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MUSICAL COURIER
WHEN IN BERLIN
please register at the office of the Musical Courier, Schel-ling Strasse 9, so that our correspondents throughout Europe can be of service and assistance to you wherever you may sing or play, or just visit.
of musicians who cling to what they have learned in their years of study. Besides, Italian, by long use, founded on precedent, has become sort of a musical Esperanto. The Bureau hardly agrees with you about the advantage of English.
Wagnerian Festival.
“Being a reader of your magazine for a good number of years,
I take the liberty of addressing this inquiry to you. I am looking for information regarding the Wagnerian Festival to be held in Bayreuth in 1924, and as I believe you will be in possession of all facts concerning it, I would appreciate it very greatly if you would let me know if you have already received some information regarding the festival, particularly if the dates have been definitely decided upon. Thanking you in advance.”
It is understood that the dates for the Wagnerian Festival have not yet been permanently decided upon. It seems, in fact, quite likely that the Bayreuth Festival will never be revived. The Musical Courier will give the earliest information of all the European festivals.
Clarence Adler with Letz Quartet
ing that the program presented by Ossip Gabrilowitsch in his third and last recital this season revealed an art supreme in its day. Of his playing the American says :
When Gabrilowitsch plays Chopin, all’s right with the world. The art of Gabrilowitsch—and it is supreme—has seldom, been more eloquently revealed. The music of Chqpin has rarely been more artistically rendered. It was like the meeting of two great talents, mutually sympathetic and in accord.
He set a pace for technic, touch and tone that never faltered nor flinched. In the Funeral March sonata, one forgot that many pianists had presented the work this season.^ The eloquence and poetry of yesterday’s interpretation, the scintillation of the brilliant second movement giving way to the throbbing emotion of the march, carried an appeal that no reminiscence could dull or diminish.
(Continued on page 60)
Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
,	Musical Novels.
“Why is it that so many writers, who apparently know little if anything about music, put so much about that art in their books?
It is so irritating to read of performances of either instrumental or vocal works that one scarcely ever heard of, being played or sung always as masterpieces, that when I find a book devoting itself rather largely to the subject of music (of course I mean a novel), I at once close it, not wishing my temper to be irritated. Also an entire novel about an unknown musician whose compositions were so beautiful they could not be described, is rather unpleasant.”
Authors often like to write of subjects of which they have no knowledge, such as law or medicine, so why not music? Many novels are most irritating in their lack of knowledge of the subject written about. Sometimes, however, the opinions given as to a composition are so funny it relieves the situation.
What Is the Difference?
“Will you kindly tell md what is the difference between a bass and a basso profundo?”
Grove says: “The bass voice is of three kinds, the Basso Profondo, the Basso Cantante, and the Baritone. . . . The Basso Profondo and the Basso Cantante are distinguished rather by their quality than their compass, that of both extending occasionally from the E flat below the bass stave to the F above it.”
The Letz Quartet, assisted by Clarence Adler at the piano, gave its last recital in a series of three, at the Brooklyn Institute of Arts and Sciences, April 2. The Letz Quartet performed in a beautiful manner the F major quartet by Tschaikowsky. With Mr. Adler, the Schumann quintet in E flat major was played. The first movement was splendidly done, bringing out all the inherent sparkle. The third movement, molto vivace, however, was exceptionally well rendered with all the great elan that befits it.
Throughout, individual talent was well blended in fine ensemble playing. The hall was completely filled and the audience responded enthusiastically.
NYIREGYHAZI
(Pronounced NEAR-EDGE-HARZI)
“A large audience wildly enthused over this poetic youth’s marvelous playing.”—New York Telegraph.
Management: R. E. JOHNSTON Associates: L. G. BREID and PAUL LONGONE 1451 Broadway, New York City KNABE PIANO USED	AMPICO RECORDS
Quavers.
“The other day someond asked me what a quaver was in music, although I am not strictly speaking a musician, and to tell the truth had never heard of the term as a musical one. Naturally I supposed it meant to ‘shake’ like a tremolo, but that did not seem * to satisfy my questioner. So it was decided to ask the Information Bureau of the Musical Courier for a definition that would be authoritative, and I am now asking you to tell me just what the word means if applied to music.”
A quaver is an eighth note; then there is a demi-quaver, which is a 16th note, and a demi-semi-quaver, a 32d note. This nomenclature is still extensively used in England, though almost unknown here.
Musical Terms.
“One of the things which seems rather stupid is the number of words in foreign languages that are used to describe the manner in which music should be either played of sung. Would it not be possible to have English terms used, as not all who play or sing know German, French and Italian, so that the directions are not understood. There is one Italian word that gives quite a wrong impression, a word that bears resemblance to an English word meaning ‘quick.’ But as a matter of fact in the Italian it means' exactly the opposite, so that instead of going־ fast, it should be read ‘go slow.’ Custom has made these foreign words so commonly used, that probably my little wail will not meet with any response.”
No, probably your complaint will have little if any effect, as habit is such a strong factor in so many of the events of life. So radical a change as using English would not meet with the approval of hundreds
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program was received with much enthusiasm. In place of the familiar French, German and homogeneous songs, she presented Russian, American, and four groups of negro spirituals, Creole songs and street calls of New Orleans. These she explained briefly, but most interestingly, her speaking voice being of exceptionally delightful quality and equal in warmth of tone to her singing tones. She gives the spirituals with the rhythms necessary, but without allowing them to lose their religious atmosphere, and the Louisiana love songs acquired a daintiness and mellowness, the result of her velvety voice and perfect diction. She appeared first in conventional evening gown and later in a striking green_ costume of the early sixties. Altogether a very charming young singer, with something out of the ordinary to offer!—The Milwaukee Sentinel.
