M A R C H , 1 9 4 7

Price 25 Cents

as Composer

* Slonimsky-Scbillhger ot Rmwia and of tbe World

Sbaw-What itsr the S e w e r System4

From Pillar to Post

Newm of the M ~ i e Lndawtry

"Gilbert Adams was my talented pupil." - Armand Cmbbe. Profes- sor of Singing of the Royal Conservatory of Brussels.

"In 'Fun with Music' Gi lber t Adams dis- played fine talent, abil- ity and spirit and his singing of 'Freedom is my Land' by Lewis Al- len was done with ex- ce l lent effect."-The Daily Worker.

"An ingratiating and intelligent performer. He interprets songs with warmth, appeal and ef- fectivenefs that is most welcome. -Lou Coopet composer of "A Cantata to Franklin D. Roose- velt."

BARITONE-TEACHER +

' I have seldom heard a more beautiful. natu- ral and well trained voice."-M 11s. B r o c k Pemberton, American Theatre Wing Club.

I bless and appreci- ate the teaching and friendship of a great mind."'-Marguerite Av- e r y of Hal l J o h n s o n

"Gilbert Adams has a voice rich in expressive tonal quality. He is a splendid interpreter of song."-Mme. Raymonde Del annois. L'Opera. Paris. 1946. and former- ly of Metropolitan Op- era. N. Y. i

PROTEGE OF ELIZABETH HOWARD LOGUEN

Leading baritonb U.S.O. Show "Shuffle Along"

Paul Robeson production of "John Henry."

BOOKINGS: International Programs 1050 Ave. of Americas PE 6-5258 New York 18: N. Y.

r

2 M U S I C N E W S

'USIC NEWS . . . 1v1 FOUNDED IN 1908 BY CHARLES E. WATT

Vol. 39, No. 3-March, 1947

Artists Edition I

, HERE IS NO PARALLEL medts that would be free of the Schillinger's System seemed to work in the practical revisions of the in the history of musical the- limitations of the piano and o i the in practical application; that not the future. OrY to the in.%uence that the violin and the rest of manemade starryeyed moon*gazers, but shrewd The interesting aspect of Schil.

sy"m has exercised On musical appliances. In his book on Broadway musicians flocked to his linger's mental makeup was his musical thinking after his death. A musical theory is kept alive by the instrumentation which is part of studio in search of practical formu. pantheistic of the ~ o r l d . 4:

zeal of its.protagonist; the death of the "Schillmger System of Musical lae, and were willing to pay good As a youth of menty.fives he p u b

a music educator usually inarks the Composition," Schillinger charac. Broadway money for tbe initiation lished a poem on the fusion of

death of his special theory. "The teristically warns the student that into the mysteries of schi16nger senses in the art of the future 1

SchP1inger 'ystem of orchestration is at best only a tran. lore. der the title "Theurgian's Corn.

position" w a ~ published p s t h u , mandments." H e also wrote a book mously, and it aroused a contro* 6 of mystical poetry. I n America h versy and a discussion far beyond worked on a project of illustrati~ academic circles. The reason for this music by geometrical designs in m,

that Sculinger was by educa- tion, and made a short film ,of hen, by his early experience, and musico~geometric forms. H e t~ by conviction a revolutionary, and connect human emotions witn ten. hts theories were dictated by his in. sions groduced by musical disso*

r conviction that art is basically tional and so can be elevated to nance. A d he e m l y believed tl. e position of an exact science. a practical correlation of all af

schillinger grew i~ the enuiron, and sciences could be accomplish, merit of the Russian Revolution, by scientific experimentation. 1

id he spent t he early years of the religion was man's corrqueri <evolution in Russia. That was the mind, and in this respect he a ime when Russian musicians en*

tained the grandiose schemes of reconstructing the entire concept of the art: that was the time when

I musical analysis was conducted by

- statistical mkthods; that was the time when Theremin made his first experiments with an electronic mu. sical instrument that later bore his name; that was the tim,e when Schillinger himself worked at the Institute of Musical Science in Mos* cow on the ~ rob lems of rationaliz. ing the craft of musical composi* tion.

those times, many a musi. lutionary bowed to the in*

and returned to an indid solutidn of the creative

m. Schillinger came to Amer* 1928 and associated himself

Theremin, who arrived in the ed States at about the same . Schillinger worked out the

ory of music as a rational art; eremin manufactured the instru.

quite different from Scriabin, w... was a mystic first, a musician sec* ond, and a scientist last.

T 0 DEMONSTRATE THAT PURELY MATHEMATICAL

SCHILLINGER with THEREMIN and SOKOLOFF, playing "First Airphonic PROCESSES can be employRd to Suite." Cleveland Orchestra, 1929. achieve creative results, Schillinger

converted charts and diagrams fro the business section in the ne-

sitory discipline, that soon scien. H E ENDURING QUALITY tifically perfect instruments would of Schillinger's musical think. supplant the traditional orchestra. ing is akin to the great theories i~

Schillinger's p r o n o u n c e m e n t s other branches of science, even evoked ironic comments in academ- though errors and inconsistencies ic circles and even among compos. can easily be found in such the* ers belonging to the modern school. ories. One does not have to accept Indeed, if Schillinger's theories had every word of Schillinger as the ul. consisted merely of his rationalistic timate in musical science. It is the convictions, he would have passed germinal idea of Schillinger's the. from the musical scene: as have so ory that is bound to bear fruit even many other musical theorists. But when Schillinger's practical meth. there was this great difference that ods undergo an inevitable change

papers into melodies by counting the horizontal extension as note values, and vertical rise and fall of a curve as melodic ascent and descent. H e liked to baffle and con* fute his audience by playing these compositions that sounded like modern polyphony. H e had a revo* lutionary disregard of traditiorial opinion, and flaunted his rational. ism even at the risk of losing prace tical advantages in the academic world.

Published monthly by the Music News Corporation. Executive Oices: 1321, 25 E. Jackson Blvd.. Chicago, 111. Phone Wab. 5195. Cable Address Musnu. Entered as second :lay matter March 3 , 1945,'at the post office at Chicago. Illinois, under the Act of March 3. 1879. Subscription price $3.00 a year in the Unrted States, $4.00 abroad.

News Copy must be received in the editorial o i ce no later than the -fou%ntb d cacb montb for the succeeding isaue. Copyright 1947 by Mubic News. Inc.

be forgotten that Net,, , oretical pursuits,

" :ntal works were widely per* A . I I I

mbodying the true concepts of a I rn revolutionary art. When his piano

Schilling er

by Henry Cowell

T H E PUBLICATION of Joe terials contributed a great deal to en unexpected contrast. His dic nance, and by deftly colored instru* seph Schillinger's "System of the skillful construction of his own satisfaction with the artificiality or mentation. ~h~ lack of a climactic Musical Composition" has ere, unusually dynamic? and colorful ma. the system of equal temperament in point in the melodies would appear

ated a furore 2nd his accomphsh, terials into musical edifices of nota. ment as an extraordinary teacher of bly balanced architecture. piano tuning led to his vital intel to be a weakneseno t that they

composition is already legendary. est in the musical instruments of fail completely to arrive at any

Drscussion of his approach to the Leon Theremin and others, on point but rather that they arrive at teaching of music theory is still live.

- ,TEARLY ALL THE YOUNG which scientifically correct interval- so many different points that no 'IY among musicians, and since I~COMPOSERS of the early Ire possible; he composed a n;n new works of his have been heard 1920'~ in the U.S.S.R. were strong, of since 1930, attention tends to be lV influenced by the music of

ler of works for such instrument

one stands out as a main climax.

Any aimless wandering about is en.

corn :r. exception, and his early piano mu,

sic has a plainly recognizable basis when Joseph Schillinger

came to this country in 1928, he came as a composer. His symphonic worb were performed by the best orchestras in Europe and the Unit. .ed States. Symphonies were com. missioned by the Persymphans Or* chestra of Moscow and by the

.Radio Cor~oration of America. In

- . - in that of Scriabin.

Scriabin wau a theosophist and he regarded with mystic reverence the "chord of nature," as he called it, which is produced by the fourth octave of the overtone series. H e adapted this chord to the piano's artificial tuning and develope4 a

BEETHOVEN and

SCHILLINGEF

1927 the State Committee for Se. _style in which, in the end, iHOSTAKOVICH, lection of Symphonic and Chamber variations on the one harmony g o o d f r i e n d o f Music of the U.S.S.R. chose his were used, all with the repetitive S c H I L L IN G E R

"Symphonic Rhapsody," Opus 19, and hypnotic solemnity of an East k:d:hts c : m g t as the best work conlposed in the Indian philosopher. Most of the md rent it to Sthi!- Soviet Union during that countiy's young Russians who came under inger a r a souvenir

first decade. Enthusiastic reviews of this very ~ower fu l influence made >f the program in

his works were written by Russia's humorless and unskilled combina, -L'-h Only Beetho-

and Schillinger then leading conservative composer, tions of the Scriabin chord with Dlaved. Micolai Myaskovsky, by the lead. more conventional musical ma* ing radical composer Alexander terials. Mossolov, and by Igor Glebov, then certainly the best known critic Originality in musical.-com~osi'

in ~ ~ ~ ~ i ~ . ieopold stokowski was tion only rarely consists in the cre.

one of several distinguished men ation of a majority of the elements

in the United States who also spoke used, out of the whole cloth. I t is

warmly of Schillinger's music at more apt to show itself in some +L,+ new approach to known elements, B Y T H E TIME he came to this

or in new of known country, Schillinger's style had

materials and jn the extension of developed So far away from Stria' - da natural curiosity is fre, bin's influence that it is barely dis. . "~ernible ; but those who expect his !hew style to be purely cerebral will

&e disappointed here too, for Schil. linger always showed a particular lack of feeling for the value of aus* terity in his music. The style of his most important orchestra works is characterized by a fulsome richness which is almost voluptuous,^ by much rhythmic contrast and many

shifts of tonal center, by chords

which lie comfortably behveen ex, tremes of consonance and disso.

tirely avoided, however, by the quently humorous juxtaposition highly contrasted materials.

