Evening Star Newspaper, September 26, 1926, Page 59

MUSIC By Helen Fetter. LONDON, England, August 24, 1926. HEN we arrived in the “greatest city in the world.” the chi!al THE SUNDAY STAR, WASHINGTON, D. Rubinoff._Music'al Showman of the British Empire, a few days ago, we found that all the ' music of England was crystallized temporariiy in ihat are gen- erally known as the “Prom Concerts.” The thirty-second Sea- | son of the famous promenade concerts tn Queew® Hall. presented by the | orchestra of that hall, under Sir Henry Wood. were inaugurated August | 14, and the list of carefully thought out programs was publisfied for dates through October 16. With the exception of Sundays, this 'meant a concert every night for nine weeks. The list of soloists for these concerts includes many internationally known persons. Among them arc Myra Hess, Nicho- | Jas Orloff, Florence Austral. Arthur de Greef, Clara Butterworth, Harriet Cohen, Joseph Hislop, Charles *\Woodhouse, Benuo Moiseiwitsch, Ernest | Hargreaves, Mlle. Jelly d'Aranyi, Mme. Adila Fachiri. John Brownlee, Maurice d'Oisly, Germaine, Schnitzer and others. g The variety of nationalities reprcsented in the first program was amazing. There was Bach’s “Toccata in for orchestra; “Mimi's Song. from Puccini's “La Boheme”; Honegger's “Pacific 231" Djinns” and | “Symphonic_Variations.” for piano and orche Cesar_Franck; | de Falla's “Three Cornered Hat Dances,” a Sicilian O tu Palermo, ¢ Verdi; Vaughan Williams' ballet. “Old King Col Henry W ood’s “Fantasia on Scottish Airs” and Chabrier’s “Rhapsody Espana. — Another interesting feature of the@serics lies in the fact that during the 9 weeks 12 works were scheduied to be presented by the composers, who “personally conducted” their audicnces into the new territory. Among the composers represented were Dame [Fthel Su h. overture, Wrecker: Montague F. Phillips, "A Hiliside Melody™ and “Heroic Ovef- ture”; Susan Spain-Dunk. overture. “The Kentish Downs”: Rutland Boughton, overture, “Tle Queen Cornwall"; Haydn Wood, “Variations | on a Familiar Air"; Arthur “Introduction and »\Ht:gm" for full orchestra; Vaughan Williams, Symphony™; Gordon Jgcob, “Viola Concerto” (one movement); Eric Coates, valsette, ™ Vood Nymphs, and fantasy for orchestra, “The Three Bears” and Frederic Austin orchestral suite, “The Insect Play.” Thus the living English composers procure an opportunity to have their works heard. To a certain extent, we do the same thing in America ifor native composers, but only in a eomparatively small degree. Tm-: program for the night of August 21 was unusually interesting and exceedingly catholic in scope. There was something to please every | type of person in the audience. It was a Saturday night—not a “c'assical program” night. such as Wednesday or Friday is inclined to be—just one of the nights thrt as large a section of that vast multitude known as the | general public as could get into Queen's Hall filled cvery inch of space ailable. In place of archestra seats the section on the main floor, in accordance with old-time traditjons, is the pit and a standing-room-only place. Here hundreds oi folks patiently 8"d silently stand throughout programs lasting three hours, every night.® In the center of the floor is a small fountain decorated with cool green ferns. All the rest of the floor hetween entrance daors and the fern-bordered stage is a mass of standing human beings. Smoking is permitted here and in the two bal- conies. with the exception of a small section reserved for “non-smokers.” Roth men and women smoke a great deal. The only admonition on the programs is a suggestion that “Gentlemen are politely requested to refrain from striking matches during the periormance of the various items” In the long intermission, half way through the program, the corridors are | silled with smokers. | Another unusual aspect to the stranger attending a Queen’s Hall con-1 iv the tier of seats,.resembling ball park “bleachers,” rising behind o-chestra players on the large stage and packed with an overflow of | ool There are many types in this audience. On a Saturday night | ‘re not so many of the strictly musician type