Critics Laud Dreda Aves
Dreda Aves, mezzo-soprano, artist pupil of Enrica Clay Dillon, was one of the singers engaged for the Cosmopolitan Opera Company which gave a short season in Havana during January. The entire press, both Cuban and English papers, were unusually flattering in their criticisms of Miss Aves, her voice and particularly her stage presence and acting. In view of the fact that the Cuban audience is a critical one and Miss Aves is just beginning her operatic career, these criticisms are of great value.
The two opinions printed here are from the Havana Post. They refer to her first performance of II Trovatore, when she sang the part of Azucena. The last clipping appeared in the Galveston Daily News, after Miss Aves’ concert there in November. Miss Aves was also a member of the Mary Carson Opera Company that gave a week of grand opera in Houston. She went over to Galveston and gave this recital before returning to New York.
The press comments already referred to were as follows:
Miss Aves might be termed the outstanding success of the rendition, however, this young Texas girl displaying a superb contralto voice and fitting into the mother’s role with a self-assurance and pronounced ability that augurs a bright future for her. She is very young in the matter of experience, yet conducts herself as though accustomed to the stage through long years of usage.—Havana Post.
Miss Aves is a spirited western girl, gifted with a beautiful voice and having the advantage of the best training to be obtained in America and Europe. She made her' debut in the title role of Carmen in Baltimore, where she scored a tremendous success, and musical critics were unanimous in proclaiming her ideally fitted for this difficult role, possessing a voice admirably suited for the character as well as being favored with youth, beauty and vivacity. Miss Aves has already charmed the Havana public with her rich, musical voice and wonderful personality, and music lovers are looking forward with pleasure to hearing her in other operas in which she is to appear while in the city.—Havana Post.
The genuine ability of the singer in gracious personality and in artistic attainments merited every bit of the big welcome accorded her—a welcome so spontaneous and whole-hearted that it almost overwhelmed the recipient. Many others heard her last night, and unreservedly added their testimonials of her ability to those of the many thousands who have heard her throughout the North and East. Her voice is full and clear, vibrant in contralto quality and rich in tone. She is also gifted with dramatic ability, the force of which was brought out in the selection from Carmen, above mentioned, and which fairly electrified the audience.—The Galveston Daily News.
Robert Huntington Terry Gives Program
On March 14, at Hudson, N. Y., Robert Huntington Terry, pianist-composer, assisted by Paule Le Perrier, soprano; Wallace Cox, baritone, and Hyman Piston, violinist, gave a program of charming variety, the principal numbers being piano solos by Mr. Terry. The following clipping was taken from the Hudson News:
Robert Huntington Terry, a Hudson boy, came back to his old home town last night, and with his assisting artists presented one of the finest concert programs heard in this city in many a year. The concert was given at D. A. R. Hall before members of the Woman s Club and their guests, who practically filled the auditorium.
Mr. Terry then opened the program with a charming rendition of Barcarolle, a wonderful piano number. This number met with tremendous applause and Mr. Terry responded to encores. ״
During the evening Mr. Terry, before beginning his wonderful piano numbers, at times briefly related the origin and story of the compositions which were all of his own. He told of some of the numbers in his exquisite Bermuda Suite, especially The Heron’s Nest. He told of how these birds had impressed him on his visit to Bermuda, and of their care of their young. The number in a most feeling manner brings out the high points of the impression. Another number he had composed after reading a poem by Marie Driscoll, of Catskill.
Margery Morrison Wins Individual Praise
Margery Morrison, who is touring the country with the Doree Operalogs and winning fine success for her splendid support at the piano, has received individual praise from critics and public alike. Of her performance with the Doree Company at the Orpheum in Portland (Ore.), the Telegram of January 29, of that city had the following to say:
The presentation of each number by Miss Morrison and of the company adds many per cent to the joy of listening. The soloists are delightful. The •scenery cost a fortune and the entire bill is given with metropolitan effect.
The Vancouver Daily World of January 18 stated:
Margery Morrison at the piano introduced in a charming manner the various numbers.
The Morning Oregonian of January 29, said:
Margery Morrison, pianist and director in Mme. Doree’s operalog, came into high and enduring favor with the Orpheum audience at the matinee yesterday. Miss Morrison, a charming woman and an accomplished pianist, illumines each operatic bit by keen little observations.
Frederik Frederiksen Wins Madison (Wis.)
Praise
With Mrs. Frederiksen at the piano, Frederik Frederiksen gave an ensemble program on March 25 in Madison (Wis.), of which the Wisconsin State Journal made the following comment:
A most delightful affair was the twilight musicale given by Mr. and Mrs Frederik Frederiksen of Chicago at the Wisconsin School of Music on Sunday afternoon. The audience, which taxed the available space to the utmost, was most enthusiastic and appreciative of every number on the program. These artists are widely known throughout the middle west and gave a program of exceptionally beautiful ensemble which included the Sjogren sonata, E minor, the Grieg sonata in C minor, and a suite by Schutt.
When Gabrilowitsch Plays Chopin
Statistically, it is not safe to say just how many Chopin programs were given in New York concert halls this season. There have been many, but one is reasonably safe in say-
ERNESTINE SCHUMANN HEINK
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