Needless to say, his form is both fine and original. H e was one of few composers of the 20's to inter, est himself in new ways of achiev* ing solid structural relationships. P rev i~us l~unhea rd tone,qual i t ies abound in the insFrumentation, as well as curious rhythmic effects, through the unique spacing of in. struments in relation to chords. Polyphony is usually a secondary consideration, resulting more from the harmonic fabric than other,

(Continued on next page)

M u s i c

H E IDEA O F T H E MOVIE industry as a lavishly endowed mad house is pretty well fixed

in the public mind. And a recent scene in the filming of the forth* coming "Carnegie Hall" would seem to bear this out. Heifetz. as sploist, was playing in a booth while I led the orchestra on stage. Heifetz coyld see, but not hear me. I could not see him, but heard him through one earphone, while listen. ing to the orchestra with the other ear. The orchestra coul$ n&&fis4gk

*&$" " nor hear the soloist. ~ ~ ~ , ; + ~ ' f ; ~ $ ~ :?*F** g However, at least this ome, there

.,was method in the madness. The reason for this odd placement was that the playing of the orchestra is recorded on a different sound track frod the playing of the soloist. 111

a recording for motion pictures a sbund track of 100 mil in width is used. By recording the orchestra on

- one sound track and the soloist on a second, thus using two instead of

('one, the area that can be used is dquble that of the ordinary record* Jag,' i.e., 200 inil. Therefore the composite print achieves double the

- r n e G r e a t e s r n u d i e n c e bv Friiz Reiner

range in highs, lows, depth, and movies is done with a preuslon ing'. has an mdefinable quallty of frequency. If only, one microphone and exactness that makes such per. spontaneity that necessarily is miss, is used, one gets only the sound at formance a field day for the per. ing from the music.for.the.screen, that particular spot,-but with two, fectionist. Infinite care is taken to with its reerecordings and selected it will be caught have the performance that reaches excerpts.

the public absolutely without de. (Continued on next page) fect. For once the conductor has at

seemed a good one to 'me, and his disposal a sufficient amount of Heifetz agreed; especially when I rehearsal time. Music is recorded reminded him, "This way, I can't and re*recorded until a satisfactory as knock your violin out of your version has been achieved. The (Continued)

hands!" (I had done this once playing of the music itself can be wise. Yet there is often great inde* when he played under my baton a t done without any thought for the pendence of parts in the harmonic the Stadium. I t was several sum. visual aspects, from which one can. writing. There is some use of coun* mers ago, the night after the or. not escape in the concert hall. The ter*rhythms, but as a whole. it chestra shell had collapsed in a conductor and technicians can place would seem that his interest in storm. The stage was not yet re* each instrument where it will be combining rhythmic systems devel. paired,' and orchestra and soloist most efficient, even if i t means that oped at a later period. had to play in the center of the conductor and orchestra are play. His major works combine expres. 'field. Heifetz was placed too near ing in one part of the sound stage sivenew with wit and a broad-flow, me during the performance, and a and the soloist in another part of ing?nd vital rhythm; in them there "spacious gesture" of mine swept the hall, as in the case of Heifetz is always, moreover, some unexd his fiddle from under his chin.) and myself. pected tonal excitement to be

I This latter advantage is also found. Enterprising orchestra con. available to the radio conductor, ductors are sure t~ realize before

0 UR RESULTANT RECORD* though here, as in the concert hall, long the tremendous interest bound ING on the sound track of it is one playing that will get to the to be aroused when such scores as

"Carnegie Hall" seemed to me a audience 'with no chance for cor* his "Symphonic Rhapsody," Opus faithful reproduction in sound and rections. However, as in actual con- 19, and his "North Russian Syl-h. balance. In fact, music in the zert performance, this "one pla phony," Opus 22, are revived.

Each Month Winifred Glass Turns the Spotlight

O n a Risina Youna Artist of Nation-wide

Significance. Her March "Famous

Youna American" is . . .

m HE NEW YORK TIMES of anuary 5, 1947, reported that

Lou i se Bernhardt made a :ply favorable impression at the

.:ltal she gave yesterday afternoon Town Hall. Unusually hand,

some, and blessed with an engag. ing personality, hhss Berngardt

roved the possessor of an opulent lice of pronounced beauty of

-.nbre, which she used with a warmth, intensity and expressive,

is seldom approximated by sing, of the younger generation."

he reviewer went on raving about MISS Bernhardt's range, breath con, trol, sympathetic appeal, excellent

:tion in every language, and gen. .a1 musicality, summing it all up v saying that "few voices of the y boast such sympathetic appeal

and fascination."

The young singer, who thus im. ressed the reviewer of the N E W 3 R K TIMES as well as those of 'ler -papers, hails from Melrose, issachusetts, not far from where

;eraldine Farrar, her idol, was qrn. In her student days in Bos. n she concerned herself with psy.

hology as well as with songs and nera roles. She received the fin.

ing touches from Paul Althouse, ~ h o m she met when he was sing.

.ng with the Chicago Opera Come pany, and in the recital which

ought her into the limelight she .. 1s supported by Coenraad V. Bos, with whom she has coached

UNE say what he s a ~ d of Louise less than two months ago: "It 1s to be hoped that MISS Bernhardt wlll not remaln away from the local concert platform agaln for so long a tlme, for in a d d ~ t ~ o n to her ac. compllshments along vocal llnes she is a str~kingly handsome wom, an, brlmmlng with personality,

puls~on, a ~ d her greatly in her work."

Need we add more adjectives in pralse of thls contralto, American* born, Amer~can,trained, who has harvested unusual successes w ~ t h Amer~can audiences, successes that make ~t safe to predict that this artist, known to a relabvely small

1 which a contralto, born for the stage, can win laurels for

ging and acting: Carmen, Am. ..-[is in "Aida" and Delilah in "Samson." Successful debuts in

:se roles are behind her, and she - d e more thaa just a good im.

of song recitais at Town Hall are severe, and not often does Jerome D. Bohm of the HERALD TRIB.

Music for the

T ELEVISION, W H I C H MANY WAYS will repre, sent the combined entertain*

ment factors of radio and the movies, loses one quality of the lat* ter-the original performance gets to the audience, and visual prob* lems are added, without the ad* vantages of motion picture tech, niques. I believe it will be the most difficult medium of all; but it will he the one representing most near*

ly to the audience the conditions of real concert attendance. Television brings its listeners physically closer to the musicians, giving them op. portunity to observe actual music- making and thereby creating a per. sonal bond between performer and audience. * " ~ < ~ & ~ ~ ~ ~ - 5 ~ + ~ , .$ :

*A$- 9, &,~%.: .Z$i - -q Work in all these orms of mu.

sic reproduction is worthy of the best efforts of our musical artists and sound technicians, because through these modern media one

can reach audiences of sizes 11nr

ireamed of heretofore.

M A R C H ,

Schulhof 1 13 West 57th Street New York 19, N. Y.

Telephone: Circle 7-6356 and 5361

Cable Address: CONCERTOUR NEWYORK

ARTIST LIST 1947-48

Exclusive Representar~ve tor:

Orchesf ra: ROYAL P H I L H A R M O N I C ORCHESTRA, London, under the baton of SIR THOMAS BEECHAM. Touring Canada and the United States March to May, 1948. (Depending on shi I-

modations; definite -- announced soon.)

Conducfors: ERNEST ANSERMET, C h e f

dlOrchestre L'Orchestre de la Suisse Ro-

mande, Geneva

SIR T H O M A S BEECHAM, Bart., Artistic Director

Royal Philharmonic Orchestra, London

STANLEY CHAPPLE, Conductor, Lecturer

St. Louis Philharmonic Orchestra, St. Louis Civic Chorus, St. Louis Little Symphony, St. Louis Opera Workshop, Berkshire Music Center

FRITZ REINER, Musical Director Pittsburgh Symphony Society

Insf rumenfalisfs: ELLEN BALLON, Pianist BETTY H U M B Y BEECHAM,

Pianist GERALD WARBURG, Cellist

Personal Representative for:

ANTAL DORATI Musical Director

Dallas Symphony Orchestra

Anglo-A merican Conced Arfisfs,

I Manager: Andrew Schulhofl

I I 3 West 57th Street

New York 19, N. Y.

Headquarters for Great Britain and the Continent:

IManagers: Edward P. Genn '

and D. Morris Levyl

101 New Bond St.. London. W1 Telephone: Mayfair 852 1, 8522

~ b ~ ~ ~ ~ z ~ ~ s z ~ ~ ~ A y s g 2 ~ ; ~ , M U S I C , N E W S

Brazilian Soprano

Vanda Oiticica arrived without publicity. This remarkable Brazil- ian singer received success imme. diately as a good artist. Having a wonderful voice, her songs give the impression of a constant im~rovisation. H e r intonation. accentuation a n d d e g r e e of voice are variable in accordancr with the text's exigencies. For in- stance. she in ter~re ts Bach with a marvelous sharp continuity, The voice keeps its haughty nobility. I t is what we -would call "organ song." This singer, who could be compared w i t h Ninon Vallin awakes sympathy in the audience, suggesting iweefness and cerebral reception. Her sentimental elo- quence is wonderful when inter- preting Faure or Debussy melodies. The singing of Vanda Oiticica is really a message of elevated intel- lectual significance. "C'est L'ex- tase" and "Green" of Debussy, "Rencontre," "Toujours" a n d "Adieu" of Faure were the pro- found minutes of this concert which concluded with lovely music of Brazilian folk-lore, heartily and full of colours suggesting evoca- tions which she interpreted with incomparable voice and great tal- ent. - ENRIOUE LARROOUE. E l Hogar, ~ i e n o i Aires, 1945:

'

Miss Oiticica . . . disclosed a voice naturally rich in timbre and of fine potentialities. . . . The interpreta- tions . . . were always expressive and projected with emotional warmth. They evinced a real sense of style both in the French and Brazilian offerings and also could be commended for claritv of dic- tion, smooth legato and carifil phrasing.-NOEL STRAUS, New York Times, 1947.

The pleasing natural quality of her voice was suggested in the Scar- latti and Bach arias at the begin- ning and more fully revealed in the balance of the program, which was devoted to music by French and Brazilian composers. . . . Her sing- ing was sympathetic and expres- sively well intentioned. Hahn's "D'une Prison" and Moret's, "Le Nelumbo" were presented with considerable understanding. . -FRANCES PERKINS, N. 'Y: Tribune, 1947.

For Available Dates in U. S. A. Inquire MUSIC NEWS'

-

7 West 56th Street New York 19, New I O ~ K

IANsCARLO MENOTTI the first composer to use the new portable magnetic rib,

neer to foUow in adapting the for. Opera "The and his

Soundmirro~ may be used tc finally P r 0 g a consisting of banscribe by speech only. A ~ ~ l o ~ r i a t e aPPen. means of a multi~directional micro. dices covering methods df setting phone or i t may be wired to a ra,

n eighteen shows are relative gain for general and accen. die to take a Program off the air.

tuation microphones alld a method The magnetic ribbon reels, which take half an hour to be run off, niay be cut and edited to suit the Lstener; the recording may be re. run several thousands of times, or Quiz*" which added expense to the broadcaster is

- + ~ d the ribbon used again

ear their favorite record.

M A CABIN IN DE PINE TREES T. T. B. B. and Solos,

G. Schirmer, N. Y.

taining an a c o u s t i c a 1 constant, "Liveness," which clarifies studlo

problems. The properties of this NEW 1947 C H ~ R A L NUMBERS THE OLD WHITE GOOSE

kas . . . . . . . . . . . . . . . . . $1.25. Notturno-Respighi ................... Sailors-Gliere . . .

nt-Saens ...... >

- - '8K- 'IUSIC CORPORATION - RCA Buil

M U S I C N E W S

Louis Civic Chorus 3 ,' $-: ' Saint Louis Grand Opera

' Guild Workshop 3-1 1 " : Berkshire Music Center,

? * Tanglewood a' .: % >' ' -- I'

Guest Conductor with: $?A % British B r d a d c a s t i ~ g Cor. "'8. poration, London q P> 3- ..$ ..@A ~ $ 4 Columbia Bbadcasung ? System, New York &.-: - " r ~ ~ "Nibion31 Symphony

!I OrcheStra, ' Watergate, Washington

Baldwin Pianc

lusive Managamam):

:CH, 1947 b . '.

