10
May 31, 1923
benefit of illustrations of method work and class conduct and performance by classes of public school pupils.
Here is a department of public school instruction preparation for which demands the training which only those who have themselves been pioneers in experience can give. Among such instructors Mr. Fay occupies a prominent place. His courses at the Eastman School summer session promise to attract students from all parts of the country.
Harriet Ware’s Opera Performed
Undine, Harriet Ware’s opera, was given its first performances on the stage at the Peabody Conservatory, Baltimore, May 19 and 21. It had previously been performed many times in concert form. Her new American opera is now assured of performance in New York next season, an event sure to win great interest.
Her young pupil, Zanetta Marilla, sang beautifully at a musicale given by The Musical Club, her songs consisting of Ware s Iris, The Call of Radha, Hindoo Slumber Song and Stars, the composer at the piano. Mrs. Daniel Nye is ־mother fine singer who studies with Miss Ware and will be heard next season.
At the Broad Street Theater, Philadelphia, The Contemporary introduced Harriet Ware, pianist and composer, and John Barnes Wells, who together appeared in Ware songs and piano works, and won many encomiums from public and press. A local paper devotes a column to the affair, mentioning her poetic nature and vivid imagination, her charming themes, musical embroidery, melodic curves, delicate coloring and light or deep feeling. “She appears to have been moved to the depths of her being, however, by Joyce Kilmer’s Stars; into this song she has poured’her soul and expressed her feeling in a lofty and dignified manner,” said this paper. Mention is also made of Miss Ware s comments on the conditions and environments affecting her compositions, and the enjoyment this gave.
Ferraro’s Artists Sing Openshaw’s Ballad
The following letter is self-explanatory. When a busy teacher takes the times and trouble to write his praise of any one song it must have impressed him most forcibly as a decidedly worth while number.
In regard to the song, Love Sends a Little Gift of Roses, I am pleased to advise that my artist-pupils have had occasion to use this instances46 extensiveIy as you wi״ notice from the following few
R. Hamilton, a young baritone of very promising voice, sang in ^ 1All1־’? to mem^ers of high theatrical standing at the residence of Mr. Mack, connected with the Keith interests.
■xt Rnth Nelson, soprano^ sang it with success at a concert in Bayonne, JN J. -I he Musical Courier on March 8 already wrote about her work as an artist pupil of mine.
. Ma^ion Strumskis, a promising dramatic soprano, who will soon ftlv_e. !eL!ranf opera debut, is studying it with me and will present it at a concert, April 8, Worcester, Mass.
Th־r־sa Steward another artist pupil of mine, will sing it at tir6 G?rdefler School, 11 East Fifty-first street. New York City on May 5, at a special concert.
(Signed) Carmen Ferraro.
MUSICAL COURIER
ference, and the report, which Mr. Fay presented this year at the Cleveland meeting of the Conference, gives the most comprehensive information about the status of public school instrumental music in this country which has been available r ״n״Fay '״rote more tha200 ״ personal letters and sent out 5,000 questionnaires, to which he received full and informative replies. His report shows a census roll of 1,600 names of teachers in direct contact with professional musical work as performers on or teachers of various instruments. It is estimated that one in every four music supervisors throughout the country has this instrumental contact.
Mr. Fay is in charge of the courses for teachers of public school instrumental music in the Eastman School of Music. The prestige which the work under his supervision in the Rochester schools has gained attracts wide interest from teachers and candidates for teachers’ positions all over the country. __ The Rochester schools, through the generosity of George Eastman, have been supplied by the Eastman School of Music with band and orchestral instruments to the number of 498, including French horns, oboes, bassoons, as well as all other types of band and orchestral instruments. These are loaned to worthy and interested pupils and instruction is furnished by a corps of competent teachers, under supervision of Mr. Fay. There are in Rochester sixty classes in orchestral instruments each week, averaging eight students to a class, besides seventy classes in violin and many classes in piano. There are eight bands and thirty orchestras including a massed orchestra of 125 players.
Air. Fay offers three courses at the present summer session of the Eastman School which opens June 25 and closes July 28 : One course in Organization and Conducting ; one course m Stringed Instruments, and one course in Band and Percussion Instruments. The emphasis one year is laid on orchestral instruments, the following year on band instruments; Mr. Fay’s plan is such that a two-year course at the Eastman School summer session prepares the student for all phases of public school instrumental teaching and supervision, provided, of course, such student has some preliminary knowledge of music and performance. In the summer session a band or orchestra is organized. At the last summer session of the Eastman School Mr. Fay presented a large orchestra in a full symphonic program at the close with signal success.
The conference of supervisors at Cleveland devoted a preponderance of time and attention to public school instrumental music, it was plain that all over the country there is deep public interest and wide demand for this department of work. Since this development has been so prompt and preparation by public school supervisors for its proper conduct of so recent origin, there is a far greater demand for competent teachers^ and supervisors than can be at present filled. The educational authorities of the country realize this and the music schools are beginning to realize it.
