MUSICAL COURIER
62
May 3, 1923
Grath sang Winter, The Little Ghosts, and Dusk in June, so acceptably that the hearers refused to allow him to evade an encore, so Spring Tide of Love was added. Miss Klee-man made her initial appearance on. this occasion and her clear, resonant and carrying tones as well as excellent diction and unaffected stage demeanor, gained for her much praise; she sang My Menagerie, Star Tracks, and Secret Languages, and a duet with Mr. Gravel. Mr. Gravel also made his first formal appearance, and won favor at once for a well trained baritone voice of excellent quality and admirable diction, a delightful qualification which Miss Foster’s pupils possess to a high degree. His number was Sunny Tennessee, which was sung for the first time, having-been completed only a few days before; this song will undoubtedly become popular. The duet by Miss Kleeman and Mr. Gravel was especially delightful, the two voices blending admirably together.
After the program the artists were the guests of the Carroll Club for dinner.
Marie Sundelius “Makes Hit” in Wilson, N. C.
According to the Wilson Daily, “people would like to make a local institution of Sundelius.” Recently the Metropolitan soprano appeared on the afternoon and evening program of the local Tobacco Growers’ Association and “made a hit.” The opening of the matinee performance was delayed and postponed. The artist arrived in the auditorium on time only to find that the program had lagged and that an important local politician had not even gotten under way with his speech. An accommodating management offered to have the speaking stopped and allow the concert to begin.
“No such thing,” said the diva. “I am going back to New York tonight but you will have these politicians with you forever. Let him go on and speak. I want to hear him anwhow, and I will sing when he finishes.” Whereupon the soprano sat down and enjoyed the speech.
In summing up the review of the concert, the same paper remarked that “no more gracious singer has been in these parts before, and Marie Sundelius can get together an audience whenever she wants it hereafter.”
Theo Karle an Opera Singer Too
Although Theo Karle is known widely as a recital and oratorio artist, the fact that he was at one time leading tenor of an organization which presented opera in English came to light recently in an interview which Mr. Karle gave to the Christian Science Monitor. Mr. Karle sang at least ten roles with this company, which flourished on the Coast about six years ago, and became a great favorite, especially as Lohengrin. It was the favor with which these English presentations met that led Mr. Karle to make a specialty of singing in English—and his diction is one of the best arguments for music in our language.
Ernest Davis and Mabel Austin Score
Daniel Mayer is in receipt of the following telegram from Mrs. H. H. Murphy of Erie, Pa., dated April 17 : “Ernest Davis and Mabel Austin sang to a sold out house here tonight. We want them next season. Please give us date and terms.”
ISODER-HUECK
EMINENT VOICE TRAINER AND COACH OF the following prominent singers:	George Reimherr, Walter Mills, Marlon
Lovell, Ellie Marion Ebeling, George Rothermel, Elsie Lovell-Hankins. Hard grave Kirkbride, Bernard Schram. etc.
From Tone Production to Artistic Finis*
METROPOLITAN OPERA STUDIO 1425 Broadway, New York Phone:	4119 Penn, and 2634 Penn.
Used a no' Endorsed by Musical Artists Everywhere, Including Julius JCoehl
Trabilsee Relates Interesting Anecdotes
Tofi Trabilsee, vocal teacher, has recently related in various papers and magazines some interesting anecdotes connected with his teaching experiences. He is always interested in the development of fresh, young voices, and he is encouraging and helpful in restoring and correcting voices which have been treated badly. But there are limits to what any teacher can do, and’ Mr. Trabilsee often saves young students from disappointment by giving frank advice. One young man came to him early this season, offering a big sum if Mr. Trabilsee could place him in the Metropolitan. This Mr. Trabilsee told him he could not do, and the applicant was not of the Metropolitan type any way, but would more than likely make good on the concert stage.
“It is right,” said Mr. Trabilsee, “that a student should have high aims, but he must work hard to achieve them. There are no short cuts in art.” Another man wanted Mr. Trabilsee to give him a love of opera, for which he would “pay a large sum.” As though one could buy a love for music 1
Mr. Trabilsee says, regarding methods: “I think any method which deals with the natural making of song without ‘push’ or force is a good one. In my estimation the
TOPI TRABILSEE
best method of natural singing is the bel canto, which I teach my pupils. It is not a new nor difficult thing, but one of the old, simple methods used for hundreds of years.
“Voice culture had a practical start about the year 590. At that time Pope Gregory established a school of choir singers who were to be systematically taught the art of correct natural singing. The teaching of singing went on in a haphazard way until about the year 1000, when Guido d’Arezzo formulated a method out of which the old Italian school of bel canto grew.
