MUSICAL COURIER
25
May 3, 1923
April 24, at his home in that city with bronchial pneumonia and complications, after an illness of nearly three weeks.
Mr. Malek was born in Bohemia and began his musical career as a pianist, coming to America as such. He finally located in Chicago where he taught for several years, at the same time conducting classes in Milwaukee. From Chicago he went to Grand Rapids, where he established himself. permanently. In the latter city he founded the Grand Rapids Civic Orchestra which has developed into a most creditable organization with a promising future.
Mr. Malek is survived by his mother, widow and three children.
Schumann Heink Again “Phenomenal” Success in Chicago
On Sunday afternoon, April 22, Ernestine Schumann Heink gave her annual Chicago recital at Orchestra Hall, and, according to a telegram sent her managers, had a “most phenomenal success.” Every nook and corner of the large auditorium was filled, with the stage crowded, and there were many standees. The famous contralto was most enthusiastically received and was forced to sing eight encores. The critics proclaimed the artist “better than ever.”
Von Ende-Johnson Nuptials
Roxane Von Ende, only daughter of the late Herwegh Von Ende and Mrs. Von Ende (Adrienne Remenyi), was married to William Leo Johnson, March 24, at St. Luke’s Chapel in the Garden, Paris, France.
NOW BOOKING
ROSA PONSELLE
Prhna Donna Dramatic Soprano Metropolitan Opera Co.
JEANNE 60RD0N
Prima Donna Contralto
Metropolitan Opera Co.
FLORENCE MACBETH
Prima Donna Coloratura Soprano Chicago Civic Opera Co.
GIUSEPPE DANISE
Principal Baritone Metropolitan Opera Co.
NATIONAL CONCERTS, Inc., 1451 Broadway, New York City
the settings and at the same time imitates so remarkably the principal actors that those who have seen the original production immediately recognize the character she is introducing to the audience.
These two return dates at the Playhouse in Chicago are rather significant and one can only assume that she has added another city to the numerous ones which enj oy at least one or two of her appearances during the season. _
It has also been announced that Miss MacLaren has just signed a contract with the University of Michigan to appear in its courses. Her entire time for the next few months already is booked at the principal summer schools of importance in the middle west.
REINER CLOSES CINCINNATI
ORCHESTRA SEASON NOTABLY
Vladimir Shavitch Brings Novelties
Among the novelties 'that Vladimir Shavitch brought with him to New York is a manuscript score of a symphonic poem by the first young composer of Uruguay, entitled Campo. This work was given its first hearing in Montevideo by Mr. Shavitch, while he was conducting the Montevideo Symphony Orchestra. Mr. Shavitch is now in New York.
Manager of College of Music Resigns
Cincinnati, Ohio, April 22.—The final concerts of the present Cincinnati Orchestra season were enjoyed on April 20 and 21 at Emery Auditorium. These concerts mark the close of a noteworthy season for this great musical organization. Under the direction of Mr. Reiner the progress made has been notable. He has demonstrated his power in a way that makes new history for the organization, showing that he will become a potent factor in increasing the prestige of the orchestra. A young man in point of years, he has given a fine account of himself and there is a general feeling that the future of the orchestra holds great promise. The work of the members must be given the highest commendation for they have contributed much toward a season that has been exceptional. These last concerts were marked by the usual spirit and zest. The numbers included Don Juan, by Strauss, which has not been heard here for a long period; the Egmont overture, by Beethoven; Fireworks, by Stravinsky, and The Garden of Fand, by Arnold Bax. The program was varied enough to make it of interest to all. As in a number of concerts given this season there was no soloist. Mr. Reiner will soon leave for a European, vacation; the highest praise and best wishes of the music-loving public in this section go with him.
Manager of College of Music Resigns.
J. H. Thuman, manager of the College of Music for the past three years, has resigned, the same taking effect June 30. Mr. Thuman has been devoting so much of his time in recent years to the management of musical artists and events in this city and, since he desires to make this a larger element in the future, found it necessary to give up the management of the College of Music. While manager of the institution he made a number of changes and the College has shown a steady advance. Prior to his connection with the College of Music, Mr. Thuman was engaged in newspaper work as music and dramatic critic. He has also been business manager of the May Music Festival for the past fifteen years. He is acting in the above capacity during the present season which is designated as the Golden ■Jubilee Festival. In commenting on the matter, R. F. Balke, president of the board of trustees, said that Mr. Thuman’s resignation was a voluntary decision on his part.
“The trustees felt that we needed a man at the head of the College of Music who could devote full time to its activities,” Mr. Balke said. “We have no plans for the future and Mr. Thuman will remain as manager until the close of the present academic season. Several men of recognized ability are under consideration for the position, but action in the matter of appointing a successor will not be taken immediately.”	W. W.
Ethel Grow Honored
The popularity of Henry Holden Huss’ aria, Cleopatra’s Death, the second number on Ethel Grow’s Aeolian Hall recital• of American compositions, is being repeatedly demonstrated. Although the recital took place last November, Miss Grow is still being asked to repeat it. Her latest request is from the Washington Heights Club, the occasion being their organists’ open meeting in Aeolian Hall, on May 10.
Ottokar Malek Dead
Ottokar Malek, pianist, orchestra conductor and head of the Malek School of Music in Grand Rapids, Mich., died
RICHARD HAOEMAN
Announces the Opening of His New York Studios
257 West 86th Street
Phone: Schuyler 5910
ballade and three etudes, F major, F minor and C minor, the “Revolutionary” etude. Two Liszt numbers, II Pen-seroso and the Mephisto waltz, the latter played with spirit, power and brilliancy, concluded the program. Miss Byrd has a well developed technic and the individuality of her playing always makes her recitals interesting. As usual she had a hall well filled with enthusiastic admirers.
