MUSICAL COURIER
36
April 12, 1923
itself, the men students in neighboring villas. Excellent meals for all the students are provided in the dining room of the Palace. The cost for this and for the tuition amounts to only 1200 francs per month for a three months’ course, which at the present rate of exchange is a very small amount. Besides this, the French Steamship Line has granted a reduction of 30 per cent on their rates for the students of the school.
The directors of the Fontainebleau School are the two distinguished musicians, M. Charles Marie Widor and M. Max d’Ollone. The former is well known to all Americans as composer, organist and perpetual secretary of the Institute de France. The latter is a Grand Prix de Rome, composer and professor at the Paris Conservatoire. The teachers include such well known musicians as Paul Vidal, Andre Bloch, Nadia Boulanger for composition and harmony, Widor and Libert for organ, Isidor Philip, most famous of French piano teachers, besides a special class for opera singers under the direction of the stage manager and various singers from the grand opera.
The school has already been in active operation for two years with the happiest results and this summer’s season will open on June 24. The French Government has extended its plans still further by reserving still another wing of the Palace for American students in painting and architecture.
The chairman of our American committee in charge of arrangements is Francis Rogers and applications can be made at the office of the committee, National Arts Building, 119 East 19th street, New York. It is necessary that every applicant present an endorsement by some known citizen of the community in which he resides as to his character, and a recommendation from a professional musician of standing regarding his musical qualifications.
(Signed) Walter Damrosch, President, American Friends of Musicians in France.
“Pieces”
To the Musical Courier :
I wish editors and musical people would stop calling the members of an orchestra, “pieces.”
In the Musical Courier, March 1, Page 28, you spoke of a performance of the Creation, in Ithaca, N. Y., and that the chorus was supported by “a special orchestra of twenty-five PIECES.” Pieces of what? Coal! Candy! or Wood!
It is not at all complimentary to orchestral players.
Sincerely yours,
(Signed) Philo A. Otis.
[We feel like giving our correspondent a piece of our mind, but we refrain, for we are convinced that every piece of orchestra music is played by so many pieces, and each of the players is paid with a piece of money if he has done a good piece of work, but if not, the conductor aims his field-piece or fowling-piece at him and speaks his piece and the unfortunate canned piece is carried out in pieces unless he repents of this piece of folly and makes the proper move with his piece to checkmate his opponent. Peace!— The Editor.]
Portland Triumph for Jess
Grace Wood Jess, the folk song prima donna, _ sang in Portland, Ore., on March 18, winning enthusiastic praise from all the critics.
The Portland Oregonian (C. Hilton-Turvey) heads its article with “Jess Concert Enchants Audience—Artist _ is Tragedian and Inimitable Humorist,” and closes it with this tribute: “Some musical events stand out as veritable musical history. This is one of them.” The Portland Telegram (Susie Aubrey Smith) comments: “An unique and charming program . . . displayed unusual versatility and a personality of great charm.” The Portland News (Emil Enna) adds its quota of appreciation thus: “From an emotional and dramamtic aspect the program ranged widely from exuberant buoyancy to the heigh s of dramatic intensity in the Russian songs,” and adds “Artists like Grace Wood Jess are doing a great work.”
Baltimore Likes Walter Golde
Walter Golde, New York coach and accompanist, who is with Maria Jeritza on her present concert tour, has been getting attention from the critics wherever he has appeared. At the first concert of the tour, in Baltimore, the Sun critic said: “Walter Golde is an ideal accompanist, •having an individuality of his own that instilled interest in the accompaniments, yet finely subordinating the piano to the demands of the singer”; while the critic of the American wrote: “Mr. Walter Golde, who was at the piano, again proved his ability as a master accompanist, giving at all times the finest kind of support, tonally and interpretatively.”
Thelma Given to Make Pacific Coast Tour
Among Thelma Given’s engagements for next season will be a Pacific Coast tour under the local direction of Selby C. Oppenheimer, of San Francisco, and L. E. Behymer, of Los Angeles. The well known violinist will appear in many of the larger musical cities of that section of the country, starting February, next. Shortly Miss Given will appear in recital at Syracuse, N. Y.
Ethel Jones Wins Success
On a recent program in Chicago, Ethel Jones, mezzo, sang with splendid success, Impression Basque of Fourdrain (Ricordi), and The Snow Drop of Gretchaninoff (Ditson). She has included both in her list of songs for her Davenport appearance, scheduled for April 14.
ROGELIO
TENOR
«״,^EP*arc<1«ln	I Now on tour with
South America, Mexico I	San Carlo Opera
and New York	|	Company
Concerts, Recitals, Musicales and Operas Dates now booking
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thoven’s quartet, op. 18, No. 3, in D major; a larghetto by Handel; Humoresca-Scherzando, by Ippolitow-Iwanow, and Maurice Ravel’s quartet.
Winners in Music League Contest.
