39
MUSICAL COURIER
May 3, 192 3
AUSTRO-GERMAN MUSICIANS’ RELIEF FUND COMMITTEE
Theodore Spiering, Chairman
List of contributors up to and including April 28, 1923:
Eleonore Henkelman
Mrs. Howard L. Weatherly
Maud Osborn
Blanche Epstein
Ethel Meshaloff
Evelyn Stern
Sidney W. Mandell
Romeo Perrella
Emma Ricardo Kieser
Mary Schenck
Mrs. George Ritter
Zenaida de la Torre
Mrs. Irving Laurie
W. Urso
A Music Lover
E.	C. A. Figaro
H.	Weiss
I.	Balen
N. Segalowritz B. Meyerson,
Y. Novick
Anna Stumpf
Katherine Horst
Christina Goess
Joseph Correll
Frances Pehl
Henrietta Scott
Blanche Foster
Marie Schmidt
Florence Wessels
Alexander Morello
W. I. Tedesco
Mrs. L. J. Walther
Dirce Dal Lago
Alfred Arol
Albert Pirman
Jarrell E. Gose
Charles J. Hamp
Jules Daiber
Corinne Mayer
Myrtle Elvin Block
Countess' Argilagos
Emily Grant von Tetzel
Mr. and Mrs. Walter Anderson
Wallingford Riegger
Frederick Kahn
Lily Petschnikoff
Paul Bender
Maria Ivogun
Mrs. Samuel Untermyer (in memory of Gustav Mahler) Mrs. Samuel Untermyer (in memory of Arthur Nikisch) Hardman, Peck Co.
Adolf Weidig Elisabeth Rothwell George Lehmann Florence Goldstein Sergei Rachmaninoff Katherine Goodson Hinton Andrea Polah Charles Mattmann Dr. C. F. Jellinghaut
F.	W. Reubler Adele Margulies Carlo Sabatino Herman Devries Mrs. L. H. Abele Wilhelm Bachaus John B. Siefert Mrs. H. C. Adams Joseph Gahm
Idis Lazar
Irma C. Correll
Varette Ter Stepanoff II.
Victor Ebling
Ernest R. Kroeger
Ottmar Moll
Leo C. Miller
David Earle
Nathan Sacks
Sam Franko
Varette Ter Stepanoff Ernest Schelling Alberto Jonas
Mrs. Geo. Herbert-Engelhard American Piano Co.-Wm.
Knabe Co.
W. B. Claypool Daniel Gregory Mason Anonymous (Toronto)
Albert Elkus
Mrs. Henry Schradieck
John Friedrich
Anna Heuermann Hamilton
Roger W. Kahn
Jean Stockwell Budlong
John F. Renner
Sohmer Co.
Society of American Musicians, Chicago
Music Teachers of St. Louis
Ruth G. Hill
Katherine A. Mohr
Gustave Becker
Robert W. Grant
H. F. Faber
N. Val Peavy
Otto Wissner and Son
Gustave A. Kluenter
Kate Hunter
C Sharp Club of Detroit, Mich. Ludwig Marum American Conservatory Chapter S. A. D. Sorority.
Irene Triesch Lamond Elsa Alsen Ganna Walska
Elise Aehle, School of Music,
St. Louis
W. Richard Miles Mrs. O. H. Vorubrock Ernest A. Vorubruck Katherine Vaughan Mrs. W. B. Swords Frank Rodman Marion Wright Margaret Ives Maurice Wright Jack Thomas C. Leslie Wolf Chester Knierim Russell T. Oeden Audrey E. Schmidt Marion A. Swords Andrew Pertici Elizabeth Leago Edward Zimmer Rose Williams Philip Luedde Ella A. Vorubrock Jennie Lee Aehle John Brent Williams Sherwood Family Anonymous, New York M. F. P., Albany, N. Y.
Werner Josten Margaret Seblouch Samuel Stetz Frank Williams Bella Frankel Antonio Lombardo George C. Hriczko, Jr.