The Herald critic thought that “In some lighter pieces .	.	. her performance had charm, grace and poetic
feeling.” The American wrote: “She is essentially intelligent, possesses considerable originality and has technical .finesse far beyond the ordinary.”
SUNDAY, APRIL 29
GEORGE REIMHERR
George Reimherr certainly has a following here in New York. On Sunday afternoon he sang to his third recital audience this season at the National Theater before another capacity house. Assisted at the piano by Frank Braun, Mr. Reimherr was heard in a program of German lieder, which included many favorites and gems. As a singer of German songs, this tenor excels and the entire urogram gave cause for much pleasure and a number of demonstrations of approval. He was in particularly good voice and spirits and sang in his polished style, revealing at all times the fact that he is a versatile interpreter, who derives pleasure through his own singing and makes his listeners share that feeling. The audience applauded him warmly and demanded many encores.
The program follows: Widmung (Franz), Aus der Rosenzeit (von Fielitz), Du bist die Ruh (Schubert), Du bist wie eine Blume (Liszt), Wie bist du meine Königin (Brahms), Schönröslein, Wenn deine Lieben von dir geh’n, Der Egoist, Frühlings Nahen and St. Johanni, (Eugen Haile), Vergebliches Ständchen (Brahms), Mondnacht (Schumann), Allerseelen (Strauss), Auf Flügeln des Gesanges (Mendelssohn), Zueignung (Strauss), Grüsse zur Nacht (Dohnanyi), Wir Drei (Kaskel), Es zürnt das Meer and Venetianisches Wiegenlied (Joseph Marx), and Morgen Hymne (Georg Henschel).
De Luca, Sylvia Lent, Mme. Gazella and Philip Sevasta in Recital
On Sunday, April 22, at Town Hall, Giuseppe De Luca assisted by three artists, gave a matinee recital. A surprisingly small audience greeted the well known Metropoli tan baritone and his colleagues, and it is very hard to understand why there was so little interest. Mr. De Luca was in excellent voice and in the very best of spirits and seemed not to feel in the slightest the lack of a larger audience. He is too well known an artist to go into detail about his singing, as his quality of tone, diction and interpretation are always a delight, and such as are possessed to such a marked degree by too few artists.
Sylvia Lent, violinist, another young Auer pupil, proved to have a genuine gift at, the art of fiddling. She played unusually well and was received most cordially. Mme. Gazella, soprano, has been heard here before, and again renewed the favorable impression made upon former occasions. Philip Sevasta, harpist, contributed four solos, which were thoroughly pleasing. Alberto Bimboni played admirable accompaniments throughout the entire program.
Thirtieth Ann Arbor Festival Announcement
Ann Arbor, Mich., will hold its thirtieth annual May Festival at Hill Auditorium on May 16, 17, 18 and 19. According to the announcement made by the University Musical Society, this festival, while in the main following the general line of those which have preceded it, will, however, have several unique features. Gustav Holst, the distinguished British composer-conductor, accompanied by Mrs. Holst, will come from London for the purpose of conducting the American premiere of his Hymn of Jesus, a work written for chorus and orchestra. Another unique feature will be the appearance of a violinist, something which has not occurred at these festivals for many years. Erna Rubinstein has been chosen for this honor. Then, too, there will be presented many soloists new to Ann Arbor. In fact, with the exception of Clarence Whitehill, Charles Marshall and Henri Scott, they are all new to that city.
Arrangements have been made for four evening concerts, with matinees on the afternoons of May 18 and 19. The University Choral Union, trained by Earl Vincent Moore, will present at the last concert Saint-Saëns’ Samson and Delilah, and, in addition to the Holst work mentioned above, will offer other attractive selections in connection with the miscellaneous programs. The Children’s Festival Chorus, under the baton of George Oscar Bowen, will appear in a series of selections at the Friday afternoon matinee.
The artists and the organizations to be heard, in the order of their appearance, are as follows: Artists — Beniamino Gigli, Mabelle Addison, Erna Rubinstein, Arthur Kraft, Suzanne Keener, Giuseppe Danise, Florence Macbeth, Ernest Scheming, Jeanne Gordon, Charles Marshall. Clarence Whitehill, and Henri Scott; conductors — Gustav Holst, Frederick Stock, Earl V. Moore and George Oscar Bowen; organizations—The University Choral Union (350 singers), The Chicago Symphony Orchestra (70 players), and The Children’s Festival Chorus (500 singers). Charles A. Sink is secretary of the University School of Music, in connection with which the festival is conducted.
Gay MacLaren Leaves for West
Inimitable Gay MacLaren, “The Girl with the Camera Mind,” was in New York for a few days last week. It was merely a breathing spell. She is giving recitals in Pennsylvania and Ohio and two return dates in Chicago, May 8 and 10. It will be remembered that Miss MacLaren’s first Chicago appearance at the Playhouse was unusual in its enthusiasm and artistic achievement. She re-created Enter Madame, a play that had unusual success in New York two years ago:	Miss MacLaren re-creates these popular plays
and reproduces them in an extraordinary fashion even to the intonation of the individual actor’s voice. Norman Trevor, who played the leading part with the star, Gilda Varesi, was in the audience when Miss MacLaren gave the play, and afterwards insisted upon meeting her, declaring it was uncanny, so true was her reproduction.
This feat of Miss MacLaren’s is quite unusual. She goes to a new production four or five times and without the aid of the printed play, merely with her extraordinary mind, memorizes the entire dialogue, with all of its action, notes