". 11 London, Ontario, paid tribute by jingles, will be featured by- 4

selecting "Ballad for Americans." Boston Pops under the haton %?:I' , . . A symposium on music criti. Arthur Fiedler. It is the wod?:o~$

with the University of Detroit and cism under the auspices of Harvard the Canadian composer &TOW& also teaches at the Detroit Institute University Department of Music Cable and will be published' ,Ef %

of Musical Art . . . b r t u r Rod- will be held the first three days in Mills Music, Inc. . . . rinski was appointed to the helm May in Cambridge. In addition to vUda oitida, B a i 1 >a a ," of the Chicago Symphony Orches. meetings in which prepared papers prano who made her debut ja i3 tra for the 1947.48 season . . . will be read there will be concerts Town Hall appeared -kx* The concert given by the Euro. with new compositions by Copland, B~~~~~ ~i~~~ three years in

pean singers brought here by the Mdpi-9 H i n d e m i t h , -nu, M ~ ~ ~ ~ ~ ~ ~ * ~ k L ~ a n o n - l aq J ~ ~ ~ ~ ~ :

United States Opera Company and Piuon, woenberg, VVifiam Schu- with he 1%. G~~~~ M~~~~ in &, who were stranded, attracted an man and Chavez . . . Nathan title role. . . yella pessl, ha+ audience of approximately 2,000 Bfoder, associate editor 0

and netted $7,873.00 . . . Har- MUSICAL QUARTERLY, a riet 09Rourke, who had started a manager of G. S*mer, I~c.'s brilliant career as a radio singer publication department, was ap. and was on her way to great suc. pointed supervisor of the same cess, was found dead in her Man. firm's Symphonic Orchestra De. hattan apartment-suicide . . . Wal- partment . . Thea Dispeker, for. ter Aschenbrenner, member of the merly associated with Colston Leigh American Conservatory of Music and m w acting as artists' repre. faculty and director of the Chisago sentative, announces the ope Philharmonic Choir, died suddenly of her ofices at Broa at the age of 57. . Andrew Schul- . . . Jacques Singer, formerly con. hof has founded the AngIo-Ameri- ductor of the Dallas Symphony Or. can Concert Artists, Inc., which , chestra, made an unusual hit as Guild's presentatio will present American artists in guest conductor of the Vancouver ata" at the College Great Britain and on the continent ' Symphony. His guest was the vio* York. . . . . . Stanley Chapple, now estab. linist Gerhard Kander, who was lished in St. Louis where he is equally well received for his play c~ndua ing the Str Louis Little ing of Mozart's A major concerto Symphony, was also made conduc. . -. . At the invitation of Charles tor of the St. Louis P h i i o n i c Muench, who was guest conductor Orchestra . . . An vnusual hit was of the New York Philharmonic, made by baritone Robert Weede with the D a m n Philharmonic Or. chestra, .Paul Katz, conductor, on the G minor concerto for organ, January 30 . . . George A. Wedge string orchestra and kettle drums announced that a brief survey of by Fran& Poulenc; the work, giv/ the Schlllinger System will be given gn for the first time by the Society for the third successive summer and the interpretation gained fa. session of the Juilliard School of +orable press comments and enthu. Music . . . The Chicago Artists siadc approval . . . F. Charles Ad- Trio presented the Sho~takovich E ler appeared as conductor with the minor Trio, Opus 67, at a r e c y t New York Chamber Orchestra at Kimbill ad concert, playing fmm &rnegie Hall on February 21; his manuscript . . . (3ian-blo M e 3 t - soloist was Artur Schnabel, who ti's "The Telephone*" a new Anfer. played h e Beethoven ,C major con, ican chamber opera, was prem$$d certo, the M~~~~ cbncerto in B February 19 together with his fvll No. aria, together with his length opera, "The Medium? .". . Aaron Copland's "4 Lincoln Por: son, Karl Ulrich, the Bach concerto

trait-" wa$ give; in L~~ ~~~~l~~ for two pianos and orchestra in C

grid in.\;riepna for Lincoln*s birth. major . . . Jean Sablon, the French

day;-Alfr& W & m e i n and && singing star, will broadcast three of Leihpdorf were the respective con. his Saturday night CBS programs ductors . . . Jan Peerce, appearing beginning March 15 from San at the War Memorial Opera House Francisco while making personal in San Francisco, decided to .add "John Brown's Body" in honoq of

-Lincoln's birthday to his pr~"grm, All the Way," a symphonic suite and Dorothy Maynor dn&g l i '> ~q '@&I+.rrlmrnef& *radio

C I _ , I '

I fl

Comment

Brahms' Rarely Heard Music blc Records

I T IS A CURIOUS T H I N G ing to St. Matthew"? One might ortunately often declined, to be. nies, Brahms waited many years be, that the majority of works by go on to Haydn, with a survey of come familiar with hundreds of fore he felt himself capable of try. composers whose names have the familiar symphonies, to be great works which might not be ing his hand at quartet writing.

:come household words are little stunned by the multitude of come heard in public performances dur. Consequently these two quartets known, not only to laymen, but to pletely unfamiliar symphonies, and ing a lifetime.' The fiftieth anni. are both among his greater works =+- dents and professional musicians to Mozart and Beethoven and versary of the death of Brahms is for they are written with a mature

well. The names of Bach and Schubert and Brahms, ad infinitum. at hand, and when one considers hand. Recorded also, are two of [andel, Mozart and Haydn, Bee. In fact, how many students and the universal recognition of his the piano quartets, the first, Op.

..loven, Schubert and Brahms are musicians can give the principal name, together with a universal un. 27, and the second, Op. 26. These as familiar as our own, yet, when themes of all of the movements of familiarity'with most of his music are seldom played for the simple

2 pause and contemplate the the nine Beethoven symphonies? (and what is his name without his reason that three string players ..arks of Bach with which we are This situation is doing a great music?), it can be recognized that with a pianist do not often give

'familiar . . . then Bach becomes injustice both to the composers and no greater tribute could be paid to recitals. The first of these is per, suddenly a stranger. The D minor to us. But the situation today is his genius than to investigate his formed by Artur Rubinstein with Toccata and Fugue, the Passacaglia not justifiable on the well-trodden seldom.heard music as it exists on members of the Pro Arte Quartet, and Fugue, excerpt's from the grounds that public performances, records, to realize that Brahms did while the Op. 26 is played by Ru.

Nell.Tempered Keyboard," the stereotyped with repertoire, are rea more than simply exist. H e wrote dolf Serkin. and members of the ,~ncerto for Two Violins and Or. sponsible. The scores, for the ma. music, too. Busch Quartet. The two string chestra, and about here the aver. jority of these unfamiliar works, T HE CHAMBER WORKS of quintets (string quartet with sec. ge person stops, and begins to are available, and an argument that any composer are relatively ond viola) are recorded, the first >ink back, usually with no results. reading scores without hearing the unfamiliar. In the case of of these, OP. 88, by the Budapest 'hat of the "Art of the Fugue," music itself is of little value, is not Brahms there is no need for one Quartet and Alfred Hobday, the

the "Musical Offering," the Cho, valid, nor has i t been for many to be a stranger to his chamber second, Op. 111, by the Budapest rales, the Church Cantatas, the years. music. The two string quartets Quartet with Hans Mahlke. The secular Cantatas, the "Little Organ T H E HUGE LITERATURE numbered Opus 51 are both re, clarinet quintet, OP. 115, may be Book," and, the familiarity of thelk of recorded music offers lay. corded, the first by the Busch heard as performed by the 33usch names notwithstanding, the B mi. men, students, and profession. Quartet, the second by the Buds. Quartet with Reginald Kell, and nor Mass and the "Passion Accord* a1 musicians an opparmnity, T; peat ~ ~ ; ~ ~ ~ ~ ~ , ~ & ~ h ~ ~ j ~ ~ ~ m p ~ : q ~ & , h ~ v ~ g & ~ ~ p i _ n : e t ~ ~ , ~ ~ ~ b ~ ~ ~ d ; i ~ 1 a ~ e d

3+3w:v$3", -. * *. ,.a-Q*&$ &g. . * g:p , -. v: T l:?-vTL; :&*. .~~fi~~~~$&-%~&,~*:~- ;*,2 F'24""5Y~~*~~=JB9X?% ~ ~ ~ k f ~ ~ ~ & + ~ x . t , 2 s * $ ' 8 & ~ $ ~ ~ & ~ ~ $ ~ $ ~ ~ ~ ~ ~ 3 $ ~ & < ~ $ ~ p ~ ~ g g 3 ~ ~ A ~ ~ g g d & ~ g .,, :, d~ * w-a.twr_+ . e~3-K QK+% k- .,*$* *+*a, % -4- %

A Cantata in Memoriam t o Franklin for Mixed Chorus: Soprano, Alto, Te 'deists: Narrator, .Orchestra or Piano.

LVQW available for, bhoral Groups and Orchestras

"frite c/o Music News, 47 West 56th St., New York 19

$$p<,;*~$,.;&~. $ ",~%?.:~::.-ii.~ .T+ ii>.&*: .~. for ~;$p.':qc 7.

>: d .:.*f.;.--:!.;>:7 -. .,@ .i,,J, yr$x:..*~ &;,W,:%~~W .. .~ . * j$> i~~ .2 ,a?,: i;;.-?y ., #?. $:7i-~~~h'$-:z X % . ! L ~ : . ~ ~ , : ~ ~ ~

1 19 Wesf 40th 51. i,*5N dhq ~ e ' w York 18, N. Y. ,,.,:;.:k.2+T

Central Conservator

BERT L. HUDSON, Mus. President and

oor Kimball Bldg.

on records by Rudolf Serkin with under Eugene Orm the Busch Quartet. One of the many concerkgoe utstanding chamber music ensem, Brahms sonatas? Recorded are the les brought together by RCA three sonatas for violin and piano,

r, consists of Artur Rubin* Op. 78, Op. 100, Op. 108. The BH SCHILLINGER

Jascha Heifetz, and the late first is played by Adolf Busch and uel Feuermann. Together Rudolf Serkin; the second by Jas*

ey have recorded the Brahms cha Heifetz and Emanuel Bay, or rio, Op. 8, which, in spite of the Albert Spalding and Andre Beno- rly opus number, is not really an ist; the third by Paul Kochanski rly work. I t was written in 1854, and Artur Rubinstein, or Joseph "Use this book as you would use spectacles ~f yvir

the version we hear today is Szigeti and Egon Petri. The two roere near-sighted. 7t ti7111 open before you an rnllrle- revised work, changed and sonatas for violoncello and piano, drate solutron of many tecbnrcal problems. It' wrll

oothed with the hand of matur* Op. 38, and Op. 99 may be had. thirtyseven years later, in 1891. The first as played by Gregor Pi. older recording brings us Adolf atigorsky and Artur Rubinstein, or

usch, Aubrey Brain, and Rudolf Emanuel Feuermann and Theodore n playing the "Horn" Trio, Pas, and the second by Pablo Ca. 40, scored for violin, piano, sals and M. Horszowski. The Op.