of individual, but al- | here are a few. There are more shopkeepers, clerks and people | Jilv of moderate means, who sit in the comfortable seats in the bal- < and m the places on the stage. Standing in the pit, one sees more 1ip. <uch a< one would find in Greenwich Village, although not so ec-! centric in appearance. Yet there are many who seem to be Feople of | sophisticated culture, but do not have much in the way of worldly wealth. There are many young people, some obviously students, in this gathering. Rut to return to the program temporarily subordinated by the people. There was Thomas' overture to “Mignon” as the opening number. Then Miss leila Megane, evidently a Welsh singer, with fine contralto quality, but not a very happy selector of songs, sang the Saint-Saens’ “Printemps que commence” from “Samson et Delila,” which did not particularly suit her. or which she did not particularly suit. Later in the program she sang what we would call “mushy ballads,” and. without undue urging, sang numerous encores, all of which sounded as though turned out by machine off of one pattern. The piece de resistance of the program followed, when Arthur de Greef, | at the piano, and the orchestra under Sir Henry Wood united gallant ef- | forts in a brilliant performance of the Liszt “Hungarian Fantasia.” This | is a rare combination. Those who have the records of this work issued | by a leading phonograph company several seasons ago have it almost exactly as we heard it that night, with the same combination and the same accent and shading of every phrase. Mr. de Greef received a pro- lenged, ovation at the conclusion of the work. There also was an interesting reading of Respighi's “Pines of Rome” and a charming presentation of the famous “Nutcracker Suite” of Tschai- kowski. Liszt's symphonic poem, “Les Preiudes,” was also well done, and the final orchestral number was Massenet’s “March du Cid.” The other vocal soloist on this program was Francis Russell, a tenor thout good enunciation. His numbers included the aria, “Cielo e Mar, rom “La Gioconda,” and a group of inconsequential ballads, one of which, “The Far-Away Bells,” by Westell Gordon, was a new song. given its first | performance. The way in which the audience generally received these songs and the more evidently popular part of Miss Megane’s selections convinced the writer that the United States wasn't the only land where the popular favorite in song is most apt to have a saccharine flavor. * %k ok Ok TR HENRY WOOD, the veteran of British orchestral conductors, is a remarkable person. He is nearly threescore years old, vet to see him vigorously and firmly wielding his baton in the little caged-in platiorm that he uses at the front of the stage, one fecls his absolute control of his | orchestra. There are many tales of the scarcity of rchearsals and the shifting of the membership in the London orchestras. The night we heard the organization, however, they seemed in fine shape, and the whole or- chestra showed marked nnison in their work. Sir Henry was in America earlier in the Summer, going clear across eur continent to conduct a series of concerts at the Hollywood Bowl. pmtding to printed reports and interviews following his return to Eng- jand to conduct the present season of “Proms.” he has not a little criticism to offer concerning American conductors and orchestral music. He has atated that he considers Americans as sensation lovers with a weakness for stunts. In short, he seems to be firmly of the opinion that it is only the prima donna conductor who flourishes in America. He does, however, except Walter Damrosch. dean of them all on our side of the pond. It is true that Mr. Damrosch has done much for the development of education in orchestral music through his explanatory concerts, which were the most popular programs he gave in Washington, and which were given in the evenings when the people at large could thoroughly enjoy them. How- ever, there also are other conductors in America who have hrought vari- ous orchestras to a state of admirable performance. no matter what con- ductor appears with them as “guest” conductor. Surely the building up