MUSICAL COURIER
58
May 17, 1923
and one of the evenings will be spent by the delegates at the opera. The Municipal Theater will have a novelty this year in a set of loud speakers which will enable everyone in the vast amphitheater to hear the dialogue well. This big theater, which is situated on a hillside in Forest Park, seats 10,000 people and a large proportion of the seats are, in accordance with city ordinances, free to the public. In order that the seats furthest away from the stage may be as good from the standpoint of hearing as are those immediately in front of the stage, the Municipal Theater Association has invested $12,500, in this new speech amplifying device. Henry W. Kiel, of St. Louis, who is president of the Municipal Opera Association, said in regard to this innovation: “Every resource of the Municipal Theater will be utilized from now on for the summer entertainment of the people of St. Louis and we hope by the loud speakers that the 1,600 free seats at the rear of the auditorium as well as the twenty-five cents seats which are between the free seats and the more expensive ones will be as desirable as the boxes. The Municipal Theater belongs to the people of St. Louis and we want to make those who cannot afford to pay the big prices as happy in the performances given as are those who can afford boxes for the season.”
Recent Recitals.
Raymund Koch’s tremendous success as soloist in the Massenchor Concert was repeated in a joint recital given by him and Paul Friess, pianist, at the Wednesday Club Auditorium. These two artists so delighted their audience that they were recalled time after time. Both Koch and Friess have been solo artists with the St. Louis Symphony Orchestra during the past season.
Henry H. H. Loudenback, pianist, organist and director of the Conservatory of Music at Christian College, Columbia, Mo., gave a lecture recital at the Hotel Statler which was largely attended by the musical fraternity of the city. He outlined briefly the development of piano music from the clavichord and harpsichord era to the present day and illustrated each of the periods.
Recitals by local artists include one given by Edith Welch and Marie Burke, organist and pianist, respectively, who assisted Charlotte Burton Stockton, violinist.
Emma Tester, soprano; Meta Diestel, contralto, and Hermann Keller, pianist, all formerly of the Stuttgart Opera, gave a benefit concert for the starving children of Germany and Austria.	V. A. L. J.
Terry’s Song Featured on Jeritza’s Program
Robert Huntington Terry, pianist-composer, received the appended clipping from the Washington Post, after the concert of Mme. Jeritza before one of the largest audiences of the season. Mr. Terry has a number of compositions that have been used successfully, and his new song, The Answer, seems to be meeting with unusual success according to the Washington Post: “Then came the two English songs, Mrs. Beach’s Ah Love But a Day and Robert Huntington Terry’s The Answer. The last named, which was most spiritedly interpreted, was received with greater enthusiasm than any other number on the program.”
BIG MUNICIPAL OPERA SEASON
IN PROJECT FOR ST. LOUIS
Fund Created for Musicians’ Benefit—Concerts by Massenchor and Morning Choral Club—Recent Recitals
St. Louis, Mo., April 29.—The St. Louis Massenchor gave its third annual festival concert in the Coliseum, presenting excerpts from Bruch’s Odysseus and several miscellaneous numbers including folk songs which were sung a capella and an aria from Weber’s fairy opera Oberon, sung by Emma Tester, of Stuttgart, Germany. The St. Louis Symphony Orchestra which was at home for a few days between laps of its spring tour played the accompaniments and an extraordinarily good performance was given. Hugo Anschuetz, conductor of the Massenchor, conducted the concert.
Two other artists were Madame Tester and Meta Distel, both of whom were members of the Stuttgart Royal Opera. The young St. Louis baritone, Raymund Koch, created great enthusiasm. Koch won his first acclaim eleven years ago when he sang the exacting role of Gold in the Masque of St. Louis. Since then his voice has grown and developed until it is truly remarkable. He sings with a freedom and bigness of tone that seems equal to almost any test. His voice has a remarkable range and through its entire scope is rich, sonorous and ,absolutely true. Koch has been singing with the St. Louis Symphony Orchestra and will make the rest of the tour as chief soloist with that organization. Chorally, this concert was one of the finest ever heard in this city. The chorus includes 600 voices many of whom are local soloists of prominence.
Morning Choral Club Concert.
On the same evening the Morning Choral Club, an organization of seventy-five women singers, presented its closing concert of the year at the Odeon. Charles Dalmores was the guest artist of the occasion. Incidental solo bits given in connection with the choral numbers were sung by Mrs. Charles E. Blankenship, Clara Schlief, Mrs. H. M. E. Pasmezoglu and Katharine Cowan. The concert was conducted by Charles Galloway; Paul Friess was accompanist for the chorus while Adalbert Huguelet •served as Dalmores’ accompanist. The Morning Choral Club had chosen interesting numbers and these were presented charmingly. Dalmores’ part in the concert was decidedly up to his usual standard of artistic perfection.
The Knights of Columbus Choral Club, William Theodore Diebels, conductor, gave its closing concert and presented, for the first time in public, the Symphony Trio which has given some very notable private concerts. Members of this trio are Rudolph Ganz, pianist; Michel Gusikoff, violinist, and Max Steindel, cellist. This trio gains its name because the members are conductor, concert-master and solo cellist of the St. Louis Symphony Orchestra. The program consisted of Mendelssohn’s trio No. 1, and the Arensky trio, No. 1. Ganz and Gusikoff also gave the third sonata for piano and violin by Beethoven.
