47
MUSICA A, COURIER
According to your means
HE LOVER of art who aspires to own a great masterpiece of painting can-not realize his dream unless he is possessed of wealth. But the music lover who longs for a Steinway is more fortunate. Though the Steinway is the Instrument of the Immortals—still it can be purchased for a price and upon terms within the reach of those whose means are modest.
Convenient Terms.
Used pianos taken in exchange.
STEINWAY & SONS, Steinway Hall,
109 East 14th Street
Steinway
THE INSTRUMENT OF THE IMMORTALS
Elly Ney, Germaine Schnitzer, Erno Dohnanyi, Guy Maier and Lee Pattison are the five pianists selected by the Boston committee of the Jonas Chickering Centennial Celebration to play at its symphony concert. Owing to conflicting dates, the concert will be given on Saturday afternoon, April 21, instead of on April 22 as originally announced. The Boston Symphony Orchestra and the Handel and Haydn Society will divide the balance of the program. _
The Boston committee, Courtenay Guild chairman, is planning to make the dinner at the Copley Plaza on the night of April 21 one of the most significant gatherings of musicians and music lovers held in this country. Besides Mr. Guild the committee includes :
Isidore Braggiotti, Hon. Frederick P. Cabot, George W. Chadwick, Frederick S. Converse, Mrs. Calvin Coolidge, Governor Cox, Grafton D. Cushing, Ernest B. Dane, Olin Downes, E. A. Filene, Arthur Foote, Mrs. Allan Forbes, Mrs. John L. Gardner, Wallace Goodrich, Philip Hale, Edward Burlingame Hill, Mrs. Franklin Hobbs, Henry S. Howe, Agide Jacchia, Senator Henry Cabot Lodge, Mrs. John M. Longyear, Professor Hamilton C. Macdougall, Pierre Monteux, Cardinal O’Connell, Neal Rantoul, Dr. Samuel Wesley Stratton, Mme. Antoinette Szumowska and C. F. Weed.
Mr. Guild has received the following from Otto H. Kahn, chairman of the board of directors of the Metropolitan Opera House, in New York, and a member of the national committee on the Jonas Chickering Centennial Celebration :
It is fitting and gratifying that a nation-wide tribute is being paid to Jonas Chickering. A century ago Jonas Chickering, then a mere lad, a blacksmith’s son in New Hampshire, set to work in his own name as a maker of pianos. There were at his disposal very limited financial means and but a few simple tools, but there were also at his disposal pluck, resourcefulness, persistency, love of his work and inventive genius. With these he wrought a great and lasting American achievement. His was the brain from which sprang the conception; his was the hand that laid the foundation of the splendid American piano of today and of its triumph throughout the world.
It would be difficult to exaggerate the place which the piano has come to hold in American life. Singer, instrumentalist and composer, school and home, concert room, ballroom, dance hall and theater—the use of the piano is universal. Long familiarity has blunted the sense of the boon which that instrument has brought to us. In the long list of the achievements of human ingenuity and inventiveness, there is hardly one which has contributed more to enrich our daily lives. There is none which has done so much to further and spread the appreciation and understanding of art and to popularize and democratize music.	...	,	,	.
To Jonas Chickering, whose inventions in the early days ot America’s development played so vital a part in bestowing this rich gift upon its people, this country owes a great debt. He belongs to the illustrious list of the pathfinders and masterbuilders of America. His name should be held in admiring and grateful remembrance.
Josephine Lucchese Loyal to Teacher
Although of Italian parentage, Josephine Lucchese is an American, a native of San Antonio, and it was there that her musical education was begun, under the direction of Mme. Virginia Colombati, formerly a prima donna of the Metropolitan Opera during the Abbey-Grau regime. Her teacher had such faith in the remarkable talent disclosed that she accompanied Miss Lucchese to New York. She made her debut with the San Carlo Company at the Manhattan Opera House two years ago, singing the Doll in Hoffman. Her voice proved to be of uncommon natural beauty, and had been trained to a high degree of perfection. Her success was immediate and she has continued with the Gallo organization ever since, and has also continued faithful to the teacher to whom she claims she owes her success. Writing recently to a home town friend in San Antonio, Tex., Miss Lucchese said:	“I am still studying with Mme.