of auch orchestras as the, Philadelphia Symphony, the Boston Symphony. the New York Philharmonic and the Cleveland Symphony to their present Jevel, only to mention leading orchestras that have come to \Washington within the past season and will return this Winter. is hardly the work of *prima donna” conductors who perform “stunts.” If any of those conduc- tors may have so-called prima donna qualities, surely they have something fhuch more solid and lasting underneath to have been able to achieve the self-evident results that those orchestras possess. * ok ok % ‘A LTHOUGH the Prom concerts mean the principal Summer music of London Town. England generally has her share of the Summer festi- vals. During the first week of August the National Eisteddfod was held at Swansea. Wales. The “test music” for the competitions included works by Bach. Taneiefl, Cui. Parry. Elgar. Brahms, Vaughan Williams., Schumann and Borodin Neat in date comes the now famous Haslemere Festival of Chamber Music, gizen. heginning August 24, for a period of a week. The programs are made up of sixteenth. seventeeth and eighteenth century music. current issue of the London Daily Telegraph Basil Maine, the cr given a weil cut picture of the moving spirit of this festival. He says: “Thic festival has only been made possible through the personality of the founder. Arnold Dolmetsch is a man of dominating purpose, a man of passionate heliefs. It is often to he poted that whenever a man de- | cides to make a r rch in a period of history neglected by the majorit he i incined to lose a proper perspective and to becqme freakish and absurd. There ar= some. | know. who look upon Dolmetsch as a pictur- esque fanatic. They betray a superficial knowledge of the man. It is im- possible to talk with him (or rather to hear him propound) for more than a few minutes withoiit becoming conscious of the unusual force of his faith. Of course. it seems fanatical for a man to stand up and declare to this idolatrous and professional generation that applause at a concert i heretical - that, indeed, the whole idea of concert-giving is antithetical to the trye spirit of music—that music-making in the home is the ultimate ideal. But the fanaticism begins to reflect the color of good sound sense when we find that the man who is so vehement in his speech is also zealous in his works. The faith of Dolmetsch. made ble as it is in his own handicrait, and that of his family ¥ comes a thing of splendor and inspiration. to the influczice of his thought and labor is the vot s They are few 3s yet, but already they give proof that the leaven is work- ing.” Five vyears ago, in Liverpool. a iew musicians began to study the viols and viol-playing, and now simi'ar consortings are being made in other centers. “Maybe none of us will live to see the complete renascence of the amateur spirit ir music, but surely there are few who will deny that that spirit is above all things most desirable.” ; 2 Another English festival is the Three Choirs Festival. heid in Wor- cester, with Sir Ivor Atkins as conductor. The programs are planned for the first week in September. The principal new work listed for presenta- tion it a composition by Sir Walford Davi And in October the Virtuosi Quartet, in the Festival of Chamber Music, ill be featured at Bradford. Due to the dates of these festivals the writer was unable to attend any of them, but if they are nearly as good as.the group known as the “English Singers." coming to Washington for a second time this Winter, thencanothe® Summentmusben a En| of 1 * ok kX% cort 1he yone coni Bantock. Beethoven, ithur Smith’s management. | fifteen jed tate with a novels BERG, who has won international recogni- tion for his genius in orchestral con- ducting, will lead the New York Phil- | harmonic in one .or more of its pro- grams here this Winter, under T. Ar- Unusual selections for the first concert in- clude Casella’s “la Giara,” Stravin- sky's “Little Suites” and Strauss’ “Don Quixote.” Mahler’s “First Sym- phony” and Hanson's “Pan and the Priest” will be features of the second program. DAVID RUDOLPH RUBINOFF, born in Grodna, Russia, not much over a quarter