June 28, 1923
MUSICAL COURIER
48
AMUSEMENTS
B'way at 51st St. “Subway to Door” EDW. BOWES, Mng. Dir.
CAPITOL
World's Largest and foremost Motion Picture Palace
Beginning Sunday, July 1st
PRESENTING A PROGRAM OF SUPER ENTERTAINMENT
CONSISTING OF
DE LUXE PHOTOPLAYS
TOGETHER WITH THE
CAPITOL GRAND ORCHESTRA
Erno Rapee Conducting CAPITOL BALLET CORPS—SOLOISTS
Theaters under direction of Hugo Riesenfeld
RIVOLI BROADWAY at 49th ST
Carl Laemmle	presents
"MERRY-GO-ROUND”
With Mary Philbin, Norman Kerry and star cast Directed by Rupert Julian	A Universal Super-Jewel
RIVOLICONCERT ORCHESTRA
RIALTO BROADWAY at 42d ST.
Hamilton Theatrical Corporation	presents
EMIL JANNINGS in "PETER THE GREAT”
Directed by Dimitri Buchowetzki A Paramount Picture
“Buster” Keaton Comedy “Day Dreams”
FAMOUS RIALTO ORCHESTRA
(Oliver Ditson Company, Boston.)
I Know Where a Garden Grows
By John H. Densmore
A waltz song with a fairly good melody, very easy both for voice and piano.
(Composers' Music Corporation, New York.)
Spring Song
By Berta Josephine Hecker
A trivial but fairly pleasing piece for violin and piano. Very simple and easy.
(Carl Fischer, New York.)
Piano Transcriptions
By Rachmaninoff
Splendid piano arrangements of Fritz Kreisler’s old Vienna waltz and the minuet from Bizet’s L’Arlesienne. Neither of them is particularly difficult, and they will delight advanced players.	.	M. J.
(Arthur P. Schmidt Co., Boston.)
Londonderry Air
Arranged by G. A. Grant-Schaefer
This is a new and excellent arrangement of the familiar old tune, one of the most beautiful of all folk-tunes. It is now arranged as a song with words by Katharine Tynan Hinkson, and the reviewer would like to know the history of these words. They seem so unsuited to the melody that it is difficult to conceive the tune having been inspired by them. And if they were set to the tune subsequently, it must have been done by a poet with little taste in melody accents. A strong accent and sustained note on such words as “were” and “pluck” and “pie” in the following lines can hardly be considered entirely orthodox.
“Would God I WERE—a tender apple blossom.”
“Or would I WERE—the little burnished ap-PLE—”
In spite of this the wonderful old fiddle-tune in Grant-Schaefer’s arrangement will be found an attractive addition to studio literature.
(J. & W. Chester, Ltd., London.)
L’Orfeide, Part I: La Mort des Masques
By G. Francesco Malipiero
An introduction to this work says that, although i¿ was written after the second and third parts, it is not to be considered as an afterthought. Nor is the work to be thought of as three one-act operas, but one opera in three acts. In the June 1, 1922, issue of the Musical Courier the third part, or act, was reviewed, and the second part, the Seven Songs, was described on the occasion of its presentation at the Paris Opera. Not much more can be said on the subject. This first act serves to present the various characters of these strange dramas, of the meaning of jjthich this reviewer has not the slightest conception. The whole effect is that of suggestion; as each character and each picture comes on the stage one gets a sort of thrill. It is like a poem of disjointed words, not, indeed, telling a story, but suggesting thoughts of tragedy, romance and satire just the same. Most original it all is, and the music is as original as the text.
TEACHING MATERIAL For Violin and Piano
(Century Music Publishing Co., New York, Certified Edition.)
Second Year Study
IDILIO. Th. Lack. Arranged by Louis Wheaton.
THE PROPHET, Meyerbeer; DONNA E MOBILE, Verdi; THE NORTH STAR, Meyerbeer; SOLDIER’S CHORUS FROM FAUST, Gounod, and POET AND PEASANT OVERTURE, Von Suppe, all arranged by F. Carl Jahn.
Third Year Study
LUSTSPIEL OVERTURE. Bela.
SERENADE. Pierne.
CANZONETTA. B. Goard.
ENTRE’ACTE GAVOTTE. E. Gillet.	M J
De Pachmann for Ann Arbor
The University School of Music, University of Michigan, has engaged Vladimir De Pachmann for a recital in Ann Arbor early next December.
Musical Comedy, Drama and Motion Pictures
would have been had he given some of his own fascinating Cuban Criollas. Any visitor to Cuba is invariably impressed by the playing and singing of these native melodies which are so distinctive. However, the three numbers were graciously received by a spontaneous audience, which seemed to be the case at every performance last week.
The feature picture was Daughters of the Rich. It was one of those offerings which can be designated by the two words, motion picture. After this the orchestra played an interlude, Parade of the Wooden Soldiers; owing to its great popularity during the last season, it never fails in effectiveness.
