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MUSICAL COURIER
June 2 8, 1923

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\ THE INSTRUMENT \ I OF THE IMMORTALS |
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. . There is something in the history of the Steinway family to bring joy to the heart of every one who is devoted to his profession. The Steinway piano is an unmistakable product of love of profession, and to it I pay my tribute of high esteem and admiration.”
From a letter to Steinway <5׳ Sons
by Ignace J. Paderewski
Paderewski’s tribute to the Steinway is echoed in the preference of every great musician. The Steinway is the piano of Hofmann and of Rachmaninoff. It is the companion of Fritz Kreisler and Mischa Elman; an inspiration to the songs of Schumann-Heink and Gad-ski. To Damrosch and Stokowski the Steinway “stands unequaled.”
Does not your every inclination tell you that you can find permanent musical happiness only in the Steinway? Need you delay this happiness when you know that the Steinway price is a reasonable one? And when the terms of payment are so generous that your purchase is relieved of any inconvenience?
Any new Steinway piano may be purchased with a cash deposit of io%, with the balance extended over a period of two years. Used pianos accepted in partial exchange.
PRICES: $875 AND UP.

Steinway & Sons
STEINWAY HALL 109 E. Fourteenth St., New York
thoven’s Pathétique were a revelation as played by the gifted Jeannette Tisnee, at the June 10 recital, and on June 17 Madeline Miller again proved an unmistakable talent in her rendition of three Chopin preludes and Rubinstein’s Romance, op. 44, No. 1. Both these young artists were highly appreciated by the audience that filled the Wildermann studio at the two recitals.
The pupil deserving special credit was Pierre Spinetta, who ten months ago could scarcely move a finger and
Summer Recitals by Wildermann Pupils
June 10 and 17 marked the first two pupils’ recitals to be held during the summer season at the residence studio located at picturesque St. George, Staten Island, of the successful pianist and teacher, Mary Wildermann. These were the sixth and seventh of this year’s series.
In the short time of a year and a half that Miss Wildermann has taken up teaching in this country, the students
MARY WILDERMANN AND A SECTION OF HER PIANO CLASS at her St. George, Staten Island, studio. This successful pianist and teacher, a Leschetizhy exponent, has presented her pupils in a series of interesting recitals which will continue through the summer and the following season. (J. G. Malnati <Sc Son photo.)
seemed a hopeless case; he played with good technic Fontaine’s Scherzo, op. 96, and has shown excellent progress.
A schedule has been completed for monthly recitals and teas until May of next year.
Freemantel Artist Pupil in Recital
Roslyn Reynolds, a promising young contralto, artist-pupil of Frederic Freemantel, gave the closing program for the last of the series of recitals at the Freemantel studios on Saturday afternoon, June 16. All of the songs and arias sung by Miss Reynolds were first prefaced by Mr. Freemantel with an explanatory talk, in which he showed and illustrated the characteristic musical structure that made them particularly belong to the contralto voice.
ROSLYN REYNOLDS, artist pupil of Frederic Freemantel.
In such arias as He Was Despised, from The Messiah, Mr. Freemantel demonstrated the passages where a contralto has to use great care and judgment in the use of chest tones, and he also pointed out that these same notes are the exact pitch where tenors also have to use care. _
Miss Reynolds is the possessor of a rich contralto voice and a charming personality, and she sang with all the vivacity and exuberance of youth. As a result she was immediately engaged for a series of summer _ recitals. The contralto recently sang with success at Ovid, N. Y., appearing before the Twentieth Century Musical Club, when she presented a varied and interesting program. Miss Reynolds is now preparing a repertory for next season under Mr. Freemantel’s tutelage.
Mr. Freemantel will remain in New York all summer teaching his special summer class.
Marie Zendt’s Coast Tour
Marie Sidenius Zendt has just completed a successful coast tour that brought her re-engagements wherever she appeared. She was soloist for the Orpheus Club, Tacoma (Wash.), and gave recitals at Seattle, Bellingham and Vancouver (B. C.)
