45
MUSICAL COURIER
May 3, 1923
brought joy to audiences was when Hilda Brown, member of the American Conservatory faculty, used it at a faculty concert; sung by Bertha Bayless Dearborn, soprano, when she was presented in recital at St. James Parish House, and broadcasted by Mrs. R. T. Navigato at a K. Y. W. concert.
Frank Parker, choir director at North Shore Baptist Church, recently used with great success that effective anthem by Hilbert Earl Steward, entitled We’ll Go On and Serve the Lord.
Walter Spry Returns From South.
Walter Spry returned recently from a very successful tour of the South. Among the places he played was at the College, of Monte Vallo, Alabama, where he gave a recital, and one under the auspices of the Musical Club of Glasgow, (Ky.). According to reports received at this office, Mr. Spry met with his usual artistic success. His programs were educational, the pianist giving explanations of the numbers and telling anecdotes that doubled the interest of his listeners.
What Jeannette Durno’s Pupils Are Doing.
The following program was presented in the Durno Studio by pupils of Jeannette Durno on April 26:	Sonata eroica
(all four movements), MacDowell, Isabel Ebert; toccata and fugue in D minor (Bach-Tausig), Dorothy Pound; prelude, chorale and fugue (Cesar Franck), Irma Orser, and berceuse (Liadow), Troilce (Tchaikowsky), Seguidilla (Albeniz), Evening in Granada (Debussy) and the Debussy toccata, Isabel Ebert.
Isabel Ebert, a Durno pupil, will give a piano recital in Quincy, 111., on Thursday, May 3, and her Chicago recital is to take place in Lyon & Healy Hall on May 17. Dorothy Dienstfrei will■ give a piano recital in Springfield, 111, on May 15; she will also give a recital in Chicago on May 25, in Lyon & Healy. Hall. Miss Dienstfrei is also a Durno product.
Musical News Items.
Carl Craven conducted the Ladies’ Chorus of Charles A. Stevens & Bros., in their seventh and final concert of the season on April 26, in the Stevens Auditorium.
Pupils of Lillian T. Johnston were heard in recital on Saturday evening, April 28, in the Johnston Studios in the McClurg Building. After May 1 Miss Johnston will be located in suite 900 Capitol Building.
William Porter Burleigh, "pupil of Carl Craven, is engaged as soloist for the Chicago University Blackfriars’ play, May 4, 5, 11 and 12. Thomas Bason, another Craven pupil, has been engaged as tenor soloist at the Morgan Park Methodist Church.	,	Rene Devries.
ence, as a reliable foundation for the study of vocal art.
This is• the function of vocal exercise essentially physiological in application. Traditional vocal methods designed for the musical training of exceptional voices are essentially artistic in application.
The distinctive musical status of Italy is the outcome of various underlying causes; a genial climate adnhits, of continual al fresco recreation; the constant use of a musical language develops vibrant tone qualities. The tendency of Latin races to intone in speaking, blends the inflections of the voice in speech with the more pronounced modulations of the voice in singing; this contributes to uniformity of tone quality, which promises an even scale.
Apropos the achievements of famous Italian operatic artists, Italy has produced a greater number of exceptional voices in proportion to her population than have other European nationalities. The selection of the best of these for the training required for the interpretation of music dramas, is a logical inference.
A harmonious blending of physical, mental and psychological potentialities in the expression of musical and dramatic art, is discerned in a retrospective visualization of Christine Nilsson’s impersonation of Lucia, the bride of Lammermoor. The interpretation of musical gems which precede the incongruous musical setting of the Mad Scene revealed an innate perception of supreme artistry directly respo'nsive to the recognition that the delicate shadings required in a poetic interpretation of these numbers could not be satisfactorily achieved by intensive and forcible breath pressure, which propels a formidable pillar of air entirely disproportionate to the required support of the voice in passages adequately sustained by involuntary respiration. Undue energy of the will which compels an arbitrary use of vocal and respiratory muscles interferes with effortless delivery of the voice.
