52
MUSICAL COURIER	June 7, 1923
LILLIAN BURMINGHAM SPEAKS OF CLUB OPPORTUNITIES
idea i-s that the manager should take it upon himself to rectify this abuse.
The answer is, first, that the local manager has done what he can, and, second, that it is distinctly up to the ticket buying public. If the public prefers the other brand of goods the manager cannot sell them the homemade variety. The argument is an old one. Naturally the manager prefers to travel the safe and sure road. Naturally clubs engaging artists prefer to get artists whose name value and exotic charm assure public support.
But all of that, though no doubt unanswerable argument, was not felt to be satisfactory to the California Federation, and at its recent convention at Santa Ana it was resolved that each member club agree to engage at least two California artists in every season of concerts, and that the manager be requested to include two Californians in each concert course, failing which the clubs would buy no artists, local or otherwise, from that particular manager.
It looks as if neither the manager nor the clubs could pass the buck, provided the clubs live up to their agreement. Will they do it? Well, Mrs. Burmingham believes that they will. And, as she very truly points out, this arrangement is the real solution of the young-artist problem. First, let each state support its own artists, then let there be an exchange of artists among states, and before long the successful ones among these artists will be so well established that they will make their own way without further aid. It is perhaps better not to mention any names, but names of most excellent artists come to mind so that California need never languish for native talent.
Mrs. Burmingham is to be one of the speakers at the Federation Convention, and plans to force home some of these ideas among the delegates there, especially the idea of necessity of unity and a certain amount of unselfishness among the clubs. Being a woman with a lot of force and personality, there is no doubt that she will exert a large influence on this gathering of the federated clubs. Witii such women as Mrs. •Burmingham and her associates “on the job,” American artists ought to be on their feet soon. But it is also well not to forget that all of this effort in their behalf places a great responsibility on the artists themselves. They have got to “make good,” or the best of effort will fail.	f.
Lillian Burmingham, president of the San Francisco Musical Club, the Sorosis Club and the California Federation of Music Clubs, was in New York recently on her way to the Federation Convention. Mrs. Burmingham is also attending the Women’s Universal Alliance Conference in Washington —all of which gives some idea of her activity and the catholicity of her viewpoint. She talks interestingly and impersonally about what is being accomplished. Being a professional^ musician herself, with a long and successful career, she is naturally most interested in the progress and the possibilities of music, and she has associated herself with these various clubs because she rightly believes that in union there is strength.
The California Federation has grown greatly in strength and in numbers within the last year. It is now a powerful organization, able and willing to do things, and with plenty of vigor at its head. And Mrs. Burmingham, aware of musical conditions in America, and particularly in California, is bringing about a new order. The question that most agitates her at present is that of the young American artist. Why be an artist if there are to be no engagements? That is the natural question, and Mrs. Burmingham’s answer to it is : Make the engagements !
This depends upon two things: first the public, then the manager. Blame it all on the manager, and he can truly answer that he cares not at all what he sells so long as it sells. If there is market for the young American he will be only too glad to sell to this market. For commissions are commissions, and it is the manager’s business to sell artists and get them, or to buy and sell the artists like any other merchandise, which amounts to the same thing.
But, first of all, there must be a market. As to that, we all very well know that for some American artists there is already a market, and a big one. Some of them, by efficiency and advertising, have got into the same class with the best foreign artists and reap the same rewards. But there are others who are believed by their friends to be just as good as the middle class artists from abroad but who, according to some, are being shoved aside in favor of the foreigner. In California this word “foreigner” applies to everything not “local,” and Californians feel that this is not fair and not right. The “local” artist should not be neglected simply because he or she stays at home. And the
Edna Rose, violinist, and Erich Rath, pianist, both of Hollins College.
Music dealers provided a number of public entertainments at their stores during the week, co-operating in the spirit of Music Week.
Credit is due Blanche Deal and her committee for the successful carrying out of the various programs during the week.	G. H. B.
