35
May 10, 1923
These in turn called forth several encores, and Mr. Zanelli recognized the desire of his hearers for old favorites and gave them what they wanted—con amore. Sol Alberti lent excellent piano accompaniments.
The chorus again demonstrated its fine tonal and technical qualities in Max Bruch’s The Flight of the Holy Family, and in the customary closing number, the Hallelujah Chorus from The Messiah, and the orchestra gave brilliant renditions of the Berlioz overture, Benvenuto Cellini, and Liszt’s Hungarian rhapsody, No.2 ׳. So ended Springfield’s Twenty-first Annual Festival, for which all praise is due John J. Bishop, choral director; Harry H. Kellogg, organist, and the members of the Music Festival committee, who have labored long and well for the benefit of musical culture in Springfield.
B. F. G.
Washington Heights Club Holds Reception
On the evening of May 4 Miss J. R. Cathcart, president of the Washington Heights Musical Club, held a reception for club members and their friends at her studio apartment at 200 West Fifty-seventh street. A program was rendered by club members. Lawrence Goldman and Elizabeth Armstrong gave violin solos and songs were offered by Esther Powell,. Mrs. Charles Kumpf, Jane Cathcart and Alva Polaska. The accompaniments were furnished by Robert Lowrey, Lou Olp Taylor and Isabel Rose.	•
The Washington Heights Musical Club holds its Organists’ Open Meeting at Aeolian Hall this evening.
Now Is the Time to Make Your Plans for Summer Reading and Study.
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Sfoïmnn g>etattan lad)
Piano Compositions Edited by Dr. Ebenezer Prout Volume I : Shorter Compositions 22 Compositions, 177 Pages of Music Volume II : Larger Compositions
16 Compositions, 188 Pages of Music. Each volume contains explanatory notes for each Composition,' " a Bibliography, and Portrait.
Cutjtotg ban leetboben
Piano Compositions Edited by Ëugen d’Albert Volume 1: 12 Compositions, 145 Pages of Music. Volume II : 17 Compositions, 170 Pages of Music.
Each •volume contains an elaborate Preface, Bibliography, and Portrait.
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Selected Piano Compositions
Edited by Rafael Joseffy
Contains Portrait and a Prefatory Essay from the brilliant pen of James Huneker
19 Compositions 168 Pages of Music
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phony Orchestra under the baton of Rene Pollain, it was in their group of “double solos” that they won the highest favor. The audience was quick to recognize their exquisite ensemble playing and the unique quality of their musical offering, combining as it does a technic that is almost supernatural with a charm and buoyancy of expression that is the essence of naturalness. And they were loath to let them go even after two encores were added. It is not difficult to realize why these remarkable young artists have achieved such overwhelming success and reign supreme in their field, and Springfield music lovers now add their enthusiastic approval to the rest.
The orchestral numbers on this program added to the blithesome and gay character of the concert and were joyfully received by the audience. The group of three small pieces:	Serenade from the “Namouna” suite, Lalo; Le
Moissouneur, berceuse, Casadesus and Serenade (for strings) of Guy Ropartz, which had to be repeated, found particular favor. The conducting of Rene Pollain was all that could be desired, both in these numbers and in the excerpts from the symphonic suite, Antar of Rimsky-Korsa-koff, which opened the program, and the overture, Le Roi d’Ys of Lalo, which closed it.
Third Concert—Artists’ Night.
Artists’ Night, with its miscellaneous musical bill of fare, is always a gala event and attracts the largest audience of the series to wind up the festival in the traditional blaze, of glory. This year there was a decided blaze—almost a conflagration, in fact, with Alice Gentle, dramatic soprano, and Renato Zanelli, baritone, as the fiery constellations.
Of Miss Gentle’s singing on this occasion—incidentally her first appearance in Springfield—it is impossible to speak
© Underwood & Underwood.
PAUL ALTHOUSE,
who scored a brilliant success at the Springfield Festival.
in other than superlatives. One could employ every one of the well worn adjectives in describing the rich, glowing quality of her voice and the consummate skill with which she uses it and still not do justice to the something arrest-ingly individual and finely flavored which makes up Alice Gentle, the singer and the artist.. Her opening number, Debussy’s Air de Lia, from L’Enfant Prodigue was not one to capture immediately an audience prjmed for the “old familiar tunes,” but such was the sheer beauty of her voice and the vivid charm of her personality that her hearers instantly accorded her a warm welcome. In her first group of three modern French songs—Impression Basque and Carnaval of Fourdrain and L’heure Silencieuse of Staub— Miss Gentle again enchanted the musical among her audience by the finesse and artistic restraint of her vocalism and the richly varied imaginations she brought to her interpretations. But it remained for her encore to this group, the Habanera from Carmen, sung excellently, with the pictorial assets of a gorgeous Spanish shawl and comb, actually to bring down the house. After this all were completely in her power—musician and layman alike—not excluding the male section of the chorus, who applauded and demonstrated their enthusiastic approval in a most un-New Eng-land-like manner. Her last group in English, comprising Les Silhouettes and Don’t Care of Carpenter; Beautiful Art Thou, My Love, by Herbert Hyde, and Stars, by Harriet Ware, contained no old favorites, but instead sustained the musical quality of her program and marked her as an artist of courage and distinction. Miss Gentle’s triumph on this occasion, despite the so-called handicap of non-popular selections, _ was a genuine achievement and enlisted the utmost praise from the local critics, as did the piano accompaniments of Frederick Persson, who was truly an assisting artist and not merely someone at the piano. It is said by those who have heard many that this young man is one of the finest accompanists ever heard in Springfield.
