MARCH, 1947

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

BARITONE-TEACHER
+

' I have seldom heard

a more beautiful. natural and well trained
voice."-M 11s. B r o c k
Pemberton, A m e r i c a n
Theatre Wing Club.

"Gilbert Adams was

my talented pupil."
Armand Cmbbe. Professor of Singing of the
Royal Conservatory of
Brussels.

"In 'Fun with Music'

Gilbert Adams displayed fine talent, ability and spirit and his
singing of 'Freedom is
my Land' by Lewis Allen was done with exc e l l e n t effect."-The
Daily Worker.

"An ingratiating and

intelligent performer. He
interprets songs with
warmth, appeal and effectivenefs that is most
welcome. -Lou Coopet
composer of "A Cantata
to Franklin D. Roosevelt."

I bless and appreciate the teaching and

friendship of a great
Avmind."'-Marguerite
e r y of H a l 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 formerly of Metropolitan Opera. 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.

MUSIC NEWS

'USIC NEWS

1v1

...

FOUNDED IN 1908 BY CHARLES E. WATT

Vol. 39, No. 3-March,

1947

Artists Edition

,
HERE I S NO PARALLEL
in the history of musical theOrY to the in.%uence that the
sy"m
has exercised On
musical thinking after his death. A
musical theory is kept alive by the

zeal of its.protagonist; the death of

a music educator usually inarks the
death of his special theory. "The
SchP1inger 'ystem of
position" w a ~published p s t h u ,
mously, and it aroused a contro*
versy and a discussion far beyond
academic circles. T h e reason for this
that Sculinger was by educahen, by his early experience, and
by conviction a revolutionary, and
hts theories were dictated by his in.
r conviction that art is basically
tional and so can be elevated to
e position of an exact science.
schillinger grew i~ the enuiron,
merit of the Russian Revolution,
id he spent t h e early years of the
<evolution in Russia. That was the
ime when Russian musicians en*
tained the grandiose schemes of
reconstructing the entire concept of
the art: that was the time when
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 ~ r o b l e m sof 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.

medts that would be free of the

limitations of the piano and o i the
violin and the rest of manemade
musical appliances. I n his book on

Schillinger's System seemed to work

in practical application; that not the
starryeyed moon*gazers, but shrewd
Broadway musicians flocked to his

in the practical revisions of the

future.
T h e interesting aspect of Schil.
linger's mental makeup was his

instrumentation which is part of

the "Schillmger System of Musical
Composition," Schillinger charac.
teristically warns the student that
orchestration is at best only a tran.

studio in search of practical formu.

lae, and were willing to pay good
Broadway money for tbe initiation
into the mysteries of schi16nger
lore.

pantheistic
of the ~ o r l d .
As a youth of menty.fives he p u b
lished a poem o n the fusion of
senses in the art of the future 1
der the title "Theurgian's Corn.

mandments." H e also wrote a book

of mystical poetry. I n America h
worked on a project of illustrati~
music by geometrical designs in m,
tion, and made a short film ,of
musico~geometricforms. H e t~
connect human emotions witn ten.
sions groduced by musical disso*
nance. A d h e e m l y believed tl.
a practical correlation of all af
and sciences could be accomplish,
by scientific experimentation. 1
religion was man's corrqueri
mind, and in this respect he a
quite different from Scriabin, w..
was a mystic first, a musician sec*
ond, and a scientist last.

I
S C H I L L I N G E R with T H E R E M I N and SOKOLOFF, playing "First Airphonic
Suite."

Cleveland Orchestra, 1929.

sitory discipline, that soon scien.

tifically perfect instruments would
supplant the traditional orchestra.
Schillinger's p r o n o u n c e m e n t s
evoked ironic comments in academic circles and even among compos.
ers belonging to the modern school.
Indeed, if Schillinger's theories had
consisted merely of his rationalistic
convictions, he would have passed
from the musical scene: as have so
many other musical theorists. But
there was this great difference that

H E ENDURING QUALITY
of Schillinger's musical think.
ing is akin to the great theories i~
other branches of science, even
though errors and inconsistencies
can easily be found in such the*
ories. O n e does not have to accept
every word of Schillinger as the ul.
timate in musical science. It is the
germinal idea of Schillinger's the.
ory that is bound to bear fruit even
when Schillinger's practical meth.
ods undergo an inevitable change

0 DEMONSTRATE THAT
PURELY MATHEMATICAL
PROCESSES can be employRd to
achieve creative results, Schillinger
converted charts and diagrams fro
the business section in the nepapers 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 c e no later than the -fou%ntb d cacb montb for the succeeding isaue. Copyright 1947 by Mubic News. Inc.

4:

rn

be forgotten that
oretical pursuits,

:ntal works were widely per*

mbodying the true concepts of a

revolutionary art. When his piano

"

Net,, ,

I
I

Schillinger
by

H E PUBLICATION of Joe
seph Schillinger's "System of
Musical Composition" has ere,
ated a furore 2nd his accomphsh,
ment as an extraordinary teacher of
composition is already legendary.
Drscussion of his approach to the
teaching of music theory is still live.
'IY among musicians, and since
new works of his have been heard
of since 1930, attention tends to be

terials contributed a great deal to

the skillful construction of his own
unusually dynamic? and colorful ma.
terials into musical edifices of nota.
bly balanced architecture.

corn

exception, and his early piano mu,

sic has a plainly
basis
. recognizable
in that of Scriabin.

:r.

when Joseph Schillinger

came to this country in 1928, he
came as a composer. His symphonic
w o r b 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~orationof America. I n
1927 the State Committee for Se.
lection of Symphonic and Chamber
Music of the U.S.S.R. chose his
"Symphonic Rhapsody," Opus 19,
as the best work conlposed in the
Soviet Union during that countiy's
first decade. Enthusiastic reviews of
his works were written by Russia's
then leading conservative composer,
Micolai Myaskovsky, by the lead.
i n g radical composer Alexander
Mossolov, and by Igor Glebov,
then certainly the best known critic
in ~
~ ieopold
~ stokowski
~
i was ~
one of several distinguished men
in the United States who also spoke
warmly of Schillinger's music at
+L,+

da

natural curiosity is fre,

en unexpected contrast. His dic

satisfaction with the artificiality or
the system of equal temperament in
piano tuning led to his vital intel
est in the musical instruments of
Leon Theremin and others, o n
which scientifically correct interval-

,TEARLY ALL THE YOUNG

I ~ C O M P O S E R S of the early
1920'~in the U.S.S.R. were strong,
-

Ire possible; he composed a n;n

ler of works for such instrument

lV influenced by the music of

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
_style in which, in the end,
variations on the one harmony
were used, all with the repetitive
and hypnotic solemnity of an East
Indian philosopher. Most of the
young Russians who came under
this very ~ o w e r f u linfluence made
humorless and unskilled combina,
tions of the Scriabin chord with
more conventional musical ma*
terials.

Henry Cowell

nance, and by deftly colored instru*

mentation. ~h~ lack of a climactic
point in the melodies would appear
to be a w e a k n e s e n o t that they
fail completely to arrive at any
point but rather that they arrive at
so many different points that no
one stands out as a main climax.

Any aimless wandering about is en.

BEETHOVEN
and
SCHILLINGEF
iHOSTAKOVICH,
g o o d f r ie nd o f
S c H I L L IN G E R

k:mdd:hts c:mgt
Sthi!-

rent it to
inger a r a souvenir
>f the program in
-L'-h Only Beethoand Schillinger
Dlaved.

