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MUSICAL COURIER
June 21, 1923
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“The Artist Stieff” is one of the few musical instruments still made according to the fine old art of piano building. The “Stieff Tone” is famous with the artists of three generations. It is the voice of the Stieff alone. It is inimitable.
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enthusiastic than on the previous occasions. The overture, Merry Wives of Windsor, by Nicolai; Dance Macabre, by Saint-Saëns; the nocturne from the Midsummer Nights music, and Elgar’s Pomp and Circumstance’ comprised the purely orchestral numbers. These were given effective performances, with precision, color, refinement and artistic excellence in evidence. Von Kunits is an admirable conductor, and undoubtedly the right man in the right place. Arrangements are being made to give twenty concerts next season and many subscribers for the entire series have been secured. The Liszt pupil, Friedheim, who has been a resident of Toronto for the past two years, played the effective concerto in E flat by Liszt, and met with tremendous applause. His playing was brilliant and finished having a sensitive appeal in the lovely section in B major. He gave the overture to Tannhäuser as an encore.	W. O. F,
Salzedo Contributes to Jubilee Concerts
Out of the series_ of concerts organized by Mayor Hylan’s Committee on Music, three concerts were of unusual interest to harp lovers. On June 1, Carlos Salzedo and his Harp Trio (Salzedo, Marie Miller and Elise Sorelle) gave a joint recital with Greta Torpadie at Town Hall. The program included the sixth French suite of Bach, played by the trio;^ chorale and variations of Widor for harp and piano, Marie Miller at the harp and Salzedo at the piano; a group of Scandinavian songs by Greta Torpadie, accompanied by the trio; variations on an old style theme by Salzedo, played by himself, and miscellaneous groups by Miss Torpadie and the Salzedo Harp Trio.
On June 2, at Town Hall, the harp was again represented. The purpose of that particular concert was to show the accomplishment of American artists who have been entirejy developed in New York City. Marie Miller was selected to represent the young generation of American harpists.
On June 3, at the Century Theater, the program was exclusively composed of American compositions. Carlos Salzedo’s works were represented by two groups. Contributing artists on that evening were Frances Alda, Ernest Schelling, Carlos Salzedo, Maximillian Pilzer and Julia Glass.
Clarence Adler Vacationing
Clarence Adler, well known New York pianist and pedagogue, has taken a cottage for the summer at Lake Placid, N. Y., where he will spend his well earned vacation in rest and recreation, as well as in the preparation of programs for next season.
Mr. Adler has just closed one of the most strenuous seasons of his professional career. During the month of August the New York Trio will rehearse at Mr. Adler’s summer home.
opportunity to appear before the public just as soon as he is ready to do so. Thus, he believes, it is possible for the student to acquire confidence, poise and stage deportment through practical experience, while securing his training in voice placement and repertory.
TORONTO ORCHESTRA CLOSES SEASON WITH FINE CONCERT
Von Kunits, Conductor, Stirs Enthusiasm—Carboni Leads
Operatic Chorus Through Splendid Performance of The Jewess—Closing Recitals by Music Institutions
Toronto, Ont., June 2.—For the past month the music has largely been furnished by piano, violin and vocal pupils of teachers from the different music schools and private studios. The annual closing concert of the Canadian Academy of Music was given in Massey Hall, when a splendid array of gifted performers was heard to great advantage. The. orchestra class, under Luigi Von Kunits, opened the program with a fine rendition of a movement from a Mozart symphony.
AtlKe conservatory closings a number of talented and well taught pupils appeared. In the piano department Harold West, a pupil of Ernest Seitz, showed a brilliant equipment and Gordon Hallett, pupil of Paul Wells, played with commendable style. Florence Singer, a pupil of Viggo Kihl, gave a well contrasted and brilliant performance of Mendelssohn’s Midsummer Nights Dream music. The singing and violin playing attained the high standard one expects from conservatory concerts.
Oratorio Presentation of The Jewess Proves Successful.
The presentation of Halevy’s opera, The Jewess, in oratorio form by the Toronto Operatic Chorus, under the con-ductorship of Maestro Carboni, was in every respect a praiseworthy undertaking. The work was performed so well and the gifted Carboni instilled into his chorus and orchestra such temperamental enthusiasm that one forgot the dramatic accessories. There were 100 voices in the chorus and an orchestra of forty pieces. The soloists were excellent.