SUZANNE GALLIEN
MEZZO-SOPRANO OF THE OPERA COMIQUE
Mise־en־scene and diction taught in French and Italian repertoire NATURAL VOICE EMISSION
Studio: 6 W. 84th St.. N. Y.	Tel. 0064 Schuyler
MARIE SWEET BAKER
Soprano
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H	AVAILABLE FOR SEASON 1923-24
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GERTRUDE LANG
PRIMA DONNA SOPRANO at present starring in Blossom Time
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James HINCHLIFF Baritone
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Mayo Wadler
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ROANOKE HEARS GALLI-GURCI
IN BIG MUSIC WEEK CONCERT
Four Thousand People Listen to the Celebrated Diva and Show Great Enthusiasm—Other Interesting Programs
Roanoke, Va., May 21.—Music Week was observed in this city with a variety of interesting programs, including those by visiting artists. It began on Sunday, May 6, with special music in all the churches.
4,000 People Hear Galli-Curci.
The largest audience that has ever greeted a visiting artist in Roanoke was present at the Auditorium on Monday night, May 7, to hear Amelita Galli-Curci, this concert being under the management of Mary Lindsay-Oliver, im-presaria of New York City. The local representative was Mrs. Sidney Small. The main floor and balcony were filled and seats were placed on the stage to take care of the overflow. From the opening to the closing numbers Galli-Curci held her audience spellbound and its appreciation of the program was plainly shown in the thunderous applause that swept the large hall. Manuel Berenguer, flutist, and Homer Samuels, pianist, were the assisting artists. The program consisted of six groups of songs and one group for the flute. Galli-Curci was most gracious in responding to the demand for encodes. At the close of the program an informal reception was held on the stage and a large number took advantage of this opportunity to meet one of the greatest artists that has ever visited our city.
Other Programs.
On Tuesday evening, at the Thurman and Boone Music Salon, the Acorn Glee Club, under the direction of Everard Calthrop, assisted by Mrs. Beverly Wortham, soprano, and Mrs. Sidney Small, contralto, rendered a delightful program. The accompanists were Helen Hiatt and H. L. Bil-ger.
A very creditable program was given by the colored musicians at the Gainesboro Avenue Church (Methodist) on Tuesday evening, the program consisting of selections by an orchestra composed of eighteen or twenty pupils from the Harrison Avenue School, several piano solos, and four numbers by a mixed chorus of thirty voices.
On Wednesday evening a program was rendered by a chorus־ of about three hundred pupils from the Roanoke public schools, under the direction of Daisy Wingfield, supervisor of music, supported by the orchestra of Lee Junior High School under the direction of Charles Findlay.
Thursday evening at the Music Salon of Thurman and Boone, the Founders’ Day program of the Thursday Morning Music Club (in honor of Mrs. George Gravatt) was givejF before a large and appreciative audience. Those participating in the program were advanced pupils from Hollins College and Virginia College.
The principal local feature of the week was the concert on Friday evening at the Market Auditorium by the Mendelssohn Choral Club and the Roanoke Orchestral Society, the former under the baton of George F. Austen and the latter directed by M. F. Holroyd. The choral club was assisted by Martin Richardson, tenor, of New York City, as guest soloist. A large and appreciative audience was present to hear the program, which included several orchestral selections, Hiawatha’s Wedding Feast, by Coleridge-Taylor, and a May Day Carol by Deems Taylor, sung by the choral club, and a group of songs by Mr. Richardson, who also sang the tenor solo in Hiawatha’s Wedding Feast. This was the first public appearance of the Mendelssohn Choral Club and the second of the orchestra, both being enthusiastically received. The visiting artist won his audience from the first and displayed a voice of pleasing quality and range. The accompanist for the choral club was Mrs. Ernest Baldwin, who gave splendid support, while Blanche Deal was the efficient accompanist for Mr. Richardson.
On Saturday evening, Richard Lorleberg, of Washington, D. C., gave a cello recital at Hollins College, assisted by
Edwin Hushes
THE EMINENT AMERICAN PIANIST "
New York City
Steinway Piano
316 West 102nd Street
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MARTINELLI
for six years Studio: 2231 Broadway, New York Phone Schuyler 6598
ROXAS
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ANIL DE ER
Coloratura Soprano
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Asistants J Vincent V. Hubbard I Caroline Hooker
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harpist
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ANNIE LOUISE
DAVID
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EDOARDO
PETRI
TEACHER OF SINGING
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