MUSICAL COURIER
58
May 24, 1923
understanding and artistry and that richness and smoothness of voice which are so markedly hers.
Other numbers were the lovely Sappische Ode—exquisitely sung—Der Schmied and the less familiar Botschaft, a charming number deserving of more frequent hearings.
Harp Recital by Dilling Pupils
The pupils of Mildred Dilling gave evidence of thoroughly musical harp instruction at a recital at the studio of Mrs. F. M. L. Tonetti, 135 East 40th Street, May 7. Without exception each successive number of varying degree of difficulty was played with obvious intelligence of content, a security of the amount of technic the performer has had time to acquire and a pleasure and unself-consciousness in performance that spoke worlds for the tact of the teacher. Some pupils listed were unable to appear on account of illness and Miss Dilling with Smiling imperturbability asked for extra numbers from several of those present. The unembarrassed response and the high standard of these impromptu performances were remarkable. Another pleasing feature were the French chansons which several of the little girls sang, accompanying themselves on the harp. Francis Callow and Edythe Smith closed the program effectively with Schubert and Dubois numbers for two harps. The other participants were Yolando Greco, Irma Ruth Vonne-gut, Elizabeth Kalk, Helen Clapham, Barcia Jones and Alice Singer. A charming solo dance was offered by Elizabeth Kalk, with her mother at the piano, and a number of Negro spirituals, by Irma Reddick, contributed towards a very enjoyable afternoon.
A Birthday Surprise for Freemantel
On May 4 some of the students of Frederic Freemantel gave him a surprise birthday party. After his regular teaching periods were over he was “kidnapped” by some of his husky young pupils, taken to his hotel and made to get into his dinner clothes, and then escorted into a waiting motor to the Hotel Plaza, where he found most of his pupils waiting for him. Without heeding his protests he was ushered to one of the private dining rooms, and when he saw the decorated tables he remembered that he had a birthday. A very pleasant and happy evening was spent there. When the birthday cake was brought in there were just eighteen candles all alight. Although Frederic Freemantel denied being in the eighteen-year-old flapper class, no one could get out of him just how old he was. He said : “I feel like eighteen and probably look about twice that.”
Denishawn Dancers Re-engaged in Des Moines
Ruth St. Denis, Ted Shawn and the Denishawn Dancers will return to Des Moines for two performances, under the local direction of George F. Ogden, next February. Mr. Ogden presented them on March 20 of this year and although the engagement came during Holy Week he had a capacity audience and so has taken the company for two nights next season. Other recent dates booked for this attraction include Bridgeport, Conn. ; Pottsville, Pa. ; Water-town, N. Y. ; Olean, N. Y. ; Columbus, O. ; Meadville, Pa. ; Hot Springs, Ark. ; Little Rock. Ark. ; Columbus, Mo. ; Chanute, Kans.; Independence, Kans. ; Sioux City; Water loo, la., and Erie, Pa.
tSODER-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 Kirkbrlde. Bernard Schram. eie
ARTISTS and TEACHERS June 18th—July 28th Write for booklet and details
MASTER CLASSES for
at the New York Studios: Metropolitan Opera House Phone: 4119 Penn, and 2634 Penn.	1425 Broadway. New York
RANICH'tf'BACH
|r•־׳ l/ltra-Quality Pianos
SNb--- - Ifsed and Endorsed by Musical Artists Everywhere Including
HELEN WARE
Frederick Wyatt, teacher of singing in Wilmington, Del., has for the past two seasons devoted most of his time to special concert preparation under Percy Rector Stephens, of New York. At the same time he has continued with -his own teaching and directing, applying directly to his own work the theories and technic gained from Mr. Stephens’ special classes in New York and the summer session in Chicago.
Mr. Wyatt was for some years choir director and soloist at the Westminster Presbyterian Church, and conductor of the Westminster Choral Club, Wilmington, Del., whose yearly performances of oratorios and cantatas became a matter of considerable musical interest in the vicinity. Since his special study, Mr. Wyatt has been associated with the Church of St. Matthew and St. Timothy, New York, as bass soloist.
Mr. Wyatt's professional appearances include a booking with the Philadelphia Operatic Society in The Jewels of the Madonna and recital programs in Millbrook, N. Y.; Ridgewood, N. J., and the State University of Delaware.
Songs of varied interest went to make up the progra.m presented recently at the New York studio of Percy Rector Stephens. Opening with Handel’s From the Rage of the
Photo by Edwin F. Townsend.
FREDERICK WYATT
Tempest, the program ranged in mood from a Rachmaninoff group, including As Fair Is She, God Took From Me Mine All, The Isle and Floods of Spring, to a group of modern Italian and French, Frederick Keel’s three Salt Water Ballads and a closing group of English songs of contrasting color. Mr. Wyatt’s voice is one of richness and resourcefulness and his program of songs proved to be a medium through which his vocal interpretations were truly made. Lee Cronican played a distinguished accompaniment.
