MUSICAL COURIER
8
April 12, 1923
of his work. The large audience recalled Mr. Mollenhauer with enthusiasm throughout the afternoon.
The work of the orchestra has shown notable improvement during the past year; the standard of programs has been carefully maintained, and the public interest in the concerts has shown a gratifying increase. This is particularly manifested by the growing demand for the 25 cent seats.
Receipts from ticket sales are about the same as last year, and receipts from public subscription are about $1,500 more than last year. Expenses have increased, however, because of an increase in rental of the theater of $1,000 for the current season. The prospects of any considerable additional remuneration to the members of the orchestra over the $4.70 per week which they received last year is, therefore, not assured unless additional subscriptions are forthcoming.
Additional public subscriptions of $4,000 would assure each man about $8.00 per week, which it is felt is as little as they can reasonably expect to require in order that their interest in the work may be maintained. Subscriptions may be sent to the treasurer, William P. Daniels, in care of Moors & Cabot, 111 Devonshire street, Boston.
Handel and Haydn Sing Redemption.
The Handel and Haydn Society gave its third and last oratorio performance of the season Easter Sunday afternoon, April 1, in Symphony Hall. The work chosen for this occasion was Gounod’s familiar oratorio, The Redemption, and a very large audience heard an adequate performance with accustomed pleasure. Highly competent soloists assisted the chorus, viz., Florence Hinkle, soprano; Merle Alcock, contralto; Richard Crooks, tenor; Reinald Werren-rath, baritone, and Clifton Woods, bass. Mr. Mollenhauer conducted with his usual skill and authority. Orchestra, chorus and soloists acquitted themselves with distinction and won vigorous applause from a keenly appreciative audience.
Portuguese Trio Heard.
The Portuguese Classic Trio gave a concert in Jordan Hall Monday evening, April 2. They played Beethoven’s trio in C minor, a transcription for trio, by Mantua, of Portuguese folksongs and a Portuguese rhapsody, by Figu-eiredo, as well as solo pieces.
Harvard Glee Club’s Western Tour.
The Harvard Glee Club, with Dr. Archibald T. Davison conducting, will spend its spring vacation on a trip which will include concerts in Cleveland and other western cities. The tour begins with a concert in New York Saturday evening, April 14, in Carnegie Hall.	J. C.
Vreeland with Boston Symphony Ensemble
Jeannette Vreeland was scheduled to appear as soloist with the Boston Symphony Ensemble at Woburn, Mass., April 11, singing an aria and a group of songs. Miss Vreeland
pretations of the lighter songs and ballads on his program. He sang these with ingratiating tone quality and won many recalls from a large and enthusiastic audience.
Harvard Glee Club and Frieda Hempel.
The Harvard Glee Club, Dr. A. T. Davison, conductor, gave_ its third and last concert of the season Thursday evening, April 5, in Symphony Hall. Frieda Hempel, soprano, assisted the club at this concert. The Harvard singers were heard in pieces by Flemming, Sweelinck, Converse, Ropartz, Faure (soprano solo by Mme. Hempel), Holst, Foote, Ballantine and Bach. Mme. Hempel was heard in these numbers:	In Waldeseinsamkeit, Brahms;
Son tre Mesi (Ticino), the seventeenth century song, Swiss; Gavotte from Manon, Massenet. The concerts of the Glee Club have become a social event in Boston, and Symphony Hall was well filled. Dr. Davison’s chorus sang with its customary skill and dramatic understanding, the rendition
BOSTON
JEANNETTE VREELAND
was accompanied by Alfred De Votò, the Boston pianist. Following this engagement Miss Vreeland will appear as soloist with the Federated Glee Clubs at Jordan Hall, Boston, on April 30; with the Cleveland Orchestra at the Syracuse Festival on May 1 and 2 ; at Hamilton, Ontario, May 3, and with the Reading Choral Society, Reading, Pa., May 22.
of the Dirge by Holst being especially well done. There was ample evidence in Mme. Hempel’s singing of the artistic qualities which have won her such widespread popularity as a singer.
People’s Symphony Testimonial to Mollenhauer.
The People’s Symphony Orchestra gave a concert Sunday afternoon, March 25, at the St. James Theater, as a testimonial to Emil Mollenhauer, the conductor of that organization. Fred Hope, baritone, was the assisting artist. The program included Saint-Saëns’ Hail California, composed for the San Francisco exposition in 1915, and played there by an orchestra of eighty-one men combined with Sousa’s band of sixty-five members. At last Sunday’s concert the People’s Orchestra was augmented by a brass band of forty men. The other numbers on the program were: Es waren zwei Koenigskinder, Volbach (repeated by request) ; Gloria a te, Buzzi-Peccia; a caprice by Nagel (dedicated to the late Mrs. Marie Dewing Faelten), and Tschaikowsky’s overture 1812. The members of the orchestra gave their services at this concert, welcoming the opportunity to manifest their friendship for Mr. Mollenhauer and appreciation
(Contimied from page 5)
turne, The South Winds are Blowing, John H. Densmore; Do Not Go My Love, Hageman; The Night Wind, Roland Farley; Three Little Japanese Songs, Amy Ashmore Clark; A Memory, Rudolf Ganz; At the Well, Richard Hageman, and The Voice and The Flute (aria with flute), John H. Densmore.
