Aprii 26, 1923
MUSICAL COURIER
44
out. The orchestra has made several appearances, always acquitting itself with much credit, but the ambitious program given on this occasion and the character of its work became a complete surprise which captivated the great musical audience. The first number, Symphony Pathetique, by Tschaikowsky, which speaks for itself and eloquently of the director’s ambition, justified the confidence he reposes in the talent of these young musicians, their intelligence and grasp. It was played with aplomb, insight to interpretation, in splendid tone, with due regard to precision and pitch. The entire body was a well-knit unit g.ving out beauty and color; the same can be said of the last number, Mignon Overture, by Thomas. All demands weie met for tone, deportment and responsive endeavor. The work performed by them in the accompaniments of the soloists was in every way praiseworthy. Leola Aikman, coloratura soprano, sang Rossini’s Una Voce Poco Fa splendidly ; she has a clear, true soprano and mastered the intricacies of the music exceedingly well, reflecting the efficiency of her tuition. She also possesses a pleasing personality. Clay Hart sang Vesti la Giubba, from Pagliacci, displaying a rich, colorful tenor, which he handled with much assurance and gives every hope of being heard from; Marushka Conrad delivered the piano concerto (A minor) by Grieg beautifully. From the very moment she touched her instrument her touch and tone entranced and she maintained her hold on her auditors to the end. She evidences strongly her schooling; she produces a warm and colorful tone and has a fine technic; she also has a good future. Unlike many other school recitals this one wholly lacked any of the earmarks of the amateur. The high aims of Bush Conservatory, Kenneth M. Bradley, its president, and Mr. Czer-wonky in the development of this orchestra have certainly been reached, and they are to be congratulated on their achievement. These coming musicians will soon rank as artists and will be found later in some of our best symphony orchestras.
The Creation Given by Swedish Choristers.
Placing the carriage before the horse, this reporter will first tell what took place after the concert of the Swedish Choral Club at Orchestra Hall when admirers of Edgar Nelson, the conductor of the society, met at the Swedish Club on the North Side. The Creation had been presented at Orchestra Hall before an audience that packed the hall and the success of the performance prompted Charles S. Peterson, president of the club, to make a little speech, in which he justly lauded Edgar Nelson’s efforts, the Swedish Choral Club and the soloists of the evening. Mr. Peterson informed his hearer that in 1925 the club would again invade Europe and pay another visit to King Gustav and his people and that all the other Scandinavian countries and Finland would be visited. Mr. Peterson added that the Swedish Club of Chicago had done a great deal to uplift in the eyes of the American musical public the nationality of the Swedish people, and then Mr. Peterson launched as the future conductor of the Apollo Club, Edgar Nelson, who vehemently protested, saying that he was not seeking the post so well held by Harrison M. Wild, but Mr. Peterson heard him not and his speech made a profound impression on all those present. Mr. Holmquist then asked the reporter of the Musical Courier to tell the assemblage what he thought of the Swedish Choral Club, and, unprepared, the timid scribe stated that he would write his opinion, that Chicago held a Frederick the Great and an Edgar the Great, but unfortunately not a Peter the Great.
The Creation by Haydn gave ample scope to Edgar Nelson to display his forces to best advantage. The work under his firm and flexible baton sounded as though it had been -written by a contemporary composer instead of dating from the vintage of 1798. Nelson had drilled his mixed choir with such diligence that each choral could be taken as a model by other similar organizations that appear yearly in the Windy City. "The play is the thing,” said Shakespeare. Maybe and maybe not. Haydn’s Creation is a beautiful work that does not need at this late date the endorsement of this humble writer, but it can be made more
CHICAGO SING VEREIN
WM. BOEPPLER, Director
and American Welfare Ass'n, Inc.
GALA CHARITY CONCERT
For the benefit of the Starving People of Germany and Austria Auditorium Theatre Sunday Afternoon, April 29th, 1923, 3.30 o’clock GRAND ORATORIO Haendel’s
Judas Maccabaeus
400 Voices	Symphony
Including 150 Children	Orchestra
Soloists
Reynold Oeschler, Tenor Chicago
Arthur Van Eweyk, Bass Berlin
Florence W. Scholl, Piano
Edith Allan, Soprano Chicago Elsa Bloedel, Alto Milwaukee
Wm. Middelschulte, Organ
CHICAGO COLLEGE OF MUSIC
Esther Harris Dua, President	A. G. Du a, Mgr.