of a century ago, s at- tracting a great deal of attention from the audienles that attend the Pal ace Theater programs by his man [ sided_activities in musical offerings. He shows the technique of a real | artist in the tricky chromatics of a legitimate composition one minute and the next is a burlesquing musical clown. The old truth about having to have real ability in any line in order to be able to make fun of it convinc- | ingly and with understanding holds good in the case of this wiry, vivid Russlan individual. If anything at all can stir the lethargic attitude of the average motion picture auditor toward music, Rubinoff should be able to do it. Even those in the audience who persist in conversation during the softer numbers are forced by overwhelming sound to stop and listen when he leads the orchestra in la brilliant, dashing rendition of the iSuusa ‘Stars and Stripes Forever” at | fortissimo speed. | To begin at the beginning, David | Rudolph Rubinoff when a very small boy was playing a balalatki, a Rus- sian stringed instrument, one day when an older friend was pla violin. This friend urged the ask his father to get him a The latter protested that he wanted David Rudolph to follow in his foot- steps in the tailoring trade. ) however, did not appeal to his preco-| cious offspring. Also, when he was later gotten a job in a harber shop. with the prospect before him of being a barber eventually, that did not ap* peal to his artistic soul. He managed to get a violin and studied his first year ‘with Gottfried, then had an op- portunity to enter an army band and study under Dressner, winning a scholarship to study in the music| O. SEPTEMBER 2, 1926—PART 8. conservatory in Grodna. In time he had the chance to attend the con. servatory at Warsaw and study under the master, Leopold Auer, with whom he also later studied in this country. Rubinoff has played as soloist with the Minneapolis, St. Louis and Rus. sian Symphony Orchestras and given many concerts, but he thinks he has found his forte in these combination musical offerings such as he is giving for four weeks at the local house. He utilizes the works both of great mas- ters and the popular jazz im working out these programs. During the past week he conducted on overture of works by living composers of five na- tionalities, weaving them into what old-fashioned folk wouud call a pot- pourrl. They included excerpts from Rachmaninoff's “Prelude in C Sharp Minor,” Paderewski's Minuet,” Grainger's “Mock Morris.” Kreisler's “Caprice Viennois” and Sousa’s “Stars and Stripes Forever.” As a conduc- tor Mr. Rubinoff believes strongly in the prima-donna style. He has his men with him excellently, however, in response to every suggestion on h part. Then in the role of solo violin- ist this bold person calmly appro- priated what he desired of the lovely Andante Cantpbile” of Tschalkow- ski, written for string quartet, and endeavored to indicate that the work known as “A Cup of Coffee, a ‘Sand wich and You" was inspired by the masterpiece, Next week there will be a Hun- garian overture made up of excerpts om compositions by Brahms, Liszt, uss and others. A work by Saint- Saens and “Let's Talk About My weetie” will be placed hand in hand by the violinist, and “Yes, Sir, That's My Baby” will also be on the program. Mr. Rubinoff usually has a composi tion of his own on the program also, thus appearing as conductor, violinist, arranger and composer. STEWART DICKSON will be the guest organist on the spe- clal musical program to be given to- in connection with the dedication of the Bagby Memorial Organ at Co- lumbia Heights Christian Church. The quartet will sing at the vesper service at 4 p.m. The members are +| Belva Hoch, soprano; Mrs. Harvey B. Smith, contralto; Lewis Goodyear, Sounding Brass. JA.