Knupfer Studios
SCHOOL of MUSIC and DRAMATIC ART
under the direction of
WALTER KNUPFER
PIANO PEDAGOGUE
assisted by an able corps of instructors in all branches of Music and Dramatic Art.
Students prepared for professional careers. Teachers’ Certificates, Diplomas, and Degrees.
Address—Secretary, Suite 400, Fine Arts Bldg., Chicago, Illinois.
April 28, with George Nelson Holt, an altogether impressive and even superb interlocutor.
The company was directed by Karl Kaynor, who was also one of the “end men.” The ־rest of the “end men” were Genevieve Carlsten, Elizabeth Hayes, Frances Benedict, Margaret Baughman and Hazel Lager. The others in the company were Nettie Arterburn, Lois Cooksey, Gertrude Griffith, Ruth McKay, Edith Secor, Bertha Bennett, Winni-fred Erickson, Sarah Jones, Gretchen Peterman, Florence Thomas, Melba Cromer, Sallie Holt, LaVeta Low and Dorothy Rowell.
Among the interesting visitors at the school during the past week were Arthur Kraft, the tenor, now of New York; Edna VerHaar, the contralto, who is still retaining her connection as a member of the Columbia School faculty, although she is spending the greater part of her time cop-certizing; Ernest Davis, passing through on his way to Italy, after a strenuous concert season. Both Miss VerHaar and Mr. Davis are professional pupils of George Nelson Holt.
Beulah Rosine a Busy Cellist.
Since entering the professional field Beulah Rosine, the young and gifted Chicago cellist, has won considerable success and is in constant demand. She has filled many engagements in and around Chicago, all of which were much in her favor. A recent successful engagement was in the Lyon & Healy series during the week of March 24, when she rendered Popper’s Ungarische Rhapsodie, Sammartini’s sonata in G major, Saint-Saëns’ allegro appassionata, Senaille’s allegro spiritoso and the Chopin nocturne. Her listeners were highly enthusiastic, and left no doubt as to their enjoyment. Miss Rosine also appeared recently in Grand Rapids, Mich., under the auspices of the St. Cecilia Society, and in joint recital at Gary, Ind., on April 18.
Some Sturkow-Ryder Dates.
Theodora Sturkow-Ryder, Chicago’s prominent pianist, played at the Wilmette Woman’s Club, April 25, when she offered a program of two of her own piano compositions and other solos, and at the River Forest Woman’s Club on April 27, on which program she had the assistance of Ann Hathaway, violinist.
Clayton F. Summy Company Publications Featured.
Beatrice MacGowan Scott’s Joy is holding its own as one of the most popular numbers singers can find for their programs. On the Club Composers’ program of the Musicians’ Club of ׳Women, two of Mrs. Scott’s songs were among those selected for exposition. They were Joy and Wood Song, both sung by Ethel Benedict.
Some of the other singers and occasions whom Joy has
Traditions linked with the musical achievements of Latin races in the sixteenth and seventeenth centuries, have perpetuated the use of a method of voice training designed by the early Italian singing masters, for a specific purpose.
The natives of Italy had lived for centuries in an environment replete with the essentials which underlie the development of art in visible forms, as in painting and sculpture, when, in the sixteenth century, the predilection, which Italy has always shown for melody—intensified by the appeal of music—prééminent as the art which interprets emotion—materialized as the expression of a definite purpose.
Prior to the Renaissance, the music of the church had been limited to contrapuntal composition. The achievements of famous musicians in monodic composition, stressed the need of musical training, calculated to give greater freedom of emotional expression in the development of vocal art, than the generalities of contrapuntal technic afforded.
