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MUSICAL COURIER
SECOND BOURNEMOUTH FESTIVAL
A GALAXY OF BRITISH COMPOSERS
Forty Contemporary Writers Performed; Twenty-three Personally Present—Goosen’s Sinfonietta and Arthur Bliss’ Concerto Have Brilliant Performances—Artistic and Financial Success
the chorus of praise from a very discriminating audience which greeted the conducting composer, the pianist, Gordon Brian, and the tenor, Archibald Winter. Revised since its first performance in London recently, this work created a profound impression; it is a masterpiece of orchestral color, and had a completely successful performance.
Goossens’ Sinfonietta a Brilliant Piece.
Eugène Goossens’ Sinfonietta is a brilliant piece of orchestration and was played with such verve and masterly attention to detail that the composer-conductor received an ovation at the conclusion. The leading motive of the three movements is founded on a melody which the composer heard being whistled in the street one day. Rich in harmonic device, the work is brilliant, witty and intensely attractive.
A new scena by Maurice Besly, heard the same day, is a setting of part of Gilbert Murray’s translation of Euripides’ Hippolytus (B. C. 429). If not quite up to the standard of the words, the music is melodious and impresses by its evident sincerity; it had an ideal exponent in Carrie Tubb. Armstrong Gibbs’ Vision of Night is a delicate impression, full of subtleties and showing complete mastery of modern harmonic device, while Herbert Howells’ Procession, which was encored at its first London performance, is a robust work of strong coloring and rhythmic intensity.
An Artistic and Financial Success.
Although the festival is not yet over, it is safe to predict another great success, certainly from the artistic standpoint, and, probably financially as well.
To Sir Dan Godfrey are due the admirable arrangements by virtue of which not only some of the greatest soloists in the country are being heard in company with others of lesser fame; and more important still from the viewpoint of the creative musician, it has been made possible to give first-class renderings of new works by lesser known musicians whose music might otherwise have remained in oblivion.
Gladys Crook.
Bournemouth, England, April 2.—Pine trees and rhododendrons with a delicate fringe of lovely spring flowers, daffodils, pheasant-eye narcissus, tulips and the like form the setting for the Bournemouth Musical Festival. As an English watering-place Bournemouth holds a unique position; the home of many cultured and musical people, it is also the Mecca of weary Londoners, to whom, tired and jaded after a heavy and sunless winter, it offers rest and relaxation bf a kind to suit all tastes.
Musically it is fortunate in the possession of a musical director in the person of Sir Dan Godfrey, whose vital personality and keen musical knowledge and insight have made his own and that of his orchestra names to conjure with in the British world of music; and also in the possession of a municipal government which had the far-seeing pluck to support the home product and to form the only permanent municipal orchestra in this country.
A Festival of British Composers.
Last year the festival, nominally the Festival of British Artists, lasted a fortnight and was made to more than pay its way; this year it is lasting for five weeks, and works by no less than forty contemporary British composers featured on the programs. Twenty-three of these composers are paying special visits to conduct their own works.
Happy is the critic who is able to stay at Bournemouth for the whole of the Festival, for the daily programs are as interesting as the surrounding country is beautiful and attractive. In the days that I have been here I have heard works by the following composers, most of whom were their own conductors; Eugene Goossens, Armstrong Gibbs, Maurice Besly, Vaughan Williams, Herbert Howells, S. H. Braithwaite, T. F. Dunhill, and Havergal Brian.
Of these works the most interesting were undoubtedly Eugene Goossen’s Sinfonietta, Herbert Howells’ Procession and Armstrong Gibbs’ Vision of Night. I was forced to miss hearing the Arthur Bliss concerto for pianoforte, tenor voice and orchestra, owing to the impossibility of getting a seat in the train from London, but I was in time to hear
performers at the anniversary show, April 12. Grace Fisher, vaudeville star, has returned to New York after a successful tour of the Coast. Wallace Radcliff, dramatic tenor, was soloist in three oratorios during Easter Week, and has been engaged as soloist with Grace Methodist Church, Brooklyn; he was also engaged for The Daughter of Jairus in Yonkers, the last of April.
Robert Lawrence, bass, sang at the First Congregational Church, Hackensack, Easter; Christ Lutheran Church, Jersey City, March 29; Woman’s Club, Mt. Vernon, April 6, and Hotel Pennsylvania, April 2. Rose Perron, soprano, sang in Jersey City March 29.
Others who filled professional engagements over Easter were Elsie Ehrhardt, Grace Bergen, Ethel Bergen, Katherine Stein, Hazel Wilkenson, Elizabeth Garrison, and Charles Wessling. Lillie Krauss, lyric soprano, was soloist with the Jersey City Woman's Club, March 12, and at the High School memorial service, March 22.
Harcum School Student Plays for Cricket Club
Isabelle Rudd, of Toledo, Ohio, one of the music pupils at the Harcum School, Bryn Mawr, Pa., was chosen as the pianist for a concert at the Meriori Cricket Club on April 28. Miss Rudd played a group of Chopin etudes and a group of modern numbers. Her tones are rich, and the charm and abandon of her playing are facilitated by the accuracy and breadth of her technic.
Nikisch to Play with Cincinnati Orchestra
Mitja Nikisch has been engaged as soloist with the Cincinnati Symphony Orchestra, Fritz Reiner, conductor, for a pair of concerts on November 23 and 24 next.
JOSEPH HOLLMAN,
cellist with the captain of the Siberia-Maru, while en route to Japan.
work when he held similar courses in the above cities.