The distinguished Toronto composer and organist, Healey Willan, gave an organ recital in Albany, N. Y., delighting with his masterly improvisations on themes supplied by musicians in the audience.
Local Symphony Establishes Itself Further.
The last concert of the season by the newly formed Symphony Orchestra, Luigi von Kunits, conductor, was given last week and the audience was larger and more wildly
SALUI
By Anil Deer
In the Pacific Coast Musical Review
Three little monkeys, perched on the. grand piano: “Why your look of fright, Oshi?” said little Tunbo, who kept his ears covered so as to hear no evil. “Dame Rumor called and told the old story that those in the musical profession, whether performer or pedagogue, are inclined to speak or infer evil of their contemporaries,” said little. Mikura, who could see no evil. “Foolish little Oshi, look not so perturbed; did you not hear what was said in answer?” “You must always allow for percentage.”
The profession is composed of a certain percentage of humanity with its allowance of good and bad. Pupils undoubtedly have unpleasant experiences, but so have teachers, and to condemn all because of a few is manifestly unjust; where the pupil finds an incompetent teacher, the latter in turn finds the unsatisfactory pupil. Yet it all figures out to percentage and the percentage of either fine teaching or successful performer is small indeed.
Think in all the world how really few attain the artistic heights. The fault—why, percentage of course. Teachers all have pupils who disappoint, for one reason or other; who never climb to the altitudes deemed possible, who fail; the causes many, i. e., one through ill health, another through financial inability, another marries and so it goes; but should one be discouraged because of these results? No 1 for it is all percentage again. The same holds true in relation to the pupil’s attitude towards an unsatisfactory perceptor.
Charlatans, yes; but the music profession is in no way an isolated exception in this; the fields of medicine, dentistry, the business world, all have their irresponsible characters, it is your percentage of “chaff among the wheat” and as a law of contrast, most valuable. All are more appreciative of the true when once they have suffered from the false. No teacher intentionally misleads a pupil, nor does any performer by malice aforethought give a poor rendition ; it is limitation which is responsible; the average critic of either is not maliciously unkind, there is the psychological desire to help progress.
When one has a new idea or discovery they are most eager to pass it on, seemingly impelled by ego, but that is an erroneous idea; in the background is the true wish to share, impelled by the Divine. The manner of so sharing differs as do individuals and oft-times ways selected are not calculated to bring the desired result; this only embraces the frailities of humanity, in no way being an index of the whole.
“Nay, nay, little Oshi,” continued Mikura, “you need not be alarmed, the percentage of good feeling, kindly actions and broadmindedness among the muchly traduced members of said profession, far overbalances any of the reverse; if you are numbered among them you will find your loudest applause, the warmest hand clasp and most encouraging advice ‘back stage.’ ” “Indeed, yes,” agreed Tunbo, “travelers all upon a long but interesting journey; the able-bodied and the frail, with outstretched hands, eager to aid any who stumble, and while their steps may be slow and faltering, yet they wend onward and upward.”
New Choral Organization Under Chamberlain
What promises to be an interesting concert will be given on Friday evening, June 22, at the High School of Commerce Auditorium, under the direction of C. Versel Chamberlain.
For the past two seasons, in addition to his work as a teacher of voice, Mr. Chamberlain directed the choir of Calvary Baptist Church of this city. In connection with his work there, one of the finest organs on the continent was built and installed under his personal supervision. In a remarkably short time Mr. Chamberlain built up a choir which attracted attention. His choir was composed largely of his own students and other music lovers who appreciated the opportunity for training and experience under such able leadership. This spring, upon completion of his contract with the Calvary Baptist Church, Mr. Chamberlain was followed by practically the entire membership of his choir, who entreated him to continue his work with them. As a result, a ׳ permanent choral organization has been formed, with Mr. Chamberlain as director. The concert recital tomorrow evening will be the first appearance of this organization.
Cavalleria will be sung in concert form, together with such numbers as the Miserere from II Trovatore, the Prison Scene Trio from Faust, Sextet from Lucia, Barcarolle from Tales of Hoffman, etc. All of the solo work will be done by students, and the ensemble of some forty voices consists of earnest students and music lovers who are all preparing for solo parts on later occasions.
Mr. Chamberlain’s aim is to give training in concert, oratorio and operatic work, and to give to each student an
CLAIR EUGENIA SMITH
JOSEPH SCHWARZ
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S. HUROK, Aeolian Hall, New York
Distinguished European Baritone