Later in the sixteenth century a coterie of Florentine patrons of art outlined a project, the purpose of which was to revive ancient Greek tragedy, by placing the dramas of Æschylus and Sophocles on the stage. While these art lovers failed to bring this project to a successful conclusion, the continued efforts of contemporary composers led to the production of music dramas, which called for the cooperation of exceptional voices, naturally adapted to represent through musical art, a vital portrayal of musical dramas interpreted with dramatic "and emotional fervor.
The immediate necessity for a method of vocalization specifically adapted to utilize the recognized possibilities of voices available for this purpose, led to the creation of the Old Italian School of Singing, devised and perfected by musicians whose innate perception of the canons of vocal art, was an infallible guide in the artistic training of voices selected for the interpretation of music dramas, the production of which presaged a momentous event. In the heyday of musical achievement following the immediate success of monodic composition, Italian Opera was first produced.
The origin of the Old Italian School of singing dates from the period when Giulio Caccini (1560-1640), a famous musician and composer, published and taught an elaborate method of voice training which “gave directions in regard to intonation, attack and embellishments that are of positive value to modern singers.”—(Essentials in Music History by Thomas Tapper and Percy Goetschius).
Obviously the Old Italian School of Singing, which specifically applies to the artistic training of exceptional voices, was not devised for the purpose of bringing to light vocal possibilities already in evidence. The canons of vocal art are accepted as precise in application, and the direct purpose of this method of vocalization is so plainly apparent that there are no secrets to contend with in its use. The prime requisite for the most successful use of this vocal method is a voice that responds with the minimum of muscular effort to the technical requirements of artistic singing. Voices of this type trained in strict accordance with the rules of vocal art, explain why the successful work of early Italian singing masters has perpetuated the use of the method they devised. The achievements of world-famed artists trained by this method of vocalization, emphasizes its value in present day musical training, in instances where extraordinary vocal possibilities are apparent.
The latent vocal resources of a majority of present day students are more readily developed by vocal exercise, which effectually grounds the voice in the essentials of vocal sci-
Lychenheim, Mrs. Alexander Rietz, Mrs. George de Tar-nowsky and Louise Hattstaedt Winter.
Busy Mae Graves Atkins.
Mae Graves Atkins, the popular soprano of Bush Conservatory, reports a very busy schedule in her teaching in her studio, where she has an unusually large class. She has just returned from a concert tour in the East which was exceptionally successful, and where she had a number of re-engagements booked.
While in New York Mrs. Atkins renewed her old friendship with Mme. Marcella Sembrich, with whom she studied for a number of years, and with Frank La Forge, the well known accompanist. Mme. Sembrich was most enthusiastic about her voice. Mrs. Atkins has been very busy with solo engagements during the entire season, and sang for the Rockford Rotary Club this week. She also booked a number of engagements the earlier part of April.
The activities of her pupils is a matter of much pride to Mrs. Atkins. She has pupils in many Chicago churches, and at St. Mark’s Episcopal Church in Evanston, two of her pupils have the leading solo parts of the choir. Vilas Johnson is the baritone soloist and William Balhatchet is the leading tenor.
The following pupils of Mrs. Atkins are singing in the churches mentioned:
Florence Ruden is at the Lake View Presbyterian Church; William Balhatchet and Vilas Johnson, at St. Mark’s Episcopal Church; Helen Smith, at Second Presbyterian Church of Oak Park; Hazel Ruttker, at the Auburn Park M. E. Church; Cornelia VerMaas, sang solos recently at the Austin M. E. Church and the Julia Gale M. E. Church.
Other Atkins Pupils.
Nell Anderson, an Atkins pupil, sang recently at the Evanston Woman’s Club. •William Balhatchet has been engaged to sing the tenor role of the Pirates of Penzance at Wilmette Opera Club. Alice Cunradi sang an Easter Service in Aurora. Vilas Johnson gave a recital last week in Downer’s Grove. Doris Kruse was engaged for a concert in Freeport, 111., last month.
Airs. Atkins’ Rockford studio is also a busy one, and she has there the unique distinction of teaching all four members of the choir of the Emanuel Lutheran Church in that city.