French horn; ::;, F-.,~~,. :bgs -<,i 102, No. 2 sonata, written for pi* For the COMPOSER ARRANGER

<- M;~'.' p ' 5- -. g,,,:,:2 ?, &;AWL 2 . ~ : an0 with either clarinet or viola, is .h,, 52$3;Ycu,4L%%? : A ,.- ,22, w,mT++ 3 ~ ~ & 3 ~ available as played by William STUDENT TEACHER 0 CRITIC

"- Primrose and Gerald Moore. All ERATURE O F THE of these sonatas, seldom heard in

ED, that of public, should be as familiar as the rahms, but that of Schuberty first Symphony or Violin Concerto.

humann, Wolf, Franz and others well, is unfamiliar, despite the :$$: . - 7 9 & ~ 9 ~ ~ ~ 9 + y $ 2 . 8 ~ ~ $ ~ f P + ~ ~ $ 2 ~ 3 , ~ avalanche of song re, 9;3*%~~.+L;a2~:~.3&a22\s;v7t~~$~ib +&$ ing procedures, BUT

tals. As with the others, one I t can be seen how much of

ars a small segment of ~~~h~~~ Brahms, the little*

eder over and over again. with is waiting to be :he help of Alexander Kipnis this curious and interested music,lover, sorry state can be partially reme, student, or music M. WITMARK & SONS &ed, for he offers two albums of goes on, the rec Brahms songs, some of the familiar erature continually increases. The lnes and many that are unfamiliar. fiftieth anniversary of ~ ~ ~ h ~ ~ ' The first album, containing six rec. death is at hand, remembran

; and issued by Victor, has ten of his great genius we ,ongs. The second album, likewise with six records under the Victor ,anner, has eighteen songs. In a music that eludes us in our regular

=olumbia album, L~~~~ ~~h~~~~ concert,going. Records provide the ASSOCIATED CONCERT BUREAU JACK PETRILL ted in the Klpnls albums, In ANTON SCHUBEL

Columbia album Ernst wolff offers nine Brahms songs,

[anan Anderson sings three lieder, ~ n d the great "Alto Rhapsody," sevitzky, authored by Moses

Ormandy and the Philadel* Smith and published on Febru.

,nla Orchestra accompanying.

duch of Brahms lieder is unrecord,

but there are few students Or into the personality of a great con. C O N C E R T SERIES

essionals who can honestly say ductor are given. However, some hat they are fam~liar with even the. of the stories are not flattering to

ongs that are recorded. amsFqet$v*+the the Boston S Y ~ . ~@;$$a$~hon~ Orchestra. New to us was

: ~,~~;~~,g;;.<n4ya~; ++%: F~Y?. . - ~,L:*;R~~X'@~'J~?+.~~ which the maestr

ERSONS ASSOCI conducted the "Forest Murmurs" ATE the Chorale,Prelude from "Siegfried," wi only with Bach, but a brief number of beats to

:y will disclose the fact that page by page. The wo Brahms' Chorale.Preludes, Op , said to have been ge 122, have been recorded by organ, Boston musicians," Moses Smith re, st E. Power Biggs. Most music, ports, "calmly got together some* overs know the two piano concer. how and finished together." Kous. os and the violin concerto, but few sevitzky apparently was hard to lave ever heard the Concerto for convince that the fault for the con* J~olin, Violoncello and Orchestra. fusion was his own. Koussevitzky, rhis, too, is recorded, by Jascha suing author and publisher for Aeifetz and Emanuel Feuermann $900,000, won a court order re. CIRCLE 6-7450 vith the Philadelphia Orchestra straining distribution of the book.

M A R C H , 1 9 4 7

Nicolai Myaskovsky, professor of fhe Sfafe Conservafory, Moscow, Jan., 1928

and orchestra (First performance by the Ckveland Orchestra, Nikolai Sokoloff conducting, 1929.)

1930 op 22 NORTH RUSSIAN SYMPHONY for large eastern music. This piece orchestra (Commissioned by RCA Photophone.)

George Polycmovsky, New Observer, Moscow. 1926 Piano Cornposit Ion

12 Op 12 FIVE PIECES (Performed in Russia, in and

1924 Op 14 EXCENTRIADE. (Performed in Russla, In Berlin a d

1925 Op 17 SONATA-RHAPSODY 'erformed in Russia, Berlin, Milan, The New Yorker, Dec. 14, 1929 , . S. A. )

Works for String 1918 Op SONATA for Cello and Pia

1921 Op 7 SMALL SUITE for Double-bas 1922 Op 9 SONATA for Violin and Piano This Week in Cleveland, Nov. 24, 1929

eity on the list was Joseph Schillinger's for the first time. T h e work was large audience and was repeated."

The New York Times, Dec. 12, 1929 fascinating melodic and emotional

N. Y. Herald-Tribune, Nov. 17, 1929 of Schillinger's thinking, coupled with

ventiueness, as well as the indubitable ake it imperative for him, in the the most interesting problems that

Alexander Mossolov, Persymphans No. 9, Moscow, 1928

Joseph Schillinger is characterized by an ey- sting harmonic idiom saturated with dynamics. orful impressionism, beautiful rhythms and an ceful way of expressing his ideas." lgor Glebov. Melos, Heft. IV, F-lkforf, 1928

Muriel SOPRANO

Pers. Rep: Dick Campbell R A H N ~ ~ ~ ~ ~ ~ ~ K ~ s ~ ~ Booking: NCAC

80 E. I21 St. Apt. 1C. New York City 711 Fifth Ave.. New York 22

LEADING " L L E S C H E~ZLITAN

A OPERA ASS'N. Pers. Repr.: I . H. MEYER. 119 W. 57th St.. New York

A N C I E N T M U S I C O N A N C I E N T I N S T R U M E N T S ' LECTURER RECORDER

RECITALIST 33 W. 87 St.

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"Rare . . . precious . . . t rue musicianship." K o u n t z , T o l e d o T i m e s

KATJA ANDY CONCERT PIANIST

NOW B O O K I N G SEASON '46/47 Studio: 5757 Cass Detroit 2. Mich.

SPOKANE CONSERVATORY Hans Moldenhauer Mus. D., Director

808 Lincoln Street. Spokane. Washington

C W A 0 E E L A BERRYMAN C L and I V I L c I Omaha Piano Conservatoire L S E S 5018 lzard St.. Omaha, Nebraska

ETHELSTUART G A U M E R ember N.A.T.S. ~ h o r a l Director - Coach - Accompanist - A.G.O.

South Bend, Indiana Care of Music NP-*~-

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NBC FRANK RULL ' BOBBY CHRISTIAN s - r m

' Jose Bethencourt School of Percussion Tommy Thom

r rederick Wilkerso Teacher of Voice

DIAGNOSIS VOICE BUILDING

1A RI-I'NI 8

Rer .dw

0 NE O F T H E GREATEST finds, if not the greatest, of this season is Miklos Gafni,

I young Hungarian tenor, who ar. -ived unheralded in this city a few weeks ago. In his debut recital he jisclosed a voice of remarkable luality. I t has strength, flexibility ~ n d that certain emotional appeal xhich is so vital for the tenor of ;he Italian school. His natural field s, of course, not the concert hall, 9ut the opera house. A voice iike his comes upon our stages only >rice in a blue moon . . . Another debut recitalist of more than aver* age ability is the Brazilian soprano Vanda Oiticica who, with a small ~ lbei t lovely voice, ranks high ~ m o n g interpreters, while on the technical side she could still stand improvements . . . Mona Paulee's great vocal gifts ate not shown to best advantage on the concert po, dium which she obviously confuses nith the opera stage, where she is more at home. Lieder singing does not need any showman quali. ties of which this highly tempera. mental singer is past master . . . [n Ellen Osborn we have a seri. >us-minded soprano who strives for highest interpretative effects in an unusually interesting p r o g r a m. Doubtlessly she is on her way: she brings to her task a strong, pliable voice, taste, feeling for style, but has quite some difficulties with the high register . . . Tops among pro, grams for the connoisseur was the one given by Ruth Kisch-Arndt and a host of instrumentalists, pre. senting only pre.classical music, which in its simplicity is an ideal vehicle for the contralto's outstand, ing musicality . . . Not quite so exemplary, in fact rather diverse, was the program of Marie Arakian. This soprano has made a better impression at earlier recitals; her voice, which is beautiful, shows a certain strain, indicating perhaps :hat her schooling is insufficient . . Adelaide Abbot has an ex.

;remely light, yet intriguingly de. ightful coloratura voice, but is :ethnically not yet p r o f i c i e n t :nough to use it most advantage. Jusly . . . Lea Karina is a singer ~f grtat refinement who is at her 7est in lyrical numbers and surpris-

in , tyles and Ian-

A MONG PIANISTS a new* comer from abroad also esp

tablished himself immediately as an accomplished artist: Franco Man- nino, a young Italian, who pro. duces a sweet, graceful tone and is technically more advanced than a great many of his elders. That he does not quite grasp the depth of a Beethoven sonata is pardonable in view of his youth, but otherwise his forceful, but never overstressed playing put him in the forefront of pianists and makes him one to be watched. . . . Katja Andy, also playing for the first time in this city, impressed with her high musicality, her ex, cellent tonal architecture and her superlative interpretative gifts. In a Bach*Mozart program her inter* pretations of Bach music were the most remarkable for their polye phonic effects, the precision and clarity of tone . . . Bernardo Se- gall, in former years often disap. pointing on account of his empty virtuosity, showed a marked im. provement in this season's recital which found him more in keeping with musical and stylistic require. ments than ever before. His dis. course of Liszt's B minor Sonata was masterly . . . Emile Baume is one of those pianists who is con. vincing in everything he tackles, but lacks fire and the ability of carrying away the listener. This was obvious in his otherwise exe cellent interpretation of Beetho. ven's Sonata in A flat major . . . W e had little use for Joseph Wein- garten's hollow virtuosity which distorted most of his work. H e is an exponent of that school which considers technique a means in it. self and accordingly neglects all

Manapem.nt : ALBERT MOillNl 119 West 57th St.. N e w York 19. N Y

facets of piano playing . . . the mechanics of his instrument, is ould have learned something musical and produces a remarkably young Leon Fleisher, who full tone. I t should also be men.

d tremendous improvement tioned that he showed greater af. since his latest appearance. Ale finity for modern music than for though technically not less profi. the old which he probably put on cient, he pushed the technique into his program as a gesture towards the background and poured soul traditionalism. There is little doubt and body into the interpretation of that we shall hear more of him . . . such difficult works as Beethoven's Anatol Kaminsky has not quite "Pathetique" and Schubert's So* reached Sorkin's stage of develop. DRAMATIC SOPRANO nata, op. 120. . . . Robert Turner ment, although it would seem that, is a scholarly, reflective pianist who with his excellently built technique, Now Booking Season 1946147

produces a beautiful tone but, like Baume, lacks spontaneity in his ap. proach. H e excels in modern mu. sic . . . Shura Cherkassky is an, other pianist of the virtuoso school but his supreme pianism finds little support in his interpretative abil. ity . . . Paul Loyonnet in his s e e ond recital of the season impressed again with his great musicality in a Beethoven Chopin, Bach program which saw him in top form, thus fortifying his reputation . . . W e thought Marisa Regules in her Carnegie Hall appearance has be* come a much better pianist than she was only a year ago. Her earlier careiessness has been re. placed by a striving for expressive, ness and absorption in her work, and, if continued, should bring the desired results . . . Harry Davis confirmed earlier impressions that he is an extremely sensitive, if not moody, pianist who has few peers

when it comes to romantic music,

such as Schumann's "Kreisleriana." He is one of the comparatively

few artists who put everything they have into their work, thereby loss

ing sometimes the domination over

the piano while becoming too en,

gulfed in the music . . . George Walker, who played in Town Hall

the same day, is, while in many re,

spects as good a pianist as Davis,

his opposite: he performs very ob. '

almost too much so, and

seems to be hiding his personal feelings behind a studied facade . .

u MONG VIOLINISTS there is also a young debut recital,

_ ist who deserves first men* tion: 20 year old Herbert Sorkin, who has a thorough knowledge of

Ray Lev American Pianist

LEIGH CONCERT CORPORATION

500 Fifth Avenue. Yew York 18, N. Y.

he should be able to reach it. Right now he is still deficient in his mu.

