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MUSICAL COURIER
“Music S
Master
Translator
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G^TEINWAY the medium through which great artists paint music pictures with sweeping stroke and careful detail— the piano which faithfully translates each individual conception of the composer’s thought.
To hear a master-piece on the Steinway is to hear it in the full bloom of beauty and depth of meaning. And to portray one’s individual emotions on this superb pianoforte is to come to a full realization that art has blended perfectly with the manufactures.
Such is the Steinway piano of international renown.

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De Vere-Sapio in Florida
Clementine De Vere-Sapio paid Jacksonville, Fla., a professional visit recently, giving a recital at the Woman’s College, and quite won all hearts with her beautiful singing and genial personality, as is noted in these comments from two local papers:
Her recital in the same hall during the preceding season had prepared the way with many of her hearers for the program of last night; these were as eager in anticipation of the pleasure of the evening as were those to whom the experience was new.
Mme. Sapio’s beautiful soprano voice, of wide range and great power, under perfect control, was a delight to her many hearers. The interpretations of every mood brought to the audience a beautiful impression of the emotion of which the song was born.
The program offered art songs from many nations—art songs that became living works of art in the rendition.
Mme. Sapio was fortunate in having her daughter, Olga Sapio, of the College of Music faculty, to aid her by the artistic playing of the accompaniments. Miss Sapio’s work as an accompanist never gave greater pleasure than on this occasion.
Beatrice Horsbrugh and Miss Sapio played Sonatina by Dvorak for violin and piano with the finish that the public has learned to expect when they offer such a number.—Jacksonville, Fla., Daily Journal.
A large and appreciative audience greeted Madame Clementine de Vere-Sapio at her recital last evening. Madame Sapio opened with a group of French songs, the first of which, Le Nil, by Leroux, was accompanied by the violin. The second group, consisting of two interesting songs by young Italian composers, and the charming Aprile by Tosti, was a delight, both by the artist’s pure beauty of voice and
CLEMENTINE DE VERE-SAPIO
by her clear and lovely diction. Madame Sapio is justly famed for her interpretation of the role of the Jewess in the opera by Halevy. She gave the audience proof of this by her masterly rendition of the celebrated aria in which she showed to the full the perfect control of her voice and her unerring musicianly feeling, which is a gift in itself. In the final numbers, which included songs by Grieg, Gray and Terry, special mention should be made of the Spanish songs by Osma, which indeed carried with them the true atmosphere of Spain, sung as they were with complete understanding of the composer s mood; also of an unusual composition by Marion Bauer, entitled Nocturne, which proved full of atmosphere and beauty. D’ Alvonez (Spanish lullaby) was added to the priogram by request, Miss Horsbrugh playing the violin obligato, which was specially written for her by Romualdo Sapio; also A Little Prayer by Kennedy Rusch and Le Minor by Gustave Ferrari.
O'lga Sapio assisted at the piano in her usual artistic and sympathetic manner in Dvorak’s charming Sonatina for violin and piano which gave great delight to the audience and made a fitting interlude in an unusually fine program.—Jacksonville, Fla., Courier.
Gunster Captivates Corning, N. Y.
Following his appearance under the auspices of the Musical Art Society of Corning, N. Y., on April 18, one of the local papers commented upon the singing of Frederick Gunster as follows:
The soloist could not have been more happily chosen. He was Frederick Gunster. If there is a single thing lacking in the performance of that personable and amiable young tenor he has effectually concealed that lack of art with art more subtle. Mr. Gunster has taken his work seriously and that attitude is rewarding him by threatening to make him one of art’s favorites. He has a rare dramatic and sympathetic presence, phrasing, diction and enunciation, and a range of correct tone production that seems the more impossible because he goeth, like the wind on an aeolian harp, where he. listeth. And all with an engaging smile and a lack of visible effort with ease that is only rivaled by his simulation of great reserve volume under perfect breathing control. His is a really trained voice made at will to become both a telling dramatic medium and an instrument of emotion.	.
All this he amply proved by a generous and admirably varied program ranging from language display to negro spirituals. He was recalled many, many times but at the close his voice seemed as sweet and lovely and fresh as ever. These things must be said of young Mr. Gunster and that they are true is evidenced by the fact that he completely captivated the audience, Corning altogether forgetting that it is expected collectively to be cold and unresponsive,־ many a new white glove being ripped across a shapely plump palm in consequence. Thus to Mr. Gunster goes another palm, not intended as a pun, that of receiving the warmest and most sincere reception yet accorded to a Musical Art soloist, and there have been several notable ones.
“Nyiregyhazi Was Wonderful”
After the appearance of Nyiregyhazi^ in Williamsport, Pa., recently, the Gazette and Bulletin said in part:
Everything which had been said or written in praise of the genius of Erwin Nyiregyhazi, the Hungarian pianist, prior to his concert, became a series of unsatisfactory and futile words to those who were
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beautiful quality, the unusual range, the evenness and richness of tone in every register; the ease and delight with which she seems to sing. Artist in every sense of the word, Mme. Van der Veer gave exquisite pleasure to her hearers.—Halifax Morning Chronicle, April 11.
Reached heights of artistic exaltation, particularly in some of Gerontius’ speeches as sung by Mr. Miller. He sang the difficult role of Gerontius with a dramatic force and a fine insight into text and music.—Pittsburgh Dispatch.
Mr. Miller gave a fine interpretation of the role assigned him. He has an excellent voice of good range and seemed to have a thorough grasp of the situation.—Pittsburgh Press.