The big musical number on the program was entitled Neapolitan Impressions. This had for the soloists the Guarneri brothers, tenor and baritone, and Evelyn Herbert, assisted by the Capitol Mixed Quartet and Ensemble. The Capitol Ballet Corps also added to the colorfulness and enjoyment of the number. There was an orchestral introduction, a chorus and three duets by !the Guarneri brothers, and the Ballet Corps danced a Tarentella.
The Rivoli.
Judging by the enthusiasm of the audience, Helen Sherman, coloratura soprano, was the hit of the program at the Rivoli last week. She was heard in the Shadow Song from Dinorah, in which she displayed her skill in the delivery of florid passages. She is equally successful, however, in songs of the ballad type, for the preceding week she was well received in such numbers.
The overture .was the Beautiful Galatea of Franz von Suppe, in which the fine range of dynamics of the orchestra was especially noticeable. Josiah Zuro and Emanuel Baer are the conductors at the Rivoli. Symphonized Home Tunes have become very popular at this theater, and last week’s offering was particularly effective. It was The Sweetest Story Ever Told, with the special orchestral arrangement by Edgar R. Carver. Miriam Lax, Wendeli Hart and the Rivoli Orchestra participated in this number.
The feature film was Dorothy Dalton in the Law of the Lawless, a far superior picture to Fog Bound. Miss Dalton is a very versatile actress, and in this picture she did some splendid work as a spirited Tartar maid. The program ended with Hold Tight, an educational comedy.
The Rialto.
The popularity of Bizet’s music to Carmen seems ever on the increase, and this is in no small way due to the orchestras at the motion picture houses. When Joseph Littau and Ludwig Laurier, alternating at the Rialto, conducted selections from the opera as the opening overture last week, there was thunderous applause. Riesen-feld’s Classical Jazz also shared in the musical honors of the evening. Gladys Rice, soprano, sang a very melodious song—Your Eyes Have Told Me So, by Walter Blaufuss— which, however, was certainly reminiscent of Victor Herbert’s famous song. Betty Compson was excellent in the feature picture, The Woman With Four Faces, and “Pop Tuttle” in Lost Nerve got many a laugh. C. Sharpe Minor at the Wurlitzer offered Victor Herbert’s American fantasy.	May Johnson.
Very few of the productions now being offered on Broadway will be taken off in the very near future. They have weathered the severe hot spells and the general slump so far, and have proved conclusively that they are able to hold their own until the new season begins on Labor Day. The musical offerings which have come to town in the last week have been exceptional. The Passing Show at the Winter Garden is considered the best of this series of revues. George White’s Scandals, opening last week, is the fourth edition and considered by all to be the finest, the most artistic and generally worth while of Mr. White’s particular brand of revue.
After !the two big spectacular revues, Helen of Troy, N. Y., a straight musical comedy, came into the Selwyn Theater. At first it was feared that Helen would suffer from her close proximity to the revue, but those conversant with affairs had not reckoned with Queenie Smith. We have seen this young lady in three different productions during the last year—Orange Blossoms, Cinders, and now Helen of Troy, N. Y. After the Cinders performance the writer stated that Queenie Smith was decidedly one of the hits of the show and was possessed of a sense of humor which she got over in great style. So we are not at all surprised that she has developed into star material and has taken the lead in the new musical comedy. The book is by George S. Kaufman and Marc Connelly of Dulcy and Merton fame, to say nothing of To the Ladies. The music is by Kalmer and Ruby.
Another prodigy of Mary Garden has come to life. She was found in the chorus of the new Vanities.
Passion, the first Pola Negri film shown in this country, is having a revival at the Capitol this week.
Hugo Riesenfeld and his wife and daughter returned from Europe last Saturday. Mr. Riesenfeld enjoyed a two months’ vacation abroad.
The Riesenfeld Classical Jazz for this week is a special arrangement for that famous nonsense, Yes, We Have No Bananas. At the Strand the orchestra will contend for prominence by a special arranged overture called Barney Google on Vacation.
The Capitol.
The program for the past week was in the form of an anniversary, a tribute to Mr. Rothafel’s three years’ reign at this hou-se. The orchestra played the Raymond overture. At the 9.20 performances in the evening, Mr. Rothafel directed. creating no little interest. The second orchestral number, called The Capitol March, was written by William Axe and Erno Rapee and dedicated to Mr. Rothafel for the anniversary.