Renato Zanelli had the advantage of already being a Springfield favorite, having appeared here previously this .season with great success. His splendid voice and contagious good spirits in addition to his skill as a singer won him several ovations during the evening and caused him to add many encores. The songs of his first group—Ah qui brula d’amour, Tschaikowsky; Canto del presidiario, Alvarez; Povera mamma, Trentini—were beautifully sung and interpreted with fine contrast; but it was in his aria, Le Roi de Lahore, of Massenet, that he did his finest singing. As an encore to this and by request Mr. Zanelli gave a rousing rendition of the Largo al factotum, from The Barber, and greatly thrilled his audience. His English group, sung with very good diction and vocal expressiveness, were The Last Hour, Walter Kramer; The Bitterness of Love, James Dunn, and The Bell-man, Cecil Forsyth.
MUSIC FESTIVALS, 1923
American
.....May 16, 17, 18, 19
............May	25,	26
May 24, 25, 26, 28, 29, 30
.........May	10,	11,	12
............May	17,	18
....September 27, 28, 29
.........May	10,	11,	12
......May 7, 8, 9, 10, 11
Ann Arbor, Mich.
Bethlehem, Pa_____
Evanston, 111......
Mt. Vernon, Iowa
Nashua, N. H......
Pittsfield, Mass
Urbana, 111.......
Worcester, Mass..
Foreign
Austrian Music Week, Berlin....................June
Special Opera Week, Berlin...............September
Cassel, Germany...........May 11, 12, 13, 14, 15, 16
Donaueschingen, Germany................July 29, 30
Düsseldorf, Germany.................June 29, July 4
Gothenburg, Sweden..................June 29. July 2
Frankfurt, Germany. .June 17, 18, 19, 20, 21, 22, 23, 24
Hamburg, Germany............................May 15
Leipsic, Germany........................June 2, 3, 4
Munich, Germany...........August 1 to September 30
Salzburg, Germany-----August 8, 9, 10, 11, 12, 13, 14
Zurich, Switzerland....................June 8 to 29
Welsh Eisteddfod.......August 6, 7, 8, 9, 10, 11, 12
histrionic ability combined to make her Delilah a creature of rare seductiveness and understandable fascination. Miss Gordon is young—the sages say in fact she is the youngest Delilah that Springfield has heard; but her poise and musicianship (she sang the entire work without a score, even though this was her debut in the part), coupled with a most glorious contralto voice, make her an outstanding figure in the concert and operatic world.
Paul Althouse as the Samson of the evening was a fitting companion to Miss Gordon’s Delilah. He, too, has youth and one of the finest tenor voices in the musical world today. Moreover, he is a singer of fine intelligence and possesses, besides, insight and imagination. His Samson, sung without a rehearsal, owing to unavoidable railroad delays, was splendidly rendered in every respect, and his English diction could serve as a model to all vocal aspirants. This was Mr. Althouse’s fourth re-engagement at this festival, so it is needless to say what a great favorite he is with Springfield audiences.
Giuseppe De Luca lent a fine dignity and authority to the role of the High Priest. His rich baritone, used with the utmost taste and skill, enhanced the rather brief passages allotted him and his singing in the duets with Delilah was exceptionally brilliant. He brought with him the atmosphere of the opera house, and suggested in every vocal and histrionic inflection the finished operatic artist.
Frank Cuthbert in the dual roles of Ahimelech and An Old Hebrew did a very artistic and vocally satisfying bit of work. His appearance at the festival last year resulted in the present re-engagement and his full, rich voice and splendid English diction rendered his solos highly distinctive.
The chorus_ sang with precision, smoothness of tone and excellent diction throughout and, as has been said, reflected great credit on its training under Mr. Bishop. The New York Symphony Orchestra of fifty men, under the baton of Mr. Bishop, offered some fine playing. The audience was large and enthusiastic. Evidently time does not wither nor custom stale their enjoyment of Saint-Saëns’ work, for this was the fourth Samson and Delilah performance since 1907.
Second Concert—Guy Maier and. Lee Pattison.
For the second concert of the festival the management introduced the “Playboys of the Piano World,” Guy Maier and Lee Pattison, as soloists in the Liszt concerto, Pathetique, E minor, arranged for two pianos and orchestra by Mr. Pattison, and in a delightful group of short pieces for two pianos, comprising the Gavotte and Musette, Raff, barcarolle from Fantasie Suite, op. 5, Rachmaninoff, and scherzo, op. 87, of Saint-Saëns. Brilliant as was the performance of the concerto by these two inimitable artists, ably seconded by the accompaniment of the New York Sym-
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