19
MUSICAL COURIER
June 21, 1923
MARGERY MORRISON,
musical director and coach, who has just finished a nine months’ tour with the Doree Operalogue, has sailed for Fontainebleau, France, where she will spend a few months, studying directing and repertory. She icill spend September in London and returns to New York October 1.
Parish Williams Winning Success Abroad
Parish Williams, the American baritone, has been winning unusual success in recital abroad. February 12 he made his European debut in Berlin and scored a tremendous success for an initial appearance. February 26 he gave his first recital in Copenhagen and a second on April 7; receiving splendid press notices on each occasion. April 12 Mr. Williams was heard in his second Berlin recital, again arousing the enthusiasm of his audience and the critics. April 16 found him appearing with equal success in Dresden, and May 6 he sang in Munich and May 15 in Vienna.
Mr. Williams will return to Berlin in September for another concert. He has been engaged to sing in Milau and Florence in October, after which he goes to Paris, Monte Carlo and Nice, then to London, where he will give two recitals in December. The baritone plans to return to New York by Christmas and give a recital in the metropolis in January.
While abroad, Mr. Williams is singing with success songs by American composers, Rhea Silberta’s Yohrzeit being especially favorably commented upon by the critics.
EUGENE GOOSSENS COMING TO ROCHESTER
Both He and Vladimir Shavitch Have Been Engaged to Assist Albert Coates in the Development of the Rochester Philharmonic Orchestra-Sixteen Concerts to Be Given in the Eastman Theater During the Coming Season
under Hugo Kaun and Paul Kuon. He made his debut at the age of seventeen as a pianist.
He and Mrs. Shavitch—Tina Lerner, the pianist—established the Shavitch Conservatory of Music in Montevideo, still in existence, and while there Mr. Shavitch was engaged as conductor of the Montevideo Symphony Orchestra. In the fall of 1922 he went to Europe and his appearances as guest conductor with the Berlin, Leipsic, and Dresden Philharmonic orchestras and also with the Berlin Symphony, attracted remarkably favorable attention from the foremost German critics.
About the Fontainebleau School
When the Fontainebleau School of Music opens formally June 24, there will be 120 American musicians in attendance. This number represents the total capacity of the school and many applicants for admission had to be rejected owing to lack of space. These students come from about twenty-five different States of the Union, and, roughly speaking, will be divided as follows among the different departments: piano, sixty; voice, thirty; organ, violin, cello, harp and composition, between thirty and forty.
At the formal opening June 24, Ambassador Herrick and Dr. Walter Damrosch are expected to represent America, with Rudolph Ganz, Blair Fairchild and other American musicians of note present. France will be represented by the Minister of Fine Arts, Messrs. Widor and d’Ollone, directors of the school, and other celebrated French musicians.	.	.
June 27 there will be a formal reception for the Goodwill Delegation of American Women now in France, in the course of which Georges Hue will present a concert of his own compositions. For the month of July concerts by Messrs, d’lndy, Muratore, Louis Aubert and others have been arranged. These weekly concerts are a special feature of musical life at the school.
This season marks the opening of the Fontainebleau School of the Fine Arts, which will share the Palace^with the School of Music. About eighty architects and painters will be in attendance at this school, making the total number of American students studying at Fontainebleau this summer about 200.
Hughes’ Artist-Pupil Series Begins
Therese Koerner, talented young artist-pupil of Edwin Hughes, opened a series of individual recitals to be given weekly at the Hughes Studios during the summer class. A program of unusual interest included: Sonata, op. 42, Schubert; Jagdleid, Vogel als Prophet, Novellette No. 7, Schumann; berceuse, preludes in C, G and F major, impromptu in F sharp, Chopin;, Gondoliera, Liszt; Chant Polonaise. Chopin-Liszt; Kiinstlerleben Waltz, Strauss-Schutt. Miss Koerner is a young pianist of attainment; she has artistic understanding, temperament and an efficient technic. The Schubert sonata was performed with clarity, power and distinction, and equally interesting were other numbers in view of a display of musical feeling and beautiful tone.
Following the announcement of the appointment of Albert Coates to the post of director of the Rochester Philharmonic Orchestra, as related in last week’s issue, Mr. Coates hurried back to England to take up important work. He will return in mid-winter to assume his duties. In the interim, Eugene Goossens and Vladimir Shavitch have also been engaged as conductors for the Rochester Philharmonic Orchestra. Goossens will come to America to take the orchestra in hand tO prepare it for the strenuous season that has been scheduled. Both he and Shavitch will have important parts assisting Coates in the development of the Rochester Philharmonic Orchestra, which will give sixteen concerts at the Eastman Theater during the coming season. Mr. Goossens will conduct the first of these concerts, on the evening of October 17, and three afternoon concerts—October 24, October 31 and November 7. Three concerts have been assigned to Shavitch, afternoon performances on December 19 and January 9, and an evening concert on a date that is yet to be decided. The other concerts of the series will be conducted by Coates—three evening concerts, January 16, February 27 and April 9, and seven afternoon concerts January 23 and 30, February 6 and 20, and March 5, 19, and 26.
Who Goossens Is.
Eugene Goossens was born in 1893. He is a son of Eugene Goossens, former conductor of the Carl Rosa Opera Company, and his mother, herself a musician, was the daughter of Aynsley Cook, a noted operatic basso. A native Englishman, his activities have centered in that country, although the influences of Continental study are apparent in his creative work, particularly his compositions of the modern French .school.
This may be due to the fact that he entered the Bruges Conservatoire at the age of ten, returning three years later to continue his studies at the Liverpool College of Music. A year later he won. the Liverpool scholarship for violin at the Royal College of Music, where he studied composition with Sir Charles Stanford. He soon gained the degree of Associate, and also won the silver medal of the Worshipful Company of Musicians.