Originality in musical.-com~osi'
tion. only rarely consists in the cre.
ation of a majority of the elements
used, out of the whole cloth. I t is
more apt to show itself in some
new approach to known elements,
or in new
of known
materials and jn the extension of

Y T H E TIME he came to this

country, Schillinger's style had
developed So far away from Stria'
bin's influence that it is barely dis.
" ~ e r n i b l e ;but those who expect his
style to be purely cerebral will

!hew

&e disappointed here too, for Schil.

linger always showed a particular
lack of feeling for the value of aus*
terity i n his music. T h e 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 r e v i ~ u s l ~ u n h e a r tdo n e , q u a l i t i e s
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)

Music

-rne Greatesr nudience

bv Friiz Reiner

H E IDEA O F T H E MOVIE range in highs, lows, depth, and

industry as a lavishly endowed frequency. If only, one microphone
mad house is pretty well fixed is used, one gets only the sound at
in the public mind. And a recent that particular spot,-but with two,
scene in the filming of the forth* it will be caught
coming "Carnegie Hall" would
seem t o bear this out. Heifetz. as
sploist, was playing in a booth seemed a good one to 'me, and
while I led the orchestra on stage. Heifetz agreed; especially when I
Heifetz coyld see, but not hear me. reminded him, "This way, I can't
I could not see him, but heard him knock your violin out of your
through one earphone, while listen.
hands!" (I had done this once
ing to the orchestra with the other when he played under my baton a t
the Stadium. I t was several sum.
ear. The orchestra coul$ n&&fis4gk
*&$"
nor hear the soloist.
~ ~ :?~*F**, ; + ~ ' fg; ~ mers
$ ~ ago, the night after the or.
However, at least this ome, there chestra shell had collapsed in a
.,was method in the madness. T h e storm. T h e stage was not yet re*
reason for this odd placement was paired,' and orchestra and soloist
that the playing of the orchestra is had to play in the center of the
recorded on a different sound track 'field. Heifetz was placed too near
frod the playing of the soloist. 111 me during the performance, and a
a recording for motion pictures a "spacious gesture" of mine swept
sbund track of 100 mil in width is his fiddle from under his chin.)
used. By recording the orchestra on
one sound track and the soloist on
U R RESULTANT RECORD*
a second, thus using two instead of
I N G o n the sound track o f
('one, the area that can be used is
dquble that of the ordinary record* "Carnegie Hall" seemed to me a
Jag,' i.e., 200 inil. Therefore the faithful reproduction in sound and
composite print achieves double the balance. I n fact, music in the

"

movies is done with a preuslon

and exactness that makes such per.
formance a field day for the per.
fectionist. Infinite care is taken to
have the performance that reaches
the public absolutely without de.
fect. For once the conductor has at
his disposal a sufficient amount of
rehearsal time. Music is recorded
and re*recorded until a satisfactory
version has been achieved. T h e
playing of the music itself can be
done without any thought for the
visual aspects, from which one can.
not escape in the concert hall. T h e
conductor and technicians can place
each instrument where it will be
most efficient, even if i t means that
conductor and orchestra are play.
ing in one part of the sound stage
and the soloist in another part of
the hall, as in the case of Heifetz
a n d myself.
This latter advantage is also
available t o the radio conductor,
though here, as in the concert hall,
it is one playing that will get to the
audience 'with no chance for cor*
rections. However, as in actual conzert performance, this "one pla

ing'. has an mdefinable quallty of

spontaneity that necessarily is miss,
ing from the music.for.the.screen,
with its reerecordings and selected
excerpts.
(Continued on next page)

as
(Continued)
wise. Yet there is often great inde*
pendence of parts in the harmonic
writing. There is some use of coun*
ter*rhythms, but as a whole. it
would seem that his interest in
combining rhythmic systems devel.
oped at a later period.
His major works combine expres.
sivenew with wit and a broad-flow,
ing?nd vital rhythm; in them there
is always, moreover, some unexd
pected tonal excitement to be
found. Enterprising orchestra con.
ductors are sure t~ realize before
long the tremendous interest bound
to be aroused when such scores as
his "Symphonic Rhapsody," Opus
19, and his "North Russian Syl-h.
phony," Opus 22, are revived.

Each Month Winifred Glass Turns the Spotlight

O n a Risina Youna Artist of Nation-wide
Significance. H e r March "Famous
Youna American" is

Schulhof

...

1 13 West 57th Street

New York 19, N. Y.
Telephone:
Circle 7-6356 and 5361

Cable Address:
CONCERTOUR NEWYORK

mHE

N E W YORK TIMES of
anuary 5, 1947, reported that
L o u i s e 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
MISSBernhardt'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 mshe 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

ARTIST LIST
1947-48
Exclusive Representar~vetor:

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

Conducfors:
ERNEST ANSERMET,
Ch ef
dlOrchestre
L'Orchestre d e la Suisse Romande, Geneva
SIR T H O M A S BEECHAM, Bart.,
Artistic Director
Royal Philharmonic Orchestra,
London

U N E say what he s a ~ dof 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 ~ oto
n her ac.
compllshments along vocal llnes
she is a str~kinglyhandsome 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

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:

A N T A L DORATI
Musical Director
Dallas Symphony Orchestra

1which

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 t h a a just a good im.

of song recitais at Town Hall are

severe, and not often does Jerome
D. Bohm of the HERALD TRIB.

MARCH,

Music for the

ELEVISION, W H I C H
M A N Y W A Y S 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

Anglo-A merican
real concert attendance. Television
C
o n c e d Arfisfs,
brings its listeners physically closer
to the musicians, giving them op.
portunity to observe actual musicIManager: Andrew Schulhofl
making and thereby creating a per.
I I 3 West 57th Street
sonal bond between performer and
York
19, N. Y.
audience.
* " ~ < ~ & ~ ~ .$
~ :~ - 5 New
~ + ~
,
*A$- &~,%:. .Z$i -q
Work in all these orms of mu.
Headquarters for
sic reproduction is worthy of the
Great Britain and the Continent:
best efforts of our musical artists
IManagers: Edward P. Genn '
and sound technicians, because
and D. Morris Levyl
through these modern media one
101 New Bond St.. London. W1
can reach audiences of sizes 11nr
Telephone: Mayfair 852 1, 8522
ireamed of heretofore.

9, -

~ b ~ ~ ~ ~ z ~ ~ s z ~ ~ ~M
A yU sS Ig C2 , ~N;E~W
,S

Brazilian Soprano

Vanda Oiticica arrived without

publicity. This remarkable Brazilian 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 instance. she i n t e r ~ r e t sBach 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 eloquence is wonderful when interpreting Faure or Debussy melodies.
The singing of Vanda Oiticica is
really a message of elevated intellectual significance. "C'est L'extase" and "Green" of Debussy,
"Rencontre,"
"Toujours"
and
"Adieu" of Faure were the profound minutes of this concert
which concluded with lovely music
of Brazilian folk-lore, heartily and
full of colours suggesting evocations which she interpreted with
incomparable voice and great talent. - E N R I O U E LARROOUE.'
i
1945:
E l Hogar, ~ i e n o Aires,

Miss Oiticica . . . disclosed a voice

naturally rich in timbre and of fine
potentialities. . . . The interpretations . . . 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 diction, smooth legato and carifil
phrasing.-NOEL
STRAUS, New
York Times, 1947.

The pleasing natural quality of her

voice was suggested in the Scarlatti and Bach arias at the beginning and more fully revealed in the
balance of the program, which was
devoted to music by French and
Brazilian composers. . . . Her singing was sympathetic and expressively 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

IO ~ K

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

neer to foUow

finally P r 0 g a
consisting of
speech only. A ~ ~ l o ~ r i aaPPen.
te
dices covering methods df setting
relative gain for general and accen.
tuation microphones alld a method

n eighteen shows are

Quiz*" which

in adapting the for.

Opera "The

and his

Soundmirro~ may be used tc

banscribe
by
means of a multi~directionalmicro.
phone or it may be wired to a ra,
die to take a Program off the air.
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

added expense to the broadcaster is

- + ~ the
d ribbon used again

ear their favorite record.

M A CABIN I N 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 LNUMBERS

THE OLD WHITE GOOSE

kas . . . . . . . . . . . . .
Sailors-Gliere . . .
nt-Saens ...... >

- - '8K- 'IUSIC

. . . .$1.25.

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...................

RCA Buil

MUSIC NEWS

".

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

Boston Pops under the haton %?
selecting "Ballad for Americans."
,
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 %
will be held the first three days in Mills Music, Inc.
of Musical Art . . . b r t u r Rodrinski was appointed to the helm May in Cambridge. In addition to
v U d a 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*
with new compositions by Copland, B~~~~~ ~i~~~ three years
The concert given by the Euro.
in
p e a n singers brought here by the Mdpi-9
H i n d e m i t h , -nu,
M
~ k L ~ a ~n o n - aq
l ~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
I~c.'s
riet 09Rourke, who had started a manager of G. S*mer,
brilliant career as a radio singer publication department, was ap.
and was on her way to great suc.
pointed supervisor of the same
firm's Symphonic Orchestra De.
cess, was found dead in her Man.
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 ~ n d u a i n g 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 AdTrio presented the Sho~takovichE 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? ."..
son,
Karl
Ulrich,
the Bach concerto
Aaron Copland's "4 Lincoln Por:
for
two
pianos
and
orchestra in C
trait-" wa$ give; in L~~ ~~~~l~~
major
.
.
.
Jean
Sablon,
the French
grid in.\;riepna for Lincoln*s birth.
singing star, will broadcast three of
day;-Alfr& W & m e i n and &&
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 t h e Way," a symphonic suite
~q '@&I+.rrlmrnef&
*radio
and Dorothy Maynor dn&g l i '>
11

..

