29
MUSICAL COURIER
1923
June 1
cipal cities in the French Riviera, Nice, Cannes, Monte Carlo and the Island of Corsica. This was Mr. Heath’s first concert tour on the Riviera and it speaks well for him that he was immediately engaged to play next season with four of the symphony orchestras there, in the three cities named above and Marseilles in addition.
The trip to Corsica, ten hours by boat from Nice, was peculiarly interesting. Mr. Heath gave a recital at Ajaccio and enjoyed the demonstrative enthusiasm of the audience of Corsicans with a fair sprinkling of foreigners. There are׳ few concerts at Ajaccio and the inhabitants seem to be music hungry, “a rare and agreeable condition of affairs for the artist in these days,” says Mr. Heath.
The season just ended has been a very busy one for the Leschetiszky Institute of Piano, and Mme. Leschetis-zky, the director, and Mr. Heath report interesting talent
WALTER SCOTT A NINE-YEAR-OLD VIOLIN PRODIGY
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JOHN HEATH
in their classes. The two directors arrange their concert trips so that one is always at the Institute to give lessons and personally supervise the work of the assistants who teach the less advanced pupils. The school expects to be located in its own house, 22 Rue Viconti, VI, this month, where a special summer course for artists and teachers will be held.
More Dates for Estelle Gray-Lhevinne
The following are future appearances for Estelle Gray Lhevinne: June 25, University of Virginia, Charlottesville, Va.; 26, State Normal, Shephardstown, W. Va.; 28, State Normal, Indiana, Penn.; 29, State Normal, Slippery Rock, Pa., and July 2, Boston, Mass.
Mgt. Universal Concert Bureau, Inc.
The American Contralto with International Fame
CARIES
“Mme. Cahier is a very great artist. She had a splendid reception from our Detroit audience. She sang most beautifully.”— Ossip Gabrilowitsch.
BALDWIN PIANO USED
17 East 42d Street, New York City
seventh and ninth De Beriot concertos. He is now studying violin with Philip. Mittell of New York City, and is taking a course in musicianship with Effa Ellis Perfield. All his concertos, solos, studies, etc., he plays without looking at his notes after going over them once. He has a brilliant technic and the joy expressed in his sparkling eyes comes through into his music. He loves to play the violin as well as he loves to play ball. In his musicianship work he is able to take all kinds of rhythmic dictation, melodic, and harmonic dictation. At first he seemed to have an absolute pitch within the range of the violin, which is now extended to any pitch, and besides having the absolute pitch of single tones he senses the feeling of one tone in twenty different chords; he is able to sing, spell, play and write all of these chords, besides ten different kinds of scales including the Scotch, Hungarian, overtone, etc. He has done some composition work in both music and in verse. He attends Public School 159, Brooklyn, N. Y., and had a psychological test under Professor Heckman of City College, New York, when he was found to have the mental age of a child eleven years and nine months. His vocabulary is that of a twelve-year-old child and his ability to define abstract words is equal to a child of twelve. He is superior in general intelligence and ranks among the highest of children of his age.
Walter has played at a number of local concerts, including the New York City Mothers’ Club; the Majestic Theater, Brooklyn; the Hudson Theater, New York. He was a guest of honor at the Pleaides Club, New York and also played for the New York Evening World’s Kiddie Klub. The following testimonial speaks for itself: “It would be hard to mention names, the actors were all so good, the rhythmic dances and all of them, but it must be said that the audience just went wild over the violin performance of little Walter Scott, who handled the bow like a professional.” The musicians in the Strand Orchestra put aside their instruments and joined in the applause for the Evening World Kiddie Klub prodigy; they said he was wonderful. J.
When Walter Scott was a small child he would sing nearly all day long, especially when he was tired and sleepy and ready to go to bed. He began to play the violin at the early age of three years. His father, a violin teacher, gave him his first lessons. He would give him ^material that for the ordinary child would require a week’s study, but the day after taking his lesson the father would ask
WALTER SCOTT
(1) at the age of four and (2) eight years old.
how he was getting along. Walter would say: “I can play it now, Pop,” and with a twinkle in his eye, assuring himself that he had the approval of his father, he would play the entire lesson without looking at his notes. Another lesson would be given with the same result next day. .
