53
MUSICAL COURIER
May 31, 1923
son: President, Mrs. Leland B. Case; vice-president, Mrs. Samuel C. Mumford; secretary, Jennie M. Stoddard; treasurer, Lucy Remick Cook; librarian, Marjorie Charles-worth. Mrs. Benjamin F. Mumford and Mrs. Joseph H. Whittaker were elected to the executive committee for a term of three years, Mrs. Edwin S. Sherrill for a term of two years. The Endowed Membership Contest was held May 1. There were twenty-two contestants and eleven memberships were awarded, for voice, Carmen Morelock, Lilian Gordon Alpern and Adelaide Wallich; for violin, Marie_ Silk, Loraine Merryweather and Corinne Drollinger; for piano, Adelaide Margaret Lee, Helen Maday, Dorothy Hall, Ruth Beyer and Katherine Dodd. These memberships entitle the winners to a year’s membership in the Student League of the Tuesday Musicale.
Detroit Contralto Going Abroad.
Margaret Schuiling, Detroit contralto, who •appeared successfully at the New York Stadium concerts two seasons ago, is leaving shortly for Europe for the study of German opera. She was initiated in the Sigma Alpha Iota Sorority, May 11, at a luncheon given for her at the Blue Bird Tea Room and was honor guest at a musicale given by Jason Moore at his residence, May 13.	G. M. S.
Marie de Kyzer in Allentown M. E. Church
Marie de Kyzer, soprano, was vocal soloist at the April 29 service at Asbury M. E. Church, Allentown, Pa., singing the following sacred solos: Repent Ye (Scott), With Verdure Clad (Haydn), an old hymn tune, and the solo, In-flammatus (Stabat Mater). Her singing had previously helped fill the church on two separate occasions, and among the announcements on the church calendar was the following: “The merit of her work has been such as to warrant an increasing popularity. We have already discovered what critics have declared, that her voice is one of the few that justifies such adjectives as gorgeous, opulent, and the like. It is of great range, brilliancy and teeming with sheer beauty. She has enhanced and schooled it to an organ of moving expressiveness, so that the insight and appreciation of the contents of her songs are communicated to her audience with vivid and telling effect. Best of all one is made to feel that back of all her artistry is a glad and willing consecration to the Master’s service.”
Virginne Mauret Pleases in Asbury Park
Music Week in Asbury Park was celebrated with the assistance of many well known artists, among whom appeared Virginne Mauret and her three assistants in an unusual group of interpretative dances. Her program included the gavotte from the sixth violin sonata of Bach, to which Mile. Mauret contributed a solo dance of the hoop-skirt period; Zigeunerweisen (Sarasate), Liebesfreüd (Kreisler), and Bacchanale (Glazounoff). The two latter numbers were group dances, as was the number entitled Mischief Makers, by Burgmein. The audience was very enthusiast¡» over this artistic performance, and rounds of applause followed each well rendered offering.
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and is also an excellent interpreter, playing with understanding and using effective registration. Other numbers in her list included Pastel, Jepson; Romanza, by Parker; Chant de Bonheur, by Lemare, and the first movement of Widor’s sixth symphony.
Lena Frazee, mezzo-soprano, gave much pleasure in her groups of songs. She sings with a commendable and satisfying ease and produces some beautiful tones, and she also reveals appreciation of the text. Her first group consisted of Du Christ avec Ardeur, by Bemberg; In a Boat, by Grieg, and a Russian folksong, The Three Cavaliers. Her second group was given in costume and comprised an old Irish song, an English popular song of the sixteenth century and an American song, Billy Boy. Miss Frazee was sympathetically accompanied by Caroline Lowe.
DETROIT ORPHEUS CLUB
DISTINGUISHES ITSELF
Wagnerian Operas Prove Grateful—Other Music News
Detroit, Mich., May 12.—The most important musical event since the closing of the orchestral concerts was the appearance of the Wagner Opera Festival at Orchestra Hall,^ April 29-May 2. On Sunday afternoon Humperdinck’s Haensel and Gretel was presented, Sunday evening Wagner’s Die Meistersinger, Monday evening Tannhäuser, Tuesday evening Lohengrin, Wednesday afternoon Tristan and Isolde. Lovers of Wagnerian opera embraced the opportunity to hear these operas given in such excellent fashion. Not only were the principals good but the chorus work far exceeded the average. The voices were fresh and of good quality and the acting was all that could be desired. Fine scenic effects and an orchestra always adequate under the leadership of fine conductors made an ensemble most gratifying. Julius Sturm was the chairman of the local committee.
Orpheus Club Closes Season.
The Orpheus Club of thirty male voices gave its closing concert at Orchestra Hall. During the twenty-two years of its existence this splendid corps of singers has attained such perfection in its work and is so well known that any comment seems superfluous; however, many felt that the work of the club on this evening surpassed all other efforts and in this Charles Frederic Morse, who directs the club, must feel great satisfaction. The program opened with the Dutch folksong A Prayer of Thanksgiving. This was followed by Come Thou O Come, Bach; a May Day carol arranged by Deems Taylor, and Now Is the Month of Maying, Morley. The second group by the club consisted of Serenade, Borodine; folksong, Rimsky-Korsakoff, and the Song of the Volga Boatmen. Five-part songs by Elgar with words from the Greek anthology and a closing group comprising Eight Bells, Capstan Chanty (arranged by Marshall Bartholomew) Away to Rio and Roadways, by John H. Densmore, completed the list. John Barnes Wells, tenor, was the assisting soloist singing two groups of songs. He was in good voice and met great favor with the audience, which insisted upon repetitions and encores. Harriet J. Ingersoll was the accompanist.