...

Louis Civic Chorus

3 ,'

$-: ' Saint Louis G r a n d O p e r a

1

3-1

"

?*
a'

.:

'

Guild W o r k s h o p
Berkshire Music Center,
Tanglewood

--

>'
%'
I'

$?A
%
"'8.

P>

Guest Conductor with:

British B r d a d c a s t i ~ gCor.
poration, London

..@A

3- .$

Columbia B b a d c a s u n g
System, New Y o r k
- " r "Nibion31
~ ~
Symphony
I!
OrcheStra,
' Watergate, Washington
~ $ 4

?&.-:

Baldwin Pianc
lusive Managamam):

:CH, 1947
b

'
.

'
I

fl

Comment

Brahms' Rarely Heard Music

T I S A CURIOUS T H I N G

that the majority of works by

composers whose names have
:come household words are little
known, not only to laymen, but to
=+- dents and professional musicians
well. The names of Bach and
[andel, Mozart and Haydn, Bee.
..loven, Schubert and Brahms are
as familiar as our own, yet, when
2 pause and
contemplate the
..arks of Bach with which we are
'familiar . . then Bach becomes
suddenly a stranger. T h e D minor
Toccata and Fugue, the Passacaglia
and Fugue, excerpt's from the
Nell.Tempered Keyboard," the
,~ncerto for Two Violins and Or.
chestra, and about here the aver.
ge person stops, and begins to
>ink back, usually with no results.
'hat of the "Art of the Fugue,"
the "Musical Offering," the Cho,
rales, the Church Cantatas, the
secular Cantatas, the "Little Organ
Book," and, the familiarity of thelk
names notwithstanding, the B mi.
nor Mass and the "Passion Accord*

g:p
,-. T
v:

blc

Records

ing to St. Matthew"? O n e might

ortunately often declined, to be.
nies, Brahms waited many years be,
go on to Haydn, with a survey of come familiar with hundreds of fore he felt himself capable of try.
the familiar symphonies, to be great works which might not be ing his hand at quartet writing.
stunned by the multitude of come heard in public performances dur. Consequently these two quartets
pletely unfamiliar symphonies, and ing a lifetime.' T h e fiftieth anni.
are both among his greater works
to Mozart and Beethoven and versary of the death of Brahms is for they are written with a mature
Schubert and Brahms, ad infinitum. at hand, and when one considers hand. Recorded also, are two of
I n fact, how many students and the universal recognition of his the piano quartets, the first, Op.
musicians can give the principal name, together with a universal un.
27, and the second, Op. 26. These
themes of all of the movements of familiarity'with most of his music are seldom played for the simple
the nine Beethoven symphonies?
(and what is his name without his reason that three string players
This situation is doing a great music?), it can be recognized that with a pianist do not often give
injustice both to the composers and no greater tribute could be paid to recitals. T h e first of these is per,
to us. But the situation today is his genius than to investigate his formed by Artur Rubinstein with
not justifiable o n the well-trodden seldom.heard music as it exists o n members of the Pro Arte Quartet,
grounds that public performances,
records, to realize that Brahms did while the Op. 26 is played by Ru.
stereotyped with repertoire, are rea more than simply exist. H e wrote dolf Serkin. and members of the
sponsible. T h e scores, for the ma.
music, too.
Busch Quartet. T h e two string
HE CHAMBER WORKS of quintets (string quartet with sec.
jority of these unfamiliar works,
are available, and an argument that
any composer are relatively ond viola) are recorded, the first
reading scores without hearing the
unfamiliar. I n the case of of these, OP. 88, by the Budapest
music itself is of little value, is not Brahms there is no need for one Quartet and Alfred Hobday, the
valid, nor has i t been for many to be a stranger to his chamber second, O p . 111, by the Budapest
years.
music. T h e two string quartets Quartet with Hans Mahlke. The
H E H U G E LITERATURE numbered Opus 51 are both re, clarinet quintet, OP. 115, may be
of recorded music offers lay. corded, the first by the Busch heard as performed by the 33usch
men, students, and profession.
Quartet, the second by the Buds. Quartet with Reginald Kell, and
a1 musicians an opparmnity, T; peat ~ ~ ; ~ ~ ~ ~ ~ , ~ & ~ h ~ ~ j ~ ~ ~ m p ~ : q ~ & , h ~ v ~ g & ~ ~ p i _ n :

.
,

d~

-.

.*

,.a-Q*&$

&g.

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. ~ $ ~ ~ ~ ~ ~ 3 $ ~ & < ~ $ ~ peQK+%

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g g 3*+*a,
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$ ",~%?
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.-ii.~

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

for

#?.

A Cantata in Memoriam t o Franklin

for Mixed Chorus: Soprano, Alto, Te
'deists: Narrator, .Orchestra or Piano.
119 Wesf 40th 51.

i,*5N dhq
,.,:;.:k.2+T

~e'w
York 18, N. Y.

Central Conservator

LVQW

available for, bhoral Groups and Orchestras

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

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. T h e
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 Benorly opus number, is not really an ist; the third by Paul Kochanski
"Use this book as you would use spectacles ~f yvir
rly work. I t was written in 1854, and Artur Rubinstein, or Joseph
roere near-sighted. 7t ti7111 open before you an rnllrlethe version we hear today is Szigeti and Egon Petri. T h e two
drate solutron of many tecbnrcal problems. It' wrll
revised work, changed and sonatas for violoncello and piano,
oothed with the hand of matur* Op. 38, and Op. 99 may be had.
thirtyseven years later, in 1891. T h e 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. T h e O p .
For the COMPOSER
ARRANGER
French horn; :
:
;
, F-.,~~,.:bgs -<
102,
,i No. 2 sonata, written for pi*
M;~'.'p '5 - <g,,,:,:2
?, &;AWL 2 . ~ :an0 with either clarinet or viola, is
,.- ,22,.h,w,,mT++52$3;Ycu,4L%%?
3 ~ ~ available
& 3 ~ 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
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
I t can be seen how much of
tals. As with the others, one
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,
M. WITMARK & SONS
student, or music
sorry state can be partially reme,
&ed, for he offers two albums of
goes on, the rec
Brahms songs, some of the familiar erature continually increases. T h e
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
concert,going. Records provide the
=olumbia album, L~~~~ ~~h~~~~

BH SCHILLINGER

-.

Schuberty

ASSOCIATED CONCERT BUREAU

ted in the Klpnls albums, In

Columbia album Ernst
wolff offers nine Brahms songs,
[anan Anderson sings three lieder,
~ n d the great "Alto Rhapsody,"
sevitzky, authored by Moses
Smith and published o n Febru.
Ormandy and the Philadel*
,nla
Orchestra
accompanying.
duch of Brahms lieder is unrecord,
but there are few students Or into the personality of a great con.
essionals who can honestly say ductor are given. However, some
hat they are fam~liarwith even the. of the stories are not flattering to
the Boston S Y ~ .
ongs that are recorded. amsFqet$v*+the
~@;$$a$~hon~
Orchestra. New to us was

JACK PETRILL

ANTON SCHUBEL

C O N C E R T SERIES

:~,~~;~~,g;;.<n4ya~;
++%:

.-

F ~ Y ?~,L:*;R~~X'@~'J~?+.~~
.
which the maestr
ERSONS ASSOCI
conducted the "Forest Murmurs"
from "Siegfried," wi
A T E the Chorale,Prelude
only with Bach, but a brief
number of beats to
:y will disclose the fact that page by page. T h e
wo Brahms' Chorale.Preludes, O p , 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.
vith the Philadelphia Orchestra straining distribution of the book.

MARCH, 1947

CIRCLE 6-7450

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
orchestra

eastern music. T h i s piece

(Commissioned by RCA Photophone.)

George Polycmovsky, New Observer, Moscow. 1926

Piano CornpositIon

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,

A. )

The New Yorker, Dec. 14, 1929

,S.

