MUSICAL COURIER
16
June 7, 19 2 3
and Italy, and will attend the debut of her pupil, Eleonor Cohrone. Miss Cohrone will make her first bow to the Italian public in the title role of Puccini’s Manon, probably in Rimini. Mme. Valeri’s New York studios will be reopened on October 1.
1923 Resumé of Perfield Work in New York
Music and musicianship recitals have been given by pupils of teachers who use the Effa Ellis Perfield Trinity Principle Pedagogy, the music recitals being on the first Saturday in each month at Magna Chordia Hall, New York, and the musicianship recitals the second Saturday in each month at the same place.
The following teachers co-operated with Mrs. Perfield in making the season’s work a success : Kate Beacom, Edith Beardsley, Emma Beck, Ruth Carlmark, Dorothy Cooper, Maude Tucker Doolittle, Mildred Eberhard, Laura Jurgen-sen, Mildred Haire, Nell Hanks, Ruth Kennard, Jeannette Leidy, Jennie Liebman, Idis Lazar, Frances Roache, Mrs. Lesley Guest Reiland, Adele Southard, Mary G. Stowe, Mrs. A. B. Thompson, Phoebe Roth, Mrs. William Reed, Jane Taylor, May Valentine, Madame Wetche, Rose Zang, Blanche Powis, Marie Plate and Jane Thomas.
The musicianship recitals featured the following subjects:	Rhythm, Recall and Fore Feeling in Reading and
Singing, Harmony and Composition and Ear, Eye, Touch. The final contest was of special interest because it involved the work of the entire season. Mrs. Perfield conducted the contest which resulted in Roslyn Roth, a pupil of Adele Southard of New York City, breaking the world’s record for rapid constructive reasoning. She spelled eighty-four chords in thirty-six seconds. Previous to this a pupil of Hilda Casper Wittig of Milwaukee, Wis., held the record of eighty-four chords in forty-five seconds, and a pupil of Martha Smith, of Atlanta, Ga., spelled the same chords in fifty-five seconds. This speed is possible only to those using reasoning which eliminates memorizing. The second prize for rapid chord spelling was won by William Roth, a pupil of Adele Southard; his time was fifty-four seconds. The third prize was won by Sonia Rabinowitz, a pupil of Mrs. Perfield; her time was fifty-five seconds. The contest on chord writing was also won by this girl. Another pupil of Adele Southard—Zelda Roth—won the contest for the quick naming of key signatures. The contest on general musicianship was a tie for a long time, but was finally won by Vera Jones, a pupil of Kate Beacom of Brooklyn.
The harmonic dictation was of special interest because of the chords being played in extreme high and low pitches and in all kinds of progressions. The elimination of pitch is a new idea in harmonic dictation.
The rhythmic dictation was more extensive than that usually presented. Pupils wrote rhythms which included all kinds of note values, even double dotted notes, 32nd, 64th, and 128th notes. The fluency demonstrated in this work was remarkable. The work demonstrated what Mrs. Perfield calls the “unlimited application of principle.” The audience called for various kinds of chord spelling scale spelling tetrachord spelling, and pupils named the ’letters with great speed. Mrs. Perfield played ten kinds of scales and pupils named the kind, playing one scale in a high pitch another in a low pitch and in different successions, and the result was perfect.
Another interesting feature of these recitals was the work of Antoinette Kaufman, an associate teacher of Adele Southard, and Frances Flannery, an associate teacher of Rose Zang. Both presented pupils. The ensemble playing ot the pupils of Frances Roache was most satisfying. The recital of folk music was conducted in a charming way. I he pupils played the folk melodies and the audience guessed the nationality. Pupils of Dorothy Cooper supplemented the program with folk dancing.
Original verses and original comnositions formed one program.
Another unusual part of the musicianship recitals was the number of adult men and women who took part. The talk given by Mrs. Perfield on Sight Singing demonstrated the false feeling and laborious reasoning of do, re, mi, intervals, numbers,, etc., and showed how necessary it is in sight reading to keep the musical feeling. One example sung by the audience with do, re, mi, proved that it presented a downward feeling and downward reasoning, but presented in the correct way the musical feeling and reasoning were both up.
