel and Haydn Society at Symphony Hall in a performance of Elgar’s Dream of Gerontius, and, in the words of the Boston Herald, showed himself “a singer to be reckoned with.” The Post commented on the society being “fortunate in its principal soloist,” while the Transcript enthused upon the discovery of an “American tenor with ardor.” Other Boston notices read:
The society was fortunate in its principal soloist, Mr. Crooks. He has a voice of manly and agreeable quality, expressive, well employed. Moreover, he not only sang Gerontius, he characterized him in tones. It is testimony either to the singer’s ability, or his artistic nature, or both, that he seemed to have a penchant for this particular work. A large audience was very enthusiastic. — Qlin Downes, Boston Post, February 12.
The leading solo part, that of Gerontius, was taken by Richard Crooks, a young tenor new to Boston, who has this season been extraordinarily successful in Wagner concerts and other performances in New York, Mr. Crooks has individuality, personality, temperament, and a fine natural voice. He felt and made his hearers feel the awe and faith of Gerontius at his vision of the angels and the judgment seat.—Boston Globe, February 12.
His voice is a fulUhroated, masculine tenor, holding ample, even and warm into the higher tones, ardent in motion, supple in line, eager for color. A perceiving mind, a responsive and communicating temperament, a keen sense of the rhetoric of music further enrich Mr. Crooks. From his lips the dying Gerontius testified and prayed in a lofty passion of faith; in his tones went the beauty, remote, calm, fulfilled, with which Elgar clothes the soul newly come heavenward. An American tenor with ardor is discovery enough—and to this glow of young prime Mr. Crooks adds understanding.—Boston Evening Transcript, February 12.
Mr. Cropks sang the tenor part with beautiful tone, fine phrasing, rhetorical intelligence and a passionate fervor that lifted his performance to a high plane. He is truly a singer to reckon with.—Boston Herald, February 12.
On Washington’s Birthday evening, Richard Crooks ap-
broad sweeping tones were achievements to command admiration and respect. In the sonata in G major by Sammartini the various movements were played without pause, and she achieved a broad impressive hymn-like effect which was excellent tone work. The double stopping was skillfully done. Her playing of the difficult Appassionata by Saint-Saëns was a most creditable and pleasing performance. Miss Rosine’s work throughout her program was that of a thoroughly competent and altogether interesting young musician.
Peterson Charms Seattle, Wash.
Seattle, Wash., March 1.—Katherine Rice presented May Peterson, Metropolitan Opera soprano, in a recital on February S, which was enjoyed by a large and appreciative audience. The pleasure that this charming singer gave may best be gauged by a glance at excerpts from several of the local papers:
May Peterson, who sang at the Metropolitan last night, is not only a skillful vocalist, but one who knows how to popularize her style. Consequently, her concert developed into a facile triumph. She made a candid effort to make her program comprehensible to the musically unlettered, and succeeded. There was a great deal of genuine enthusiasm in the applause she evoked, and she was repeatedly encored.— Post-Intelligencer.
Charm of personality and admirable vocal gifts were revealed by May Peterson in her recital at the Metropolitan last night. The singer’s graciousness and generosity added to the appeal of her singing, and the audience was warmly responsive. A half dozen or more lovely bouquets of roses and spring flowers were handed over the footlights-during the evening, and the soprano’s triumph was evidenced furth.r in the numerous encores demanded. Miss Peterson’s is a voice of pretty tonal quality and its clarity and flexibility are particularly pleasing. Her clean-cut enunciation was a joy to those who like “to understand the words” of a song.—Times.
Edwin Hughes
THE EMINENT AMERICAN PIANIST щ
316 West 102nd Street	Steinway Piano New York City
Coach and Accompanist to
MARTINELLI
for six years
Studio: 2231 Broadway, New York Phone Schwyler 6598
ROXAS
Vocal Coach
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HENRY F. SEIBERT
CONCERT ORGANIST—Lutheran Church of the Holy Trinity 65th Street and Central Park West, New York City
PI AN 1ST
HOTEL ALBERT
42 E. 11th Street, New York Knabe Piano
AMIE DEER
Coloratura Soprano
Western Management:	Adolph Knauer	79 Central Ave., San Francisco
ALFREDO MARTINO
Miss Peterson has a pleasing soprano voice of excellent quality. Her tones are clear, firm and resonant. The interpretations of her songs are given in a finished manner and with an artistic effect. Combined with these qualities the artist has a charming personality which wins her audience from the moment she appears upon the stage.—Star.	S. K. P.