Works f o r String
SONATA for Cello and Pia
1918 Op
1921 Op 7 SMALL SUITE f o r Double-bas
1922 Op 9 SONATA for Violin and Piano

This Week in Cleveland, Nov. 24, 1929

eity o n t h e 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
o f 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 a n eysting 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

R A HN

L E SCH

Pers. Repr.:

ANCIENT
LECTURER
RECITALIST
33 W. 87 St.

I.

Booking: NCAC
711 Fifth Ave.. New York 22

Pers. Rep: Dick Campbell

80 E. I21 St. Apt. 1C. New York City

L
A

Rer .dw

LEADING
E~ZLITAN
OPERA ASS'N.

H. MEYER. 119 W. 57th St.. New York

ON

MUSIC

ANCIENT

INSTRUMENTS'
RECORDER
lNsTRucTloN
TeL: Sc 4-9306

ALBERT G= HESS

NE O F T H E GREATEST
finds, if not the greatest, of
this season is Miklos Gafni,
"Rare
precious
t r u e musicianship."
Kountz, Toledo Times
I young Hungarian tenor, who ar.
-ived unheralded in this city a few
weeks ago. I n his debut recital he
CONCERT PIANIST
jisclosed a voice of remarkable
luality. I t has strength, flexibility
NOW B O O K I N G S E A S O N '46/47
~ n dthat certain emotional appeal
Studio: 5757 Cass
Detroit 2. Mich.
xhich is so vital for the tenor of
;he Italian school. His natural field
s, of course, not the concert hall,
Hans Moldenhauer Mus. D., Director
9ut the opera house. A voice iike
808 Lincoln Street. Spokane. Washington
his comes upon our stages only
>rice in a blue moon . . . Another
C W
A 0
debut recitalist of more than aver*
E E
L A
C L and I V
age ability is the Brazilian soprano
I L
c I
Omaha Piano Conservatoire
Vanda Oiticica who, with a small
L S
E S
5018 lzard St.. Omaha, Nebraska
~ l b e i t lovely voice, ranks high
~ m o n g interpreters, while on the
ETHELSTUART
technical side she could still stand
ember N.A.T.S.
improvements . . . Mona Paulee's
~ h o r a lDirector - Coach - Accompanist - A.G.O.
Care of Music NP-*~- great vocal gifts ate not shown to
South Bend, Indiana
best advantage on the concert po,
dium which she obviously confuses
M U P H I E P S I L 0 N N A T I O N A L EXECUTIVE OFFICE
nith the opera stage, where she
6604 Maplewood Ave.
NATIONAL MUSlC SORORITY
is more at home. Lieder singing
Sylvania, 0.
Ava C o m n Case. Natl. Pres.
does not need any showman quali.
Bernice
Exec.
Swisher
Sec.-Treas
Oechsler
Sch'l of Music, U. of Mich., Ann Arbor
ties of which this highly tempera.
mental singer is past master . . .
[n Ellen Osborn we have a seri.
>us-minded soprano who strives for
BASS
highest interpretative effects in an
University o f Southern California
L o s Angeles
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
NBC
vehicle for the contralto's outstand,
'
ing musicality . . . N o t quite so
exemplary, in fact rather diverse,
Jose Bethencourt
School of Percussion Tommy Thom
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.
Teacher of Voice
;remely light, yet intriguingly de.
DIAGNOSIS
VOICE BUILDING
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 surpris8
in ,
tyles and IanNEW YORK CITY

.. .

. ..

KATJA ANDY

SPOKANE CONSERVATORY

BERRYMAN

G A U M ER

'

BOBBY CHRISTIAN s - r m FRANK RULL

rrederick Wilkerso

1A RI-I'NI

M O N G PIANISTS a new*
comer from abroad also esp
tablished himself immediately as an
accomplished artist: Franco Mannino, 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 Segall, 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 Weingarten'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 . . .

ould have learned something
young Leon Fleisher, who
d tremendous improvement
since his latest appearance. Ale
though technically not less profi.
cient, he pushed the technique into
the background and poured soul
and body into the interpretation of
such difficult works as Beethoven's
"Pathetique" and Schubert's So*
nata, op. 120. . . . Robert Turner
is a scholarly, reflective pianist who
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
. . We
thought Marisa Regules in her
Carnegie Hall appearance has be*
come a much better pianist than
she was only a year ago. H e r
earlier careiessness has been re.
placed by a striving for expressive,
ness and absorption in her work,
and, if continued, should bring the
. . Harry Davis
desired results
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."
H e 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 . .

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.

the mechanics of his instrument, is

musical and produces a remarkably
full tone. I t should also be men.
tioned that he showed greater af.
finity for modern music than for
the old which he probably put on
his program as a gesture towards
traditionalism. There is little doubt
that we shall hear more of him . . .
Anatol Kaminsky has not quite
reached Sorkin's stage of develop.
DRAMATIC SOPRANO
ment, although it would seem that,
Now Booking Season 1946147
with his excellently built technique,
Y
he should be able to reach it. Right
Suite 801. H o t e l Wellinqton. 7 Ave. & 55 St., N e w York City
now he is still deficient in his mu.
OPERA
sical grasp of such works as the
CONCER1
RADIO
Rreutzer Sonata and Bach's Partita
SOPRANO
in E minor . . . A newcomer was
c/o M i n a H a g e r 315 W. 57 St., N e w Y o r k C i t y
Chicaeo Mgt: ~ k t e l l e Lutz. 25 E. Jackson Blvd.
the Canadian violinist Harry Adaskin, another artist who feels more
in common with contemporary mu.
sic and is generally more interested
Conductor g;edjp
in the musical content of the works
.*a*-,-*>q
to be performed than in technical
Pers. Rep pa"\ %echert, 525 E. 89th St., New York 28, N. Y
brilliancy. Thanks to his convinc.
ing readings his recital must be
deemed a success . .' . Louis Per--Composersinger came out of his semi-retire.
Courage, Tone Poem-March
for full orchestra. Adventures of Pinocchioment as recitalist to present a Mo.
1 Ballet score enlarged from the original. Reactions to Fiona McLeod,zart program, with the help of
for smdll orchestra.
pianist Leonid Hambro, violist
String Quartets-"Out
of Doors" Suite (National prize). "From Norway."
"From a Far Country" . . New Choruses (Boston Music Co.) and songs.
Ronald Persinger, his son, 'cellist
N e w York City
257 West 86th Street
Horace Britt, and violinist Dorothy
Minty. I t was an unusual concert
:gi<s,;::*%**>$$&;
of some of the most beautiful
:
-Pa
chamber music works Mozart has
"Promises to become one of t h e most distinguished singers
written . . Donna Grescoe, who
y e t produced b y h e r race."
was heard for the first time, dis,
-Irving Kolodin, N. Y. Sun, August 30, 1946.
Mgt. W. Colston Leigh, Inc., 521 Fifth Ave., N e w York 17, N. Y.
played great talent which is a
Public Relations: N e i l Scott & Associates, 400 Manhattan Ave.,
promise for the future. Occasion.
N e w York 26, .N. Y.
ally her tone became too brittle or
too hard for comfort . . . Angel
MARGUERITE
Reyes presented, with composer,
Lyric soprano
pianist Jacques de Menasce, four
sonatas in a League of Composers
N e w York City
C i t y C e n t e r O p e r a Co.
concert, among them a new work
by Irving Fine .,and de Menasce's
seven year old composition, both of
them excellently played and well
MEZZO SOPRANO
received by an appreciative audi.
St. Paul
,
Ainnesota
Y 606 Portland Avenue
ence . . .
D.
Raya Garbousova, in her yearly
recital, made it clear that she has
Avdlable for Concerts-Oratorio
no competition among women 'eel*
~ 2 B e s t e i .N. Y
Eastman School of Music
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
"Violin playing of expressive beauty, penetrating and personalher fine stylistic feeling make an
excitingly dramatic; intimately tender--"
-Albert
Spalding
evening of 'cello playing a great
Pers. Rep. Muriel Francis-745
5th Ave., N e w Y ~ r k22
delight .
Adolfo O d n ~ p o ~ f f
remains unconvincing, because he
(Cdntinued on Page 21)

ANOR LUTTON

ONLY TEACHER OF JOHN

R C H , 1947

MAL'KO

NICOLAI

e C A R 0L

II
I

B R I CE

PIAZZA

A R T H U R KRAFT-Tenor

James de la Fuente
-

..