Colombati, who is now permanently located in New York. Without a doubt she is the best teacher in the city. I owe all my success to her.”
Some other promising pupils of •Mme. Colombati are Emily Day, coloratura soprano, who recently sailed for Italy to get grand opera routine; Hallie Stiles, who in the near future will make her debut as a lyric soprano in some Italian opera house; Alice MacKenzie, talented light opera singer with the De Wolf Hopper Company, and Lucille Salzberg, possessor of a most beautiful voice, lyric coloratura of rare purity, who is being prepared for the concert stage.
In her day Mme. Colombati was an artist who, under the baton of such celebrated conductors as Arditi, Mancinelli and Mugnone, sang prima donna roles beside Nordica, Scalchi, Battistini, Anselmi and others. She is known today as an exponent of genuine bel canto, with a keen detective ear for the diagnosis of a voice, a knowledge of how to correct vocal faults without loss of time, and sincerity in giving advice, never encouraging an utter impossibility.
Bates-Crafts Musicale
At the monthly musicales in the studios of Viola Water-house Bates and Helen Cushman Crafts, one is certain to hear interesting and unusual programs. The guest-artist March 18 was Leila Topping, pianist, who specializes in Russian repertory. Her delightful interpretations are always appealing, and she presents an emotional _ and dramatic portrayal of the soul of the Russian in varied moods. The numbers she gave were especially interesting examples of Scriabin at his best.
Mrs. Bates gave great pleasure in three groups of songs; her voice, always lovely in its pure lyric quality, floated smoothly in Handel’s Care Selve, and rose to dramatic heights in Ein Traum (Grieg), Miss Crafts playing excellent accompaniments.
Viola Waterhouse Bates will leave town June 7 for her summer home, Shelter Harbor, R. L, taking with her a few students for a ten weeks’ course in voice and repertory.
O. G. Quirke Pupils Score Success
An unusual performance, considering the youth of Milo Miloradovich, dramatic soprano, and Josephine Chaka, also a dramatic soprano, was offered on March 4, at Town Hall, of the brilliant and difficult duets Deh con te and Mira O Norma, from Bellini’s Norma, so seldom heard on the concert platform nowadays, which is to be regretted in view of the sensation the performance in question created. An encore was insisted upon.
Miss Miloradovich’s singing of the Jewel Song from Faust was also a meritorious performance.
Marie Sweet Baker Sings Easter Solos
Marie Sweet Baker, soprano soloist at the Church of St. Rose of Lima, contributed largely to the fine Easter services offered at that church on Good Friday and Easter Sunday. Besides singing in the quartet, she was heard in soprano solos with chorus, the rich, beautiful quality of her voice and the expressive feeling with which she sings affording much inspiration. Prof. Ernest Menna is the organist and choir director at this church.
April 12, 1923
artistic program of melodramas with music before the Twentieth Century Club members, March 21.
Two special musical programs were given March 18, in the new Central Park Methodist Episcopal Cathedral, where Harold A. Fix is organist and choir director. The quartet comprises Mrs. H. C. Ferrell, soprano; Mrs. E. E. Larkins, contralto; C. W. Gill, tenor, and Emerson Kneir, bass. Mildred Laube, harpist, and Arthur Fensi, cellist, assisted in the elaborate services.
St. Paul’s Episcopal Cathedral choir (Dewitt C. Garret-son, organist and choirmaster, with Rebecca Cretter Fox, soprano; Roy Morgan, tenor; Thomas Woodruff, bass, as soloists), combined with Trinity Church choir (Seth Clark, organist and director, with Mildred Morrow, soprano; Sidney Wertimer, tenor, and Charles McCreary, bass, as soloists) in a notable performance of Dubois’ The Seven Last Words, on March 18, in St. Paul’s. At this service Mr. Garretson presided at the organ and Mr. Clark directed. It was repeated March 25, in Trinity Church, with Mr. Clark at the organ, Mr. Garretson directing, and with Trinity choir soloists.