Three Lecture Recitals by Madame Lyska.
Charles Frederic Morse presented Naarden Lyska, mezzo-soprano, in three informal lecture recitals at the Woman’s City Club. Madame Lyska charmed her hearers in every way by presenting unique and delightful programs. Mr. Morse played her accompaniments.
Tuesday Musicale Elects Officers.
. The annual meeting of the Tuesday Musicale resulted in the election of the following officers for the coming sea-
Rhapsodie Negre Dedicated to Joseph Conrad
Heart of Darkness, Joseph Conrad’s unforgettable masterpiece, in which he pictures the dark and sinister power °f Africa's jungle over the cultured product of so-called civilization, was the direct inspiration for John Powell of his popular and deeply significant orchestral work, Rhap-sodie Negre. This work has had over forty performances by the leading symphony orchestras of the country. On the European tour of the New York Symphony in the summer of 1920, Walter Damrosch included Mr. Powell’s composition on his programs as the most representative work of American genius in the field of music. Upon hearing the work in Rome, Alfredo Casella, the Italian modernist, whose music has been played here extensively in connection with his yisits to this country the past two seasons, wrote that “it impressed the audience more than any other piece on the program. For once, it seems, a European audience heard American music of clear, immediately recognizable and stimulating American idiom.”
“When I read the book, Heart of Darkness,” wrote John Powell in a recent issue of the New York Post, “it seemed to cry out for musical expression. I could hear the reverberating tom-toms throughout the jungle night. It seemed to me to have tremendous potentialities as the theme for an opera. One day while I was discussing the story with Conrad, I asked him to make a one-act libretto of it, but he felt that it did not have enough dramatic incident and could not be condensed into operatic form. He suggested a symphonic poem. I did not think that I could suggest the emotional intensity of the story in descriptive music, but the fascination of the theme held me and found expression later in the Rhapsodie Negre, which Mr. Conrad has permitted me to dedicate to him.”
Instrumentation Articles Commended
[A friend sends the following communication regarding our Instrumentation articles that so entirely expresses what the author intended when the articles were written that it is here reprinted. The Editor.]
This typewriter and blank sheet, and a fresh reading of your masterly articles on Practical Instrumentation in the Musical Courier, constitute an overwhelming temptation to salute you.
The well known definition of genius as “an infinite capacity for detail” has always seemed to me incomplete. I always want to add “but detail so handled that one never loses sight of the synthetic whole.”
So many text books (musical and otherwise) bewilder the student with an apparently unrelated mass of details. Of course, I suppose the writers count on the teachers to lead their students to some peak of vision, demonstrating the finished whole of which the details are a part, but for purposes of private study such books are of little use. I am afraid I do not make myself particularly clear, but what I am trying to say again is this. . . .
Your articles illustrate for me that ideal handling of abstract theory, coupled with absolutely practical and detailed illustration, which one so seldom finds. One often gets one without the other excellently done, but seldom both in that mysterious balance and proportion which only an inborn genius accomplishes.
I imagine you will bring the articles out eventually in book form? They seem to me to have a priceless practical value in this prééminent age of “musical arrangers.”
Jessie Fenner Hill Pupils in Studio Recital
Jessie Fenner Hill, well known New York vocal teacher, gave a recital at her studio in the Metropolitan Opera House building, 1425 Broadway, on Friday evening, April 20, before a large and discriminating audience. The parti-cipants—Dorothea Brandt, Mary Leard and Anne Staudt (all pupils of Mrs. Hill)—revealed in their work thorough training in voice placement, tonal emission and interpretation.
The program opened with a ■trio charmingly and effectively sung by the Misses Brandt, Leard and Staudt. Other interesting trios sung by these ladies were Trees (Hahn), and He Met Her in the Meadow (Burleigh). Miss Leard was heard in Aprile (Tosti), Little Woman in Grey (Holmes), Serenade (Levenson), and Little Battiste (Pierce). Miss Staudt sang delightfully Je dis que rien ne me pouvante (Bizet), Jay (Moore) and Who’ll Buy My Lavender (German). Her voice is one of big range, and fine quality, and she presented her numbers with style and intelligence. Miss Brandt disclosed a contralto of luscious quality. Her numbers were Je Pleure en Rêve (Hue) and A Bowl of Roses (Clarke). Julio Osma rendered helpful accompaniments, and as solos gave numbers by Chopin and Grainger.
New Organ Symphony Heard at Wanamaker’s
On May 17, an interesting program was given at the Wanamaker auditorium by Virginia Carrington-Thomas, Mus. Bac., A.A.G.O., assisted by Lena Frazee, mezzo-soprano, and Caroline Lowe, pianist.
Mrs. Thomas is a Yale organ prize winner and has studied at the Fontainebleau School of Music, to which school she returns this summer to resume her studies with Widor. Her first group consisted of three Bach numbers, rendered with clarity of exposition and sound technic. In her next group she included the first movement of her own symphony for organ and orchestra. The orchestra part was arranged for piano and played by Caroline Lowe. The composition showed originality and good form, and was interestingly and skilfully worked out. Another composition of hers, a canon, also showed skill in invention. Mrs. Thomas shows individuality and much promise as a composer for the organ,
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