Discovers V&e%, ,Develops Them

TREVISAN

Teacher of Smgmg
219 E. 12th St.
New York City

II RUBINI - REICHLIN
I

GARRlS

(Tenor,

W. 57 ST.
N. Y. C.

152

Sherman Square Studios, 160 W. 73rd St., N. Y. C.

Trafalgar 7-5181

II '" P I : E R C E
Tenor

- . -- - -

Ci. 7.2636
Metropolitan Oper.

METROPOLITAN OPERA CO.

ROY HARRIS. Conductor

ANPX RIZZO. Soloist

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Management

WILLIAM KUEHL
Concert Artist

Orchestra Hall

Sunday
Afternoon

June I 3:oo1947,
P. M.

write. enclosing stamped, selfaddressed envelope.)

W$s?$Q:

"

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

Harold C . Schonberg (Sun): "Well

worked out and creative enough to
merit honest consideration.
At
an initial hearing (of the second
sonata) one was impressed by its
Lisztian suggestions and its im,
mense difficulty."

..

See New W-orks

of Living Composers
*

?I'

'Means first performance an

**Means first New York p e r ~ E ~ e .

**PAUL BOWLFS: Pastorela performed

b y the Ballet Society, keorge Balanchine, director; Leon B a r m , conductor, 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 shas
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."

Ross Parmenter (Times): "Straight*

Howard Tauhman (Times): "At best
**BOHUSLPV M A R T I N U : First Sonatforward and lyrical without being
~t is facile, pretty and quite harm*
f o r cello and piano, played by
especially striking in style."
less. Here and there the composer
Raya Garbousova, Jan. 17.
bas used fetching tunes, and he has
~ r t h u rV. Berger (Herald Tribune):
O
l
~ n Downes (Tl;mes): "Modern in
had the good taste not to stretch
"Its rhapsodic style, especially in
texture
and in neo~classic' vein. I t
them beyond their inherently limthe first two parts, conveyed little
is
tonal architecture rather than
ited tolerance.
T h e writing for
t o this reviewer other than a sense
avowedly
emotional expression. T h e
iano is sprightly, idiomatic; that
of the composer's general musicianfeeling is inherent of course in
For the orchestra largely convenship. T h e Iast part has some inthe
structural
develbpments a n d the
tional."
teresting lines which unfortunately
linear character of the writing. T h e
Arthur V . Berger (Herald Tribune):
dissolve into ruminating interludes."
sonata admirably achieves its pur. . . a serviceable work. . . .
DOIC.'*
**RICHARD STRAUSS: Metamorphosen
r---There is nothing striking in its
performed b y the Boston Symphony
melodic o r harmonic content, and
A. W. P. (Sun): "Has a trenchant
Orchestra. Seree Konssevitzkv conits orchestration is questionable i n
vitality, the foundation of which
ducting, Jan. TI.
some recent Imports in its genlies deeper
than
its energetic
Nyel Straus (Times): "It was the
re. . . .
rhythms and v ~ v i d phrases. It is
Siegfried-Idyll and the Wagnerian
Harold C. Schonberg (Sun): "All of
terse and t o the point, with a mine
'Verklaerte N'acht' of the early
the melod~es are serviceable and
imum of padding; deeply emotional
Schoenberg that kept coming to
there is none of the dubious taste
in the searching melodies of the
mind while listenine t o the Strauss
present i n other new concerti re*
slow movement and hitingly provocnovelty, for they l a r e the works
cently played here. . . A s a crafts,
ative in the opening and closing
most akin t o i t in the repertoire. A
man, de Menasce is superior. Thls
allegros. A powerful work b y an
work that takes twenty-five minutes
concerto . . . avoided padding,
able craftsman. . ."
t o perform, always poignantly in.
showed economical orchestration and
**NIKOLAI LOPATNIKOFF: Variations
tense and avoiding striking cli*
an abnormally full piano part."
and Epilogue, played by Raya Garmaxes, might easily lose its grip as
**ERNST KRENEK: Five Songs from
bousova, Jan. 17.
an
entity.
But
all
of
i
t
is
so
ex*
"Travelogue f r o m the Austrian
Olin
Downes (Times): "Highly idioquisitely written for various comAlps,"
sung b y Alice Howland
matic and effective for the stringed
binations of strings, so tender in
(mezzo-soprano), Jan. 8.
instrument,
and the piano is skill,
~ t s mood, so masterly in its de,
Jerome D . Bohm (Herald Tribune):
fully used both for purposes of
velopment and so profoundly sin*
"Proved well worth hearlng both
harmonic
background
and develop,
cere, that i t did not seem a mo,
for their melodic content and in*
ment."
ment too long to this listener, all
trinsic musical value."
of it proving eloquent and of
A . W . P. (Sun): "Had their vigorRoss Parmenter (Tlmcs): "Were all
strange fascination."
ous aspects, too, b u t i t was an
worth doing. They hive rather unempty ,vigor, sapped b y a gentle
*WILLIAM BERGSMA: Second String
pleasantly prosy English texts, but
discurs~veness that was alternately
Quartet, performed by the Walden
the piano accompaniments are dequ-rulous and ~ngratiatlng. . . . Et,
String Quartet, Jan. 12.
scrlptlve and atmospheric and the
fectlve and made for pleasant lisIrving K o l o d ~ n ( S u n ) : "Sounds as if
song about the broken boncs that
tening, if lacking true depth and
he might one day produce an in,
could never rise at the resurrection
character."
teresting work for the four strings.
was genuinely powerful."
His present scorc expresses an ap*BERNARD ROGERS: T h e Warrior, one**CHARLES WAKEFIELD C A D M A N :
plaudable admiration for the late
act opera, performed at the MetroSonata m A major, op. 58, played
string quartets of Beethoven . . .
politan Opera House, Max Rudolf
by Viana Bey (piano), Jan. 19.
and a liking for the light touch of
conducting, Jan. 11.
L.
H . (Tribune): ". . . in texture
Mendelssohn,
but
n
o
impressive
:
(Herald
Tribune)
Virgil Thomson
rather
late romantic.
Its t w e n t y
contrlbutjon of his own to errher
"The music is beautiful in texture
minute
length is divided into three
manner.
and intensely expressive in d e t a ~ l ,
movements,
each
of
which
exploits
but i t has no continuity. Neither
*ALEXEI HAIEFF: Eflogue, played b y
a small thematic fragment of lyrical
melody nor harmony nor coloristic
Benar Helfetz ( cello) and Erlch
nature."
design nor rhythmic construction
Itor Kahn (piano), Jan:, 12.
ever keeps for so much as f ~ v e
Olln Downes (Tlmes):
A deft de*
*SEYMOUR BARAB: Scherzo, played
minutes t o one clear pattern. Struc,
velopment of a single odd~rhythmed
by Herbert Sorkin (violin), Jan.
turally the score is d~scontinuous;
motive of some seven notes, first
20.
and expressively it lacks sustained
*ELIE SIEGMEISTER: Harvest Evening,
interchanged by 'cello and piano,
Arthur V. Berger (Herald Tribune) :
feeling,
as
does the
libretto.
performed by the N. Y. Philharthen developed with admirable con,
"Has energy and a certain musi,
Stylistically the work derives from
monic-Symphony Orchestra, Leocentration and humor."
cality, both highly undirected."
the expressionism of Richard Strauss
pold Stokowski conducting, Dec. 29.
*LUKAS
FOSS:
Capriccio,
played
.by
and Alhan Berg. His orchestra is
Ross Parmenter (Timcs) : "It sounded
*ALEXANDER GRETCHANINOFF:. In
Benar Heifetz ('cello) and E r ~ c h
dissonant and picturesque, its vo,
what i t was meant to be-and
no
Exile and Freedom sung b y ZiItor Kahn (piano) Jan. 12.
cal line a constant recitative. His
more-a
little interlude between
na:da Alvers (contialto), Jan. 21.
Olin Downes ( ~ i r n e ; ): "Spirited and
expressive detail is not supported,
two more vieorous movements. I t
amusing
i
n
the
best
sense
of
the
Francis
D. Perkins (Herald Tribune):
was simple,- straightforward
and
however. as in Strauss and Bere.
-.
word."
"Pleasing and written in the na,
by a plain dramatic,musical con,
thinly scored."
Arthur
V
.
Berger
(Herald
Tribune):
tional
and romantic veln associated
tinuity."
Harold C. Schonberg (Sun): "He has
M r . Foss needs more selectivity
with the composer."
Olin Downes (Times): "This is a
used a simple melody with no frills,
in
weeding
out
thc
routine
from
singularly
weak
and ineffectual
outside of a brief canonlc section,
his inspirations-such
routine, for
*JOSEPH W O O D : Sonata for Violin and
opera, so weak and ineffectual, so
and one Jan say little more than
example, as the etude,llke figures
Piano, played by Harold Kohon
strikinelv without inspiration or dra,
that it is', a pleasant unassuming
he
gave
the
'cello."
(violin) and Leon Kushner (piano),
matic ;ntensity, that- one can only
trifle tbat't handles a' folk theme
Jan.
21.
*ROBERT PALMER:
Second String
wonder why a jury of eminent au,
with good taste."
Quartet,
performed
by
the
Walden
L.
H . (Herald Tribune): "'Seems
.
thorities should have given i t the
Arthur V . Berger (Herald T r ~ b u n e ) :
String Quartet, Jan. 12.
competently worked in the schol,
Oliver Ditson prlze. . . . T h e
"It would seem that M r . S ~ e r
Olin
Downes
(Times):
"Too
much
astic
idiom
of
the
modern
variety,
opera score has n o convinc~ng
meister might easily - h a v e made
canon and fugue, imitation and
though it also seems lacking in
melodic idea of any kind. . . T h e
mors of the four minutes his work
inversion, and other devices of polystriking musical matter."
orchestra largely squeals to express
consumes. A simple and scarcely
phony excessively employed. There
scorn or satire, and the drums are
striking tune undergoes no abstrac
is close writing through a first
*HENRY COWELL: Three Ostinati with
whacked, often and violently, for
tion, no commentary or ingenuity of
movement which is vcry long, overChorales, played b y Phyllis Gugino
struggling o r rage. . . . M r . Rogers
treatment."
rich
and
almost
a
complete
work
(clarinet) and Leon Kushner, Jan.
has written a little music that we
**MARK WESSEL: Sonata for 'Cello and
in itself. T h e next three move21.
know
in
short
instrumental
forms,
Piano, played b y Janos Scholz,
ments
have
passages
of
lyrical
in,
and this with sensitivity. His sinL. H . (Herald Tribune): "The
Jan. 3.
terest as well as polyphonic ma,
cerity is not t o be questioned.
chorales are sensitive and delicate*
Noel Straus (Times): "Turned out
nipulation.
But the total of it
Irving Kolodin (Sun) : "The orchestra
ly poised essays in counterpoint
t o be a weak work. not well writverges perilously upon formula and
begins
with
a
rather
atmospheric
and have both carefully thought
ten for the instruments, flabby in
workmanship in place of emotional
prelude, but proceeded thereafter t o
lines and a poignant harmonic ex,
texture commonplace in its themat*
persuasion."
mutterings
and
exclamations,
mostly
pression
that is peculiarly their
ic matirial, and poorly unified."
Arthur V. Berger (Herald Tribune):
disjointed. Rogers occasionally genown."
Jerome D . Bohm (Herald Tribune):
"Develoos motives arduouslv alone
erates
dramatic
tension,
but
there
"Harked back . . . t o Brahms for
*ARTHUR LOURIE: Cantata T h e Birth
the wain-out lines (fugatos and
is little climax at any point."
much of its ideational matter. T h e
; ,all) in a desire t o achieve unlty
of the Beauty performed b y Leon
Louis Biancolfi (World Telegram):
work disclosed n o stylistic unity in
over
a
broad
span."
Kushner, ~h;llis Gugino, Gefald
" 'The Warrior 1s not the great
its three movements, however, and
Frank
(bassoon)
Louis Felner
American
opera.
In
fact,
while
i
t
W
N
N
A
R
JOHANSEN:
Toccata
i
n
was stylistically weak."
(cymbal). Jane ~ i c h a r d s(soprano).
is American all right, i t is not
the Phrygian Mood, Atonal Sonata
John Briggs (Post): "It is the idiom
Jan. 21.
even
an
opera.
.
.
.
T
h
e
music
of
and
Second
Sonata,
played
by
the
of Vienna~between~thc~wars,
but it
L. H . (Herald Tribune): " A disapMr. Rogers while i t oftcn achieved
composer, Jan. 12.
is nevertheless quite agreeable. The
pointment t o this listener. Its dis,
splendid effects in the orchestra.
Noel Straus (Times): "His three
work is modern with a strongly
especially in imaging some of the
membered formal effect and the
compositions were eclectic, and,
Brahmsian flavor."
horror, as a whole seemed bare of
giddy virtuosity required of the
though carefully contrived, were
color and almost empty of operatic
singers tended to defeat some in*
too cerebrally conceived and too
**JACQUES D E MENASCE: Piano Condrive."
herently pleasurable musical ideas.
facile i n moving from one t o ancerto No. 2, performed by the National Orchestral Association, - Leon
other of sharply varyinq styles t o
*FREDERICK JACOBI: 1mpress:ons from
I t evokes the madrigal style of
arrive a t , any pronounced heighta of
Monteverdi without too convineing
Barzin conducting, Jaeques Abram
, played by Eredell Lack
wloist, Jan. 6.
inventivenear.'
an effect.