\' GARBER, former local boy, will appear at Loew's Palace Theater the current “geniuses of syncopation.” The coming of Garber to Washington has been looked forward to by many local jazz fans. Since Garber appeared here last, he has scored a series of successes at exclusive dancing establishments among the Winter resorts in the Southland and has played for some of the most elaborate social events of AAN GARBRER. the past season in Florida and the Carolinas. The program that the orchestra leader has prepared for the coming week is said to consist of a sparkling group of melodies, played in the typi- cal Garber fashion. T in a tour theaters. of the larger T.oew's Some years ago a slip of a lad named Dave Schooler walked into a booking office and_asked for a joh. He was told no office boys were re- quired and the lad replied that he was not an office boy, but an artist. He was asked to play on the piano. At that moment was the starting of Dave Schooler's hovhood career. He wag immediately emploved by vandeville company and billed “The Boy Paderew 5 woler ix al the Ia i« week in wh he terms as Hath Charm a musical al- lego It explains in prose, verse and music the origin of music—mel- ody, rhythm and harmony. in London reached month_in a savage attack from FErnest Newman, Lon- don music writer and critic. Goaded o frenzy by the recent public ac- ceptance of Paul Whiteman, George Gershwin and Margarite d'Alvarez, who have succeeded in putting jazz firmly on the classic concert stage of England, Mr. Newman devoted his entire musical column to his opinion on the whole schoo! of syncopationists. “The brains of the whole lot of The jazz war ita ciimax this |them put together would not fill the lining of Johann Strauss’ hat.” de- clared Mr. Newman. “Jazz is already dead from the neck up. No real composer would touch if. because it is too feeble and limited an instru- ment of expression for any one who has anything fo express.” George Gershwin, who will appear with Mme. d'Alvarez on the New York concert stage this Fall, replied blandly to Mr. Newman's diatribe. He said: ‘‘Mr. Newman’s criticism is one of the most important things that has been said about jazz. Mr. Newman is a great critic, but I think he is talking more about the alleged ir- reverence of jazzing the classics than about jazz itself. Of course, it can be argued that ing the classics you introduce them, even if in revised form. to many persons who wauld not otherwise me in contact with them. As for jazz itself,“certain types of it are in bad taste, but I am sure it has ele- ments that can be developed. 1 don’t know whether it will be jazz when it is finished, but those elements, es- pecially the rhythmic pessibilit I shall continue to try to develop. A new dance that originated among the ular among the count jazz fans. The dance is called the “Black Bot- tom™ and is somewhat similar to the Charleston. The arms are bent at the- elbows and held stiffiy to the sides, then the dancer attempts vigorously throughout the dance to make his or her hips touch the hands held six inches away. Spencer Tuppman and his jazz or- ra, well known to local fans for the syncopated modern music, tempt- n his program weel: that s of the lover of classical music. The di- rector took the themes of the Tschai- kowski “Fourth Symphony" and sent them on fashion parade in 1926 jazz costumes in combination with “the “Volga Bout Song.” similarly attired. The present day modes in syncopa: tion suited the simple, heavily built rhythms of the Russtan felk song much better than the symphonic mo- tives. The experiment, however, was quite interesting. FPRA, Isabel Gart Shelley has returned from her vacation and will resume her Friday, aj hex atudle, 1834 week with his | orchestra at_present is engaged | outhern darkies is gaining pop- | Dr. Barnes Returns. R. EDWIN N. C. BARNES, direct- or of music of the public schools, returned from Chicago. where he gave a serles of lectures during the Summer at the Conn National School |of Music, and has resumed his direc- tion of muslc in the public schools and | his classes in music education’ at the | Washington College of Music. These | classes include historical appreciation, grade methods, high and junior high school methods and lectures on the art of singing as applied to singing | | clubs, high school groups, choral con- ducting and sight singing. The courses are conducted on a university credit basis and lead to certificates, diplomas and the degree of bachelor of fine |arts. in music. and the