Mr. Miller disclosed a tenor voice of superior quality and used it with a remarkably high degree of intelligence.—Pittsburgh Sun.
Mr. Miller sang the long and very exacting role of Gerontius admirably, with a dramatic force that was never exaggerated and with a very gratifying insight into both text and music.—Pittsburgh Gazette Times.
Dubinsky Explains His Ensemble Studio Work
Rochester, N. Y., now has a studio devoted especially to ensemble-playing, and this, which must exert great influence on music in that region, was recently established by Vladimir Dubinsky, well known New York cellist, now of the Eastman Theater. The reputation of this cellist as soloist and ensemble player is established, and he has behind him a record of such fine accomplishment in both fields that there is no question of his ability. The Rochester Democrat and Chronicle devotes nearly a column to this feature of its new musical life, stating in part as follows:
“There can be no question that here in America both the importance and the charm of chamber music are being widely appreciated as they have not been before,” said Mr. Dubinsky. “But while we see larger and larger audiences for chamber music concerts, we do not find anything like the amateur performance of chamber music which makes an important part of the home musical life abroad. The demand for expert players, for trios, quartets, all forms of small ensembles will have effect on the ambition of talented students to prepare for ensemble playing; this is applying the law of supply and demand. But the pleasure of ensemble playing in the home, and the great education in musical taste and musical understanding which come from real acquaintance with chamber music, seem to me to provide a field for the special teaching of ensemble playing. .	.	.
“I find that it is possible not only to teach the mere technic of ensemble playing, but also much about the form of music; in fact, the good ensemble player must know considerable about form in music. .	.	. The method of conducting an ensemble studio is
quite simple. I have, we will say, a pianist with fair technic, and a violinist; I arrange for studio time at which I meet these two players with my cello and we begin the study of a Haydn trio. At once the individualities of these players make trouble, and the idea of cooperative performance is the first thing to master. Later it may be that another violin or a viola is added to the ensemble; even more instruments, if there is general interest in all chamber music forms. The solo-study of piano, violin or viola, is done elsewhere, of course, and I endeavor to make my work cooperate with the solo-study being done by my pupils, or to supplement the work that had been done by them.”
Norfleet Trio’s Popularity Proven
Within forty-eight hours after the last of a series of four concerts given by the Norfleet Trio in Oklahoma City, one local impresario reported twenty letters and thirty-seven telephone calls demanding that they be re-engaged at once lor the next season. The educational and young people’? programs of this youthful and able trio are proving popular everywhere.
The critic of the Shawnee (Okla.) Morning News told his readers:
The program given last evening by the Norfleet Trio was a rest and a refreshment from the technical displays so often met with, yet the artists had an abundance of technic, although it was not flaunted. .	.	. Catharine Norfleet’s imitation of the barnyard fowb
was most amusing. She fairly made her violin crow and cackle, to her own amusement as well as that of the audience. A group of more classical numbers, including the last movement from Beethoven’s trio in E flat and Schutt’s Fairy Tale Waltz concluded the program.
After declaring that the Norfleet’s Saturday afternoon recital in Oklahoma City was “one of the outstanding features of the entire musical season,” the Daily Oklahoman said:
The general outstanding impression left by the playing of the Trio was their true and exquisite interpretation. When they appeared in New York recently the several critics of leading daily newspapers differed in their opinions as to which was the greatest artist of the three. This was easily explained Saturday when one devoted one’q self to listening to one particular instrument—the pianist, the violinist, or the cellist—for, as one listened, each in turn proved tne best. They have not only talent, but real musicianship and the truest artistic appreciation of music.
On this spring tour, which, as usual, took the Norfleet Trio to the Gulf, they played for schools, colleges and music clubs from Pennsylvania to Texas.
Roselle Captivates Audiences in Middle West
“St. Joseph audiences have had so many great artists in recent years that they have become discriminating and extremely exacting, yet Anne Roselle more than satisfied all expectations and demands,” declared the St. Joseph News-Press, when the young soprano recently appeared there as soloist with the Minneapolis Symphony Orchestra, which she will accompany to the Pacific Coast, singing in over thirty large cities en route. The same paper continued: “She is a finished artist and has everything in her favor. She is called a dramatic soprano and while she fully deserves this description, her voice has also a lyric quality of great beauty. She sings with perfect smoothness and exquisite taste. She has highly developed her art, yet her voice has the pristine freshness of youth. She is attractive and graciouSj too, and should go far on the road to fame, so unusual are her talents.”
The St. Joseph Gazette, enthusiastic over her charming personality, as well, agreed: “She more than delighted her audience. She possesses a voice of rare beauty, crystal clear, limpid and bell-like in its delightful quality. Miss Roselle sings as though singing were the most beautiful thing she could offer a hungry world and she delights in pleasing. To hear her is an experience worth remembering. She is an artist different from others. Her smile is different—it is sincere and sweet and at once intriguing. Her audience loved her from the first.”
A similar ovation was accorded her in Omaha: “Anne Roselle,” wrote the Omaha Evening World-Herald, “added considerable luster to the program with her two important numbers. Her voice is of lovely quality, fresh, musical and of great range. She throws herself unrestrictedly into her work and is convincing throughout on account of her absolute sincerity. She has besides a charming stage presence.”
According to the Omaha Evening Bee: “Miss Roselle was delightful in every way, in voice, manner of singing and stage presence. Her voice is of very beautiful quality with especial power and beauty in its high tones. She sings with clean-cut technic, with a surety that never fails her and with convincing art in her interpretations.”