57
MUSICAL COURIER
June 14, 1923
White-Smith Publishing Company, Boston
Love Like the Dawn Came Stealing, by Charles Wakefield Cadman, seems to be a successor to At Dawning. It has recently become a favorite for theater and hotel orchestras, always being received with enthusiasm. Just recently at the Seville in Boston, the orchestra, under the direction of Harold White, offered the number with an excellent presentation. Mr. White specializes in the finest compositions by American composers.
Ethelynde Smith, on her recent tour, sang the following songs: The Spring Song of the Robin Woman, from Shane-wis, by Charles Wakefield Cadman (fifteen times) ; The Goblins, by Gertrude Ross (twelve times), and The Bagpipe Man, by Howard McKinley (nine times). The programs of this American singer contain fifty per cent, of songs by American composers, so it is fair to suppose that her loyalty to her compatriots is appreciated.
Clayton F. Summy Company, Chicago
Lalla Ryckoff, a composer from Chicago, has arrived in New York for an indefinite stay. She has been rather successful with her pianologue. Summy have just bought a new selection, I Doubt It, and Um Hum.
Ray Tyler’s new madrigal for choruses, entitled The Pride of May, was heard in Philadelphia on April 25, under the direction of N. Lindsay Norden. Charles Frederick Morse, of Detroit, has also used the number.
Carl Fischer, New York
The publishing house of Carl Fischer has issued Volume III of Carl Fischer’s New Music Bulletin. This little sheet will be mailed to all upon request. One of the feature articles pertains to Rachmaninoff’s latest song. Another paragraph is devoted to Godowsky’s Miniatures. Emerson Whithorne’s New York Days and Nights is the next item of importance. The paragraph also carries the picture of Robert Schmitz, the French pianist, who introduced Mr. Whithorne’s number to New York concert-goers. A whole page is given over to new numbers for the violinist. There is also much space devoted to Novelties for Pianists, and the newest member■ of the American Academic series, number 9. The last page is given over to various feature editions. Rather a valuable pamphlet for the teacher 1
Harold Flammer, Inc., New York
Harold Flammer, the New York publisher, has left for his yearly trip to the Pacific Coast in the interest of his publications. He will visit Atlanta, New Orleans, Texas, California, Oregon, Washington, British Columbia, Manitoba, North Dakota, the Twin Cities, Chicago, Detroit and Pittsburgh.
George F. Bauer, who was for a number of years connected with J. Fischer & Bro., and later became manager of the Fine Arts Department of Joseph W. Stern Company, is now associated with Harold Flammer. Mr. Bauer is a graduate of the Leipsic Conservatory of Music and organist of St. John’s Lutheran Church, New York. He also succeeded the late Prof. Horatio W. Parker at St. Mary’s Cathedral School at Garden City when Mr. Parker was called to Yale University. A number of Mr. Bauer’s compositions are published by Luckhardt & Beider and the Oliver Ditson Company.	M. J.
Thirteenth Biennial Convention of N. F. M. C.
Opens
At the first business meeting of the thirteenth biennial convention of the National Federation of Music Clubs, being held at Asheville, N. C., Mrs. John F. Lyons of Ft. Worth, Tex., president of the Federation, asked for greater recognition of American artists on all concert programs of the music clubs. The convention opened on June 9 and will continue through this week. A complete report will appear in the issue of June 21.
Rachem More Popular Than Ever
As a rule, when a song gains quick popularity, it usually dies a quick death, but with Mana Zucca’s beautiful song, Rachem, it is steadily gaining in popularity.
Rosa Ponselle recorded it for the Columbia, also Cantor Rosenblatt and Dorothy Jardon for the Brunswick. It has been sung in concert by almost every leading artist, and it will be extensively programmed next winter. As one critic wrote: “It is a song for all time.”
warmest and most enthusiastic reception that has ever been accorded a violinist in Streator, not excepting Maud Powell.—Streator Daily Independent-Times.
Of the violinists who have appeared in the Twin Cities none can compare with Ruth Ray, who was presented last night at the St. Joseph high school auditorium in . the featured program of the spring festival. Not since the great days of Maud Powell has any American woman displayed the extraordinary violinistic talent, exquisite tone and accuracy of intonation demonstrated by Miss Ray here. Though still in her early twenties she played with the poise and suavity of a .veteran, with an intensity of feeling and those indications of power in reserve which are seldom shown by older violinists of either sex.— Benton Harbor (Mich.) News Palladium.