degree of bachelor of music education. }»Glasgow Choir Will ~ | Open Music Season ACCORDING to present indications, | the real 192627 musical season in Washington will be opened with the appearance here of the famous Glas- zow Orpheus Choir of 140 men and women, undeér the direction of Hugh . Robertson, founder and conductor {of the choir, which 18 making its first our of the United States this season. | The appearance of the Glasgow | Orpheus Choir is scheduled for Tues- {day afternoon, October 5, at 4:3 | o'clock, at Poli's Theater, and will be |under the.local management of Mrs. | Wilson-Greene. o far as {s known, | this is the first major musical event of the season and augurs brilliantly for the months that lie ahead. Washington is one of the 24 Amer- n cities that will be visited by this organization. Interest attaches to its | appearance here because of the choir's |remarkable mastery of choral effects |and also unusual organization. The singers are all voluntary artists, as in the case of the Westminster Choir of Dayton, Ohio, receiving no fees of anyv kind hevond traveling and hotel ex- penses. Between performances on the | concert siage all members of the | | Green tenor, and Raymond Luce, barione. Thomas Leef has accepted the po- sitlon as bass soloist of the choir of Mount Vernon Place M. E. Church Swedish Contralto MUSIGRAPHS DWIN N. C. BARNES, director of music in the public schools of the District of Columbia, has just issued a bit of joyful news— joyful, that-is, to those who are interested in the development of music appreciation in what wilt be the future concert audiences of Washington. For the first time there is a supervisor of appreciation in the junior high schools. The work is under the direction of Mrs. Eveline N. Burgess, who has been music instructor at Macfarland Junior High School. For more than two years work along these lines has been carried on in the high schools proper and in the grade schools, but there has been an unbridged gap in the junior high school. The appreciation course staff now consists of one senior high school teacher, one junior high school teacher and seven teachers in the graded schools. . Dr. Barnes himself is handling a novel ‘};n in his historical apprecia« tion_course given Thursday evenings at the ashington College of Music. He is arranging to devote the first 15 minutes of each lecture to a review of musical happenings of the week all over the world. Rather a large task in reading and compilation, but promising to give news angle and line of comparison that should prove Announcement of a new magazine in Washington to be devoted to mu- sical and dramatic news has been issued in brilliant .scarlet pamphlets ‘which state that this publication, Musical Washington, will have its first issue on the streets Wednesday of this week. Feature articles listed for the opening number include an article on ‘“Priceless Music MSS. of the Library of Congress.” written by the director of the music division, Carl Engel. who is internationally recognized as a music authority and brilliant writer. Capt. Raymond G. Sherman also is among the contrib- utors, with an article on the Army Band entitled, “The Soul of the Serv- ice.” There are other musical articles by lesser known names listed, and the dramatic department is to be handled by Leonard Hall. Jules Falk, noted violinist, writes of a busy Summer assuming th duties of a manager to arrange 10 special comcerts, given principally on Sundays, at Atlantic City on the Steel Pier. The fitting finale of the serles will be a concert by Johr. McCormack, the famous tenor, next Saturday eve- STUDIO S OF WAS really interesting. ning. Mr. McCormack will spend a . week at the resort and then leave for recitals in Montreal and Ottawa. The great singer gives but 80 concerts a year. Last season he had more than 900 bids for those 80 performances. Among the artists on other pro- grams in the Atlantic City series was one Washington singer, Estelle Went- worth, who appeared on joint pro- gram with Paul Althouse August 15. Others in the list included Marle Tiffany, Dorls Doe, Irene Willlams, Judson House, Greta Torpadie, Julia