The Philadelphia Music League held a contest for young musicians at the Art Alliance, March 28-30, offering four $100.00 prizes. The winners were Mary Bray, contralto; Clarence A. Wilson (from the male singers); Eleanor Quinn, pianist, and Max Seenofsky, violinist. Those receiving honorable mention were: Ruth Montague, in women’s vocal department; Gerald Etchell and Theodore Bayer in male vocal department; Arthur E. Hice and Ruth Strauss, pianists, and Grisha Monasevitch, violinist. The winners in each class are eligible to compete in the State contest, April 11-13, at State College, and if successful there may enter the national competition at Asheville, N. C. They will also be given a hearing before an invitation audience at the Academy of Music during Music Week in May.
M. M. C.
Letters from
MUSICAL COURIER READERS
Walter Damrosch Discusses Fontainebleau School
March 26, 1923.
To the Musical Courier:
May I ask you to give publicity to the very generous and culturally important movement which was inaugurated by the Government of France in conjunction with a number of her most distinguished musicians immediately after the war.
In order to stimulate more intimate musical relations with our country and to still further demonstrate France’s af>-fection for our people, a summer school exclusively for American artists, teachers and advanced students was founded, the French Government donating for this purpose an entire wing of the historic Palace of Fontainebleau. Amid these ideal surroundings, talented American musicians and students can enjoy for three months—from June 24 to September 24—the inspiring tuition and personal companionship of some of the greatest musicians of France who so generously give their services to this international movement.
This school is not intended in any way to compete with any of the splendid institutions of musical learning, or with any of the great teachers which can be found in the centers of music in America. Its object is to offer a kind of post graduate course to advanced students and to give American teachers an opportunity to acquaint themselves with French pedagogy in order that they may carry such of its characteristics as appeal to them to American soil.
The tuition fee has been made remarkably low, the difference in the cost of maintaining the school being made up by a subsidy from the French Government and the City of Fontainebleau. The women students are lodged in the Palace
PHILADELPHIA
(Continued from page 5)
for bassoon, by Weissenborn, played by Walter Guetter. Stokowski prefaced the numbers with his usual delightful explanations.
Matinee Musical Club.
The Matinee Musical Club presented an interesting program at its concert, March 27, at the Bellevue-Stratford. Those taking part were Ella Wyman Wile and Kathryne L. O’Boyle (in piano duos) ; Madaleine G. Reed, soprano; Florence I. Haeule, violinist; Helen Ackroyd-Clare, contralto; Myra Reed Skibinsky, pianist, and Rachel Troost Stuempfig, soprano.. The second part of the program was devoted to the song cycle, Mountebanks (lyrics by Helen Taylor, music by Easthope Martin ),״sung by Emily Stokes Hagar, soprano; Marie Langstone List, contralto; Bernard Poland, tenor, and Pietro Wizla, baritone.
Chamber Music Association.
The Chamber Music Association closed its sixth season with its meeting in the Bellevue-Stratford, March 25, when the Rich Quartet furnished the following program: Bee-
SIGNOR ELFERT
FLORIO
DISTINGUISHED VOICE MAESTRO
Unusual opportunity for voice study with one of the most celebrated teachers in the country is afforded this spring by the presence in New York of Signor Elfert Fiorio recently returned to this city. Teacher of many well-known concert and operatic artists.
For appointment write
SEC’Y FLORIO STUDIOS
170 W. 72d St. New York City
ANNIE FRIEDBERG PRESENTS
ANDRE POLAH
The Eminent Belgian Violinist
What the New York Critics Say:
Deems Taylor in the N. Y. World:
......“André Polah is one of the few SINCERE and ARTICULATE musicians who have
played the violin here this season. He is UNHAMPERED IN TECHNIQUE; HIS INTONATIONS AND RHYTHMS ARE EXCELLENT and his playing seemed an original and direct expression of his own feeling.”
Gilbert Gabriel in the N. Y. Sun:
......“ALWAYS A SINCERE, REFINED AND POETIC MUSICIAN, with the best of
French style at his finger tips. In Chausson’s “Poème” he was intensely sympathetic and the beautiful piece became ALMOST CONSECRATIONAL UNDER THE IUNE ARDOR OF HIS BOWING.”
W. J. Henderson in the N. Y. Herald:
......“The Sonata was played with grace, finish and spirit, and was warmly received. . . .
HIS PLAYING WAS ALTOGETHER ADMIRABLE.”
Richard Aldrich in the N. Y. Times:
......“André Polah demonstrated his ability not only as a technical master of the violin, but
as a thoroughly artistic interpreter as well.”
H. T. Finch in the N. Y. Eve. Post:
......“Mr. Polah played Chausson’s movingly beautiful “Poème” so EXCEPTIONALLY,
that he was compelled to add many encores.”
For Concerts and Recitals, Season 1923-1924 Address
Exclusive Management: ANNIE FRIEDBERG
Metropolitan Opera House Bldg., New York City