Radio Draws Singer into Public Life.
Musical circles in St. Louis are much interested in the return to public activity of William A. LeMaster, baritone of La Scala, Milan, and member of the Hammerstein grand opera organization in New York. LeMaster left the stage when Hammerstein’s company disbanded and has been living quietly in his St. Louis home since then. His initial appearance recently was made in a radio concert in which he presented for the first time in America the big baritone aria from Jana—a role which the composer, Virgilio, wrote especially for him and which he played in the premiere production of that opera in Milan. LeMaster also sang an aria from Leoncavallo’s Zaza, the prologue from Pagliacci and a number of ballads. This program so pleased the thousands of persons who heard it that radio station KSD, which is maintained by the St. Louis Post-Dispatch, was overwhelmed with requests for the reappearance of the artist and this was arranged about two weeks ago. Since then LeMaster has received numerous requests by admirers for concert engagements and he has had several interesting operatic offers, it is reported, but up to the present time has made no definite plans. Although he has not been singing publicly since he left the Hammerstein aggregation he has kept up his study.
Musicians’ Fund of America Is Created.
The Musicians’ Fund of America invited many guests to an entertainment given May 1. A program of music was presented by a number of St. Louis artists and was followed by a dance. The Musicians’ Fund organization has been formed for the following purposes, according to the organizer, Mrs. Lee Schweiger:
1.	The advancement of musicians and the education of the general public to a higher appreciation of what is best in music, by giving concerts, recitals, lectures on music, festivals, etc., the proceeds of which are to be used for the various funds.
2.	The establishment and maintenance of a national non-sectarian home for aged, indigent and infirm musicians, admission to which will be free to worthy members of every branch of the musical profession.
3.	The creation of an emergency fund for the immediate relief of distressed musicians and their families.
4. Maintaining a loan fund from which the musician in need of temporary financial aid may borrow money without interest, same to be returned when the borrower is able to do so.
Opera For The Public.
Principals for the casts of the comic operas to be presented this summer in the Municipal open air theater in St. Louis have arrived and rehearsals for the first performance already have begun. The season will open on May 28 with Victor Herbert’s^ Naughty Marietta. The stars who will take part in this and the succeeding operas are: Blanche Duffield, prima donna; Craig Campbell, tenor; Helen Morrill and Dorothy Maynard, sopranos; Thomas Conkey, baritone; Detmar Poppen, bass; Flavia Arcaro, contralto, and Roland Woodruff, juvenile. Frank Moulan and William McCarthy are the comedians this year as last year. Charles Previn is the musical director and is directing the rehearsals and will conduct the performances. He is picking his super-chorus of 100 from the 250 singers enrolled in the Municipal Opera Training School, and he and Frank Rainger, stage director, will begin next week to get this body of vocalists into shape dramatically. The Prince of Pilsen, which will be given the week of June 18, was chosen by the Rotary Club of St. Louis because that is a favorite opera with the members of the International Association of Rotary Clubs. The World Conference of Rotary Clubs will meet in St. Louis that week
HARRIOT EUDORA BARROWS
TEACHER OF SINGING
Trinity Court, Boston	Conrad Building, Providence
SODER-HUECK
A.
D
A _
EMINENT VOICE TRAINER AND COACH OF the following prominent singers:	George Reimherr. Walter Mills, Marlon
Lovell, Ellie Marion Ebeling, George Rothermel, Elsie Lovell-Hanklns, Hard-grave Kirkbride, Bernard Schram, etc.
From Tone Production to Artistio Finish METROPOLITAN OPERA 8TUDIO 1425 Broadway, New York Phone:	4119 Penn, and 2 634 Penn.
Great Musicians
Vho use
___IICHif-BACH
l/Ttra-Quality PIANOS PLÂYER־
CHAS.E. GALLAGHER׳
Bòsso, says:
“The Kranich & Bach Piano in my possession is most satisfactory in every way. It is constructed to meet all the demands of the average and the most critical musician. Its true scale and soft singing tone are points readily recognized by all vocal artists.”
Gallagher is leading basso on tour with the Scotti Opera Company, and was soloist on tour with the Cincinnati Orchestra, etc.
KRANICH & BACH
215 So. Wabash Avenue Chicago, 111.
235 East 23rd Street New York City
MRS. FREDERICK SNYDER
2025 Broadway New York City
Phone Columbus 6441
JOSEF
ROSENBLATT
World Famous Cantor-Tenor
Management: SUPREME CONCERT MANAGEMENT 1525 Aeolian Hall, N. Y.	Victor Records
WITTGENSTEIN
Tel. Columbus 2951 Ampico Records
R
PIANIST
15 W. 67th STREET, NEW YORK CITY Knabe Piano
GRACE WOO O
JESS
America's Greatest Interpreter of
FOLK SONGS
in COSTUME OF THE PERIOD Management: Frederick Shipman
833 So. Grand Ave., Los Angeles