MUSICAL COURIER
May 3, 1923
44
and now of Rockford and Chicago, where he has sung with many organizations since coming here last fall.
Cave Thompson at the Blackstone.
Cave Thompson, the blind pianist, gave his annual piano recital at the Blackstone last Sunday also, before a comfortably large audience. A sure technic, fleet fingers, interesting readings were among the qualities noticed in the make-up of the recitalist, whose success at the hands of the audience left no doubt as to the enjoyment his many friends and admirers received from his playing.
Shanewis Repeated,
At the Central Theater Cadman’s Shanewis was repeated by the troup of the Opera in Our Language. Arthur Dunham conducted, and though it has been reported that the audience was unfortunately very small, no ticket having been received at this office, a review is completely out of the question.
, Harold Loring's Lecture-Recital.
One of the most interesting lecture-recitals heard in many a season was that given on Monday evening, April 23, under the auspices of the Bureau of American Travel, by Haro.ld A. Loring. The affair was by invitation. So much the worse for the musicians, as they would indeed have greatly enjoyed getting acquainted with Mr. Loring and his lecture on American Indian Music, in which the recitalist had the assistance of Buffalo Bear, a full-blood Sioux Indian. Mr. Loring, who has spent many years among several tribes of Indians, has a repertory of Indian music that is prodigious. To his hearers on this occasion he presented an explanation of Indian music, construction of melodies, rhythms, intervals, tonalities and Indian instruments, and to illustrate those various topics with the help of his Indian, who cannot be classified either as a tenor or a baritone, he presented various selections, among which Early Morning Song to the Sun, the Medicine Man’s song, with Medicine rattle; the Song of the Moccasin Game, with tom-tom; Evening Love Song, Lullaby, My Heart Is Sad, and another love song from the Sioux tribe. The Cheyenne Indian music was represented by the Song of the Leader, arranged for piano and played by Mr. Loring. The Blackfeet Indian music was introduced by The Dream Nest and Song of the Buffalo Society. The program also included A Spirit Dance and A War Dance. Mr. Loring is a fine entertainer; he has a message to deliver, and he does it so eloquently as to make his audience feel sorry when the program is over, as each one of his numbers is so different from the other as to keep alert the minds of his listeners. This reporter learned more about the Indian music from this lone recital than could have been possible had he read volumes on the same topic. Mr. Loring has given this year over 175 lecture-recitals, and his programs, always interesting, are built not only with the view of educating the layman, but of interesting the musicians. The lectures are• given publicly, or for high school entertainment and club musicales, while some private individuals have entertained guests with the Loring lecture-recitals—a really enjoyable and instructive entertainment.
Musicians’ Club of Women Elects Officers.
At its annual get-together luncheon and annual business meeting last Monday afternoon, April 16, the Musicians’ Club of Women elected the following officers: Mary Peck Thomson, president; Mrs. Louis Edwin Burr, first vice-president, and Mrs. Hyde W. Perce, second vice-president, and the following board of directors:	Helen Protheroe
Axtell, Amy Keith Carroll, Gertrude Gane, Mrs. Walter S. Gerts, Elizabeth Garnsey Harvey, Mrs. Charles Lyon Krum, Agnes Lapham, Marie White Longman, Marion
PREMIER CHICAGO RECITAL
RHYS MORGAN
Welsh-American Tenor
ORCHESTRA HALL
Monday Night, May 7, 1923
BEDUSCHI
Formerly Leading Tenor in Foremost Theaters of the World Voice Placing, Italian Method—Coaching for Opera, Oratorio, Concert—Suite 70, Auditorium Bldg.
CHICAGO COLLEGE OF MUSIC
Esther Harris Daa, President	A. G. Dna, Mgr.
1234 KIMBALL HALL	CHICAGO
MacBURNEY
FU״ E׳ach WePek,enCe VOICE
608609־ Fine Arts Building. Chicago Phone. 8988 Wabash
M	TENOR
Management Samuel D. Selwitz	1512 S. Trumbull Ave., Chicago
=¿52 COLLINS
CHICAGO MUSICAL COLLEGE Exclusive Management: Fulcher & Bohan, McCormick Bldg., Chicago
Chiu!•
PIANIST Columbia School of Music
MME. SCHUMANN HEINK WINS
GENUINE OVATION IN CHICAGO
Famous Singer Still Reigns Supreme—Edward Collins in Annual Piano Recital—Andreas de Parry Surprises—Rockford Club Draws Capacity Audience—Harold Loring’s Lecture-Recital Creates Interest and Enthusiasm—Dux Soloist with Association of Commerce Glee Club—Arthur Hackett in Chicago—Other Notes
always increasing. She can, as she did on tliis occasion, on few instances, address her audience, tell them that “her Katie” is one of the greatest accompanists in the world, how she appreciates their enthusiasm, speak to three thousand people as though addressing only one, and whatever she says is taken with great enjoyment by her loving admirers. Little more need be said about this concert, only that Schumann Heink is still the queen in the realm of song, that Katharine Hoffmann plays remarkable accompaniments for her, and that her assisting artist, Florence Hardeman, violinist, has some very good and some very bad points. Her best quality is a facile technic, and her worst a great tendency to play off pitch.
Edward Collins.