At the age of four he and his sister Doris played a violin duet at the Manhattan Opera House, and less than two years later, Walter played from memory such pieces as the
Betty Cox; Among the Gypsies (Janeke), Elizabeth Lloyd; Savoyard Boy (Reinhold), Norvelle Brasch; A June Morning (Marschal-Loepke), Carol Berger; Gladys at Play (Mokrey), Eleanor Hopkins; Waltz (Dennee), Mercedes Knoch; Witches’ Revel (Schytte), Edna Jean Russel— demonstration of musicianship work; A Day in Springtime (Risher), Virginia Moser; Serenade (Oleson), Marchessa Worcester; Butterflies (Goodrich), Arline Anderson; Scherzettino (Goodrich), Lois Lompkin; Theme from sonata in A major (Mozart) and Pappillons (Goodrich), Marjorie Lasar; Caprice (Goodrich), Elizabeth Seaman; Tarantelle in A minor (Dennee), Betty McCarty; Waltz (Schubert) and Prelude (Heller), Mary Hawks; Elfentanz (Grieg), Nocturne (Thompson) and Intermezzo Orientale (Rogers), Hadley Yates.
Jessie Fenner Hill Studio Recital
Jessie Fenner Hill, New York vocal teacher, entertained her many friends on May 26 at her beautiful and spacious studio in the Metropolitan Opera House building, 142o Broadway. Although a recital, the. affair was in the form of a reception given by the charming hostess and assisted by several of her pupils.
־A delightful musical program by seven of her artist pupils was rendered, the participants being Gloria Doyle, Georgi-anna Moore, Amelia V. B. Coleman, Lucille Grace Douglas, E. Jeannette Thomas, Rudolph Fornell and Josephine Martino. Of these, the outstanding artists were Josephine Martino, E. Jeannette Thomas, Amelia V. B. Coleman and Rudolph
Fornell.	.	,	c
It is needless at this late date to dwell on the merits ot Mrs. Hill’s method. Suffice it to say that the seven young singers, or rather artists, which they all proved to be, reflected great credit upon Mrs. Hill’s work. Each and every one revealed the same careful training and development, but without destroying individuality.
The program comprised works by Sibella, Huerter, Mana Zucca, Rossini, Puccini, Charpentier, Wennerberg, LaForge, Campbell-Tipton, Clark, Lieu ranсe, Saint-Saëns, Watts Phillips, Mendelssohn, Finden, Spross and Staiib. lne accompanists were Julio Osma and Mrs. Elizabeth Bradis . Following the musical program refreshments were served.
Hempel Gives “Jenny Lind” Concert in London
London, May 28,—Exceptional enthusiasm greeted Frieda Hempel at her Jenny Lind concert at the Royal Albert Hall, London. Dressed in costumes of the period, the whole concert was an exact replica of one of those given by Jenny Lind in her prime, and was attended by similar success. 1 he program included Casta Diva (Norma), some Schubert and Schumann, the aria with two flutes from L Etoile du Nord by Meyerbeer, Taubert’s Bird Song and Home Sweet Home.	__________ U U
Harriet Bellman Offers Scholarships
Harriet Bellman, American pianist and teacher, offers scholarships to two talented pupils during the summer months, one free and the other partial. Young pianists desirous of benefitting by this offer, should at once make application to Mrs. Bellman at her studio, 239 West 72nd street, New York.
John Heath Returns from Tour
John Heath, assistant director of the Leschetiszky Institute of Piano in Paris, has recently returned to that city from some very successful recital appearances in the prm-
Goldman Band Concerts
Edwin Franko Goldman, conductor and founder of the Goldman Band, opened the season of outdoor summer concerts on the Mall in Central Park, New York, before a very large audience on Monday evening, June 4, a report of which appeared in the June 7 issue of the Musical Courier. The second concert, on June 6, had to be abandoned owing to the severe storm after the band played the first three numbers.