Beddoe Pupil Wins Praise with Orchestra
Margaret Spaulding, pupil of Daniel Beddoe, was selected from a large number of contestants for the soprano solo
VOCAL TEACHER AND COACH
Phone 8743 Schuyler
harpist
Management:
WALTER ANDERSON
435 Weit End Ave., N. Y.
ANNIE LOUISE
DAVID
Phone: 1212 Bryant ::	1452 Broadway, IN. Y.
I L E X Z
Violin Instruction
SUMMER CLASS
Private Studio: 137 West 86th St.. New York Tel. 3580 Schuyler
NYIREGYHAZI
(Pronounced N EAR - EDGE - HARZI)
“Excited a veritable furore through his personality and his play-, ing.”—Los Angeles Times.
Management: R. E. JOHNSTON	1451 Broadway
Associates: L. G. Breld and Paul Longone New York City Knabe Piano Used	Ampico Records
RIEMENSCHNEIDER
Organist and Director of Music, Euclid Avenue Baptist Church, Cleveland, Ohio.
Director, Baldwin Wallace Conservatory of Music, Berea, Ohio.
CONCERT ORGANIST—PIANO AND ORGAN STUDIO
For Recitals or Instruction Address Berea, Ohio.
Piano Studio, 707 The Arcade, Cleveland, Ohio.
ALBERT
¡MACBETH
E	Chicago Grand Opera
Management: National Concerta, Inc., 1451 Broadway, New York.
MARGARET SPAU17DING
position at the First Presbyterian Church, Pittsburgh, Pa. She appeared recently as soloist with the Cincinnati Orchestra, Fritz Reiner conducting, and that she reflected credit upon her mentor and upon herself is proven in the appended salient paragraphs culled from the press notices she received on the day■ following the concert:
Miss Spaulding has a lovely voice, very sympathetic and appealing and of good range. The Loreley was sung delightfully as was Dreams and elicited for the artist a very warm welcome.—Cincinnati Post.
^McCORMACK
EDWIN SCHNEIDER, Accompanist
Manager: CHARLES L. WAGNER
D. F. McSweeney, • Associate Manager,
511 Fifth Ave. (Postal Life Bldg.), New York. Stein way Piano Used.
Hers is a good firm voice of even registers which are guided by intelligence in their exhibition rather than by emotion.—Cincinnati Tiines-Star.
Miss Spaulding made a distinct success. She sang two groups of songs, Liszt’s The Three Gypsies, with an incidental solo by Emil Heerman and the Loreley and Wagner’s Pains, Cease and Dreams. Miss Spaulding's dramatic soprano, her excellent enunciation and her fine artistic sense brought her an ovation.
Miss Spaulding is possessed of a voice of power and not a little vocal beauty, which, for a young singer, she handled with surety and artistry. Her interpretations of Liszt’s Loreley and the Cease of Wagner were excellent.—Cincinnati Enquirer.
Endowed as this young singer is, she unquestionably has an enviable career ahead of her, a career which will reflect credit not only upon herself, but also upon the Cincinnati Conservatory of Music, to which she owes her training.—Cincinnati Commercial Tribune.
Briggs Is Manager of the Norfleet Trio
The Norfleet Trio announces that in the future its engagements will be handled exclusively by the management of Ernest Briggs, Inc., 1400 Broadway. Results of the crusade for chamber music which this trio has been making for two seasons are becoming more and more evident in the growing desire of towns of all sizes to include at least one chamber music number in their concert courses. The Norfleets believe that if people, even so-called unmusical people, once hear chamber music sympathetically played, they will love it; the response of the public has proven this. The matinees for children, in the giving of which this trio is deserving of special praise, are also doing much to establish a demand for chamber music.
The Norfleet Trio gave its second children’s program for