Y

I Suite 801. Hotel Wellinqton. 7 Ave. & 55 St., New York City

sical grasp of such works as the Rreutzer Sonata and Bach's Partita in E minor . . . A newcomer was the Canadian violinist Harry Adas- kin, another artist who feels more in common with contemporary mu. sic and is generally more interested in the musical content of the works to be performed than in technical brilliancy. Thanks to his convinc. ing readings his recital must be deemed a success . .' . Louis Per- singer came out of his semi-retire. ment as recitalist to present a Mo. zart program, with the help of pianist Leonid Hambro, violist Ronald Persinger, his son, 'cellist Horace Britt, and violinist Dorothy Minty. I t was an unusual concert of some of the most beautiful chamber music works Mozart has written . . . Donna Grescoe, who was heard for the first time, dis, played great talent which is a promise for the future. Occasion. ally her tone became too brittle or too hard for comfort . . . Angel Reyes presented, with composer, pianist Jacques de Menasce, four sonatas in a League of Composers concert, among them a new work by Irving Fine .,and de Menasce's seven year old composition, both of them excellently played and well received by an appreciative audi. ence . . .

Raya Garbousova, in her yearly

recital, made it clear that she has

no competition among women 'eel* lists and need not be afraid of any

of her male colleagues either, most of whom cannot avoid monotony.

Miss Garbousova's fiery tempera* ment, her intensity of playing and

her fine stylistic feeling make an

evening of 'cello playing a great

delight . . . Adolfo O d n ~ p o ~ f f remains unconvincing, because he

(Cdntinued on Page 21)

I T R E V I S A N I ( Teacher of Smgmg

219 E. 12th St. New York City

I RUBINI - REICHLIN 152 W. 57 ST. N. Y. C.

Ci 7.2636 I - . . - - - - I ONLY TEACHER OF JOHN GARRlS (Tenor, Metropolitan Oper. I I I

M R C H , 1 9 4 7

ANOR LUTTON O P E R A - CONCER1 R A D I O

S O P R A N O c/o Mina Hager 315 W. 57 St., N e w York C i ty Chicaeo Mgt: ~ k t e l l e Lutz. 25 E. Jackson Blvd.

NICOLAI Conductor g;edjp MAL'KO

I .*a*- -,-* >q Pers. Rep pa"\ %echert, 525 E. 89th St., New York 28, N. Y

- --Composer-

Courage, Tone Poem-March for full orchestra. Adventures of Pinocchio- 1 Ballet score enlarged from the original. Reactions to Fiona McLeod,- for smdll orchestra. String Quartets-"Out of Doors" Suite (National prize). "From Norway." "From a Far Country" . . . New Choruses (Boston Music Co.) and songs.

257 West 86th Street N e w York City

:gi<s,;::*%**>$$&; : C A R 0 L B R I C E -Pa e

"Promises to become one of the most distinguished singers yet produced b y h e r race."

-Irving Kolodin, N. Y. Sun, August 30, 1946. Mgt. W. Colston Leigh, Inc., 521 Fifth Ave., New York 17, N. Y. Public Relations: Nei l Scott & Associates, 400 Manhattan Ave.,

New York 26, .N. Y.

MARGUERITE Lyric soprano P I A Z Z A

I C i t y Center O p e r a Co. N e w York City

MEZZO SOPRANO Y 606 Portland Avenue I D. St. Paul , Ainnesota

I A R T H U R KRAFT-Tenor I Avdlable for Concerts-Oratorio Eastman School of Music ~ 2 B e s t e i . N. Y

James de la Fuente "Violin playing of expressive beauty, penetrating and personal- excitingly dramatic; intimately tender--" -Albert Spalding

Pers. Rep. Muriel Francis-745 - 5th Ave., New Y ~ r k 22

Discovers V&e%, , Develops Them h .

Sherman Square Studios, 160 W. 73rd St., N. Y. C. Trafalgar 7-5181

Tenor '" P I : E R C E METROPOLITAN OPERA CO.

ROY HARRIS. Conductor ANPX RIZZO. Soloist

7 b +:>;7 * ,... k ' ' .? VS, f $&:i -

*-* l<$;&

I _?<"&@L * Orchestra Hall

Sunday 1947, Afternoon June I 3:oo P. M.

DlON ASS'N -~

WILLIAM KUEHL Concert Artist

Q$-Trd*TJ &&%% Management

write. enclosing stamped, self- addressed envelope.) W$s?$Q:

y":fis " .;*,.*,, +;*

* See New W-orks ?I' of Living Composers

**HECTOR TOSAR: Creole Dance, olaved b v Paul S d v a k (piano), be:. 16. '

Ev-.~ur V . Berger (Herald Tribune): ..-..: "Thnllmh limcted In ~ t s ostlnato ~ r i t

---- D-- - ~ - - - ~ ~- $27 devices, the Creole Dance is a rous achieve, -> ~romis ing and vigo

b e n t for a youth of seventeen." *VIRGIL THOMSON: Scenes from the

Holy Infancy, performed by Holyoke Glee Club, Ruth Douglass, con- ductor, Dec. 17.

L. H . (Herald Tribune): "Done ac- cording t o the best traditions of such works; no time out for scenlc descriptions, a generally simple choral style, rhythmically unanimous so that one can hear the words, and leaving the impact of the text itself full in the Ilstener."

*NORMAN D E L L 0 JOIO: Ricercari for Piano and Orchestra, p~r fo rmed by the N. Y. Philbarmou~c-Symphony Orchestra, George Szell conducting, the composer soloist, Dec. 19.

Virgil Thomson (Herald Tnbune) : "Three movements . . . of an agreeable and easy*going character. The solo part is brilliantly writ, ten, if a shade monotonous, belng based for purposes of loudness, largel; on repeated chords placed high in the treble range. . . . Whol* ly successful music, honestly thought up and loyally composed from be, ginning to end, real hand work, so t o speak."

Olln Downes (Times): "It ~rofesses a return t o the principles, if not the idioms. of elehteenth century masters in' the siructure of the score and treatment of the ideas. . . . A n effect lvel~ executed study. I t is spirited writing, bu t its mel- odic substance bas little signifi- cance."

Harold C. Schonberg (Sun): "Musi- cally the score is wide open; it contains n o great secrets, nor does it pretend to any. . . . When the composer had something t o say, he said it directly. When he didn't, he tended t o f?!l back on conventional dissonances.

*ELIE SIEGMEISTER: Harvest Evening, performed by the N. Y. Philhar- monic-Symphony Orchestra, Leo- pold Stokowski conducting, Dec. 29.

Ross Parmenter (Timcs) : "It sounded what i t was meant to be-and no more-a little interlude between two more vieorous movements. I t was simple,- straightforward and thinly scored."

Harold C. Schonberg (Sun): "He has used a simple melody with no frills, outside of a brief canonlc section, and one Jan say little more than that it is', a pleasant unassuming trifle tbat't handles a' folk theme with good taste."

Arthur V . Berger (Herald T r ~ b u n e ) : "It would seem that M r . S ~ e r meister might easily -have made mors of the four minutes his work consumes. A simple and scarcely striking tune undergoes no abstrac tion, no commentary or ingenuity of treatment."

**MARK WESSEL: Sonata for 'Cello and Piano, played b y Janos Scholz, Jan. 3.

Noel Straus (Times): "Turned out t o be a weak work. not well writ- ten for the instruments, flabby in texture commonplace in its themat* ic matirial, and poorly unified."

Jerome D . Bohm (Herald Tribune): "Harked back . . . t o Brahms for much of its ideational matter. The work disclosed n o stylistic unity in its three movements, however, and was stylistically weak."

John Briggs (Post): "It is the idiom of Vienna~between~thc~wars, but it is nevertheless quite agreeable. The work is modern with a strongly Brahmsian flavor."

**JACQUES D E MENASCE: Piano Con- certo No. 2, performed by the Na- tional Orchestral Association, - Leon Barzin conducting, Jaeques Abram wloist, Jan. 6.

'Means first performance an **Means first New York p e r ~ E ~ e .

Howard Tauhman (Times): "At best ~t is facile, pretty and quite harm* less. Here and there the composer bas used fetching tunes, and he has had the good taste not to stretch them beyond their inherently lim- ited tolerance. T h e writing for

iano is sprightly, idiomatic; that For the orchestra largely conven- tional."

Arthur V . Berger (Herald Tribune): . . . a serviceable work. . . .

There is nothing striking in its melodic o r harmonic content, and its orchestration is questionable in some recent Imports in its gen- re. . . .

Harold C. Schonberg (Sun): "All of the melod~es are serviceable and there is none of the dubious taste present in other new concerti re* cently played here. . . A s a crafts, man, de Menasce is superior. Thls concerto . . . avoided padding, showed economical orchestration and an abnormally full piano part."

**ERNST KRENEK: Five Songs from "Travelogue f r o m the Austrian Alps," sung b y Alice Howland (mezzo-soprano), Jan. 8.

Jerome D . Bohm (Herald Tribune): "Proved well worth hearlng both for their melodic content and in* trinsic musical value."

Ross Parmenter (Tlmcs): "Were all worth doing. They hive rather un- pleasantly prosy English texts, but the piano accompaniments are de- scrlptlve and atmospheric and the song about the broken boncs that could never rise at the resurrection was genuinely powerful."

*BERNARD ROGERS: T h e Warrior, one- act opera, performed at the Metro- politan Opera House, Max Rudolf conducting, Jan. 11.

Virgil Thomson (Herald Tribune) : "The music is beautiful in texture and intensely expressive in de ta~ l , but i t has no continuity. Neither melody nor harmony nor coloristic design nor rhythmic construction ever keeps for so much as f ~ v e minutes t o one clear pattern. Struc, turally the score is d~scontinuous; and expressively it lacks sustained feeling, as does the libretto. Stylistically the work derives from the expressionism of Richard Strauss and Alhan Berg. His orchestra is dissonant and picturesque, its vo, cal line a constant recitative. His expressive detail is not supported, however. as in Strauss and Bere. -. by a plain dramatic,musical con, tinuity."