Mr. Fay’s^ contact with educational conditions all over the country, which is a result of his year’s work in his chairmanship, gives him a broad viewpoint from which to survey the proper training to offer those who are preparing to enter this field of teaching. At the Eastman School he has the advantage of being able to give his summer session students
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zo-soprano named Maud Gray, which counts among the curiosities of my career as a concert-goer and critic by virtue (?) of its remarkable silliness. And, still worse, a Wagner concert by an English—or American?—tenor (the kind who are usually heralded as coming “from the Royal Opera Covent Garden” or “from the Metropolitan Opera House ), at which people screamed with hilarity at the unfortunate debutant's ridiculous vocal stunts. And a piano recital by a supposedly American girl pianist named Tosca lolces, who has hardly progressed beyond the preliminaries of an artist s career.
Real interest, however, attached to a piano recital by Violet Clarence, who gave a charming selection of rarely heard old English music by Byrd, John Bull and Arne, in addition to the delightful dance for harpsichord by Delius, and a little impressionist piece called Forest in Autumn by her husband, John a Becket Williams.
Polish Refugees.
Old music has been conspicuously represented on the programs of some vocal concerts recently. Hans Duhan, who is apparently at a loss to find new features for his numerous annual song recitals (as for living authors, he seems to shun, the real moderns and hardly penetrates beyond some of Erich Korngold’s more popular pieces), introduced a pleasing innovation with a program devoted mainly to old German folk songs, some of them in the Brahms arrangements; and Emmy Heim sang old German sacred songs, as well as folk songs, German, French and Czech. Friedrich Brodersen, a leading baritone of the Munich Opera was a sad disappointment. He sang Schubert’s Winter Journey cycle with a harsh, dry voice and with a crude and typically Teuton vocalization.
It is with particular pleasure that I refer to the decidedly artistic work of a Swiss a capella organization termed So-ciete Motet et Madrigal. They are a small band of Polish emigrants who gathered at Lausanne in 1916, under the baton of Dr. Henryk Opienski, and who have attained a remarkable finish of ensemble. Their work is similar to that of the English Singers who charmed Vienna last year but perhaps superior to the latter as regards the quality of the individual voices. Their program, comprising Palestrina Hassler, Jannequin and some lovely old Polish Christmas Garols, was a rare treat, not soon to be forgotten.
Paul Becheet.
Rochester Offers Splendid Instrumental Courses
The teaching of instrumental music in the public schools of Rochester has become widely known throughout the country; school superintendents and school authorities from many cities visit Rochester to see this work in actual operation during the public school year. Jay Wharton Fay, under whose supervision public school instrumental music is taught in Rochester s schools, was a year ago made chairman of a special committee of the Music Supervisors’ National Con-
Cccllc de Horvath
AROUSES UTMOST ENTHUSIASM AMONG CRITICS, AUDIENCES, and LOCAL MANAGERS
LINDSBORG, KANS.—“PIANO RECITAL OF
A PRONOUNCED 17 1923’• * Heading.)—Bethany Messenger, March
“Due to the glowing press tributes accorded this artist expectations were naturally high but Mme de Horvath MORE THAN FULFILLED THESE EXPECTATIONS.”—L indsborg Nevus-Record, March 16, 1923.
P^PA^OMA CITY.—“With her first number she had COMPLETELY WON HER AUDITORS Silicate a n d MARVELOUSLY BEAUTIFUL I OUCH, unerring technique and brilliancy, showing a fine conception of the subtleties of the piano, its dramatic scope and emotional variety.”—Daily Oklahoman, March 16, 1923.
“Touch of EXQUISITE BEAUTY COMPLETE COMMAND OF TONE SHADING.״-OJHoS City Times, March 16, 1923.
ARKADELPHIA, ARKANSAS.—“An artist whose soul has been touched with the DIVINF SPARK. CANNOT RECALL AN OCCASION ^AHPTnT4nARTISJ M0RE THOROUGHLY
UAPI1VATED an audience. There never was heard 1923°re beaUtlful ^one•”—•S’iftings-Herald, March 21,
BOSTON.—“Ranks AMONG THE MOST INTERESTING OF THE PIANISTS who have appeared here this season.”—Christian Science Monitor Dec. 18, 1922.
“OVERWHELMED HER LISTENERS. There was no matching Mme. de Horvath as a pianist of intelligence and sensibility, quick to the piano as an instrument of song as well as an instrument of percussion.”—Boston Evening Transcript, Dec. 18, 1922.
PHILADELPHIA.—“A pianist of WIDELY RECOGNIZED PROFICIENCY. Played brilliantly and was vigorously applauded.”—Public Ledger, Jan. 16, 1923.
“Sympathetic touch and brilliant technique brought forth appeals for many encores.”—Evening Bulletin Jan. 16, 1923.
WILLIAMSPORT, PA.—“Charmed her listeners and brought forth ENDLESS APPLAUSE."—Williamsport Sun, March 2, 1923. (Re-engaged for next season.)
SEWICKLEY, PA.—“Among the VERY BEST °*. all the fine artists they have had there. Am going to get you more dates on the strength of that wonderful performance.”—James A. Boris Pittsburgh.
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SEASON 1923-24 NOW BOOKING Management: Clarence E. Cramer, 905 Steinway Hall, Chicago, 111.
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