1234 KIMBALL HALL	CHICAGO
MacBURNEY
Full Stage Experience \/ O T IT Each Week	* U i V/ Cl
608-609 Fine Arts Building, Chicago Pbone, 8988 Wabash
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THEODORE HARRISON, SEE?
Dir. Music Dept.. Lyceum Arts Conservatory, will conduct summer normal class in Interpretation and Repertoire for Students, Teachers and Professionals; 1160 N. Dearborn St., Chicago.	Available Solo Engagements
GRACE WELSH
PIANIST—COMPOSER
500 Kimball Building ....... Chicago
CHICAGO HAS ANOTHER FULL WEEK OF MUSIC
German Male Chorus, with Cyrena Van Gordon as Soloist, Presents Interesting Concert—Dorothy Denham Eichenlaub in Debut Piano Recital—Rene Lund Gives Annual Recital—Werrenrath Delights Large Audience Again— Czerwonky and Soloists—Swedish Choral Club, Edgar A. Nelson, Director, Present Creation—
Marshall Field & Co. Chorus Gives Dream of Gerontius—Chicago Mendelssohn Draws at Orchestra Hall—Alice Gentle Scores as Soloist—Other Notes
they proved a great treat. Wessels & Voegeli were responsible for this concert.
Rene Lund.
Rene Lund, a very conscientious singer, had built an exceptionally interesting program for his song recital at the Playhouse. Since last heard this recitalist has made big strides in his art, as not only has the voice been developed in all registers, but also Mr. Lund has learned how to project efficaciously the message contained in each composition and his vocal exhibition stands him well among the musical fraternity. True, the young baritone does not rely solely on his organ to win the attention of the musical public. He has brains and knows how to use them, as indicated by beautiful phrasing and fine diction and it is through his interpretative power that Lund makes his greatest appeal and this is sure to bring him added patronage yearly. The singer was fortunate in having the assistance of that wizard among accompanists, the more and more recherche Edgar Nelson.
German Male Chorus.
A large audience filled the Auditorium Theater, Sunday afternoon, April 15, and was well repaid by the splendid performance delivered. The German Male Chorus of 800 well trained voices, known as the United Male Choruses, under the direction of Karl Reckzeh, assisted by Cyrena Van Gordon, dramatic soprano of the Chicago Civic Opera Company, and Jacques Gordon, violinist, with Alma Putnam, accompanist for Miss Van Gordon, and Sanford Schlussel, accompanist for Mr. Gordon, gave the program which occasioned this great gathering. Of the chorus it may be truthfully said that such work as was rendered by it throughout has seldom, if ever, been equalled here. Its very pleasing intonation, united attack, solidity of tone, quick response, delicate coloring, equality and balance were most inspiring and put it in the front rank of male choral bodies. Mr. Reckzeh’s control was strongly evinced from the start and the same vim and forceful but well tempered consistent directorship held his singers to the end. He is a very calm, businesslike conductor who maintains a distinct personality quite refreshing. Miss Van Gordon rendered several groups with notable success and brilliancy, scoring heavily in all. She is always good to hear and to look upon. She sang three groups and Mr. Gordon played three groups. Both Mr. Schlussel and Miss Putnam performed very good work at the piano. Mr. Schlussel deserves special mention. The entire affair reflected much credit on all participating and especially on the director, Mr. Reckzeh, who has so distinguished himself.
Dorothy Eichenlaub Plays.
A young pianist who well deserves the large attendance found at the Studebaker last Sunday, is Dorothy Denham Eichenlaub, artist-pupil of Walter Knupfer, as at her debut she brought forth many of the attributes necessary for a successful career. Her launching was made under the auspices of the F. Wight Neumann management, another reason why the recital was a success. Miss Eichenlaub has been well taught, as indicated by the manner in which she played her difficult and well balanced program. She was well received by the public and accorded laudatory words by the critics of the daily press..
The Bush Conservatory Symphony Orchestra.