Creole Dance,
TOSAR:
**HECTOR
olaved b v Paul S d v a k (piano),
be:. 16. '
~ r i t V . Berger (Herald Tribune):
Ev-.~ur
"Thnllmh
----limcted
~ - - -~~ In ~ t s ostlnato
$27
devices, the Creole Dance is a
->
~ r o m i s i n g and vigo rous achieve,
b e n t for a youth of seventeen."
*VIRGIL T H O M S O N : Scenes from the
Holy Infancy, performed by Holyoke
Glee Club, Ruth Douglass, conductor, Dec. 17.
L. H . (Herald Tribune): "Done according 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."
* N O R M A N D E L L 0 JOIO: Ricercari for
Piano and Orchestra, p ~ r f o r m e d by
the N. Y. Philbarmou~c-Symphony
Orchestra, George Szell conducting,
the composer soloist, Dec. 19.
Virgil Thomson (Herald T n b u n e ) :
"Three movements . . . of an
agreeable and easy*going character.
T h e 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
u p 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 effectlvel~executed study.
I t is spirited writing, b u t its melodic substance bas little significance."
Harold C. Schonberg (Sun): "Musically 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.

..-..:

D--

..

**

SHERMAN

Scl~oonmaker
Coach

Accompanist
-

French. German and

Itallan Reperto~re
Ballads
Stud10625 Web. 3456
F~ne Arts Building

LOLA FLETCHER
A slnger who teaches singing

Web. 2441

724 Fine Arts Bldg.

ELIZABETH

LINDQUIST
Soorano
Coach-Accompanist
Austin Academy of Fine Arts

TEACHER OF PIANO

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;
there is musical imagination to all
they u ~ d e r t a k e .. . . Young Richard
Faith made an excellent impression
with a classical program; even
though his m ~ s i c a l ' i n s i ~ hist 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
which belonged to the unusual
pianistic successes of the season.
H e is a thinking keyboardist, both
as regards selection of repertoire
and matters of musical phraseology.
. . Few can equal, and none can
surpass the artistry of Malcuzynski's Chopin as proved in a pie.
gram devoted entirely to that mas,
ter. H e possesses solid technique
and a profound understanding for
his task.

TEACHER OF SINGING

SOPRANO

TEACHER

Miscellaneous

SOPRANO

I J A N E OGlIEN HUNTER

Teacher of Singing

~vel~n'-ttdnte
Coloratura Soprano

64 East Van Buren

Chicago

Clara Siegel, pianist, giving three

evenings of Brahms' chamber mu*
sic with a number of Chicago
artists including the violinist Michael 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. . . . T h e ex.
quisite and masterful playing of the
Budapest String Quartet was again
ra veritable treat. . . . Violinist
Alexander Schneider and harpsi.
chordist Ralph Kirkpatrick, both of
hlgh musical integrity, enlightened
their audiences with programs of
rarely heard works ~ e r f o r m e dby
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,
was appreciated by the audience of
the Chapel Choir of Capital Uni,
versity, Columbus, Ohio.

