June 14, 1923
MUSICAL COURIER
10
Arthur Wilson Studio Activities
The season’s last musical evening with artist pupils of the Arthur Wilson Studios offered a program divided between Dorothy George (Mrs. Arthur Wilson) and Joseph Lautner, the talented young lyric tenor from Boston and the studio in that city. Edward Hart again was an admirable accompanist.
Miss George imparted to her groups of songs in French and in English the emotional warmth of her mezzo voice and a finely imaginative perception of their contents. Mr. Lautner, beginning with a group of Lieder, followed with a second of French songs, showing the fine timbre, wide range and a poetic intensity of feeling which promise much for his career. It was Mr. Lautner’s privilege, the evening of May 30 at Paine Hall, Harvard University, Cambridge, to give with Virgil Thomson the first public performance in this country of Satie’s Socrate for voice and piano, a work lasting some forty minutes, and of curiously individual and difficult idiom.
A studio note of importance was the debut recital at the National Theater of William Ryder, baritone, who, W. H. Henderson said, “disclosed some good qualities and proved his right to invite public consideration.”
Hattie Sternfeld’s Pupils in Recital
A most interesting piano recital was given by the students of Hattie Stemfeld at Steinway Hall on Sunday afternoon, May 27, which was heard by a large audience that taxed the capacity of the hall and included many well known people, among them the teachers and principals of several of the young performers. Judging from the fine work of the children, Miss Sternfeld is a skilled musician and knows how to impart her knowledge to others in a manner that shows results within a short time. This is proven by the fact that some of the youngsters who had only studied a little over a year did good work. They ranged from nine to־־thirteen years and one might best describe their playing as “flawless for students.”
The program, which is reproduced in full at the end of this article, was well arranged and embraced duets for two pianos, and quartets. Of particular mention was the playing of several of the older pupils: Irving Rosenthal, Anna Landau and Byrdie Arndt. Miss Landau’s solos were Polacca Brillante, Von Weber, and the Greig Wedding Day at Troldhangen. Rosenthal played the Moonlight Sonata-adagio (Beethoven), and the Rachmaninoff prelude in G minor, while Miss Arndt was heard in the Debussy Arabesque and Rheingold’s impromptu. The audience received the work of the individual children with interest and enthusiasm. During the intermission, Miss Sternfeld was presented with a diamond and enamel watch as a token of her older pupils’ affection and gratitude.
The entire program follows:
Ensemble—Coronation March...........................Meyerbeer
First Piano—Anna Landau—Florence Halperin Second Plano—Martha Iceland—Irving Rosenthal
Starry Night............................................ Smith
Bella Steinberg
Duette—Light Cavalry................................Von Suppe
Irving Rosenthal—Florence Halperin
Solitude (two pianos).....................................Mack
Gertrude Hirschberg—Miriam Fleischer
Voglein (Bindling).......................................Grieg
Russian Dance.........................................Engleman
Jerome Bernard
Ensemble—Peer Gynt Suite.................................Grieg
Ase’s Tod Anitra’s Tanz
First piano—Anna Landau—Florence Halperin Second piano—Martha Iceland—Reta Selkowitz
Dolly’s Dream (two pianos)............................  Ostend
Cradle Song—Dolly Falls Asleep—Dolly Dreams—Dolly Wakes Up—Dolly Dances Ruth Greenberg—Marjorie Fleischer
Duet—Hungarian Dances	Nos. 3 and 5......................Brahms
Anna Landau—Martha Iceland
Ensemble—Bohemian Girl............................      .Balfe
First Piano—Florence Sternfeld—David Kutner Second Piano—Sylvia Herring—Jerome Bernard
Fantasia (D minor)......................................Mozart
Sylvia Herring
Ensemble—Melody in F................................Rubinstein
Carmen ......................................Bizet
First piano—Anna Landau—Reta Selkowitz Second piano—Martha Iceland—Miriam Fleischer
Ensemble—Valse ......................................Schulhoff
First piano—Anna Landau—Florence Halperin Second piano—Byrdie Arndt—Irving Rosenthal
Andante et Rondo...................................,.Rosenhain
Martha Iceland
Scotch Poem..........................................MacDowell
Polonaise Militaire...................................  Chopin
Florence Halperin
Polacca Brillante...................................Von Weber
Anna Landau
Moonlight Sonata—Adagio...........................  .Beethoven
Prelude in G minor..............................  Rachmaninoff
Irving Rosenthal
Arabesque .............................................Debussy
Impromptu ...........................................Rheinhold
Byrdie Arndt
Wedding Day at Troldhangen...............................Grieg
Anna Landau
Double Duo—Salut a Pesth..............................Kowalski
Marche Hongroise First piano—Irving Rosenthal Second piano—Byrdie Arndt.
