40	musical coürièr
MASTER INSTITUTE OF UNITED ARTS TO
HAVE NEW HOME ON RIVERSIDE DRIVE
building to Be Occupied After Oetobfer 1—institute to Have Church Musie Department Next Season—Faculty for
Summer Session
May 24, 1922
is vbicfed in its motto, takeri from the Writings of Micholds ROerich:, “Art will unify ail humanity. Art is One—indivisible.”
Krle Faber’s Activities
Erie Faber, the young tenor piipii of Mme. Váieri, ¡ids recently appeared oh a concert toiir in the Middle West, wiri-ning a remarkable success. Mr. Faber devotes himself also to the teaching of voice and has a studio in Denvei־, Col;
The following are á few press couimer.ts:
“Mr. Faber scored á true triumph in his three groups Of songs ancj received round upon round of applause for His efforts. He sárig each riurribef most artistically and in d manner that has never been surpassed arid rarely equalled in graduate work. He possesses remarkable breath control, admirable diction, refinement of phrasing arid shading, to say nothing of the beauty of torie, His recital was out Of the ordinary and a rare treat to the aüdienée.”■—MorirrioUth (111.) Daily Review.
“The star of the evening was Erie E. Faber, tenor. He made a highly favorable impression by his singing. It is singing that is convincing to the ear. Unless a tenor voice is unusually fine, it generally invokes humorous rather than poetic reflections upon its listeners. Mr. Faber approaches his art with so much sincerity and with so great a conviction of his possibilities that it is very pleasurable to hear him sing. His voice is truly fine and his method of using it is truly beautiful.”—Martin Bruhl, noted pianist and musical critic, Burlington (Iowa) Gazette.
“Mr. Faber, the tenor, who sang the part of David, won instant favor with his audience, with his splendid singing and his faculty of throwing himself unreservedly into the part. On account of the notable success which he achieved he has been asked to sing a return engagement on commencement night.”—Colorado Springs (Col.) Gazette.
Frances Nash’s Virtuosity Surpasses Expectations
Frances Nash, who has toured across the country many times during the past six years, played her first recital in San Antonio, Tex., on April 13, and made a very fine impression. Following are some excerpts from the daily press:
Frances Nash made a sensational hit with her brilliant interpretations. She plays with a genuine artistic instinct and entranced her hearers. _ She has been called “a pianistic Galli-Curci” and did not fail to live up to this remarkable claim.—San Antonio Light, April 14, 1923.
So much has been said about Frances Nash as the leading young American woman pianist of today and of her remarkable virtuosity that expectations ran high when a San Antonio audience was given the initial opportunity to hear her. It is small praise to say her playing far surpasses anything that was anticipated. She has a rare ability to “create atmosphere.” Her tone is vibrant and sonorous, yet surprisingly subtle and delicate and her technical equipment is truly remarkable. Her art marks her not only as a very important pianist but also as an equally distinguished personality.—San Antonio Evening News, April 14, 1923.
It was quite an opportunity to hear Frances Nash who quite surpassed expectations. It was the general opinion that her concert “was wonderful.”—San Antonio Express, April 22, 1923.
Casals Asks to Play Salzedo’s Work
Before leaving for Spain, where he will resume his duties as conductor, Pablo Casals invited Carlos Salzedo to appear as soloist with his orchestra in Barcelona, but owing to engagements in America, Salzedo was obliged to decline the offer. Casals was particularly desirous of playing Salzedo’s symphonic poem, Enchanted Isles, for harp and orchestra. which was played three times by the Chicago Symphony Orchestra in 1919 and in February last twice by the Boston Symphony, with Salzedo himself at the harp.
Miami Honors Mana Zucca
Mana Zucca has been elected associate honorary president of the Miami Woman’s Chorus. This talented composer has been greatly interested in the organization ever since the first concert which she attended. Mrs. John R. Livingston is the active president and Bertha Foster the director of the Miami Woman’s Chorus. Two of Mana Zucca’s compositions, Star of Gold and Invocation, are to be found upon this season’s programs of the chorus.
Jonas Pupil Wins Success in Cleveland
Maud Foote, a talented pupil of Alberto Jonas, recently gave a piano recital in Cleveland, Ohio, which deserves special mention because of the striking program and the success which the brilliant execution brought to the pianist. A large and fashionable audience, representative of the best musical circles of Cleveland, filled the Plymouth Church, where the concert took place. The Cleveland daily papers reproduced Mrs. Foote’s picture with laudatory comments on her playing.
Sumner Salter Retires
For a goodly number of years Sumner Salter has been professor of music at Williams College, Williamstown, Mass. This spring he retired from the post and a new professor has been appointed. Charles L. Safford, organist of Ft. George’s Church, New York City, is the new incumbent. Music holds an important place in the college life and at this particular college has been on a high plane of excellence.