JOHN

Concert

FREDERICK

Soprano

Address Music

Oroforlo

News

MARCIA

MARCUCCf
Soprano

MARCH, 1E

m e w York Re1
(Continued fro

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
. Mischel Cherniavsky,
listen to
performed with his brother Jan
(piano) in Carnegie Hall. Both are
excellent musicians, yet almost
without vitality . . .

607 Fine Arts Bldg.

Fritzi Jea

..

SEEBACII
COACHACCOMPANIST

N RECENT WEEKS two new

conductors made their appear*
ances. Charles Muench, who con.
ducted the N . Y. Philharmonic
for two weeks, made such an ex.
cellent impression that for a time
he seemed to be sure to become
Dr. Rodzinski's successor as mu.
sical director of the orchestra. A t
this writing this possibility is not
quite precluded. H e is a fasunat.
ing conductor of the modern school
who is little inclined to overdo
tonal beauty and thus comes closest
to Pierre Monteux of all conduc.
tors we know. His beat is precise,
his musical conceptions, while not
rigid, always convincing. And it
was obvious that he had the or,
cbestra's men completely on his
side, thus assuring some musically
very satisfying concerts.' O n the
day before the split between Rod*
zinski and Judson became public,
the Philharmonic honored Muench
with a cocktail party-an
unusual
gesture which was forgotten in the
turmoil of the succeeding week,
but the significance of which was
not lost upon critical observers.
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, a good leader of his
men, a convincing musical person,
alitv whose talent, however, needs
a broader sco
e hour.long
NBC concert

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
Another concert of the Phila- New York orchestras, it is a good
enough organism to put over a
delphia Orchestra under Eugene concert in excellent fashion. Stew*
Ormandy given here at the Opera art, obviously a better organizer
House was an even greater delight than interpreter, had the help of
than the organization's previous Georges Enesco, who, after a long
appearances. T h e program, featur* absence from this country, played
ing Brahms' Second Symphony and the Violin Concerto of Brahms
Strauss' "Death and Transfigura*' with the mastery of yore. There
are few fiddlers as deeply musical
tion" reached extraordinary in
pretative heights.

Rose Lyon Du Moulin

PIANIST - TEACHER

'age 17)

as Enesco.

2306 N. Clark St.

Phone: DIV. 8659

Virginia Parker

SOPRANO
TEACHER

PIANIST
Roosevelt Colleae

218 5. Wabash

RAMON

GIKVIN
VIOLIN
1142 5. Michigan

Web. 4937

Frances Marshall
Dramatic Soprano -Voice Teacher
Lon. 3471
522 Fine Arts Bldg.

MEZZO SOPRANO

Kimball Bldg.

N.U. Schl. of Music

TEACHER

OF V O I C E

614 Fine Arts Bldg.

Web. 2214

Chicago 20. 111.

VIOLINIST

9316 So. Darnen

Bev. 8263

WILLIAM
WHITAKER
. .
--

. .

Conductor

ACCOMPANIST

PIANIST
2750 Hampden Ct,, Chicago. Bit. 7313

- Voice -

CoachinY

OPERA CO.

CHICAGO CITY

Suite 612 Fine Arts Bldg. Wab. 6535

T H O M A S

MACBURNEY
608 Fine Arts Bldg.

Chicago

EDWARD

COLLINS
PZANIST COMPOSER

I
I

American Conservatory

I HARRIS ON^
THEODORE
BARITONE

Recitals

- Oratorio

AMERICAN CONSERVATORY
Kirnbafl Hall, Ch~cago. Web. 0620

7
NAOMl

WATSON
Contralto

CONCERT
RADIO
Teaching at
726 Kimball Building
Phone Wab. 3249

O U R SCRIBE USES the occasion of this is the suggestion of fractional divisions of ac.
memorial issue for Joseph Schillinger, who cepted intervals: quarter, eighth, sixteenth tones
passed away on bfarch 23, 1943, to draw as proposed b y the Mexican born Julian Carillo.
your attention
a number of other
In the twenty yeats-March
&-after Leopold
days Occurring this month' Above
Our
Stokowski and the Philadelphia orchestra prea
est congratulations go to Henry Cowell, one of
miered the Carillo "Concertino" with special in.
the distinguished contributors to this very issue
struments to ~ r o d u c e such fractional tones,
of MUSIC NEWS, who on the eleventh is
little headway seems to h&e been made with
celebrating his fiftieth birthday. To the people,
microtonalism of one way or the other. T h e
at,large H~~~~is known best as theinventorof
the "tone clusters," and as a radical who, in. earnest endeavors to produce, for the purpose
stead of using his fingers, prefers elbow and of microtones, especial instruments now have
forearm for the production of piano tones.
been given up to a large degree, yet we cannot
Those who know him more intimately are con.
forget the double piano variety of Haba's inven.
scious of the fact that he is steadily in search of tion in which one keyboard ic tuned at a distance
new vistas of
recent.
of a quarter tone from the other-as
little as
'y he has made a name
with we can forget those guitars, octarinas, harp.
music of
methods
zithers and-French
horns which at the instiga.
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"
from all we know was but an historic event. but
Composition-as
in Schillingeras
his "Cristobal Colon," an orchestral poem using
has not been cowell's sole interest, however,
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
gram of research in
parab
musicology forty years in 1947 that Peruccio Busoni had
drove him at one ti e to Europe.
en there his uEntwurf einer ~
~ der ~ ~
~ ~pubis, of course, the b 1l:ant writer Cowell, an au.
lished (Trieste, 1907), and in it the strangely
thor of books an numerous articles which talented composer, pianist. theorist. esthetician
invariably have rev aled him as a shrewd and
proposed a division of the semitone into three
progressive thinker,&h o has found good reso.
or, for that+
The rejection of the
nance not only among musical colleagues but in
matter, of any temperament is seemingly Pop.
the academic youth of our country. His founda.
tion of the N~~ ~~~i~ ~
~
~a publication
~
t
~ ular~ today,
l
but-who
~
,
know-perhaps
it will
be universal in as short a time as a century.
much less known than it deserves to be, served
his courageous pioneering chiefly for the young.
-. v , q 3 s q ,,,)
er Americans whose compositions were, as a .x,~&,'pJ.
ruIe, far removed from mass appeal and who,
$$@%$,
%
'
'*
therefore, found a welcome outlet in Cowell's
organization, enabling them to gain at least the Radio-Public attention of the progressive musicians here and
across the seas. Of recent, Cowell has made ap.
N MARCH 5 I N 1907 Dr. Lee de For.
pearances as a lecturer in universities and other
est, now in charge of the training pro.
institutions of learning, and his commanding
gram of American Television, Inc., Chi,
techniques but cago, broadcast Rossini's "William Tell" Over.
of
of the other arts as
has made his ture from Telharmonic Hall in New York,
of students in* Broadway at 40th Street, to the Navy Yard. I t
attractive
large
terested in the progress of arts and humanities.
was the first broadcast of any musical work. I n
p ~ ~ ~ , p forty
~ years
~ t which
h esince have passed, music
@&%?&ySA:appreciation
has surely made an unprecedented,
c,arillo's Microtones
incomparable progress in this country, and to.
,
PEAKING OF -TONE CLUSTERS"
calls gether with the phonograph, the radio has been
chiefly responsible for it. I n 1910 De Forest
to mind some other attempts made by mod,
ernists in the directiOn of breaking away succeeded in broadcasting an entire performance
of "Cavalleria" and "Pagliacci." Enrico Caruso
rom established principles of harmony. T h e

"n

@*s6g;;
""-

. . . @#pa+

s'
22

was one of the singers. And March 5 calls to

mind that in this year it will have been exactly
a quarter of a century-on
September 27since radio went "commercial." A real estate
man then rented the facilities of WEAF in
New York to sell New Yorkers on the advan.
tages of living .in Jackson Heights, Long Island.
The sale of time had commenced. Little dld
even the hard boiled publicity men think of the
future expansion of radio to one of the great.
est vehicles of publicity. Today we mlght well he
prompted by these two dates-1907 and 1922to reconsider radio and publicity on one, radio
and music on the other hand. This is the tlme
when broadcasters themselves seem concerned of
the standards of radio, and Mr. De Forest, now
television pathfinder as he was then radio pie.
neer, has a right to be fearful that television
may repeat some of the basic mistakes radio

mrial-on
March 1!, 1647-of John Mil*
ton the Elder, father of the great poet and
lover
who
~music
h
~k in the
~ ~ word's
~ best
~ sense-one
k ~
~
could play several instruments and compose in

various
a contributor to a
madrigal book entitled "The Triumphs of Ori.
ana." This collection, dedicated to Queen Eliza,
beth, gives us an excellent example of the high
State
music
during her regime. It was edited' by Thomas Morley' a mad.

rigal composer of unusual delicacy who had

been granted a patent to print song books. The
elder Milton, whom we remember here, has
gone almost unnoticed in the shadow cast by his
illustrious son, but his own work was recognized
and printed with the best of his time. His mu.
sic, in the words of Ernest Brennecke, Jr., author
of "John Milton the Elder and His Music"
(Columbia University Press) ranges from the
simple to the architecturally complicated and
grandiose, from deep pathos and lamentation to
the most winning frivolity, and "should dissi.
pate the notion that a dabbling tinkerer or a
dour puritan was here at work." T h e elder
John Milton's music represents a small list, but
it has more than antiquarian value. (Incidental.
ly Mr. Brennecke's statement, on page 148 of
the book quoted, that "he died, in the spring of
1637, both suddenly and peacefully9' is prob*
ably but a misprint. Milton died 300 years ago.)