Ellen Ballon Frances Jablow Myrtle Falcon Cooper John Standerwick Erl Beatty
Anne Harrison Wade Dorothy Goldsmith Netter,
Helen Michell Edward Garrett Lillian Brachman
Carl R. Edson Mrs. Carl R. Edson Leopold Auer Sophie Beebe Wilhelm Middelschulte Hans Letz Eleanor Spencer Cesar Saerchinger Harriet Van Emdetr Mildred Largie Irma C. Correll Harold Manierre Antonio Lora Gertrude Lawrence Maud M. Foote Vera A. Way Emanuel Oesterreicher Adalbert Ostendorff Lilyan Weintraub Olive Hildreth Mayer Frederic Hoffman Alexander Lambert Edith Braun Frederick Jacobi Walter Knupfer C. O. Herz Mrs. John Gerrian Adolph Mayer Louise Robyn Augusta Murphy Bertha J. Burlingame Mrs. L. von Bernuth Willem Mengelberg George Fergusson Frederic Reidemeister Theo. Cassebeer Hans Kindler Marcella Sembrich Joseph Lhevinne Augusta Cottlow Frederic Jacobi, in memory of the late Robert Leonhardt Paul H. Wagner Henry Ziegler Ernest Hutcheson Alvin L. Schmoeger George Meader Elly Ney
Willem van Hoogstraten Max Adler
Mr. and Mrs. Crosbey Adams
Frank A. Schaedler
Alfred Hertz
Paul H. Bilhuber
Carl Westmann
Elizabeth Cueny
Florence Easton
Francis Maclennan
William H. Daniels
Ted Bacon
Edwin Grasse
Rubin Goldmark
Katherine Cavalli
Alfred E. Human
Euda R. Sollitt
Phillip Gordon
Guiseppe A. Randegger
Theodor Bohlmann
Charles Pabst
Paul Mausolff
R. F. Balke
Hugo Kortschak
Thilo Becker
William K. Schmoller
Mrs. David J. Kelley
Jacob J. Froess
Joseph Knecht
W. C. Dierks
Anonymous, Brussels
I. J. Paderewski
H. H. Flagler
W. H. Humiston
Arthur Alexander
Harold Randolph
Arthur Shattuck
Josef Hofmann
Amy H. Beach
Dagmar de C. Rybner
Dr. Cornelius Rybner
Thuel Burnham
Carl Busch
Henry Hadley
Victor Herbert
Margaret A. Cox
Mme. Charles Cahier
Frank La Forge
Myra Hess
J. Lawrence Erb
Nicoline Zedeler-Mix
Sergei Klibansky
Louise Keppel
Theodore Spiering
Eva S. Joseph
Ida S. Lester
Ernest Urchs
Chalmers Clifton
J. B. Berkhoel
Alfredo Oswald
Guy Maier
Steinway & Sons
Joseph Regneas
Fred Stein way
Herman Irion
Walter Fischer
Fritz Kreisler
Victor Harris
Anna Faber
B. H. Balensiefer
Paul H. Schmidt
Theodore E. Steinway
R. Mojewski
Hattie Kammerer
Albert Stuercke
Sylvia Cushman
Bern Boekelmann
Madeleine S. Stern
Mrs. Norman S. Goldberger
Anonymous, Springfield, Mass.
Francis Macmillen
Hans Schneider
Walter Spry
Herman Epstein
A. C. Wieland
Emerson Whithorne
John R. Oatman
Rudolph Ganz
H. C. Kudlich
John Passaretti
George Raudenbush
Morris Goldberg
Paul Miersch
Herman Diestel
August Palma
Louis Lupo
Carl J. Stern
Frank Paul
J. J. Hattstaedt
David Stanley Smith
Gustav Saenger
Martha Martin
Eugene Gruenberg
Julius Marx
D.	W. Lerch Edmund Gram Coenraad V. Bos Lee Pattison Geo. J. Birkal Frieda Hempel Anna Mussgang
E.	H. Droop Oscar Springer
Marguerite Melville-Liszniewska Georges Enesco 3 Oscar G. Sonneck Ossip Gabrilowitsch
of the Rivoli and Capitol theaters, New York
Steinway & Sons, 109 East 14th Street, New York.
Eastman Theater Orchestra (Rochester) and Orchestras
Contributions are to be sent to Ernest Urchs, treasurer, care
Individual and Social Life, in which Mr. Birchard displayed an amazing amount of knowledge of the scientific side of music.
Then came another “highlight”—an illustrated address on The Art of Accompanying as Applied to School Music by George H. Gartlan, director of music in the public schools of Greater New York. Mr. Gartlan’s exposition should not be limited to school music—it was universal in its application, and showed, besides the keenest analysis, a spiritual insight that lifted his hearers quite out of the daily routine into the. realm of artistic realization.
and opened with a half hour concert by the Cleveland All-High School Orchestra under the direction of R. V. Morgan. This was followed by one of the high lights of the conference, A Lesson in Appreciation, by Walter Damrosch, conductor of the New York Symphony Orchestra. Dr. Damrosch used Beethoven’s fifth symphony to illustrate his remarks. As this dean of American conductors, was introduced the whole conference rose to do him homage.
There followed an auto ride through the park system, concluding with a visit to the Art Museum where an organ
MR. GATTI GIVES HIS
OWN SEASON REVIEW
. (Continued from page S)
“It is impossible to give in one season all the operas the public wants. If I did so, there would be nothing left for the following years.
“There are some operas I have long wanted to give, Mozart’s Don Giovanni, for instance; but I am still waiting for the proper singers. I was the first manager to give Russian opera here, Pique Dame, and the first to produce an American work, The Pipe of Desire.”
Mr. Gatti’s attention was called to the assertion that the Metropolitan keeps its ear too close to the box office. “It is not true,” he answered, “that the Metropolitan wants to make money. All the money the public gives to the box office goes back to them in productions.”
The expenses of opera production, Mr. Gatti explained, have increased 75 per cent, in fifteen years, while the price for seats at the Metropolitan has increased but 15 or 20 per cent. In Europe the seat prices have been increased three or four times. “The Metropolitan gives the best productions and the most varied repertoire at the lowest prices in the whole world,” he added.