Miami Conservatory Notes
Miami, Fla., May 28.—A program was given at the Miami Conservatory by the three students who won scholarships for study under Mana Zucca in her Master Class. All three students showed talent and serious application. Mana Zucca is offering a scholarship in piano and voice coaching for next season. Those appearing were Theodore Saiden-berg, Frances Druckerman and Olive Dungan. L. B. S.
Fort Worth). The piece was elaborately costumed and had appropriate stage settings.
French Musicians Give Benefit.
At City Temple, bn May 8, a joint recital was given by Eve Gauthier, vocalist, and E. Robert Schmitz, pianist, which was one of the finest concerts of the season from the standpoint of artistic merit. Both artists being French, there was much modern French music on the program, and American coriiposers were honored by both of _ the artists also. In a group of American songs Mme. Gauthier included Charles Griffes, Wintter Watts and Bainbridge Crist, and Mr. Schmitz played the Chimes of Saint Patrick’s and Times Square, two impressionistic numbers by Emerson Whithorne. The concert was given for the benefit of the American Field Service Fellowship.
Movie Music.
Palace Theater had an excellent Music Week program. Don Albert, conductor of the orchestra, included among other numbers the Ballet Sylvia of Delibes, the G minor prelude by Rachmaninoff, and David Guion’s Turkey in the Straw. The orchestra has been noticeably improved of late by an increase of instruments in the string section. The special Sunday afternoon concerts will continue throughout the summer.	R. D.
West End Choral Gives Second Concert
The West End Choral Club, J. Howard Talman president and Martin W. Bowman director, gave its second concert at the Hotel Astor, May 28. Assisting artists were Esther Nelson, soprano; James Price, tenor, and Wilfred Glenn, bass. The chorus of mixed voices, numbering about thirty-five, was well balanced and showed in its work the result of thorough and efficient training. Mr. Bowman is a man well adapted to the task of chorus conducting and he had the chorus well in hand. Particularly commendable was its good tone, its clean attacks and releases, its sure rhythm and distinct enunciation. The opening number, Carmena
"Miss Peterson has a clear soprano voice well controlled and sweet.”
The Fresno (Cal.) Morning Republican said the above about May Peterson, soprano of the Metropolitan Opera Company.
Management: HAENSEL & JONES Aeolian Hall, New York
Mason & Hamlin Piano Used	Aeolian-Vocalion Records
(H. Lane Wilson), was rendered with admirable spirit and verve. Following selections were Hail, Smiling Morn (R. Spofforth), Where Are You Going, My Pretty Maid (Caldicott), Song of the Viking (Easton Fanning), Volga Boat Song (a traditional Russian song) and The Lord is Great, from The Creation (Haydn).
Esther Nelson revealed a pleasing soprano voice of good range and volume, and her diction was particularly good. Her high tones were very satisfying, her voice being even in all its registers; her tones are produced without apparent effort. She interpreted the aria, Vissi d’Arte; from Tosca, with much expression, and rendered with artistic feeling a later group consisting of In the Silence of Night (Rachmaninoff), At Parting (Rogers) and Recompense (Hammond) .
A bass voice of luscious quality, rich and resonant, freely produced, was disclosed in the singing of Wilfred Glenn. He sang his numbers with a wealth of feeling, a natural, spontaneous joy in singing and with a finish of style that was most satisfying. Love Me or Not (Secchi) was beautifully phrased, and three Salt Water Ballads by Frederick Keel were enjoyed. Moussorgsky’s Song of the Flea was done in masterly style.
James Price was heard in a group of three songs—You Are the Evening Cloud (Horseman), Twilight (Glen) and I Heard a Woodthrush in the Dusk (Courtney). His voice is a smooth, lyric tenor of agreeable quality and his interpretations are artistic. Especially beautiful was his fine rendering of You Are the Evening Cloud, a most interesting composition by Horseman.
Miss Nelson, Mr. Price and Mr. Glenn were heard together in two trios—Spirit Immortal (Verdi) and Most Beautiful Appear, from The Creation (Haydn)—their voices blending well. Florence M. Winselmann was an efficient accompanist for both chorus and soloists.
DALLAS (TEX.) MUSIC WEEK
SHOWS MUCH ORIGINALITY
Parade, Civic Opera Production, Massed Piano Concert, Texas Composers’ Program and Orchestra Concerts Are Part of Festivities
Dallas, Tex., May 17.—Closing a musical season in which scores of the world’s greatest artists had been heard, the annual Music Week received enthusiastic support from the public and almost every musician in the city took active part in making it the greatest one of its kind ever celebrated here.