The Creative Music Course, demonstrated by a class of four-year-old children, was a delight. These young children, who had only studied six months, sang and played twenty bird calls, named the picture of each bird as presented, played original compositions, composed originai words to rhythms,_ sang songs about birds, wrote rhythms and letters to music. Improvised steps to bird calls. The greatest joy was the freedom and perfect poise of these babies—they seemed to be “at home” with every phase of expression.
Mrs. Perfield conducts these recitals in a most enjoyable way, the pupils are new to her and it is interesting to see how soon each pupil responds with ease, even though he is experiencing a “new teacher.” Mrs. Perfield’s joy and spontaneity in her work adds greatly to the pleasure of the audience and is one of the reasons she is able to demonstrate with strange pupils.
Another unusual feature of Mrs. Perfield’s recitals is the lesson given to pupils who have never studied music. Anyone can ( demonstrate with trained pupils but to take “raw material and give a lesson before an audience certainly demonstrates confidence in the result, which Mrs. Perfield maintains can only come through the use of Scientific Pedagogy. Surely these teachers of the Trinity Principle Pedagogy inspire confidence and show results.	T
Hanna Brocks Sings in Haydn’s Creation
The second May Festival of the University of Maryland at College Park, Md., opened on May 16 with a perform-ance of Haydn’s Creation by the oratorio society and the following artists: Hanna Brocks, soprano; Frances Ingram contralto; M. J. Brines, tenor, and Charles Trowbridge Tittmann, bass. Commenting upon the work of Miss Brocks the Evening Star said: “Hanna Brocks, coloratura soprano’ was thoroughly familiar with her parts. She gave an excellent rendering of On Mighty Pens and was equal to the lyric demands of the soprano aria, With Verdure Clad.” Miss Brocks has been engaged for a concert in Boston in the fall and will make a western tour next season. On Thursday afternoon, May 31, she sang at a Silver Jubilee concert at Wurlitzer Hall, New York.
“BE NATURAL’—SAYS PETERSON
“ ‘Yes, all the routine training can be gained in this country. But Italy, France, Germany only will add the ultimate finish, be it only for the sake of learning the language and, which is more, to realize the spirit of their music by living in thosecountries.
“ ‘A singer must love his audience, feel he is their servant, or he will fail. An audience quickly senses the attitude of the artists in this regard.
“ ‘What else ? Oh, good all-round musical training. I have benefited greatly as a singer by studying piano, violin, organ and especially by directing a church chorus. It gave me a greater understanding of music and helps me immensely when I sing in opera.
Be What You Are
“ ‘Finally, I think the ultimate secret of success is to make the most of what one has. What I mean is artists, and I am now speaking of singers in particular, should not try to make a small voice large or force a mezzo into a soprano, or change a lyric voice into a dramatic one. Nearly always some fine quality, naturalness, will be lost. A small, limpid voice is better liked than a large, hard one and is artistically as well as financially more valuable.
“ ‘I would say to the young singer :	Be what you are. In-
tensify your vocal means. Don’t change them. Beautify them, while_ working hard and ‘playing’ hard. And once more, remain natural.
“ ‘I am just simple Miss Peterson from that nice little Wisconsin town, Oshkosh, and if anything, it has helped me to be successful.’ ”
May Peterson’s slogan is: “Be Natural.” In a recent interview with Bruno David Ussher of the Los Angeles Evening Express, the singer is quoted as follows:
“ ‘No, I cannot tell you what an American artist should do to win as much success and public favor as his foreign colleague.’ May Peterson, famous soprano, replied, somewhat puzzled by my question.
“ ‘I do think American artists are coming into their own more and more, simply because they equal foreign artists.’
“ ‘What then is necessary to win success ? Or, rather, tell me what did you do to succeed at a time when few Americans sang at the Metropolitan Opera in New York?’ I insisted to the singer, who, by the way, will be heard Tuesday evening at Philharmonic auditorium.