Mrs. Charles Wallace, organist and choir director of First Presbyterian Church on-the-Circle, presented her chorus choir and soloists in Gounod’s Gallia, March 25. Irene Hassell, soprano; Margaret Barrell, contralto; Edward Northrup, baritone; Vernon Curtis, with Florence Wertimer, guest-solo-soprano, sang their solos excellently.
The choir of thirty voices of St. John’s Episcopal Church gave Maunder’s Olivet to Calvary, March 21. C. Homer Fenner is organist and choir master, and the solos were admirably sung by Edna Zahm, soprano; Florence Davis, contralto; Frederick Biscell and Bracely_ Yaw, baritones, with Sidney Wertimer, tenor, guest-soloist from Trinity Church choir.
Charlotte Smith, one of the young pianist-teachers of this city, gave an excellent program March 16, in D’Youville auditorium before an appreciative audience.
Hamilton College Glee and Instrumental Clubs presented an enjoyable concert at the Twentieth Century Hall, on March 17.
A piano recital was given at the residence of Mrs. Dexter P. Rumsey by Jan Sickesz.
Florence Reed, contralto, sang a group of four songs at the First Methodist Church of St. Catharines, Ont., upon the occasion of an organ recital by Charles Allison. The choir gave Dubois’ Seven Last Words.
Student members of the Chromatic Club gave an interesting program, March 25, in the Twentieth Century Club. Among the talented young people participating were Doris McMillan (Larned pupil), Gladys Lindsay (Meyer), Ruth Pliss (Lynch), Arline Wishing (Prentiss), Dorothy Houghton (Mt. Mercy), Ethel Coan (Watkins), Cecilia Roy (Blaauw), Esther Duerstein (Joseffer), Dorothy Lipp (Adam-Sickesz), and Lydia Whipple (Davidson). The accompanists for the vocalists and violinists were Ethyol McMullen and Clara Schlenker.
Margaret McNamara, contralto, accompanied by her sister, Hazel McNamara, participated in an excellent program for the Chromatic Club recently. Miss McNamara’s interpretations were intelligent and musicianly, and her sister’s fine accompanimen s won her a large share of the honors.
Dorothy Hobbie, contralto, and Gilbert MacLean Gardner, tenor, recently presented a musical prologue at Shea’s Hippodrome before a large audience.
Mrs. Durrett, Mrs. Patterson, Mrs. Colie, Helen Douglass and Alma Miller were heard recently in a Louis Siegel interpretation class. Otto R. Stahl’s beautiful accompaniments for the vocalists were an outstanding feature of the evening.
Ella B. Snyder’s vocal pupil, Edna Indemaueris, is winning approbation in New York, having recently given an Aeolian Hall recital.
Arthur Snelgrove is a busy musician in his various capacities as director of the Tech Theater Orchestra, first violinist in the Buffalo Symphony Orchestra, and as a teacher of violin. He played with the San Carlo and Russian Grand Opera orchestras at their recent appearances in this city.
Many musicians who have watched the piano teaching of Elinor Lynch with interest were present at a recent recital given by some of her pupils, and all were united in praise of her admirable work. Those appearing were Jane Norton, Rena Freedman, Clarissa Fisk, Frances Gordon, Madeleine Blust, Ruth Pliss, Biagia Gugino, Lillian Gevertzman, Agatha Plewacka and Gerald Stokes.	L. H. M.
GÉZA KRESZ Violinist
STUDIO: SCHÖNEBERCER UFER 44 BERLIN W.
LEONID KREUTZER,
PROFESSOR AT THE STATE HIGH SCHOOL OF MUSIC LUITPOLDSTR, 29	BERLIN W 30
Pianists Prepared for Public Appearances
ssSWAYHE
3 Ave. Sully Prud’homme (Quai d’Orsay) Paris vii, France
Jean de Reszke 53 Rue de la Faisanderie Paris
I rPr!IirTI7VV Institute
LESCHt IlZlVl of Piano
Gaveau Studios, 45 rue la Boetie, Paris, France
Under the personal direction of MME. THEODORE LESCH ETIZKY
(Marie Gabrielle Leschetizky)
John Heath, Associate Director Artists' Class and Private Lessons