Olin Downes (Times): "This is a singularly weak and ineffectual opera, so weak and ineffectual, so strikinelv without inspiration or dra, matic ;ntensity, that- one can only wonder why a jury of eminent au, thorities should have given i t the Oliver Ditson prlze. . . . The opera score has n o convinc~ng melodic idea of any kind. . . T h e orchestra largely squeals to express scorn or satire, and the drums are whacked, often and violently, for struggling o r rage. . . . M r . Rogers has written a little music that we know in short instrumental forms, and this with sensitivity. His sin- cerity is not t o be questioned.

Irving Kolodin (Sun) : "The orchestra begins with a rather atmospheric prelude, but proceeded thereafter t o mutterings and exclamations, mostly disjointed. Rogers occasionally gen- erates dramatic tension, but there is little climax at any point."

Louis Biancolfi (World - Telegram): " 'The Warrior 1s not the great American opera. In fact, while i t is American all right, i t is not even an opera. . . . T h e music of Mr. Rogers while i t oftcn achieved splendid effects in the orchestra. especially in imaging some of the horror, as a whole seemed bare of color and almost empty of operatic drive."

*FREDERICK JACOBI: 1mpress:ons from , played by Eredell Lack

Ross Parmenter (Times): "Straight* forward and lyrical without being especially striking in style."

~ r t h u r V. Berger (Herald Tribune): "Its rhapsodic style, especially in the first two parts, conveyed little t o this reviewer other than a sense of the composer's general musician- ship. T h e Iast part has some in- teresting lines which unfortunately dissolve into ruminating interludes."

**RICHARD STRAUSS: Metamorphosen performed b y the Boston Symphony Orchestra. Seree Konssevitzkv con- ducting, Jan. TI.

Nyel Straus (Times): "It was the Siegfried-Idyll and the Wagnerian

'Verklaerte N 'acht' of the early Schoenberg that kept coming to mind while listenine t o the Strauss novelty, for they l a r e the works most akin t o i t in the repertoire. A work that takes twenty-five minutes t o perform, always poignantly in. tense and avoiding striking cli* maxes, might easily lose its grip as an entity. But all of i t is so ex* quisitely written for various com- binations of strings, so tender in ~ t s mood, so masterly in its de, velopment and so profoundly sin* cere, that i t did not seem a mo, ment too long to this listener, all of it proving eloquent and of strange fascination."

*WILLIAM BERGSMA: Second String Quartet, performed by the Walden String Quartet, Jan. 12.

Irving Kolod~n (Sun) : "Sounds as if he might one day produce an in, teresting work for the four strings. His present scorc expresses an ap- plaudable admiration for the late string quartets of Beethoven . . . and a liking for the light touch of Mendelssohn, but n o impressive contrlbutjon of his own to errher manner.

*ALEXEI HAIEFF: Eflogue, played b y Benar Helfetz ( cello) and Erlch I tor Kahn (piano), Jan:, 12.

Olln Downes (Tlmes): A deft de* velopment of a single odd~rhythmed motive of some seven notes, first interchanged by 'cello and piano, then developed with admirable con, centration and humor."

*LUKAS FOSS: Capriccio, played .by Benar Heifetz ('cello) and E r ~ c h I tor Kahn (piano) Jan. 12.

Olin Downes ( ~ i r n e ; ) : "Spirited and amusing in the best sense of the word."

Arthur V . Berger (Herald Tribune): M r . Foss needs more selectivity

in weeding out thc routine from his inspirations-such routine, for example, as the etude,llke figures he gave the 'cello."

*ROBERT PALMER: Second String Quartet, performed by the Walden String Quartet, Jan. 12.

Olin Downes (Times): "Too much canon and fugue, imitation and inversion, and other devices of poly- phony excessively employed. There is close writing through a first movement which is vcry long, over- rich and almost a complete work in itself. The next three move- ments have passages of lyrical in, terest as well as polyphonic ma, nipulation. But the total of it verges perilously upon formula and workmanship in place of emotional persuasion."

Arthur V. Berger (Herald Tribune): "Develoos motives arduouslv alone the wain-out lines (fugatos and

; ,all) in a desire t o achieve unlty over a broad span."

** W N N A R JOHANSEN: Toccata i n the Phrygian Mood, Atonal Sonata and Second Sonata, played by the composer, Jan. 12.

Noel Straus (Times): "His three compositions were eclectic, and, though carefully contrived, were too cerebrally conceived and too facile in moving from one t o an- other of sharply varyinq styles t o arrive a t , any pronounced heighta of inventivenear.'

Harold C . Schonberg (Sun): "Well worked out and creative enough to merit honest consideration. . . A t an initial hearing (of the second sonata) one was impressed by its Lisztian suggestions and its im, mense difficulty."

**PAUL BOWLFS: Pastorela performed b y the Ballet Society, keorge Bal- anchine, director; Leon B a r m , con- ductor, Jan. 13.

Francis D . Perkins (Herald Tribune) : "The work as a whole has a re, markable freshness and ap ealing fantasy, and, while M r . ~ n w f e s has not aimed at an obvious archaism. and employs a musical idiom of this century, his score is notably successful in suggesting the atmo: pbere of the original music an preserving a sense of folk color an. pleasing naivete."

**BOHUSLPV MARTINU: First Sonat- fo r cello and piano, played by Raya Garbousova, Jan. 17.

O l ~ n Downes (Tl;mes): "Modern in texture and in neo~classic' vein. I t is tonal architecture rather than avowedly emotional expression. The feeling is inherent of course in the structural develbpments a n d the linear character of the writing. The sonata admirably achieves its pur- DOIC.'* r - - - -

A. W. P. (Sun): "Has a trenchant vitality, the foundation of which lies deeper than its energetic rhythms and v ~ v i d phrases. It is terse and t o the point, with a mine imum of padding; deeply emotional in the searching melodies of the slow movement and hitingly provoc- ative in the opening and closing allegros. A powerful work b y an able craftsman. . ."

**NIKOLAI LOPATNIKOFF: Variations and Epilogue, played by Raya Gar- bousova, Jan. 17.

Olin Downes (Times): "Highly idio- matic and effective for the stringed instrument, and the piano is skill, fully used both for purposes of harmonic background and develop, ment."

A . W . P. (Sun): "Had their vigor- ous aspects, too, bu t i t was an empty ,vigor , sapped b y a gentle discurs~veness that was alternately qu-rulous and ~ngratiatlng. . . . Et, fectlve and made for pleasant lis- tening, if lacking t rue depth and character."

**CHARLES . WAKEFIELD CADMAN: Sonata m A major, op. 58, played by Viana Bey (piano), Jan. 19.

L. H . (Tribune): ". . . in texture rather late romantic. Its twen ty minute length is divided into three movements, each of which exploits a small thematic fragment of lyrical nature."

*SEYMOUR BARAB: Scherzo, played by Herbert Sorkin (violin), Jan. 20.

Arthur V. Berger (Herald Tribune) : "Has energy and a certain musi, cality, both highly undirected."

*ALEXANDER GRETCHANINOFF:. In Exile and Freedom sung b y Zi- na:da Alvers (contialto), Jan. 21.

Francis D. Perkins (Herald Tribune): "Pleasing and written in the na, tional and romantic veln associated with the composer."

*JOSEPH WOOD: Sonata for Violin and Piano, played by Harold Kohon (violin) and Leon Kushner (piano), Jan. 21.

L. H . (Herald Tribune): "'Seems . . . competently worked in the schol, astic idiom of the modern variety, though it also seems lacking in striking musical matter."

*HENRY COWELL: Three Ostinati with Chorales, played b y Phyllis Gugino (clarinet) and Leon Kushner, Jan. 21.

L. H. (Herald Tribune): "The chorales are sensitive and delicate* ly poised essays in counterpoint and have both carefully thought lines and a poignant harmonic ex, pression that is peculiarly their own."

*ARTHUR LOURIE: Cantata T h e Birth of the Beauty performed b y Leon Kushner, ~h;llis Gugino, Gefald Frank (bassoon) Louis Felner (cymbal). Jane ~ i c h a r d s (soprano). Jan. 21.

L. H . (Herald Tribune): " A disap- pointment t o this listener. Its dis, membered formal effect and the giddy virtuosity required of the singers tended to defeat some in* herently pleasurable musical ideas. I t evokes the madrigal style of Monteverdi without too convineing an effect.

throughout tne country cnis year, distinguished themselves with an excellent performance of a varies gated program on the Allied Arts Piano Series, even though their Mozart for two pianos is not re, plete with historical authenticity;

mew York Re1 r (Continued fro 'age 17)

brings to his task little more than a beautiful tone-no personality and no depth. But a 'cellist with technical facility only is a strain to listen to . . . Mischel Cherniavsky, performed with his brother Jan (piano) in Carnegie Hall. Both are excellent musicians, yet almost without vitality . . .

Rose Lyon Du Moulin PIANIST - TEACHER

607 Fine Arts Bldg.

SHERMAN I Scl~oonmaker Coach Accompanist - French. German and

Itallan Reperto~re Ballads -

Stud10 625 Web. 3456 F~ne Arts Building

Fritzi Jea

SEEBACII COACH-

ACCOMPANIST

2306 N. Clark St.

there is musical imagination to all they u~der take . . . . Young Richard Faith made an excellent impression LOLA FLETCHER

A slnger who teaches singing 724 Fine Arts Bldg. Web. 2441

with a classical program; even though his m~sical ' ins i~ht is limit. ed, he has a remarkable sense of coordination. . . . Bach, Galuppi, Hindemith, Bartok, and Scriabine constituted the unusual fare of Joseph Bloch's Kimbal Hall recital

1 Phone: DIV. 8659 1 I N RECENT WEEKS two new

conductors made their appear* ances. Charles Muench, who con. ducted the N. Y. Philharmonic

ELIZABETH

L I N D Q U I S T V i r g i n i a P a r k e r

SOPRANO

P I A N I S T TEACHER Roosevelt Colleae 218 5. Wabash

Soorano Coach-Accompanist Austin Academy of Fine Arts

for two weeks, made such an ex. cellent impression that for a time he seemed to be sure to become

TEACHER OF PIANO

which belonged to the unusual pianistic successes of the season. H e is a thinking keyboardist, both

Dr. Rodzinski's successor as mu. sical director of the orchestra. A t this writing this possibility is not

as regards selection of repertoire and matters of musical phraseology. . . . Few can equal, and none can surpass the artistry of Malcuzyn- ski's Chopin as proved in a pie. gram devoted entirely to that mas, ter. H e possesses solid technique

R A M O N

G I K V I N I TEACHER OF SINGING

SOPRANO TEACHER

SOPRANO

VIOLIN 1142 5. Michigan Web. 4937

I

quite precluded. H e is a fasunat. ing conductor of the modern school who is little inclined to overdo Frances Marshall

Dramatic Soprano - Voice Teacher I Lon. 3471 , 522 Fine Arts Bldg.

tonal beauty and thus comes closest to Pierre Monteux of all conduc. tors we know. His beat is precise,

and a profound understanding for his task.