The singer was needlessly handicapped by an extremely ill-advised program, a list of songs which hardly gave her ample opportunity to display her ability as an interpreter. Notwithstanding this unfortunate program, Miss Chalfant gave abundant evidence that she had already achieved a command of the finest qualities of her art that ought to carry her far. The voice is a pure flexible soprano of coloratura range, with a warmth of tone and an uncommonly beautiful quality throughout its compass. Her tones are generally sweet and full, and there is a comforting accuracy of pitch that stamps her singing. Her coloratura, as for example in the air of Handel, was not mere vocal embroidery but rather a living thing and an intrinsic part of the air. In Densmore’s ornate Voice and the Flute, up and down scales, from lowest to highest notes, trills and staccato, her singing was always in tune and appeared to be effortless. Miss Chalfant’s singing is moreover musical—witness her beautiful phrasing of Bononcini’s smooth flowing Per . la gloria. Her technical ease and musical interpretation' are not ends in themselves, but serve rather as a means for effective interpretation of the mood of her songs. Thus, she sang the song credited to Pergolesi with a wistfulness and a degree of communicative ardor that was exceedingly convincing—not to say captivating, while the interesting little Japanese songs were given .with appropriate subtlety and interpretative skill. Her delightful freedom from affectation and mannerism of any description, combined with an impressive sincerity, carried an immediate appeal and she was vigorously applauded throughout the afternoon. Indeed, she made the sombre atmosphere of Jordan Hall animate with the beauty of her singing and the charm of her presence. It would be a pleasure to hear this artist in a program more worthy of her powers.
Jeritza Makes Boston Debut.
Maria Jeritza, soprano of the Metropolitan Opera Company, made her first appearance in Boston Wednesday evening, April 4, in Symphony Hall. Assisted by Walter Golde, the admirable accompanist, Mme. Jeritza sang these pieces:	Divinities du Styx from Alceste, Gluck; Dein
blaues Auge, Brahms; Song of the Lute from the opera Die tote Stadt, E._W. Korngold; Seit dem mein Aug in Deines schaute, Richard Strauss; Widmung, Schumann; La Manoir de Rosemond, Duparc; Beau Soir, Debussy; Ah, Love but a Day, H. H. A. Beach; The Answer, Terry, and_ Suicidio from La Gioconda, Ponchielli. Mr. Wolski, a violinist of excellent attainments, played Paganini’s concerto in D major and pieces by Handel and Lully.
Boston was evidently very curious about Mme. Jeritza, as Symphony^ Hall was crowded as seldom in the course of a season, including aisles and stage. That this throng was not disappointed was evidenced by the stormy applause which greeted the beautiful Viennese singer at every appearance. It would be presumptuous to tell the readers of the Musical Courier of this artist’s voice, vocal skill and dramatizing ability. All these things are now taken for granted. As was to be expected, she was most effective in her operatic airs, giving them with a beauty of tone and dramatic sweep that stirred her hearers to tremendous applause.
John Steel Pleases.
John Steel, tenor, gave a song recital Sunday evening, April 1, in Symphony Hall. He sang Che Gelida Manina, from Puccini’s Boheme; three eighteenth century Berger-ettes, Bergere Legere, Le Petit Gardeur de Chevres and Jeune Fillette; Franc’s La Procession; Chanson du Cceur Brisi, by Moya; Thank God for a Garden, by Del Riego; You in a Gondola, by Clarke; The Short Cut, by Trotere; Kramer’s The Great Awakening; Coleridge-Taylor’s She Rested by the Broken Brook; Trees, by Frank Tours; Under the Roof, by Rice; Bon Jour, Ma Belle, by Behrend• Quirke’s Your Voice, and Allitsen’s The Lord Is My Light! There were also many encores. The tenor was ably accompanied by Conal Quirke.
Mr. Steel’s singing revealed a light tenor voice of agreeable quality and good range. He sings with considerable skill and warmth. He was particularly effective in his inter-
AARON RICHMOND presents
PIANIST
C.Mr. Fox’s active repertoire is comprised of 300 compositions taken from 76 composers.
C.It is safe to assert that no pianist has done more to introduce new and rarely heard works to the American public.
In presenting this artist for the coming season, correspondence relative to bookings is invited.
Concert Direction, AARON RICHMOND, 404 Pierce Bldg., Boston 17, Mass.