Miss Ray has excellent technic, fine tone quality, and her interpretations were all sane and musical. She played with good style, her bowing was excellent, her interpretations pleased the best of musicians and it was evident throughout that she has had fine training.—Kirks-ville Daily Express.
Parker on Guy Maier
Just before Guy Maier sailed for Europe he gave one of his children’s programs in Boston, which led H. D. Parker, of the Boston Transcript, to write several thousand words of appreciation from which the following is quoted:
As pianist Mr. Guy Maier may sometimes seem deficient in play of feeling over the music that he undertakes. No one, however, so hearing, him, may doubt his acuteness of mind similarly exercised. He perceives, co-ordinates, designs, plays upon the audience as well as the piano, leaves clear impression of every musical point he would convey. No one, again, hearing him in his occasional concerts for young people, like that in Jordan Hall yesterday afternoon, may question his sense of humor. For in these concerts Mr. Maier is expositor—to use far too formidable a word—as well as pianist. Having assembled the youngsters—in goodly numbers on Friday—he would persuade them that music and the hearing of music are amusing. He seems to dislike solemnities and reverences, which, happily, most of the world is fast banishing. He has no stomach for the platitudes of pretence. If music and the hearing of music are “educational”— unfortunately they pass as such—“keep it dark,” he seems to be saying to himself and to his audience. For pleasure we have come is his righteous tenet and pleasure, to the utmost in him, he bestows.
To these ends Mr. Maier had obviously chosen and ordered the program of yesterday’s concert. In ear and spirit, the hearing youth answer to rhythm. Hence a Gavotte from Bach; a bouquet of little Waltzes a la Viennoise, when that capital was still simple, from Schubert; the Polonaise in A flat major from Chopin. Amiably, too, may the assembled teens and even younger years thus discover that Bach wrote music not that it might be “revered,” but that it might give pleasure and, incidentally, bring him a living. They may hear also in Chopin a composer who, like themselves, had his fancies and was able, being genius, to preserve them in a casket of tones. Hence, possibly, yesterday an Impromptu from the Pole to float like bright cloud over the clang and ceremony of the Polonaise. The youngsters, too, like descriptive pieces, especially when Mr. Maier with a light hand and pleasing words, has spoken a fanciful title-page. So it was that they heard Mr. Chadwick’s amusing trifle. The Cricket and the Bumble Bee (Hamlet’s “buzz, buzz,” to Polonius should be motto for the piece). A bit—a long bit—farther Mr. Maier led them when he played Debussy’s Evening in Granada—the lights, the sounds of twilight, there and also in worldwide fancy, set in an iridescent enamel of tones. Not exactly so did Mr. Maier introduce the piece; but his words and playing did suggest those glamors of dusk, those echoes of distant sounds, which the teens have been known to watch and hear inarticulate as, if they are honest, becomes their years. In Jordan Hall, not too susceptible to these sheens of sky and air, Debussy and the pianist yet lead such beauty.
OPINIONS OF THE PRESS
Sundelius Scores in Providence
When Marie Sundelius appeared not so long ago as soloist with the Providence Symphony Orchestra, the Journal of that city commented as follows :
Marie Sundelius is not a stranger to Providence audiences. She has appeared here on several occasions and with success. Since her last visit, to this city she has made strides in her art. Her voice is bigger and better in quality than before. She sung her Faust aria with fine taste and admirable vocal control. The audience gave her an ovation after this appearance and after her song group. The contrasted songs were sung with delightful vocal quality and sympathetic understanding. Her high notes are full and very easily produced. After her songs, Mme. Sundelius added three extras in response to enthusiastic recalls.
Following this appearance she enjoyed similar success in Wilson, N. C. The Wilson Daily said:
All Wilson is wishing today that Marie Sundelius was on the program again for concerts every day this week. People would like to make a local institution of her. No Metropolitan singer has ever made herself more popular than this delightful Swedish singer did yesterday afternoon and last night, not only with her voice but also with her gracious manner under circumstances that were not a little trying. Marie Sundelius can get together an audience whenever she wants it hereafter.