Claussen, Henri Scott and Mr. Falk. Joseph Pache a well known figure for many years in Baltimore music circles and a more recent addition to the list of studio holders in Washing- ton, is planning a second organization in addition to the Cholr Invisible, of which he is director, to ba established in Washington. He is organizing a women’s choral group, to be known as the Women's Philharmonic Soclety of Washington, and plans an enroll- ment of 60 voices to start with. The first meeting will be held during the coming week, when officers will be elected and the organization incer. (Contizued on Twelfth Page) INGTON Dramatic_Soprano Vocal Teaching 816 H St. N.E. Lincoln 8200 ROSS o—Accompanist announces opening of her studio 15 10th Street N.W. VON UNSCHULD UNIVERSITY OF MUSIC INC. of Mytsle taugy it Te e Welc taueht e Artist Teachers. and Teachers' (‘rrl'ifil‘ll:! ST DRREeS Frank. 1828 1338 N. Y. Ave. N.W. For_ registration or informatio Iy 1 o res ion apply 3 SIGRID ONEGIN, brilliant contralto of the Metropolitan Opera Co., who made her debut i Washington last Winter, will sing here this season on January 25 in an afternoon concert of the Artists’ Course at Poli's, presented under the management of Mrs. Katie Wilson-|to UPTOWN STUDIO: 1641 Columbia Road choir are engaged in other occupa- tlons. The choir's American debut will be made in New York at Carnegie Hall October 4, appearing in Washington the next day for its concert here. The real purpose of the choir's visit, it {s sald, is to demonstrate that Scotland today has an intense regard for cul- ture, a feeling for beauty and a love for song. Otto Torney Simon THE VOICE IN SINGING Studio, 1723 Eye St. N.W. Tel. Franklin 7821. EVA M. E. WILLIAMS 26* | | BP}GINXING at 7:30 o'clock tonight, the newly decorated Washington Auditorium will open for an eight- day presentation of a unique en- tertainment that should appeal to hoth musical people and also to motion picture . fans. Arthur F. Warde will have charge of a pro- gram including two photoplay offer- ings and a Spanish musical. The s featured in the latter will in- clude Xavier Cugat, formerly court violinist of Spain; Rita Montaner, a singer and actress who has been called the Raquel Meller of Cuba and made extensive tours of South and Central America and Mexico, where she has won much popularity; Francis Oliver, distinguished English tenor, who will sing selections from several of Verdi's operas, and Willie Schaeffer, accom- panist. well known here when serving in that capacity for Zimbalist, Casals and other famous musical artists. The chief photoplay attraction will be an Itallan production enitied “A | Wednesday, Saturday next Sun, \ Washington Auditorium Launches Unusual ‘Program RITA MONTANER, Cuban Raquel Meller. Teacher of Voice Italian Method KATHRYN JEAN | MacNEAL Pianist and Teacher | 1913 Eye St. N.-W. | i Franklin 3718 CONTRALTO_SOLOIST OF FIVE Y. experience wishes ‘position in_church Quartet_work preferrad. Call 38R-W. MME. SCUDO-RAGLAND Concert Pianist PIANO PUPILS Wonor Graduate of Royal_Conservatory of ipzig (diploma) Letchestesky Method Cleve. Park Home Studlo, 30_High: T i e HAMLIN School of Music Hamline M. E. Church 16th Street at Allison E Adame 4510-W. 1219 Hamilton St. N.W. ¢ Beatrice Cunradi L. R. A. M., London Teacher of Plano and Harmony Studio, 2 Dupont Circle Telephone Main_3343 L i Cellist MARGARET DAY, Tencher of Hugn Recker Method of Celln o Interviwe Circle: Fhgeo *Educational Courses Washington College of Music, Inc. 17th St. and Pa. Ave. Under the Direction of EDWIN N. C. BARNES Mus. Ed. Doc. Director of Music, Public Scheols, Assisted by Evenline N. Burges? and Belle B. Thompsen. Weekly Digest of Music World Events (See under Historieal Appreciation) Historical Appreciation A rapid-fire survey of the rise and development of music, _including study of Folk Songs and Dance, the Orchestra, Symphony, Opera, Ora- torio and Sacred Son Profusely illustrated with records and rolls. IMPORTANT—The first 15 minutes of each lecture will be given to a brief survey of World Happening in Mu for the week. Thursday at 8:00 P.M. Grade Music Methods management, etc. st Year, Monday at 445 