MEZZO SOPRANO N.U. Schl. of Music Kimball Bldg.

his musical conceptions, while not rigid, always convincing. And it was obvious that he had the or,

Miscellaneous cbestra's men completely on his

TEACHER OF VOICE 614 Fine Arts Bldg. Web. 2214

side, thus assuring some musically very satisfying concerts.' O n the day before the split between Rod*

Clara Siegel, pianist, giving three evenings of Brahms' chamber mu* sic with a number of Chicago artists including the violinist Mich- ael Wilkomirski, has embarked upon a very worthwhile program meeting with good response. . . . A small and enthusiasbc audience' welcomed the skillful Chicago Art9 Trio playing Beethoven's "Arch* duke," Shostakovich and Brahms, always en rapport. . . . The ex. quisite and masterful playing of the Budapest String Quartet was again a veritable treat. . . . Violinist

zinski and Judson became public, the Philharmonic honored Muench with a cocktail party-an unusual I V I O L I N I S T I

I JANE OGlIEN HUNTER +

Teacher of Singing

\ /

~ v e l ~ n ' - t t d n t e r Coloratura Soprano

64 East Van Buren Chicago

JOHN FREDERICK

Concert Soprano Oroforlo

Address Music News

MARCIA

M A R C U C C f Soprano

9316 So. Darnen Bev. 8263 Chicago 20. 111.

gesture which was forgotten in the turmoil of the succeeding week, but the significance of which was I WILLIAM WHITAKER I not lost upon critical observers.

. - . - - . . PIANIST ACCOMPANIST

2750 Hampden Ct,, Chicago. Bit. 7313 A t NBC Eugene Szenkar took

over the direction of the NBC Symphony Orchestra for four con* certs. While his programs were much more conventional than Muench's, his thoroughly modern outlook made one wish to hear more of him. H e is a forceful

Conductor - Voice - CoachinY CHICAGO CITY OPERA CO. Suite 612 Fine Arts Bldg. Wab. 6535

Alexander Schneider and harpsi. chordist Ralph Kirkpatrick, both of hlgh musical integrity, enlightened their audiences with programs of rarely heard works ~e r fo rmed by an even more rarely heard ensem* ble. . . . A well balanced program of sacred music sung with ease, justice to- tonal nuances, and with a unity rare in such small choruses,

T H O M A S

M A C B U R N E Y 608 Fine Arts Bldg. Chicago

conductor, a good leader of his men, a convincing musical person, alitv whose talent, however, needs I E D W A R D

I a broader sco e hour.long NBC concert C O L L I N S

PZANIST COMPOSER 1 Reginald Stewart brought his Baltimore Symphony Orchestra to New York and showed that he has built up a good, technically expert organization. If the orchestra can* not match the brilliance of the Philadelphia, the Boston or the New York orchestras, it is a good

I American Conservatory 1 was appreciated by the audience of

the Chapel Choir of Capital Uni, I T H E O D O R E I versity, Columbus, Ohio. I HARRIS ON^ BARITONE

Another concert of the Phila- Recitals - Oratorio AMERICAN CONSERVATORY

Kirnbafl Hall, Ch~cago. Web. 0620 I enough organism to put over a concert in excellent fashion. Stew* art, obviously a better organizer than interpreter, had the help of Georges Enesco, who, after a long

delphia Orchestra under Eugene Ormandy given here at the Opera

NAOMl

WATSON Contralto

CONCERT - RADIO Teaching at

726 Kimball Building Phone Wab. 3249 7

House was an even greater delight

than the organization's previous

appearances. The program, featur* absence from this country, played

the Violin Concerto of Brahms ing Brahms' Second Symphony and with the mastery of yore. There Strauss' "Death and Transfigura*'

tion" reached extraordinary in are few fiddlers as deeply musical

pretative heights. as Enesco.

MARCH, 1E

was one of the singers. mind that in this year i t

And will

March 5 calls to have been exactly

Y OUR SCRIBE USES the occasion of this is the suggestion of fractional divisions of ac. a quarter of a century-on September 27- memorial issue for Joseph Schillinger, who cepted intervals: quarter, eighth, sixteenth tones since radio went "commercial." A real estate passed away on bfarch 23, 1943, to draw as proposed by the Mexican born Julian Carillo. man then rented the facilities of WEAF in

your attention a number of other In the twenty yeats-March &-after Leopold New York to sell New Yorkers on the advan. days Occurring this month' Above Our Stokowski and the Philadelphia orchestra prea tages of living .in Jackson Heights, Long Island. est congratulations go to Henry Cowell, one of

miered the Carillo "Concertino" with special in. The sale of time had commenced. Little dld the distinguished contributors to this very issue of MUSIC NEWS, who on the eleventh is struments to ~ r o d u c e such fractional tones, even the hard boiled publicity men think of the

celebrating his fiftieth birthday. To the people, little headway seems to h&e been made with future expansion of radio to one of the great.

at,large H~~~~ is known best as theinventorof microtonalism of one way or the other. The est vehicles of publicity. Today we mlght well he

the "tone clusters," and as a radical who, in. earnest endeavors to produce, for the purpose prompted by these two dates-1907 and 1922- stead of using his fingers, prefers elbow and of microtones, especial instruments now have to reconsider radio and publicity on one, radio forearm for the production of piano tones. been given up to a large degree, yet we cannot and music on the other hand. This is the tlme Those who know him more intimately are con. forget the double piano variety of Haba's inven. when broadcasters themselves seem concerned of scious of the fact that he is steadily in search of tion in which one keyboard ic tuned at a distance the standards of radio, and Mr. De Forest, now new vistas of recent. of a quarter tone from the other-as little as television pathfinder as he was then radio pie. 'y he has made a name with we can forget those guitars, octarinas, harp. neer, has a right to be fearful that television music of methods zithers and-French horns which at the instiga. may repeat some of the basic mistakes radio we are sure, any desire to relax in euphony,

tion of Carillo were constructed to further his after his innumerable battles for a new style and for the success of a small American vand theory "of the tone 13." Carillo's "Concertino"

Composition-as in Schillingeras from all we know was but an historic event. but

has not been cowell's sole interest, however, his "Cristobal Colon," an orchestral poem using and of his many talents that of the scientific quarter tones, today cXd be heard on records.

worker should not be underestimated. With Quarter tone scales are as old-as the Greeks, Theremin, of whom this issue also carries a and historians know of a number of movements photograph, he collaborated on the perfection active in reinstating them, thus adding new life of the "Rhythmicon," and a demanding pro* blood to music. They all failed. I t is exactly - mrial-on March 1 !, 1647-of John Mil* gram of research in parab musicology forty years in 1947 that Peruccio Busoni had

"n ton the Elder, father of the great poet and

drove him at one ti e to Europe. en there his uEntwurf einer ~ ~ ~ ~ h ~ ~ ~ k der ~ ~ ~ k ~ ~ ~ ~ - pub- music lover in the word's best sense-one who is, of course, the b 1l:ant writer Cowell, an au. lished (Trieste, 1907), and in it the strangely could play several instruments and compose in thor of books an numerous articles which talented composer, pianist. theorist. esthetician various a contributor to a invariably have rev aled him as a shrewd and

&h proposed a division of the semitone into three madrigal book entitled "The Triumphs of Ori. progressive thinker, o has found good reso.

The rejection of the or, for that+ ana." This collection, dedicated to Queen Eliza, nance not only among musical colleagues but in beth, gives us an excellent example of the high the academic youth of our country. His founda. matter, of any temperament is seemingly Pop. tion of the N~~ ~~~i~ ~ ~ ~ ~ t ~ ~ l ~ , a publication ular today, but-who know-perhaps it will State music during her re-

much less known than it deserves to be, served be universal in as short a time as a century. gime. It was edited' by Thomas Morley' a mad.

his courageous pioneering chiefly for the young. -. v , q 3 s q ,,,) rigal composer of unusual delicacy who had .. @*s6g;;

er Americans whose compositions were, as a .x, pJ.',~&& been granted a patent to print song books. The

ruIe, far removed from mass appeal and who, $$@%$, % - elder Milton, whom we remember here, has

therefore, found a welcome outlet in Cowell's ' '* ""- gone almost unnoticed in the shadow cast by his organization, enabling them to gain at least the Radio-Public - illustrious son, but his own work was recognized attention of the progressive musicians here and and printed with the best of his time. His mu. across the seas. Of recent, Cowell has made ap. 0 N MARCH 5 I N 1907 Dr. Lee de For. sic, in the words of Ernest Brennecke, Jr., author pearances as a lecturer in universities and other est, now in charge of the training pro. of "John Milton the Elder and His Music" institutions of learning, and his commanding gram of American Television, Inc., Chi, (Columbia University Press) ranges from the

techniques but cago, broadcast Rossini's "William Tell" Over. simple to the architecturally complicated and of of the other arts as has made his ture from Telharmonic Hall in New York, grandiose, from deep pathos and lamentation to

attractive large of students in* Broadway at 40th Street, to the Navy Yard. I t the most winning frivolity, and "should dissi. terested in the progress of arts and humanities. was the first broadcast of any musical work. In pate the notion that a dabbling tinkerer or a

p ~ ~ ~ , p ~ ~ t h e forty years which since have passed, music dour puritan was here at work." The elder @&%?&ySA:appreciation has surely made an unprecedented, John Milton's music represents a small list, but c,arillo's Microtones . . . @#pa+

, incomparable progress in this country, and to. i t has more than antiquarian value. (Incidental.

PEAKING OF -TONE CLUSTERS" calls gether with the phonograph, the radio has been ly Mr. Brennecke's statement, on page 148 of

to mind some other attempts made by mod, chiefly responsible for it. In 1910 De Forest the book quoted, that "he died, in the spring of s' ernists in the directiOn of breaking away succeeded in broadcasting an entire performance 1637, both suddenly and peacefully9' is prob*

rom established principles of harmony. The of "Cavalleria" and "Pagliacci." Enrico Caruso ably but a misprint. Milton died 300 years ago.)