“‘Just plain plodding work! Of course, there must be the material to work with. The trouble with some of our American students is that they are not sincere. They try to copy famous foreign artists and the public is amused when they make their debut.
Element of Success
“ ‘Be natural, I would say is one of the great essentials of success. It may become an Italian or French or Spanish artist to assume what we think is a theatrical pose, but which in reality is the most natural expression of his national temperament. It is one of our finest traits as a people to be natural and sincere. It should not be purposely suppressed because an American stands behind the footlights.
“ ‘True, there is the question of training, which has to take its time. Why should it take less time to become a singer than it takes to become a physician?
State. The solo parts were most ably sung by Mary Clay Naff, dramatic soprano of Shawnee, and Dorothy Beatty of McAlester, winner of last year’s State contest.
The freshness of the Hadley composition, with its harmonic richness, will linger a long time in the memory of those fortunate enough to study and to assist in the presentation of this American choral work for the pleasure of the big audience assembled in the First Baptist Church of the city.
_ The second half of Wednesday evening’s program consisted of a miscellaneous group of choruses presented by the Shawnee Choral Club, conducted by David P. Unruh. As usual, the appearance of this organization evoked warm approval from the audience.	B. G.
Mme. Valeri’s Summer Plans
Mme. Valeri will stop teaching in her New York studios on June 18 and go to her villa at Shoreham, L. I., to rest for the next five days. On June 23 she will leave for
MME. VALERI (center) AND TWO OP HER BRIGHTEST PUPILS
Helen Hobson (left) and Suzanne Keener
Chicago, where she will be guest teacher at the American Conservatory of Music until July 28. While in Chicago she will stop at the Drake Hotel. On August 4, Mme. Valeri will sail on the Paris for a visit to Paris, Vienna
SHAWNEE ENTERTAINS OKLAHOMA S. F. M. G. IN ANNUAL CONVENTION
Shawnee, Okla., May 29.—The State Federation of Music Clubs met in annual convention in Shawnee, Okla., from April 16 to 19, with delegates from every part of the State. Reports from each department of club work revealed a gratifying interest, resulting in a decided increase in the percentage of new units. Many junior clubs, sponsored by the senior organizations, were reported, showing a trebled increase over last year’s report. Mrs. Dennis H. Wilson, Miami, Okla., State president, presided over the general routine of the convention.
Mrs. Newton Douglas, retiring president of the Synthetic Music Club of Shawnee, reported the largest number of junior club's in any one district, whereupon she was honored by election to the office of second vice-president of the State Federation. This office functions in the organization, federation and oversight of all new junior clubs.
Entertainment features offered by the convention included an Ampico recital by the company’s representative, Phillip Gordon, assisted by a young violinist of splendid capabilities. Mr. _ Gordon played with his usual fluency, marked with decision, clear expression and artistry.
One of the most interesting features of the series of entertainments was the presentation of Henry Hadley’s beautiful cantata, The Fairy Thorn, for women’s voices. This presentation was, in a very large sense, an experiment, which happily proved a decided success, and which, no doubt, will react in a most beneficial way in influencing the standard of good taste for choral music in the State. The plan adopted was to have each music club in the Federation study and present this work at home prior to the convention, and then to send representatives to the convention at Shawnee to form the State chorus for the convention presentation. This work was under the supervision of Edward D. Naff, director^ of the College of Fine Arts in Oklahoma Baptist University, who is State director of choral work for the
ISA
KREMER
International Balladist
Management:
Wolfsohn Musical Bureau
Fisk Bldg., New York
Knabe Piano	Brunswick Records
PATTERSON
A..
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s
Teacher of Voice
CONCERT OPERA ORATORIO
instruction by Special Appointment During Summer Months
Classes in French, Italian and German—Facilities for Students’ Practice Available —Periodical Recitals by Artist Pupils
STUDIO: 326 WEST 76th STREET, NEW YORK