Another Hess Success
The following is an echo of Myra Hess’ appearance in Bridgeport, Conn.:
There are two words in the vocabulary of the average musical critic which are sadly overworked and all too often misapplied. They are “great artist.” However, there are times when they are applicable and deserved. This is true with Myra Hess, English pianist, who appeared before the Wednesday Afternoon Musical Club, yesterday afternoon. Not only is Miss Hess a great artist but also the sheer beauty of her work entitles her to rank among the greatest. .	.	. Especially noticeable was the depth of feeling which Miss
Hess put into her work. Her playing was imbued with poetry and richness of feeling. .	.	. Miss Hess is the possessor of a
dazzling technic and her playing is most virile. .	.	. Coupled
with her ability as a musician Miss Hess has a charming personality. Like all truly great artists she is most unassuming but withal possesses a fine dignity, the dignity of the greatest simplicity.—Bridgeport Evening Star.
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especially gratifying, for it has a peculiar vibrancy, a warm human quality in its rich depths. It has the quality, not too often found, to move to smiles or tears.
The Lewiston Daily Sun was equally enthusiastic in his praise of the singer, stating that “People who attended the Orpheon concert at the Lewiston City Hall will not soon forget the throbbing voice, nor the appealing personality of Carmela Ponselle.״
London Critics Acclaim Goodson
Katharine Goodson, pianist, who is to visit America next season after several years’ absence, gave a concert with the assistance of the London Symphony Orchestra at Queen’s Hall on May 10. Miss Goodson is a favorite of many years' standing in London, but on this occasion the critics acclaimed her with even more than their wonted enthusiasm. Here are some of the press notices:
The concert given by Katharine Goodson at Queen's Hall last night, with the assistance of the London Symphony Orcehtsra, was thoroughly enjoyable. In addition to the Delius concerto, Miss Goodson was also heard in the “Emperor” concerto, in which her playing was remarkable for its breadth of style and, in the slow movement, genuine poetic beauty.—Daily Chronicle, May 11.
Katharine Goodson, at her Queen’s Hall concert last night, in the “Emperor” concerto, presented us with a straightforward and brilliant rendering ... in the Delius concerto she gave a freer rein to her temperament. .	.	. Here she proved that she could
be as subtle as others of her sex less strongly endowed with the sterner qualities. She concluded an evening which gave great pleasure to a large audience—and this is the best test for any pianist—with Liszt s Hungarian Fantasia.—Morning Post, May 11.
Katharine Goodson has never demonstrated more felicitously her possession of the grand manner which counts for much in the delivery of the concerto than at her concert, given with the support of the London Symphony Orchestra. In Queen’s Hall on Thursday, in the Delius concerto, the pianist addressed herself to her task with an aplomb that made light of technical obstacles and imparted deep significance to the beautiful slow section. The Beethoven “Emperor concerto, which had gone before, and the Liszt Hungarian Fantasia, which came alter, completed a scheme which became spectacular.— Sunday Times, May 13.
We recognize in her playing the artistic ideal and conscience.—The Times, May 14.
She had very marked success, for hers was no ordinary playing. A personal temperament was felt; a warm-hearted and adventerous spirit that takes pleasure in launching on a sea of difficulties. She smote the piano with a joyous vigor; indeed an ardent, full-blooded energy is the essence of her art.—Daily Mail, May 11.
She was in excellent form, especially, perhaps, in the “Emperor” concerto. She has a notable gift for color and gradation of tone.— Daily Express, May 14.
The orchestral concert of Katharine Goodson in the Queen’s Hall last night was a brilliant success, not only for the popular pianist but also for British music. In accordance with custom, she had included in her program a classical work, Beethoven’s Emperor concerto. She had also included the C minor concerto of Delius and, for orchestra alone, Arnold Bax’s symphonic poem, Tintagel. Both of these were as well received by the large audience as they were played.
Miss Goodson was in her happiest mood.—Evening Standard, May 11.
Her performance was clear and buoyant rather than profound, after the manner of those that believe that Beethoven must always be played with a frown. It was all the better for it.—Pall Mall Gazette, May 11.
On Thursday, at Queen’s Hall, Katharine Goodson, supported by the London Symphony Orchestra, played in Beethoven s ‘ Emperor concerto with an interpretative and executive command that placed her even in a higher artistic position than she had previously occupied. To say this is to say much.—Referee, May 13.