The first soloist was Ernesto Lecuona. According to the program, he is a Cuban pianist and making his debut. The soloist was given a drawing room background and assisted by the Capitol Quartet. His first number was a transcription of the well known melody, Avalon. The second was made up of some Spanish dances of his own, interpreted by Doris Niles, and the third was an Hawaiian Dance, also sung by the quartet. The writer was a little surprised at Mr. Lecuona’s selections. How much more appropriate it
rollicking, hearty music, and in which Gounod shows most skillful handling of men’s voices, all of it being easy to sing, yet tremendously effective (of course such music, singing the praises of the vine and the products thereof, should be forbidden to this extremist country) ; Hallelujah, Amen, from Judas Maccabaeus, is by Handel (A. D., 1685-1759), and not sung much in America—it is contrapuntal throughout, with continual answer or imitation in the vocal parts, suggesting fughatto style, the accompaniment playing important part, and ending with high chords on the tones C-E-G; Let Their Celestial Concerts is also by Handel, from the oratorio Samson, more difficult music than the preceding Hallelujah, as it contains many sixteenth-note runs in all parts—all of it solid, substantial choral music. Morning Hymn is by Isidor Georg Henschel, none other than the present Sir Georg Henschel, first conductor of the Boston Symphony Orchestra, whose first wife was Lillian Bailey, refined and distinguished American soprano; his vocal solo ofthatname is often sung, and this arrangement for male voices is by A. T. D. (Dr. Davison), the harmonies being those of the original, ending nobly on the high tones A-F for first tenors. Of all the Henschel compositions, this is best known, and with full reason, for it is lofty music of highest type. O Filii et Filiae is by Volckmar Leisring, who died in 1637, and not much more is known of him. It is antiphonal, that is, for two choirs or choruses, in Latin, dignified 3-4 tempo. All music of that time, now three hundred years ago, was simple in harmonic construction, yet dignified, expressive, effective. Crucifixus, by Antonio Lotti (1667-1740), sounds like the motets one heard in student days on Saturdays at the St. Thomas Kirche in Leip-sic by boys’ and men’s voices, most of this being in minor mode, with an unexpected ending on the C major chord. Adoremus Te is also antiphonal; each chorus sings exactly that^ of the preceding, both finally uniting to the end, and closing on the dominant, with hold.
Recommended to any male choirs or choruses, but hardly fit for the usual Mannergesangverein!	F. W. R.
(J. Fischer & Bro., New York.)
Pierrot
By George Roberts
A simple melody _ without especial distinction, set to an accompaniment that is too difficult for the nature of the song.
(G. Schirmer, Inc., New York.)
Two Songs
By Arthur Nevin
These are entitled Barcarolle and The Secret. Both are very effective, with light and flowing tunes and well constructed accompaniments. The Barcarolle is a waltz song set to words by Robert P. Nevin at Edgeworth on the Ohio_ River. The Secret is by Frank Dempster Sherman and is delightfully swift, light and dainfy. Good songs!
REVIEWS AND NEW MUSIC
(H. W. Gray Company, N. Y.)
A Dance in the Place Congo
By Henry F. Gilbert
It happened many years ago that Henry F. Gilbert ran upon a magazine article by George W. Cable, describing-negro types in New Orleans and especially in the old Place Congo, where the colored people were allowed to dance on Sunday. To this article Mr. Cable had added musical illustrations of several of the songs that used to be sung there. One of them was Bamboula; another one was La Belle Loyotte; another, Miche Banjo; a fourth, Un de’ Trois, Caroline. There may be a more exciting and invigorating tune than Bamboula—but this present reviewer never heard it. Miche Banjo is almost as good, and the other two quiet tunes are beautiful in themselves and in contrast.
Mr. Gilbert has taken these fine themes and, with the hand of a master of form and of orchestration, moulded them into an extremely effective work—one that is not only good because it is American, but because it is a piece of composition that will compare favorably with anything that has been done anywhere in a decade. It is not a new work. It was written eight or nine years ago but it gets fresh mention here because of the fact that the score has just been printed.
The announcement that Henry F. Gilbert’s symphonic poem, The Dance in the Place Congo, is now available in printed score ought automatically to place it in the repertory of every symphony orchestra in America. It has only been played once from manuscript by the Boston Symphony Orchestra, but its five performances as a ballet by the Metro: politan Opera Company, three or four years ago, made it widely known in New York. It is one of those works that can be praised and enjoyed as heartily for itself as for the fact that it is written by one of those American composers about whose nationality classification there can be no doubt.
H. O. O.
(E. C. Schirmer Music Co., Boston, Mass.)
The Concord Series; Harvard University Glee Club Collection, Edited by Thomas Whitney Surrette and Dr. Archibald T. Davison (for Male Voices)
The numbers from this collection run from thirty-five to forty-four, and consist of Come Again Sweet Love, by John Dowland (1563-1626), this music being the very evident forerunner of the popular Old Black Joe, the first seven tones being exactly the same; Around Us Hear the Sounds of Even, by Antonin Dvorak (1841-1904), much of this in minor, and in five-part harmony; the Chorus of Bacchantes, from Philemon et Baucis, by Gounod, (1818-1893), right