“In 1723 the first descriptive book of the bel canto method was written by Pietro Francisco Fosi, the title being Os-servazione Sopra il Canto Figurato, which was translated into English in 1742. Another work by a teacher of the old school was Riflessione Pratiche sul Canto Figurato, written by Giovanni Batista Mancini in 1776. This was practically a revision of Fosi’s work.
“The method of the old masters was to teach voice placement in an easy, natural manner, without any forcing or strain. The pupil was taught to sing as naturally as he talked. The vowel ‘ah’ was the principal one used. Occasionally the dark ‘e’ was used in conjunction with ‘a.’ The breathing was of natural type. The pupil was told to breathe as when asleep and without forcing.
“The breathing method used then (intercostal diaphragmatic) is still used today. The voice placement is the same, and except for a few minor changes the complete bel canto method of today is the same as that taught by d’Arezzo, Pachierotti and Valluti decades ago.
“Pupils should remember when practicing that there should be no forcing of breath, no dilation of the nostrils, moving of position, or change of tone. They should practice as the old masters and the teachers of today explain in an easy and natural way and without force.
“ ‘Put the words in the breath' is the secret of easy, natural singing. If the pupils would heed this advice, and the advice of their teachers, there would be less throaty, reedy, nasal and guttural singers and many more exponents of the art of beautiful, free and easy, natural song.”
Carroll Club Hears Fay Foster’s Compositions
On April 8 an enthusiastic audience completely filled the auditorium of the Carroll Club, 120 Madison avenue, the occasion being the presentation of a program of Fay Foster’s compositions. The participating artists (all pupils of Fay Foster) were Estelle Kleeman, soprano; Lou Stowe, musical reader; Dr. Stephen McGrath, tenor, and Eugene Gravel, baritone, with Fay Foster at the piano. It was therefore decidedly a Fay Foster occasion.
As a rule an entire program by one composer is generally monotonous owing to a sameness of style. That this is not the case with Fay Foster’s compositions was never better exemplified than on this occasion, the audience being uniformly interested throughout, as the vociferous applause testified.
Three groups—The Japanese Sketches, a Negro group, and an Irish group—were presented in costume by Miss Stowe. Her work took the audience by storm. Dr. Mc-
SPECIAL MASTER CLASSES IN VOICE TECHNIQUE W. T־m A II with a VERITABLE MASTER IDEA be-
m	*' hind them. Until August 1 st. See.
"The Practical Psycholosy of Voice," pub. G. Schirmer, which is a Complete Vocal Method.
ZAY
HENRI
Studio: 50 West 67th St.
Isaac Van Grove
CHICAGO OPERA ASSOCIATION Auditorium Theatre :	:	Chicago, 111.
CHEV. DE LANCELLOTTI
(FROM THE “CONSERVATOIRE DE PARIS”) TEACHER OE PIANO VOCAL COACH CONCERT ACCOMPANIST ■
Studio: 294 West 92d Street	Phone: Schuyler 5614
GUIDER
SOPRANO Now Booking
Management: James Guider	1947 Broadway, New York
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EDGAR
STILLMAN KELLEY
STEINWAY HALL - MEW YORK, M. Y.
SOUSA AND HIS BAND
JOHN PHILIP SOUSA, Conductor
Now Booking Season 1923-1924
HARRY ASKIN, Mgr.
1451 Broadway	New York
MAY LEITHOLD
SOPRANO
For Engagements 1923-24
Address 420 Knabe Building	New York
NYI REGYHAZI
(Pronounced NEAR-EDGE -HARZI)
“One of the most remarkable pianistic geniuses of all time.”—New York Evening Mail.
Management: R. E. JOHNSTON Associates: L. G. BREID and PAUL LONGONE
1451 Broadway, New York City KNABE PIANO USED	AMPICO RECORDS
RIEMENSCHNEIDER
F»IAIMIST
( with LESCHETIZKY 1903-06)
STUDIO: 722 The Arcade, Cleveland, O.
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MUSIC Study Lor CULTURE and LIVELIHOOD
Presented by the
TRINITY PRINCIPLE PEDAGOGY
Unfolding the INNER FEELING and REASONING
Send for Catalogue of European Tour, and SUMMER SCHOOL, New York City Address
EFFA ELLIS PERFIELD
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OSCAR
SAENGER
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Tel. 1644 Rhinelander	L. Lilly, Sec’y
	Guest Teacher, Chicago Musical College, June 25 to July 28 — 5 weeks’ course.