Baltimore Opera Society Gives Aida
Baltimore, May 6.—The Baltimore Opera Society, of which David Melamet, is director, gave two excellent performances of Aida during the week. As has always been the case, the work of this organization was of the highest, and it was truly another feather in the cap of Mr. Melamet
E. D.
John Powell at N. F. M. G. Biennial
John Powell has been engaged for two recital appearances under the_ auspices of the National Federation of Music Clubs, which holds its thirteenth biennial meeting at Asheville, N. C., from June 10 to 17.
Harold Morris to Play in Buffalo
Harold Morris, pianist-composer, is booked to appear in Buffalo on May 29.
students the free privilege of attending lectures on Other arts, iri addition to those which they study, the Master Institute feels it is working to bring about its aims of uniting all arts more closely. The general culture afforded the student gives him a new aspect toward his own work, and enables him to draw inspiration from the other drts.
The rapid growth of the Master Institute this season has shown the need of such an institution which can combine all the arts. Many students of one art have been found to have innate and unsuspected talent in another branch. All the students have shown distinct interest in the general lectures and work of creation in other fields, and the true unity of all the arts is being felt at the school.
Many Concerts at the Institute.
During the course of the season many concerts by pupils and visiting artists have been held. Among these have been the_ concerts by William Coad, Australian violinist; Max Drittler, English pianist, both members of the faculty; Flora Greenfield, artist-pupil of Anne Stevenson of the faculty ; Nikita Magalaff, scholarship student of the school, and Frederic Dixon, the American pianist. The most recent concert was a piano recital by the scholarship students of Mr. and Mrs. Maurice Lichtmann of the faculty. In addition there have been dramatic productions and exhibitions by the students. One of the exhibitions held at the Master Institute was that of the paintings of Nicholas Roerich, the famous artist and honorary president of the Master Institute. The exhibition included about 100 new works done in America and was held under the auspices of Corona Mundi, Inc.
Faculty for Summer Session.
The Master Institute is now preparing for its summer session, which will include work in every field of art given by an unusual faculty. Normal and master classes of all kinds will be given as well as private instruction by a faculty including in music such names as Maurice Lichtmann, Sina Lichtmann, William Coad, Alberto Bimboni, J. Bertram Fox, H. Reginald Spier, Anne Stevenson, Rosa Munde. Ed-oardo Trucco, Margaret Anderson, St. Clair Bayfield, Chester Leich, Mary Fanton Roberts, Mathilde Trucco, Edward J. Wimmer and others.
Although still young, the Master Institute has shown the vitality of its purpose of teaching all the arts under one roof and of breaking down the barriers between the arts. Founded on the highest ideals, the work of the school has shown the vitality of these ideals and the fundamental truth
Within its short history the Master Institute of United Arts has riiade such strides that it recently has acquired a new permanent home at 310 Riverside Drive, New York, Which it Will occupy after October 1, 1923. The new home is one of the most spacious houses in that neighborhood and will afford opportunity for branching out considerably. It contains more than twenty studios as well as two auditoriums and a rdof garden. With the additional space, the institute has made several new departures for next season. The most unique, and a distinct departure in musical edu-catioii, is the establishment of a church music department. In view of the present interest in early music of all kinds, as well as spiritual music and its influence on the development of secular music, the department was organized to include all branches of the religious. Three of the most eminent authorities have already been enlisted, including Nicola Montani, head of the Palestrina Choir of Philadelphia, in the Catholic Church Music; Meyer Posner, a well known scholar of Hebrew Music, and Constantin Buketoff, equally reputed, for Russian church music. The courses in the department have been planned for choirmasters, as well as for composers and students who wish to become familiar with the original religious styles.
In the Catholic music, there will be intensive courses in Gregorian chant, polyphonic music, modern liturgical music and the training of boy choirs. The Hebrew music will include a history and appreciation of this music, together with analysis of its structures and modes and the relation of secular with synagogal music. In Russian church music, a history will be illustrated by works for all composers; the outside influence upon this music as well as its influence on other music, will be studied. It is felt that this epochal step of including the music of all religions in one department will be the beginning of new and broader study into the origins of all music.
General Lecture Courses.
Another added strength next season for the Master Institute of United Arts will be the course of lectures on art. These lectures, given by eminent authorities in every branch of art and indicating the inter-relation between each branch of creative works, are free to enrolled students of the school. Next season the lecturers will include, in music, such men as Louis Gruenberg, Frederic Jacobi, Maurice Lichtmann, Alfred J. Swann, Deems Taylor, Josiah Zuro, etc., and in the other arts the institute will have George Bellows, Alfred Bossom, Norman-Bel Geddes, Robert Edmund Jones, Dhan Gopal Mukerji, Hardinge Scholle, Lee Simonson, Stark Young, etc. By giving all enrolled