The Bush Conservatory Symphony Orchestra, under the baton of Richard Czerwonky, appeared before a capacity house Monday evening, April 16. Many were unable to gain admission and the delightful program rendered gave evidence of careful, painstaking and masterly tuition through-
VITTORIO TREVISAN
of Chicago Opera Aaaoclatlon
VOCAL STUDIOS
428 Fine Arte Building,	CHICAGO, ILL.
INICOLAY
Basso for twelve consecutive seasons with Chicago T	Opera Co., now free to accept dates.
For further information
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Jessie CHRISTIAN
Management: Harrison & Harshbarger, soprdliu	1717 Kimball Bldg., Chicago, III.
HERBERTGOULD
BASSO
Management: Harrison & Harshbarger 1717 Kimball Bldg.	Chicago. 111.
CUSTAF HOLMQUIST
BASS-BARITONE Private Address: 1430 Argle Street Address Bush Conservatory, 839 North Dearborn Ave.. Chicago
EDGAR NELSON
Piano and Organ Instruction
BUSH CONSERVATORY 839 North Dearborn St., Chicago
ALEXANDER R A AR
Pianist
RATHAUS STR. 20, VIENNA, AUSTRIA
Chicago, April 21.—This week has been a very full one for the music critics, music-makers and music-lovers. On Sunday afternoon the Auditorium held a very large audience, which listened to the United German Male Chorus, Karl Reckzeh, conductor, with Cyrena Van Gordon, contralto of the Chicago Civic Opera, as soloist; at the Studebaker, Dorothy Denham Eichenlaub made her debut in piano recital ; Rene Lund, baritone, gave his annual song recital at the Playhouse, and Reinald Werrenrath held forth again at Orchestra Hall. On Monday the Bush Conservatory Orchestra, with Richard Czerwonky as conductor, and several soloists, gave a worthy program at Orchestra Hall; on Tuesday evening at the same hall the Swedish Choral Club, Edgar A. Nelson, conductor, presented The Creation. On Wednesday evening, the Marshall Field & Company Chorus presented The Dream of Gerontius with several soloists, at Orchestra Hall. On Thursday evening the Chicago Mendelssohn Club was heard at Orchestra Hall, and on Friday afternoon and Saturday evening, the Chicago Symphony Orchestra, under Frederick Stock, presented its final concerts of the season. Several other recitals took place during the past week, but their importance is not of sufficient interest to require the presence of a reporter from this office.
Reinald Werrenrath.
One of the most satisfying artists now before the public, Reinald Werrenrath has proved a great favorite in the Windy City and his popularity here goes on unabated, ever on the increase. Thus, his recitals are always listened to by large audiences who flock to Orchestra Hall to enjoy the exquisite Werrenrath art. Again last Sunday he was heard by a vast throng, which eagerly awaited every song and continually clamored for more, so that by the end of the concert the recitalist had practically doubled the number of his printed selections with extra numbers. For this recital he had listed a recitative and aria from Mozarfis Marriage of Figaro, Peri’s Invocazione of Orfeo, Falcionieri’s Occhietti Amati, Four Serious Songs of Brahms, Credo from Verdi’s Othello, three songs by Deems Taylor (The Rivals, A Song for Lovers, The Messenger), Charles T. Griffes’ An Old Song Resung, Charles Fonteyn Manney’s Consecration, Martin Snow’s The Land of Heart’s Desire and Maude Valerie White’s King Charles. All done with the beautiful Werrenrath style, authority and finished art,
FRANC ESCO D A Dril
Of Chicago Opera Association B J	^
Specialist io Voice Placing and Coaching for Opera. Stage and Recital
Studio: 720 Fine Arts Building Chicago, HI.	Harrison 5755
Bush Conservatory
CHICAGO
Kenneth M. Bradley Edgar A. Nelson President	Vice-President
Edward H. Schwenker Secretary
SUMMER TERM
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Chicago Musical College
ARONSON
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VERA-KAPLUN CONCERT PIANIST
HERMAN DEVRIES
Formerly baritone with the Metropolitan Opera House, New York; Covent Garden, London; Grand Opera, and Opera Comique, Pans; Theatre Royal de la Monnaie, Brussels, etc.
-VOCAL TEACHER-
MRS. HERMAN DEVRIES AS*nstrik;torAL
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MARSHALL, World’s Famous Tenor
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