22 .. M U S I C NETTTP

I T IS ONLY APPROPRIATE that we con. could not be persuaded to such an agreement son's guest conductors, already contracted, me

elude this "memorials" with a word ~ n d the stranded European singers were yr ious clude Mitropoulos, Stokowski, Szell and Charles of gratitude to our venerable friend who is LO know how they could return to Europe. How* Muench. Walter will conduct as many concerts

the freshest octogenarian. Arturo Tosanini on ever, a concert was thought up as a means of as his European commitments permit. March 25--and the entire music world-cele, providing them with at least Some financial help Just as Rodzinski, &en in Chicago, predict- brates hls eightieth birthday. H e is no doubt --an embarrassing end a project that was as ed a brilliant musical season, so also Walter the most universally admired orchestr reported that during the spring and summer eratic conductor of our day. T o say t become a legend in his lifetime is insure a successful music what has been s a d many times be kers next vear. canini stories are countless. They tell built around his keen ear, his fabulous memory, his interpretative power, and his infectious en. thusiasm. H e is more than a musical figure: known even to those who do not care for mu. sic, admired for his ethical qualibes, his political convictions, his artistic humlllty. H~ has been decided whether Rodzinski and the Xew York

one of the bitter foes of ~ ~ ~ ~ i ~ ~ : he Philharmonic Board will settle their feud ami. tional Institute of Arts and Lettels was

~~~~~~~h in 1933 and salzburg in 1938, because c a b l ~ . Meanwhile, that Board announced Bruno awarded to John Alden Carpenter on

he would have nothing to do with the ~~~i Walter, seventy years old, as musical adviser, February 13. It was given to him in recogni. doctrine. Such renunciations were harder to hlm ean that Walter will supervise the tion of his entire musical output.

than they were to almost anybody else. But what mattered to him was the demonstration to the world-and an effective one it was--that music should not, and that he himself could not be abused, for a doctrine which had confined the liberty of artists. The eighty.year.old Tosca. nini is 'not a happy man-no genius ever is, and certainly not a perfectionist such as is he. His conscience is the dictating force in his makeaup, and Zweig puts it best when sayin "Toscanini, the insatiable, the captive of longing for perfection, is never granted/ the grace of self*forgetfulness . . . he is cons+ed, as with undying forces, by the craving for ever new forms of oerfection." Thus the musician with the most triumphant career appears a man of tragedy on his eightieth birthday. But he can look back upon a life which has set stand. ards for all of us. Congratulations, maestro!

S T H I S I S BEING WRITTEN, ~ h i c ? f g A ans are jittery: the much advertised Unit. ed States Opera Company, whose troubles

a few days ago seemed to be nearing a so, lution, definitely announced that a would not open. I t had been reported previous. ly that Henry Reichhold, Detroit chemical man. ufacturer, was ready to put up the money which would have enabled the company to get its sea. son under way, a season which had been de. ferred three times. Apparently one of Mr. Reichhold's conditions for sponsorship had been

em of Musical Composition I I Paul Whiteman Robert Emmett Dolan ichard Benda -

Mark Warnow Ragmond Alcgn Smitn Paul Laud I A R C H , 1947

I Formerly T e a c h e r at Outs tanding Conservatories in Europe and the U . S . I

I Available for zliolin solo and chamber music Recitals. I)zstructor irt violin, eioln, arid chamber music. Interbretation corcrses. I

I Inquiries to Roosevelt College, 218 S. Wabash, Chicago 4 Tel.: Har. 7976 I

I L O U I S E S T . J O H N W E S T E R V E L T I I Teacher of Singing, Repertoire and Program Building I I Web. 2494 725 Fine Arts Building Lin. 1227 1

I CONCERT : RADIO -:- OPERA 923 Kimball Bldg. GRA. 8438

I maurine Smi fL Soprano concert-o~atorio I Suite 701-25 E. Jackson Wab. 5595 1

I G E O R G E G R A H A M Baritone CHICAGO MUSICAL COLLEGE Teacher

Nat'l. Assn. Teachers of Singing Chi. Singing Teachers Gui ld

I Edward STACK BARITONE RADIO OPERA 549 Surf CONCERT Lak. 5389

I Violinist - Teacher Conductor

G R E G O R Y Har. 6830 Chicago Musical College

GEORGE CAMPBELL I VOICE - TONE PRODUCTION

Fine Arts Building WAB. 5304

DRAMAT1c SOPRANO 0 M E G A K IN G 0 ~ ~ ~ ~ 1 1 0 I . ,,

5810 S O U T H PARK &;ex&" $a - - BUT. 4139 ++LVi%d I

ALICE PHILLIPS WILLIAM / Soprano Baritone

Cosmopolitan School of Music I

I William HUGHES CENTRAL C H U R C H C H O I R I

I Rockford Men Singers-Mendelssohn Club Chorus 223 N. Oak Park Ave. Oak Park Village 4635

I SHELBY NICHOLS &':,:s#t' ""

NEGRO BASS - BARITONE #i*",ci Now Booking 1947-48 Seasan

A*%& Estelle Lutz Artists Bureau 1321 Kimball Bldg. Ha, 3435

News

Nicolai Malko Concertizes in Europe

Nicolai Malko, well known con, ductor and resident of Chicago, conducted the Royal Philharmonic Orchestra of London on January 27 and then gave guest concerts with the Halle Orchestra. In March he will conduct in Italy until the twentieth of that month when he is scheduled to make records in London and to conduct two opera performances with BBC.

Mr. Malko. expected to be hack in Chicago sometime during April, has heard from his pupil, Dimitri Shostakovich, that that composer's Third String Quartet was given its premiere in Moscow December 16. In that letter Shostakovich mourned the death of Maximilian Steinberg, RimskyKorsakoff's son,in,law, and Mr. Malko's close friend.

Lillian Padorr, mezzo soprano, was featured soloist at the annual Christmas program of the Confer, ence of Club Presidents and Pro, gram Chairmen, and in January gave a benefit recital for the North Shore Congregation as well as an appearance for the B'nai Brit11 Lodge of Albany Park.

Konrad Neuger's recent ac. tivities included concerts with Jess Walters, Ella Belle Davis, Thelma Kaye and Carmen Torreo in mid* western states, appearances with his Hull House Opera Workshop and teaching and coaching. Mr. Neuger also is in charge of an opera class at Chicago Musical College.

0 The Lyric Ensemble of which Helen Leefelt is the director; par, ticipated in a recent program of compositions sponsored by the Mu- sicians Club of Women of Chicago and provided a hearing of works by Florence B. Price, Ruth Klau, ber, Blythe Owen, Theodora Tro, endle and Esther Ross Warren.

@ Edwin Hughes held master classes for pianists in Washington, D. C.; at Winthrop College, South Carolina; in Charlotte, North Caro* lina, and in Detroit, Michigan.

Eileen Bowman, popular Chi* cago pianist and accompanist, is filling engagements at Old Heidel* berg restaurant Sunday nights.

*% Central Conservatory . %f*& Opens Speech Department

The Central Conservatory of Chicago has e n g a g e d Sophia Swanstrom Young, director of the famous Zion Passion Play, to head its newly added Department of Speech. Madame Young's reputa- tion as dramatic interpreter as well as a playwright is well established, and she is especially interested in the various forms of religious drama.

The tenth major session of the Christian Choir Directors Asso- ciation, Robert L. Hudson, presi* dent, took place February 4 at En. glewood Presbyterian Church of Chicago. Some 170 choir direc, tors, accompanists and soloists were in attendance to listen to an in* spired program in which James Baar, director of music at Chicago Christian High School and a fac. ulty member of Chicago Musical College, conducted an instructive forum. The Association is non, sectarian, a fellowship of evangeli. cal choir directors and accompan. ists.

Having filled eighteen en. gagements in December with her program "Christmas from the Arc* tic to the Antarctic," pianist and travel,lecturer, M a r g a r e t Freck Brown, continued her successes with midwestern audiences in Jan, uary, presenting a new program entitled "Scenes and Music of the West Indies." She also lectured in January and February on music for the Chicago Musical Arts Club and will continue her series there March 16, with a talk on the Twentieth Century American Music. After a number of appearances in Florida, the popular artist filled return en* gagements in Michigan, Indiana - - -:-,fi-a:$ ai4&*-ir.~i.*:" SP and Illinois. #a

i*,,,,n&% ~d'-md4 &&J( After a lapse of three years

the Omaha Symphony Orchestra has been revived. An association of fiftyfive musicians, the orchestra is under the leadership of Richard Duncan. Sponsors are the Omaha World,Herald, the Junior League and the Retailers Association. Threc pairs of concerts are planned. Mrs. Frank Conlin is president of the new Board.

M U S I C I

~ S O N I A ~ H A R N O V A C G N T R A ~ O Liv. 1237 I I Studio 512 Fine Arts Bldg. Tues.. Fri. Web. 2705 1

Organist Marriott's Sacred Work to Be Premiered by U. of C.

A new musical work based on the 103rd Psalm, for chorus, solo. ists, and orchestra, will be present* ed for the first time in Rockefeller

Memorial Chapel on the University ~f Chicago campus Monday and

ruesday, March 24 and 27.

lederick L. Marriott, organist

and carillonneur of the Chapel, is

the composer. The work has been dedicated by Mr. Marriott to the Rev. Dr. Charles W. Gilkey, dean ~f Rockefeller Memorial Chapel, ind Mrs. Gilkey.

Two Metropolitan Opera stars, Jarmila Novotna, s o p r a n o , and Raoul Jobin, tenor, will sing the

leads in the work, which requires m e hour and a half to perform. James McEnery, cantor for the

2hapel; Robert Erickson, baritone with the Hyde Park Baptist Church n Chicago and teacher; Theodore

Xall, bass in the University Choir, and Miss Jean Leisk, mezzo so* prano soloist at Rockefeller Memo.

1 Chapel, will sing the other

Gershwin Contest Winners Announced

Ulysses Kay, who received his Master degree from the Eastman School of Music in 1940, and Earl

George, advanced student at East. man, received a joint award of the $1,000 prize in the third annual

George Gershwin Memorial Con. test, conducted each year by the Victory Lodge of B'nai B'rith.

Kay's "A Short Overture" and George's "Introduction and Alle. gro" will be presented by the New

York City Symphony Orchestra, Leonard Bernstein conducting, on March 3 1, at the third annual

George Gershwin Memorial Con, cert at the Brooklyn Academy of Music.

Second Rachmaninoff Contes

A sec contest, to be held throughout the country by the

Rachmaninoff Fund during the sea* son of 1947.48, was announced by

; o ~ o roles. Vladimir Horowitz, president, at

,ftysix players from the Chi* the fund's national headquarters,

:ago Symphony Orchestra and the 113 West 77th St., New York. A t

University of Chicago Choir will the same time Mr. Horowitz an.

participate in the new work. Ger, nounced that the fund's national

hard Schroth, director of the Chap. finals for pianists, scheduled for el music, will direct the premiere April of this year, had been post.

performances. poned until the spring nf 1o*n

C H I C A G O MUSICAL COLLEGE

C H I C A G O OPERA C O M P A N Y I mLIAN C H O O K A S i A N I COntJto

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JOHN TOMS "2: I 1 Mgt. Howard R. Will 332 So. Michigan Har. 8588 1

Available for Concerts RUDOLPH REUTER pianis, Grace Ratt ~e resmtativm

50C ~lrnbafl Hall Chicago, Ill. I

GIUSEPPE Tenor HAZEL Soprano

CAVADORE SANBORN 1 Studio 57 E. Jackson VOICE Wa b. 5887

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721 N. Michigan Ave. Chicago Del. 1338 I DAN Tenor M A R I A N Sovrano

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Pianist TARN OW SKY^ I

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DE PAUL UNIVERSITY SCHOOL OF MUSIC

Illinois State Music Teachers Ass'n. To promote the interests of the HARRY M. BERNINC, Pres.

Music Teacher 4747 N. Milwaukee Ave.. Kil. 5000

I ANDY R I Z Z 3 SCHOOL OF MUSIC

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