Dux and Chicago Association of Commerce.
At Orchestra Hall on Monday evening, April 23, the Association of Commerce Glee Club was heard, in its annual concert, in which it had the able assistance of Claire Dux, soprano. A large and distinguished audience was on hand, which showed its appreciation for the soloist, applauding her vociferously at the end of each number. Miss Dux was at her best in songs by Schubert and Schumann. The Glee Club was very happy in its delivery of several groups, disclosing voices of good quality and volume, and these singers, too, delighted the auditors with every number.
Viola Ehrmann Sings.
Viola Ehrmann, professional pupil of Mme. Aurelia Ari-mondi, heard recently in a song recital under the direction of F. Wight Neumann, at the Playhouse, has been much in demand ever since. On April 19, under the auspices of the First Presbyterian Church, she sang at the Masonic Temple. Her selections included the Waltz Song from Puccini’s Boheme, Nocturne by Curran, Coleridge-Taylor’s Candle Lightin’ Time, LaForge’s Like the Rosebud, and Leoni’s Tally-ho.
Sherwood Music School Recitals.
Pupils of the piano department were heard in recital at the Sherwood Music School Recital Hall on April 20. Some sixteen youngsters showed the result of the fine training received at this well known institution.
Lucile Long, artist-pupil of Else Harthan Arendt, was heard in joint recital with Gertrude Seligman, piano pupil, on Tuesday evening, April 24. Miss Long proved a great credit to her teacher.
Chicago Musical College Notes.
A concert by students in the piano department of the Chicago Musical College was given in Central Theater Sunday afternoon.
The annual competition for prizes in the Chicago Musical College will be held in Orchestra Hall May 2. The Chicago Symphony Orchestra, directed by Frederick Stock, will play the accompaniments to the arias and concertos, and the judges will be Frederick Stock, Ernest Schelling, Franz Kneisel and Oscar Saenger.
Melville Kitzerow, piano student of the College, has been appointed musical director of Meridian . College, Meridian, Tex. Anna Louise Petri, student of piano and organ departments, gave a recital at Collinsville, 111., last week. A violin recital was given by Marshall Sosson, student of the College, at Elkhart, Ind., on Sunday. Lillian Winter, student of Dr. Lulek, sang for the Radio last Tuesday. Mary Kallal, student of Edward Collins, was heard on a program at Rosary College, River Forest, 111., on Friday. Students of Emily Bel Nash gave a recital in the recital hall, Steinway Hall, on Wednesday.
Else Harthan Arendt at Orchestra Hall.
Among Chicago sopranos, Else Harthan Arendt is one of the most popular, and the demand for her services throughout the country is the best testimonial of her work. April 27 Mrs. Arendt was heard in conjunction with a choral society and sixty members of the Chicago Symphony Orchestra in Rossini’s Stabat Mater, singing the difficult soprano part with telling effect. After the Inflammatus the house broke forth into a storm of applause and compelled the soloist to bow many times her acknowledgment. Mrs. Arendt, besides singing her role most effectively, was also much admired for her fine stage deportment, and, gorgeously gowned, she was a striking figure, her magnetism and charm winning her as many admirers as did the beauty of her singing.
Jeannette Durno Offers Attractive Summer Course.
Jeannette Durno is planning what promises to be a very attractive summer course for the pianists, teachers and nonprofessionals who are coming to Chicago to coach with her this summer. There will be frequent studio recitals by Miss Durno and her professional pupils. Her studio, at 4140 Lake Park avenue, will remain open until August 21, and there will be six weeks’ and ten weeks’ courses, beginning early in June if desired.
Columbia School of Music Notes.
One of the most exciting events of the school year at Columbia School was the minstrel show, Saturday evening,
ORIGIN OF THE OLD ITALIAN SCHOOL OF SINGING
The Use of Traditional Vocal Methods in Present Day Voice Training
By Marie Bucklin Bencheley