More Ruth Ray Triumphs
The season has not as yet closed for Ruth Ray, the bril-liant young American violinist, who has won instant success wherever she appeared. A few of the press ecomiums gleaned from her recent middlewestern tour are as follows:
Ruth Ray, heralded far and wide as Maud Powell’s successor and the greatest woman violinist, was accorded one of the greatest ovations even given an artist by a Streator audience. She was recalled time and again and added encores. The audience refused to depart until she had responded to the enthusiastic plaudits repeatedly. .	•	•
The young violinist is refreshingly young, vivacious and unspoiled. She plays with such brilliancy of execution and sympathy of expression that it is a delight to the hearer to forget all technical difficulties and to revel in the soul satisfying tones from the famous Guar-nerius violin.—Streator (111.) Daily Free Press.
Few women violin players can in any way compare with Ruth Ray, the young Chicagoan who appeared before the large audience at the Plumb Theater last evening in the second number of the Artists Course. In fact it is doubtful whether Streator has ever had the opportunity of hearing a violinist any better. .	.	. Miss Ray is
undoubtedly endowed with a great genius and the audience voiced its appreciation last night by recalling her time and again. .	.	• AJ®
youthful violinist’s tone is exquisite and Mcnnwy of her intonation is marvelous. ... It would be really difficult to decide which of Miss Ray’s numbers was the best. Russian Airs by Wieniawski, one of the most difficult, was played with much assurance and poise, while in some of the other numbers her rapid passage work was perfect. The combination of her wonderful talent and charming personality, which is the greatest possession of a concert artist, gave Miss Ray the
MME. CAROLINE
LOWE
VOCAL TEACHER AND COACH Voice Development and Correction
Stadio: 50 West 67th Street New York Tel.: Colambas 1405
MARY WILDERMANN
Concert Pianiste—Teacher
New York Studio to be opened Sept.
Res. Studio: St. George, S. I., 30 Nicholas St. Tel. Tompkinsville 3385.
Heizer Music School
Dircclioo of Mi- and Mrs. Frtdcrick Haizai
SIOUX CITY, IOWA	1215 Douglas Street
Lillian Croxton
COLORATURA SOPRANO
Concerts—Recitals
Management: Standard Booking Office, 17 East 42nd Street, New York City
HURLBUT
Disciple of Jean de Reszke
Now on 3rd Transcontinental Tour of Master Classes—Los Angeles, San Francisco, Seattle, Spokane. Lewiston.
NEW YORK STUDIO REOPENS IN OCTOBER 193 West 95th St. Tel. Riverside 4650
OPPORTUNITIES
A Phonograph Recording Laboratory has added a new department to their activities and can offer to musical artists a personal phonograph record of their own work for a nominal charge. $35.00 will cover recording and one dozen records. For particulars address Personal Phonograph Record Dept., care of Electric Recording Laboratories, Inc., 210 Fifth Avenue, New York.
proposition from the West, with promise of greater choral activity. Address “N. A. W.,” care of Musical Courier, 437 Fifth Avenue, New York.
FOR SALE—Flute, marked “Astor No. 6 Wyce Street, London 5.” Said to be one of flutes which original Astor brought to this country and traded for furs. Answer L. G. Rose, 1048 Sterling Place, Brooklyn, N. Y.
at 125 East Thirty-seventh street, telephone Murray Hill 0991, and 37-39-41 West Ninth street. Office 41 West Ninth street. Telephone Stuyvesant 1321.
EXPERIENCED solo pianist and accompanist wanted for a tour of 25 concerts. Address “E. S. L.,” care of Musical Courier, 437 Fifth Avenue, New York.
PROMINENT CHORAL CONDUCTOR of Boston, Massachusetts, would entertain
WANTED AT ONCE, two fine men Voice teachers. Salaries three thousand per year. We have other desirable openings for both men and women. Address The Interstate Teachers’ Agency, 205 Macheca Bldg., New Orleans,.La,________________
VANDERBILT STUDIOS of New York.
Proprietor, Mrs. Mabel Duble-Scheele, announce the opening of a new branch at 13 and 15 East Thirty-eighth street.
Renting office opens June 1. Also studios