. M U S I C NETTTP

..

T IS ONLY APPROPRIATE that we con.

"memorials" with a word

of gratitude to our venerable friend who is
the freshest octogenarian. Arturo Tosanini o n
March 25--and the entire music world-cele,
brates hls eightieth birthday. H e is no doubt
the most universally admired orchestr
eratic conductor of our day. T o say t
become a legend i n his lifetime is
what has been s a d many times be
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
one of the bitter foes of ~
~he
~
~
~~~~~~~hin 1933 and salzburg in 1938, because
he would have nothing to do with the ~~~i
doctrine. Such renunciations were harder to hlm
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. T h e 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!

elude this

could not be persuaded to such an agreement

~ n dthe stranded European singers were y r i o u s
LO know how they could return to Europe. How*
ever, a concert was thought up as a means of
providing them with at least Some financial help
--an embarrassing end
a project that was as

son's guest conductors, already contracted, me

clude Mitropoulos, Stokowski, Szell and Charles
Muench. Walter will conduct as many concerts
as his European commitments permit.
Just as Rodzinski, &en in Chicago, predicted a brilliant musical season, so also Walter
reported that during the spring and summer
insure a successful music
kers next vear.

decided whether Rodzinski and the Xew York

Philharmonic
i
~ Board ~will settle
: their feud ami.
c a b l ~ .Meanwhile, that Board announced Bruno
Walter, seventy years old, as musical adviser,
ean that Walter will supervise the

tional Institute of Arts and Lettels was

awarded to John Alden Carpenter o n
February 13. It was given to him in recogni.
tion of his entire musical output.

S T H I S I S BEING WRITTEN, ~ h i c ? f g

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

A R C H , 1947

em of Musical Composition

Paul Whiteman

Robert Emmett Dolan

ichard Benda -

Mark Warnow

Ragmond Alcgn Smitn

Paul Laud

I
I

News

I
I

Formerly T e a c h e r at O u t s t a n d i n g
Conservatories in Europe and the U . S .

Available for zliolin solo and chamber music Recitals. I)zstructor irt
violin, eioln, arid chamber music. Interbretation corcrses.
Inquiries to Roosevelt College, 218 S. Wabash, Chicago 4
Tel.: Har. 7976

I
I

L O U I S E

ST.

JOHN

II

maurine

I Suite

RADIO

Baritone

SmifL

Soprano

Chi.

BARITONE
OPERA
Lak. 5389

GREGORY

Har. 6830

Chicago Musical College

VOICE

TONE PRODUCTION

Building

DRAMAT1c
SOPRANO

WAB.

5304

&;ex&"
-++LVi%d
,,

$a

PHILLIPS

BUT. 4 1 3 9

WILLIAM
Baritone

Cosmopolitan School of Music

I William HUGHES

Rockford Men Singers-Mendelssohn

223 N. Oak Park Ave.

CENTRAL

CHURCH
CHOIR

Club Chorus

Oak Park

Village 4635

SHELBY NICHOLS
-

NEGRO BASS BARITONE

Now Booking 1947-48 Seasan
A*%& Estelle Lutz Artists Bureau
1321 Kimball Bldg.

&':,:s#t' ""

#i*",ci

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

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.

T h e 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 reputation as dramatic interpreter as well
as a playwright is well established,
and she is especially interested in
the various forms of religious
drama.

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.

0M E G A . K IN G 0 ~ ~ ~I ~ 1 1 0

5810 S O U T H PARK

ALICE
Soprano

CAMPBELL

GEORGE

Nicolai Malko Concertizes

in Europe

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.

Teacher

Singing Teachers G u i l d

CONCERT

GRAHAM

STACK

Violinist
Teacher
Conductor

Fine Arts

concert-o~atorio
Wab. 5595

Nat'l. Assn. Teachers of Singing

OPERA

-:-

CHICAGO MUSICAL COLLEGE

Edward
RADIO
549 Surf

GRA. 8438

GEORGE

Lin. 1227

E. Jackson

701-25

I
I

725 Fine Arts Building

CONCERT
923 Kimball Bldg.

I
I

WESTERVELT

Teacher of Singing, Repertoire and Program Building

I Web. 2494

Ha, 3435

I/
I

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 T h e Lyric Ensemble of which
Helen Leefelt is the director; par,
ticipated in a recent program of
compositions sponsored by the Musicians 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.

T h e tenth major session of

the Christian Choir Directors Association, 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. T h e 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.
i*,,,,n&%

#a

~d'-md4
&&J(

After a lapse of three years

the Omaha Symphony Orchestra
has been revived. A n 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.

MUSIC I

~SONIA~HARNOVACGNTRA~O

I Studio 512 Fine

Arts

Bldg.

Tues.. Fri.

Liv. 1237

Web. 2705

C H I C A G O OPERA C O M P A N Y

CHOOKASiANI
.
.

mLIAN
COntJto

CONCERT ORATORIO RADIO

Phone Irving 7304

~: : :O
c:

549 SURF ST.

1 v I v 1A N
( 316 S. Clark St.
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. T h e 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
; o ~ oroles.
,ftysix players from the Chi*
:ago Symphony Orchestra and the
University of Chicago Choir will
participate in the new work. Ger,
hard Schroth, director of the Chap.
el music, will direct the premiere
performances.

M A R C H , 1:

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.

A B EL L

Chicago. Ill.

1 Mgt. Howard R. Will

REUTER

RUDOLPH

Grace Ratt ~e resmtativm

50C ~lrnbaflHall
Chicago, Ill.

Tenor

GIUSEPPE

CAVADORE
Studio 57 E. Jackson

SANBORN
b.
5887

Wa

Concert
Oratorio
SOPRANO
7369 North Ridge Avenue

161 E. Cedar

Soprano

HAZEL

VOICE

Opera

Del. 9605

SINGING

Del. 1338

Chicago

MARIAN

Sovrano

CARLISLE
COACHING

Web. 2342

DE PAUL UNIVERSITY SCHOOL OF MUSIC

Illinois State Music Teachers Ass'n.

To promote the interests of the
Music Teacher

I
TARN OW SKY^

VOICE
726 Fine Arts Building

SERGE1
Pianist

Radio

R i c h aTEACHER
r d OFD e Young

1I

Amb. 31

BASS-BARITONE

Tenor

Har. 8588 1

Available for Concerts

pianis,

"2:I

332 So. Michigan

BAKER

finals for pianists, scheduled for

April of this year, had been post.
poned until the spring nf 1o*n

Choral Conductor
Oracmist

JOHN T O M S

DAN

A sec
contest, to be
held throughout the country by the
Rachmaninoff Fund during the sea*
son of 1947.48, was announced by
Vladimir Horowitz, president, at
the fund's national headquarters,
113 West 77th St., New York. A t
the same time Mr. Horowitz an.
nounced that the fund's national

W.5389

721 N. Michigan Ave.

Second Rachmaninoff
Contes

SLATER

Concert

C H I C A G O M U S I C A L COLLEGE

HARRY M. BERNINC, Pres.

N. Milwaukee Ave.. Kil. 5000

4747

ANDY R I Z Z 3
SCHOOL OF MUSIC

ACCORDZON PIANO THEORY

Studio 916 Kimball Bldg.