Mr. Gatti then switched to singers and singing. Referring to a statement by W. J. Henderson to the effect that artists don’t sing as well as they used to, Mr. Gatti put the blame on the composer. The old composers wrote in the same style, he said. The singer of today has to sing Strauss and Verdi in the same week; in one instance the artist is singing, in the other declaiming and shouting—a poor procedure for the singer.
Old Operas Made Singers.
“We must thank the old operas,” continued the impresario, “for the singing we still have. If the singers sang only the new operas there would soon be no singing. An illustration:	Mr. Martinelli has never sung so well as he
has this season. He had an extremely difficult role in William Tell, and his study on the part improved his singing in all operas.”
The successful revival of William Tell, Mr. Gatti regards as his most satisfactory effort of the past season. It was the most difficult to produce, he said, and the greater the ׳obstacle the deeper the satisfaction. Had he given something by Dukas, or Stravinsky, he maintained, there would have been no difficulties attached to them.
Mr. Gatti’s favorite opera since Wagner is Boris Godunoff. It is original, he claims, sincere, and has characterization, essentials that every one appreciates.
The Russian fairy opera, Snegourotchka, is the most expensive production Mr. Gatti has made during his consul^ ship, and he holds it up as illustrating his belief that the public does not care for novelties. Here was a popular Russian work, by a popular composer, loudly heralded, and being given for the first time in a city of 6,000,000 persons, and yet, on the opening night, the box office did not hold $1,000 outside of the regular subscription money. The public here, Mr. Gatti says, wants to know what they are going to get. The public taste, too, Mr. Gatti thinks, has improved in his fifteen years here. In other days, he says, some of the modern works would never have been appreciated.
And in his closing remarks Mr. Gatti still had the public in mind. “In France they say, ‘There is some one who has more wit than Voltaire, and that one is Mons. Tout le Monde.’ ”
National Music Supervisors’ Conference Addresses
For a body of busy people in convention who knew that the Book of Proceedings would print in toto all addresses, and with the corridors lined with the exhibits of twenty-eight publishing houses just packed with tools of their profession, the annual sessions of the National Music Supervisors, held in Cleveland, were all fully attended. The address on Some Questions, made by the president, Karl W. Gehrkens, professor of school music, Oberlin Conservatory of Music, and supervisor of music, Oberlin Public Schools, was of keenest interest to the large body of fellow-craftsmen who listened attentively to his thoughtful setting forth of the problems of the profession. Never dictatorial, President Gehrkens contented himself . with stirring up their
MUSIC SUPERVISORS’ NATIONAL CONFERENCE, Hotel Statler, Cleveland, Ohio, April 9-13, 1923.
On Wednesday afternoon the principal address at the session held in Masonic Hall was by Hollis Dann, state director of music, Pennsylvania, his topic being, A State Program for Music in the Public Schools. This was a very serious discussion of a large undertaking and will be read again with deepest interest in the Book of Proceedings.
M. B. P.
Fine Musicale at Morrill Studio
Pupils of Laura E. Morrill were heard in recital at her New York studios on the afternoon of April 15, and, as usual, every one of the participants reflected credit upon their mentor. The uniform excellence of the singing done at these musicales has been remarked upon by many music lovers and artists who have enjoyed the music at the Morrill studios. One of the guests at this particular musicale was so much impressed with the fine singing heard that she immediately arranged for lessons and began her studies the following day. .
Roy Rockefeller, a young baritone of much promise, was heard for the first time and created an excellent impression. Florence Chapman-Paetzold, a former pupil who came to New York a short time ago to renew her studies with Mme. Morrill, gave much pleasure with her singing of Depuis le jour from Louise and Chanson Norvegienne of Fourdrain. Her husband, F. L. Paetzold, is treasurer of the Great Northern Railroad. The other artist pupils participating in the program were Grace Nott, Sarah Edwards, Lillian Crosman, Leah Lannaman, Merle Holman and Inez Quick.
Owing to the many students who wish to continue their studies during the warm months, Mme. Morrill will teach in New York all summer.
recital was given by Douglas Moore, curator of music and museum organist.
The addresses Wednesday morning were by William Arms Fisher, on The Music Publisher and the Supervisor; Harry E. Whittemore, supervisor of Music, Manchester, N. H., on Ethics of the Supervisor; C. C. Birchard, on Music for
minds and leaving the problems with his auditors for solution. Also, he made them fully aware of their responsibility in finding the solutions with all due promptitude.
Dr. Charles H, Farnsworth, of Teachers’ College, Columbia University, was introduced as the Conference philosopher, and did not belie his introducer. Dr. David Sned-den, professor of educational sociology and vocational education, a colleague of Dr. Farnsworth,_ succeded in rousing more than a modicum of controversy in the presentation of his topic, Dynamic Tendencies in American Education.
Tuesday afternoon was perhaps• the busiest time of the whole conference. The session was held at Masonic Hall
MASTER INSTITUTE OU UNITED ARTS
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