The concerts on June 8, 9, and 10 comprised Wagner and miscellaneous programs which are herewith reproduced in their entirety:
Third Concert, June 8. Wagner Program.
March, Tannhäuser...........................................Wagner
Overture, Rienzi............................................Wagner
Pilgrims’ Chorus from Tannhäuser............................Wagner
Fantasie, The Valkyrie......................................Wagner
Overture, Poet and Peasant..............................von buppe
Ario from Mefistofele........................................Boito
Vincent C. Buono, cornet soloist.
Intermezzo, On the Green...................................Goldman
Excerpts from Pinafore....................................bullivan
Fourth Concert, June 9.
Wedding March..........................................Mendelssohn
Overture, William Tell.....................................Rossini
Narcissus ....................................................Neym
Excerpts, Madame Butterfly................................... menu
Introduction to Act III from Lohengrin......................Wagner
Three Songs—	,,
Lotta Madden, soprano.
Waltz, The Beautiful Blue Danube...........................Strauss
Excerpts from Robin Hood...................................DeKoven
Fourth Program, June 10.
War March of the Priests, from Athalia.................Mendelssohn
Overture, Oberon........................................־* v.w ® .r
Kammenoi Ostrow, Reve Angelique.........................Rubinstein
Hungarian Rhapsody II......................................  Hiszt
Nearer My God to Thee.......................................•Mason
lnflammatus, from Stabat Mater.............................Rossini
Vincent C. Buono, cornet.
Waltz from Faust..........................................  Gounod
Hallelujah Chorus from The Messiah..........................Handel
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Thomas James Kelly Pupil Wins Success
Lyda Clarke Darlington, of West Virginia, graduate pupil of Thomas James Kelly, prominent vocal instructor at the Cincinnati Conservatory of Music, gave the following interesting program recently and received excellent notices from the press :	My Lovely Celia, Old English Melody, Arranged
by Lane Wilson; My Days Have Been So Wondrous Free, Francis Hopkinson, First American Composer; Give Me Thy Heart, Colonial Love Lyric, Francis Hopkins ; Récit — Giunse al fin il momenta, from Marriage of Figaro, and Aria
__Deh Vieni Non Tardar, Mozart; Avril pose ses pieds lents,
Paulin; Tes Yeux, René Rabey; Charmant papillon André Campra; Chanson Norvégienne, Felix Fourdrain ; Récit.— O Welcome Now, and Aria—O How Pleasing to the Senses, from the Seasons, Haydn ; The Swan Bent Low, and A Maid Sin״s Light, MacDowell ; Now Sleeps the Crimson Petal, Roger Quitter ; The Bells of Sevilla, Homer Samuels; Never the Nightingale, Charles Hueter. .	.
Of the concert, the Cincinnati Enquirer had the following to say :
A recital of interesting arias and songs was given Friday evening, May 25, at the Cincinnati Conservatory of Music by Lyda Clarke Darlington, soprano, pupil of Thomas James Kelly. Miss Darlington, whose work has been heard a great deal in Cincinnati and whose voice has been spoken of highly, gave a splendid illustration of good schooling by her capable handling of the seldom heard recitative and aria from The Seasons by Haydn, Oh, Welcome Now, and Oh, How Pleasing to the Senses.
Florence Hammon’s Pupils in Recital
The first program in a series of recitals by junior students of Florence Hammon’s School of Piano in St. Louis, Mo., was held ■on May 12. The program follows: The Bumble Bee (Rea) Marjorie Palmer; Memories (Bjarne Rolseth), Ruth Rothschild; The Goblins (N. L. Wright), Ehzabeth Wright׳ A Garden of Dreams (MacDonald), Mary Frances Grote; Hungarian Rondo (Potstock) Teddy Robinson; Melody—after Mendelssohn (N. L Wright) Madonna Readey; Teasing (Von Wilm) Elizabeth Woolley; A Dream—from One Thousand and One Nights (Remecke),