A fine opportunity is thus offered of studying under a master !teacher of such renown, brought from New York to the very door of the pupil, at a nominal price compared with what the pupil would have to pay in New York.
These schools are making their master course an annua! event. This' makes the class very desirable, as the pupils can. be under the teacher each year at a cost within reach of every one. Every singer needs constructive work occasionally to keep the voice in good condition. For instance, Claire Dux, the noted recital artist, is studying with Mr. Klibansky at his New York studio, taking a lesson every day, and considers herself (to quote her own words) “fortunate to have such a wonderful teacher.”
For beginners the opportunity of the master class is of great value; a beautiful young voice can be sppiled in the
SERGEI KLIBANSKY
beginning if not properly placed. Mr. Klibansky is greatly interested in building young untrained voices.
As the climax of the season Mr. Klibansky will conduct a six weeks’ master class in Europe with headquarters in München, Germany, starting September 3.
Rankin Pupils Score
Dorothy Brown, lyric coloratura soprano of The Music Box Revue, has been re-engaged for next season, and will assume the part of the Nightingale June 1. Miss Brown, as understudy, recently appeared with success as the canary. She is only eighteen and this is her first appearance on the stage. Beatrice Hendrickson, mezzo-soprano and dramatic actress, has been engaged as leading woman with a stock company in Utica, N. H. She was formerly leading woman with Robert Edeson in On the Stairs, also a member of the Why Not Company of New York City. Thomas Joyce, baritone, one of the principals of the Hippodrome this season, was selected by Mr. Burnside as one of the star
May 3, 1923
received at the Friday morning concert of the National Supervisors’ Conference. It also appeared in Norwalk, Ohio, and in several other concerts in the vicinity of Cleveland. The receipts from the operetta Princess Bul-bul by Rhys-Herbert, staged and directed by Mr. Peters, paid the expenses of the organization on this trip.
THE METROPOLITAN’S ATLANTA WEEK
The annual Atlanta week of the Metropolitan extended this year from April 23 to April 28 inclusive and, both from the financial and artistic standpoint, was one of the most notable southern excursions of the organization. The week began with a performance of Romeo and Juliet on Monday evening, with the familiar cast headed by Lucrezia Bori and Gigli. Gigli renewed his success of last season and Miss Bori was heartily welcomed in a new role. Aida, the bill for Tuesday afternoon, was a great success for Barbara Kemp, who sang the title role as her introduction to Atlanta. Martinelli, singing Radames, was heartily rewelcomed. Antonio Scotti sang Amonasro, a role that he has not given in New York in many a year. Julia Claussen was the Amneris and Mardones the Ramfis.
Wednesday evening saw a tremendous crowd and a tremendous ovation for Galli-Curci, though Gigli, singing beautifully, shared honorably in the applause and DeLuca gave his convincing portrait of Lord Enrico. Thursday afternoon introduced Feodor Chaliapin to Atlanta and he conquered it in one act, though Philip II in Don Carlos does not afford him the opportunity that several other roles do. Rosa Ponselle proved to be the same prime favorite as in previous seasons and was received with tremendous enthusiasm. Martinelli and DeLuca did themselves proud and Marion Telva, singing the role of Princess Eboli for the first time with the company, won a genuine success.
Friday evening saw the regular New York star cast in L’Africaine: Ponselle, Queena Mario, Gigli, Danise and Didur, and the opera evidently made a hit with the Atlantans. For Saturday afternoon there was La Bohême, with Lucrezia Bori and Orville Harrold, an ideal pair of young lovers, Queena Mario a sprightly Musetta and Scotti as Marcello.
William Tell, on Saturday night, drew the largest house of the week. Every seat was sold and literally hundreds had to be refused at the box office. With the familiar cast of Ponselle, Martinelli, Danise and Mardones, it created unbridled enthusiasm. Ellen Dalossy sang Gemmy for the first time and won a distinct personal success.
A detailed report of the Atlanta season will appear in next week’s Musical Courier.
Dorothy Olmstead Endorses Davies’ Method
Dorothy Olmstead, a young singer and teacher who is meeting with much success in her work on the Pacific Coast, writes a most interesting letter about the service which was rendered by her teacher. Miss Olmstead is one of the artist-pupils of Clara Novello Davies, and her letter is quoted
Photo by Bachrach.
DOROTHY OLMSTEAD,
artist pupil of Clara Novella Davies.
as follows: “Having heard singers that had studied with Clara Novello Davies, I felt that I must go East to study with her myself, and for two seasons I was fortunate enough to be able to do this. Mme. Davies, I found, has not only a marvelous method, but is an inspirational teacher. To be in such an environment is to involuntarily obtain the greatest results. It has added depth, purity, flexibility and range to my voice. As a direct result of this. teaching, I was offered an opera engagement, and several concerts and recitals in the Middle West.”
Miss Olmstead is now teaching on the Coast and doing her own part in sharing this method, but intends to return to New York in the fall for another season of study with this splendid teacher.
Klibansky’s Summer Master Glasses
Sergei Klibansky, well known vocal instructor of New York, announces master classes in Memphis, Tenn., and in Seattle, Wash. This will be his second season at the Theodore Bohlmann School of Music in Memphis, from May 21 until June 30. The term at the Cornish School of Music in Seattle will extend from July 9 to August 18. This will be Mr. Klibansky’s fourth year at the Cornish School of Music. He offers a scholarship for each of the above classes.
It is not necessary to speak of Mr.. Klibansky’s splendid