Repeating his New York program in Wilmington on May 3, Mr. Wyatt pleased not only his entire audience, but the critics, who say of him:
He possesses that quality innate in the true singer, emotional power. Mr. Wyatt was master of the mood of the composer and of his hearers. Enunciation that makes listening to his rich voice even greater pleasure is added to an admirable control and flexibility. Mr. Wyatt sings with no appearance of effort. His tones are never strained and his audience was left free to enjoy his very satisfactory selection of numbers.—Wilmington Morning News, May 4.
Frederick Wyatt carried an interested audience through a wide range of moods. His program was most exacting in its demands, testing every resource of the singer, but from the opening notes of Caesar’s tragic appeal in Hear Me. Ye Winds and Waves to the last drum beat after Hangin' Danny Deever in the Mornin’, Mr. Wyatt met the demands unfailingly. He was most successful in his Italian and French songs. There was an almost faultless finish in his reading of Separazione and •Nebbie. Mr. Wyatt is taking a place in the front ranks of American baritones. His skilful handling of a naturally splendid voice, his appreciation of the many possibilities of diction and his high ideals of the art of interpretation make him, at all times, a most interesting singer.—Wilmington Evening Journal.
Especially to be noted, as well as praised, is Mr. Wyatt’s satisfactory diction, which leaves no doubt of the sentiments of the text to be conveyed. When to this is added an ample equipment of musical taste, and a satisfying baritone voice of range and flexibility, it is a safe prediction that Mr. Wyatt will reap credit for himself and reflect honor on “The First City.”—Wilmington Every Evening.
Marie Langston in Unusual Brahms Songs
At the final Sunday afternoon concert at the Academy of Fine Arts, Philadelphia, Marie Stone Langston, contralto, was heard in two Brahms groups of exceptional interest and—so far as two of the numbers are concerned—rarity to concert-goers in America. They were Gestillte Sehnsucht and Geistliches Wiegenlied, op. 91, with viola obligato.
Last season, Miss Langston was engaged to sing these numbers at Bryn Mawr College, on the occasion of a lecture on Brahms by William Surrette of Boston. It was found impossible to obtain copies in this country, and only after much difficulty were they secured from abroad. So effective and well received were they, that the singer has several times since been asked to include them in her programs, and it was by special request that they were given on May 6. Brahms seldom wrote without having something to say, saying it musically, with sincerity and intelligence and, in this instance, with more than usual beauty. The songs are difficult and would suffer at the hands of an incapable or indifferent singer. Miss Langston brought to them fine
Teacher of Singing
STUDIO:
309 West 78th Street Phone 2779 Endlcott
I
Voice ProdactioD without Interference
Joseph RFGN	П IP VOCAL INSTRUCTION LAV 135 W. 80th St., New York Г1 LI ^ Tel. 3786 Schuyler
appointment	
L I I\J A	COEN
Accompanist and Coach — Specialty French Repertoire Studio: 308 West 97th St., New York City. Phone Riverside 7830	
GEORGE E. SHEA.	Teacher ol Vocal Arl and Operatic Acting 545 W. 111th St. New York ’Phone Cathedral 6149
EZIO LABROMO
Available for Concert and Opera 118 West 73rd Street, New York City	Telephone 9500 Columbus
TENOR
TEACHER ol SINGING
R	TEACHER OF SINGING
L Studio: 167 West 79th St., New York. Tel. Schuyler 1978
ARVIDA VALDANE
SOPRANO
407 Knabe Building	New York, N. Y.
Estelle LIEBLING
Soprano
Management: Daniel Mayer	Aeolian Hall, New York
Studio: 145 Weit 55 St., New York -------IN JOINT RECITAL WITH----
George Stewart McManus
Pianist
Management: Daniel Mayer	Aeolian Hall, New York
Studio: 145 Weit 55 St., New York
NYIRECYHAZI
(Pronounced N EAR ־ E DGE - HARZ I)
“If one permitted oneself the free use of superlatives, adjectives would run riot over the available space.”—New York Morning World. Management: R. E. JOHNSTON Associates: L. G. BREI D and PAUL LONGONE 1451 Broadway, New York City KNABE PIANO USED	AMPICO RECORDS
RUTH ECTON
SOPRANO
Address : 437 Filth Avenoe, New York City Fourth Floor
CLEO, JAN AND MISCHEL x j
HERNIAVSK Y
VIOLINIST, PIANIST and ׳CELLIST Returning to America—Season 1923-24
FOR TERMS AND AVAILABLE DATES APPLY TO S. HUROK AEOLIAN HALL, NEW YORK
H E MPEL
Coenraad V. Boe, Pianist Assisted by Louls p Fr|tze׳ Flutist
Management of Frieda Hempel
New York
185 Madison Avenue
Steinway Plano
ROMUALDO
SAPIO
Vocal Teacher
Formerly conductor Metropolitan Opera, New York, and European theaters. Coach to Mme. Adelina Patti, Cal▼¿, Nordica and other celebrities. Y. City Phone Schuyler 8399
CLEMENTINE
DE VERE
Prima Donna Soprano
From Covent Garden, London, Metropolitan Opera, New York, etc. Available for Opera, Concert and Oratorio.
Also: VOCAL TUITION.
Address: 109 Riverside Drive, N