Goossens acquired practical orchestral experience as a violinist of the Queen’s Hall Orchestra in London during the four years from 1911 to 1915, and it was during that period that he conducted for that body his first orchestral works. Sir Thomas Beecham then invited him to conduct during his opera season at the Shaftesbury Theater, and the brilliancy of his work established his position as one of the finest English conductors at an age at which most musicians are still pursuing their studies. Sir Henry J. Wood invited him to conduct his Eternal Rhythm at the Promenade Season of 1920 and two concerts at Queen’s Hall during the following year which established him as a conductor of rank.
Shavitch’s Career.
Vladimir Shavitch, the other conductor, is scheduled to return to Rochester with his family to enter upon his new duties in August. He is an American born. He studied music in Germany under Leopold Godowsky, Ferruccio Busoni and Teresa Carreno, and composition and orchestration
SUMMER STUDY MATERIAL
FOR THE VIOLINIST
SEVERN, ED.
Minstrel Memories............................. $ ,75
SEVERN, ED.
Norse Dance.................................... 1.00
SIBELIUS, J.
Musette from “King Christian II”................ .75
WHITE. C.
Caprice ..........................................60
WHITE, C.
Serenade .........................................50
WHITE. C.
Twilight .........................................60
WHITE, C.
Valse Coquette....................................60
WILLEKE. WM.
Chant Sans Paroles (Song Without Words)...........60
WILLIAMS. C.
Night Song........................................50
WILLIAMS, C.
Shepherd’s Carnival (Novelette)...................60
WINTERNITZ, F.
Badinage .........................................60
Aria from Samson and Delilah by	Saint Saens.......75
NEW SOLOS FOR VACATION STUDY
JUON, PAUL	.
Elegie .................................... v •To
JUON, PAUL
Humoresque .................................
JUON, PAUL
Valsette.......................................?5
KOVACS. CHARLES
Melody.........................................50
KOVACS, CHARLES
Pizzicato Gavotte..............................50
KOVACS, CHARLES
Souvenir Russe.................................00
KRAMER, A. WALTER
Entr’acte Op. 46. No.	2........................<5
KRAMER, A. WALTER
Symphonic Rhapsody.......................net 2.00
LABATE, B.
Villanella ....................................00
POCHON, A.
Andantino from “Le	Huron” by Gretry............75
SCIAPIRO, M.
Romance .......................................75
SEVERN, ED.
Keltic Fantasy.................................75
BERGER, I.
Arietta .................................... $ •50
BERGE, IRENEE
Chant Lyrique...................................75
BLON, VON F.
Meditation (Urbelo).............................60
BORISSOFF, J.
Crimean Rhapsody (Bachcisaray)............... 1.25
BORISSOFF, J.
Impromptu ......................................60
BORISSOFF, J.
Romance Sans Paroles............................50
CRIST, BAINBRIDGE
Intermezzo from Pregiwa’s Marriage..............60
CZERWONKY, R.
Memories .......................................50
DEPPEN, JESSIE L.
Joli Bleuet.....................................75
GARDNER, SAMUEL
Slovak Op. 5, No. 1.......................... 1.00
JUON, PAUL
Chant du Berceau................................75
JUON, PAUL
Chant d’Amour...................................75
NICOLO PAGANINI, A Biography, by Prod’homme...........................Cloth Net $1.25
HOW TO TEACH THE VIOLIN IN CLASS, by Paul Stoeving...................Paper Net .60
THE MASTERY OF THE BOW, by Paul Stoeving. A text book for teachers
and students of the violin........................................Cloth Net 1.75
BOOKS FOR SUMMER READING
VIOLIN STUDY AND VIOLIN TEACHING, by Eugene Gruenberg, with an
introductory preface by Fritz Kreisler.......................Cloth Net $1.50
RIGHT HAND CULTURE, by Paul Shirley, for violin, viola and cello
players.....................................................Paper Net .50
ZOELLNER QUARTET REPERTOIRE
Album of Twelve Selected Masterpieces for String Quartet Edited by JOSEPH ZOELLNER, Sr.
CONTENTS
Praeludium from the Well-tempered Clavichord, (J. S. Bach); Ein Traum (A Dream), (Joseph Haydn); Humoresca-Scherzando, from the String Quartet, Op. 13, (M. Ippolitow-Iwanow); Intermezzo, from the String Quartet, Op. 13, M. Ippolitow-Iwanow; Wiegenlied (Cradle Song), (W. Petr); Allegro Assai in C Minor, from an unfinished Quartet, (F. Schubert); Two Indian Dances:	No. 1, Deer Dance; No. 2, War Dance. (C. S. Skilton); The
Sandman, Lullaby, (C. S. Skilton); Genius Loci (In Highest Thought), (C. Them); Menuet, (G. Valensin); Variations on the Russian National Hymn, from the String Quartet in D Minor,
■ (W. H. Veit).	PRICE $2.00 NET
WHEN MUSIC LOVERS GET TOGETHER
FLONZALEY QUARTET FAVORITE ENCORE ALBUM NO. 1.
Arranged by ALFB.ED POCHON CONTENTS
Drink to Me Only With Thine Eyes (Old English Folk Song) ; The Mill (from String Quartet Op. 192, No. 2), (Raff); Serenade. (Haydn); Gavotte, (Old French); Old Black Joe, (Old Plantation Song); Canzonetta (from String Quartet in Eb Major, Op. 12), F. Mendelssohn-Bartholdy) ; All’ Ungherese (Moment Musical), (Schubert) ; Angel Gabriel (Old Plantation Song); Larghetto (Haendel) ; Spirit of the 18th Century (after Martini.)
PRICE $2.50 NET.
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