Parade and Civic Opera Open Festivities.
On the opening morning a parade was enacted in which most of the musical clubs entered decorated cars and floats. All of the bands for the massed band concert took part in the parade and thousands of people witnessed it.
That evening the Tales of Hoffmann was given a performance by local musicians. This was sponsored by the Dallas Music Commission, a committee appointed yearly by the Mayor to promote musical interest. One of the leading workers of this committee is Mrs. Frank H. Blankenship to whom much of the credit is due for the success of the local operatic production. Others on this committee are Father Coupal, Edgar S. Hurst, Charles Mangold, E. B. Muse, J. C. Phelps, Dan D. Rogers, Manning B. Shannon, Edward Titche, Robert Watkin and Sudie Williams, supervisor of music in the public schools.
The Municipal Chorus, made up of about fifty voices conducted by Paul Van Katwijk, gave a notable rendition of the choral work in the opera. George Ashley Brewster was a splendid Hoffmann and Harold Kellog also scored as Coppelius, though all of the parts were admirably cast and the performance reflected great credit upon those who directed it. Mr. Van Katwijk was the musical director of the opera. The orchestra was composed of musicians selected from different theater orchestras and the symphony orchestra, together with some of the prominent teachers of orchestral instruments of the city, who gave their services. The score was well played.
Massed Piano Concert Attracts Great Crowd.
The attraction which drew one of the largest audiences of the week was the concert by ten pianists at the Fair Park Coliseum. It is said that this is the third time a thing of this kind has been done in the United States. The pianists taking part were Reuben Davies, David Guion, Mrs. F. B. Ingram, Julius A. Jahn, Elizabeth Gay Jones, Gertrude Mandelstamm, Frank Renard, Mrs. J. B. Rucker, Viola Beck-Van Katwijk and Paul Van Katwijk. Don Albert, the conductor of the Palace Theater Orchestra, conducted the concert and achieved many excellent effects with the company of ten artists. The concert grands were sent from New York and Boston several weeks before the concert and were furnished through the courtesy of the local piano companies. Three of the big grands were Chickerings (furnished by the Will A. Watkin Company), three were Stein-ways (from the Bush & Gerts Company), there were two Mason & Hamlins (from the D. L. Whittle Company), one Baldwin (from the Baldwin Piano Company), • and one Knabe (from the Knabe Company, New York). The Massed Piano Concert Committee, responsible for such a tremendous success, included Robert N. Watkin, of the Watkin Music Company; William Howard Beasley, president of the Texas Music Merchants’ Association and of the D. L. Whittle Music Company, and Paul Burling, of the Bush & Gerts Music Company.
Dallas Orchestra Shows Improvement.
The Dallas Symphony Orchestra, in its fourth and last concert, gave the best performance of the season. The program included overture to the Czar’s Bride, by Rimsky-Korsakoff; the Unfinished symphony, by Schubert; excerpts from Lohengrin, by Wagner; Dances from Henry the Eighth, by German; Artist’s Life, by Strauss, and the Suite from Carmen, by Bizet. Edward Lissmann, baritone, was the soloist of the evening who sang the Prologue from Pagliacci, accompanied on the piano by Miss Whitaker. Walter J. Fried, conductor of the orchestra and its organizer, is beginning now to reap some real artistic rewards for his years of effort. The orchestra is being recognized as one of the great factors in the musical growth of the city.
Annual Texas Composers’ Program.
A few days prior to Music Week the Dallas Music Teachers’ Association gave its annual concert honoring the composers of the State. Those represented on this occasion were Frank Renard (of Sherman) by organ compositions and by piano numbers; Harold Von Mickwitz (of Dallas) and Louis Versel (also of Sherman) contributed two attractive songs which were sung by Kathleen Cook with the composer at the piano; Oscar J. Fox (of San Antonio) had a group of four songs of exceptional merit, sung by Daisy Polk, and Reuben Davies (of Dallas) played two of his own piano compositions. The second half of the program was devoted to a Scherzo Play by Carl Venth (of Fort Worth) called Alexander’s Horse, representing an argument between Henry the Eighth and Catherine Parr as to whether the horse of Alexander the Great was white or black. It proved to be a cleverly written musical play and was presented by Ella Jane Lindsay, Mrs. Ruble and Bernard Taylor, with Mrs. Jean Taylor at the piano (all of
DE LUCA
Baritone of the Metropolitan Opera Co.
TOUR THROUGH TO PACIFIC COAST IN OCTOBER
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