2nd Year, Thursday at 4:45 High and Junior High School Methods Methods, and Procedure in fast s of the public school includes first year conduction. Monday at 8:00 Lectures on “The Art of Singing.” A se of i and authorita- tive talks on singing, choice of songs, building of programs, etc., etc. Thursday at 7:00 Choral Conducting The prin: Authoritative discussi ms. Preparation for handling adult and children’s chorus choirs and for conducting mass singing. A large number of works will be studied. /| Tuesday at 7:30 Sight Singing Classes Monday at 7:00 story of the son of Mme. Sans-Gene, It was made by the Unione Cinemati- graphica, foremost company of Italy, with Hesperia, a celebrated French actor. Another film on the program is en- titled “Verdi,” and shows the birth, development of the genius of this “king of Italian opera” and also tells his love story. As this is the year in which the Verdi festival was given in Italy earlier this month the picture is of timely interest. It is planned to time the varied fea- tures on this program so that both early and late patrons can get a com- plete bill. The feature film will open the program at 7:30: the Spanish musi- cal will begin at 8:45 and last till 9:30; the Verdi film will occupy the next half hour, and at 10 p.m. the sqcond and final showing of the prin- cipal film will be given. This bill will be run in this way every night for the week, - with matinee performances Voice—Piano—Harmony John H. Marville Organ—Edith B. Athey Free practice :uemmodl!iom for voice and piano pupils Col. 818 STUDIGS 1751 New Hampshire Ave. MAN, ELIZABETH WINS- TON. Violin—HELEN WARE. | Dancing—PAUL T CHE RNIK- { OFF, ELIZABETH GARD ER. (Private Studios) | Languages—Native Teachers. || Children's Music and Dancing—,| Fletcher Music Method Alice Eversman Voice Trials Oet. Appointments Arranged for Now 1705 K 8t. _Tel. Main 9125. . USIC STUDIO FOR RENT Part-time: unusuall; H i 2 Conductor of the Wash- ington Symphony Orchestra Master Coach —specializes in fini vanced singers and the highest degr ment. Studio: 1716 H St. N.W. Franklin 5860 R T Y. “An Established OF Adjoining No. of over thirty-five. D servatory of Music. Graded Courses Main 7858 - Students’ 2 2 e L *These coursss, with sight singing,.sre .:duurmrdg /717777171711 I11 17707, L L 7 7 22777 European Lines” WASHINGTON CONSERVATORY " ' 1408 New Ham; A serious institution. No student teachers. Augmented faculty faciliti Ten years in present buflding. The majority of Washington' notable music instructors have been or are connected with m:(?:n'- Elena de Saynr Violin Instruction to Artistie Finish Maximum Results at Minimum Time 05 K St Tel. Main 912 WASHINGTON PIANO SCHOOL 1405 Eye Street N.W. Ofen October First " Phones Main 2258 North 8797 0 years in |Harmony it i Weatitetcy i MAY ELEANOR SMITH | Phone Col. 4630, 1629 Columhia Rd. N.W. * ELIZABETH CARPENTER Teacher of Piano Emma H. Eichstadt Teacher of Piano Studio 3471 Holmead P1. N.W. Phene Col. 5722 HELEN CORBIN HEINL Teacher Concert Pianist 2400 California St. North 3800, EVA WHITFORD LOVETTE Lovette Studios 1331 Conneeticnt Ave. N.W. October 1at. _ Eor Annointments Phane N Teachers' Baltimore K 1015 [PAUL BLEYDEN Operatic and Concert Tenor TEACHER OF SINGING STUDIO 1325 G St. N.W. Main 1836 EACHER PIANO—Psabody Conservatory: homs oF -studio. Jnstracion, Address Bok e, ELLa VILLA 482-A. Star PIANG LESSONS_FRANCES SOM] Daniel's studio; individual {nstruetfon; chile dren 5°to 15. by appointment. Ph ano. Tenor Banfo. Guitar. Drums. In 10 to 20 Lessons Special Fall course, $12 {1 0 1l Come in_ write, or phons for %!eL“?r":‘ ey inetrnmant E: !n‘é' " oF 3 Knds * - % BESSIE N. WILD Voice Culture. Pi Studlo; 6834 Bt at. aoma ParcB. & o Walter T. Holt P Holt Studios Established 1894 BANJO. S TENOR. GUIT. Ensemble practice with Nordica Clubs Bole agency for the famous Bacon banj, and_Stahl mandolins and guitars. PHONE COL. 946. 1801 COLUMBIA RD. COMPORER-TFACHER Director of the Young Compose: ; PIAN H Club Teacher N of ARMONY COMPOSITION 3803 13th Street. Col. 1556, Conservatory on MUSIC ire Ave. 1 t Circle in All Branches Orchestra Now Open T, T2 R 2 Ve 77117727 /L1011