Mme. Zendt is now at her summer home at Wilmette, where she will be until September, preparing new roles and her recital for October 12, at Aeolian Hall, New York. She has been engaged to appear with the Minneapolis Orchestra, and to sing Beach’s A Mirage with the Musicians’ Club on October 22.
McQuhae in Texas
Allen McQuhae, tenor, who was heard here in recital this season, has gone to Texas where he will spend his vacation.
that have been placed under her guidance have made great strides. Previous to 1914, Miss Wildermann, a pupil of Theodore Leschetizky, Godowsky, Maurice Aronson and the Royal Conservatory of Vienna, was the first piano teacher at one of Vienna’s private schools, the Marien Academy, besides scoring triumphs in concert and with orchestra in Berlin, Vienna, Budapest, Bielitz, Silesia, Krakau, and as far as Constantinople, Turkey. In the latter city she gave three recitals at the three American Colleges, causing unbounded enthusiasm at each appearance. Her recital at Aeolian Hall, October 8, 1921, was an artistic success, and April 27 in the one she gave at Curtis Lyceum, Staten Island, she was acclaimed as a “truly great master of the piano.”
In the year and a half that has passed since this artist took up teaching in this country, her classes have increased constantly. Six months ago, a child of four, Grace Ahrens, grandniece on the maternal side of Louis M. Gott-schalk (Teresa Carreño’s teacher) was brought to Miss Wildermann, and on June 17, little Grace appeared with the poise of a mature artist, _ playing from memory an andante from Haydn and the original of Schubert’s Heather Rose, besides playing the first part in a duet of Webers Invitation to the Dance. The second part was performed by one of the most remarkable talents that has come under Miss Wildermann’s guidance, Mary Elizabeth Steele, a sev-en-vear-old. Besides carrying the accompaniment to this duet in perfect rhythm and feeling, she rendered the original of Mozart’s Don Juan Minuet, Tschaikowsky’s Dolls Funeral and Durand’s chaconne. Both the minuet and Doll s Funeral were artistically interpreted, with excellent use of the pedal, and the chaconne revealed a fine command of technic, rhythm and dynamics. This talented child will give her own recital, March 22, 1924. She has had Miss Wildermann as her sole teacher and has been under her guidance but ten months.
Eleven other pupils appeared on the two programs given June 10 and 17. In previous recitals it was Jeannette Tisnee and Madeline Miller who evoked great enthusiasm through their fine performances, but in these two recitals just held, a surprise was given the audience when Hedwig Schacht rendered Schubert’s Impromptu op. 90, No. 2, and. Brahms’ Hungarian Dance, No. 6. This talented girl now possesses admirable technic, fine understanding and real temperament. She will be heard in her own recital in September. Mabel Sweet is a striking example of what can be done, as with Hedwig Schacht, with dormant talent With fine sense of feeling and large round tone she played Chopin’s Nocture, op. 37, No. 1, and this same composer s Minute waltz. She also will give a recital in January.
Fern Neumann, Marion Wrba and Marguerite Schubert, of the intermediate classes, did great credit to their .tuning, and in their solos by Beethoven, Schubert and Reinhold clear understanding, good technic and memory and intelligent use of the pedal were to the fore. Anna Hulmck and Anna Blackham aroused the enthusiasm of the audience through their artistic, renditions of works from Chopin, Brahms, Schumann and Mendelssohn. A talent worthy of recognition is that of Yetta Sanntorciz, who played beautifully Beethoven’s sonata op. 14, No. 2, and MacDowell s Hungarian. She also showed fine training in the ensemble work under Miss Wildermann by her sympathetic accompanying of a selection from Verdi’s Aida, for violin and * piano. Her brother Samuel rendered the violin solo in a manner that was remarkable for one of his years, with excellent bowing and technic. This talented violinist is a pupil of the violinist and Sevcik associate, Michel Sciapiro.
The Bach Invention, the Ph. Bach Solfegietto, and Bee-
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