Some brilliant piano playing was set forth last Sunday afternoon at the Playhouse by Edward Collins, one of Chicago’s finest pianists, who presented his annual recital under the F. Wight Neumann banner. Already occupying a high place among the best keyboard artists before the public, Edward Collins is not yet content with his art, and each new hearing brings forth something new along progressive lines. His stupendous technical ability enables him to dash off the most difficult intricacies with abandon and ease, and his sane, artistically finished renditions make his piano recitals a joy to listen to. Heard for the purpose of this review in the Beethoven E flat major sonata and a group of Chopin, comprising the F sharp major nocturne, A flat major waltz, E major etude and C sharp minor scherzo, Mr. Collins set forth some of the finest playing he has done here. Imaginative and poetical interpretations were given these numbers, which served to bring into fine display his admirable qualifications. There is sincerity of purpose and determination in his playing, besides fine tonal quality, lovely coloring and keen musicianship. Mr. Collins’ numerous auditors were most enthusiastic and constantly demanded encores, so that by the time the recital closed he had practically doubled his program. He also played the Bach-Tausig toccata and fugue in D minor, and numbers by Borowski, Saar, Griffes, and Liszt. His was success unqualified and most deserved.
Andreas De Parry Sings.
One of the surprises of the season was the recital given by Andreas De Parry, tenor, at Cohan’s Grand Opera House. This recital, by the way, was not covered by any of the music critics on the daily papers. Why? Because Mr. De Parry is a resident of this city and has not as yet made a name for himself ? Mr. De Parry was heard several years ago by this writer, and at the time the impression made upon these ears was not altogether to the credit of the singer. Since that time this young man must have studied as indicated by the manner in which he sang his program. His is a luscious organ, even in all registers, warm, big and sonorous, and unless the opinion formulated at this time should go wrong, Mr. De Parry has a big future before him, and today he may be counted as one of the leading tenors of the Windy City. Heard in his first group, he completely astounded at least one of his auditors, and though only a small gathering was found at Cohan’s Grand, another recital will probably bring a much larger house.
Rockford Club.
The Rockford Musical Club held forth also on Sunday, at the Auditorium. A top heavy house was most enthusiastic in its approval and as no programs were given, credit for beautiful* singing cannot be given, especially to the tenor, whom we were informed was Sig. Chirinchetti, formerly of New York, where he studied with Mme. Garrigue-Mott,
VITTORIO TREVISAN
of Chicago Opera Aaaoclatlon
VOCAL STUDIOS
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Cnnwann Management: Harrison & Harahbarger, aopi dliu	17T7 Kimball Bldg., Chicago, III.
HERBERT GOULD
BASSO
Management: Harrison & Harshbarger 1717 Kimball Bldg.	Chicago. 111.
GUSTAF 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 RAAR
Pianist
RATHAUS STR. 20, VIENNA, AUSTRIA
Chicago, April 28.—Eight musical attractions held the attention of the concert goers last Sunday afternoon, and the best patronized and most interesting was the one of Schumann-Heink, which took place under the management of Wessels & Voegeli, at Orchestra Hall.
Schumann Heink Recital.
Time flies, as already twenty-four years have elapsed since this reporter first heard Schumann Heink, at the Metropolitan in New York. This was the first year of the famous contralto’s appearances in America. What a wonderful career has been registered by this splendid artist, who today seems at the zenith of her vocal and mental powers. After singing many encores she asked the audience:	“Are you not getting tired?” and to a thunderous,
“No” from an enthusiastic auditor, the audience as a man broke loose into a tempest of plaudits, which showed unanimously that every one wanted more, and more the audience received from that glorious organ that has enchanted the musical world for many years and which, judging from its present splendor, will bring joy for many years to come. There are numberless singers, but there is only one Schumann Heink. Age has increased her knowledge of the voice, as she uses it with a mastery seldom encountered in the concert hall. A grandmother, Schumann Heink has the voice of a debutant, though it has served its possessor since 1878 in winning laurels in many lands. Before making her debut she had studied assiduously and, due to that reason, probably, at sixty years of age she has retained all her great vocal faculties. She sings with astonishing tonal beauty, the voice is as powerful as ever, as potential an organ as God has ever put into a human throat, and it is used so well as to depict the different moods of the compositions inscribed on the program. Thus, there was not one second of monotony in the rendition of her well built program. Mme. Schumann Heink holds the attention of her listeners from beginning to end. Many lines could be written about her wonderful—nay, marvelous—breath control, her exquisite phrasing, the delicacy of some of her upper tones, the opulence of others either in the high or low register, as she reaches the lower domains with the same astonishing. facility as the upper regions. An unique figure in the musical world, Schumann Heink’s popularity is always and
FRANCESCO D A r|DI
Of Chlcaco Opera Association	B J JL
Specialist io Voice Placing and Coaching for Opera, Stage and Recital
Studio: 720 Fine Arts Building: Chicag:o. III.	Harrison 5755
Bush Conservatory
CHICAGO
Kenneth M. Bradley Edgar A. Nelson President	Vice-President
Edward H. Schwenker Secretary
SUMMER TERM
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AURELIA ARIM0NDI
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VITTORIO ARIM0NDI
Leading Basso Chicago Opera Association and all the Principal Theatres of the world
Voice Placing, Coaching for Opera, Stage and Concert Deportment
Studio: 612 Fine Arts Building	Chicago
Chicago Musical College
ARONSON
MAURICE
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PEDACOG
VERA-KAPLUN
CONCERT
PIANIST
HERMAN DEVRIES
Formerly baritone with the Metropolitan Opera House, New York; Covent Garden, London; Grand Opera, and Opera Comique, Paris; Theatre Royal de la Monnaie, Brussels, etc.
--------VOCAL TEACHER----------
MRS. HERMANJDEVRIES ASlS£VkT״Ecio°£AL
Studios: 518-528 Fine Arts Building, Chicago, 111.
MARSHALL, World’s Famous Tenor
MANAGEMENT: HARRISON AND HARSHBARGER	1717 KIMBALL BUILDING, CHICAGO, ILL.