Brooklyn Life and Activities of Long Island Society from Brooklyn, New York • Page 20

mmmmammmm 20 BROOKLYN LIFE Music and Musicians of honor on the program, being the first number. Mr. and Mrs. Haywood Frederick H. Haywood were the guests of the club on that evening.

The composition has already been published, and is arranged for four part singing and large choruses. A second production of "Ride Out on Wings of Song," closely following this of Monday night, is already on the calendar. It is to be in Rochester, at the West High School on May 17th. Seventy-five pupils of the school will present it as the special feature of their Spring Festival Program. NARGIZIAN RUG CLEANING RECOMMENDED The time approaches when the care of fine carpets and rugs becomes a concern of their owners.

Lasting beauty in a valuable Persian or Chinese design depends on its cleaning and treatment during the summer season. The house of V. H. Nargizian, 263 Flat-bush Avenue, has, since its founding forty years ago, enjoyed a fine reputation among Brooklyn connoisseurs. At present it is considered the finest firm dealing exclusively in valuable floor-coverings.

Cleaning is necessary at the beginning of the summer season for any rug which has been used during the past winter. The factors of safety and thoroughness have been well provided for by Nargizian methods. By safety is meant the care that ensures the rug retaining all its beauty after the operations of cleaning. The piles or tufts, and the colors must be preserved. Thus the rug is given a clean, wholesome, bright appearance a rejuvenation of the original.

Thoroughness is likewise necessary, that the rug may be in the best condition for further use. Each bit of dust and dirt should be actually washed out. If the cleaning process does not penetrate the entire carpet, the part which is not reached tends to work up to the surface, so that the soiled appearance makes itself apparent soon. The Nargizian cleaning method makes a point of reaching every part of the thickest rug. The Brooklyn Edison Orchestra, under the direction of C.

W. Brenner, opened the program with "Overture Romantique" by Bela and "Romance: op. 44" of Ruben-stein. This was followed by a group by the choral, including Dvorak's "Mammy's as arranged by Spross, Fox's "Hills of Home" and "Invictus" by Huhn. The work of the chorus in this concert was better than ever, and Mrs.

Ella Good, who trained and conducted it, is to be complimented. A guest artist, Irma DeBaun, who assisted the Glee Club two years ago, again charmed a Brooklyn Edison audience in two groups of selections. Miss DeBaun, a coloratura soprano, was particularly pleasing in "Cloud Shadows" by Hammond and "Mi Amor" by her accompanist, Edward Morris. Two old favorites, Kreisler's "Old Refrain" and "Londonderry Air" by Fisher, were popular features of a second group of numbers by the choral. Other numbers in this group were the "Serenado" from "Jocelyn" and Curran's "Dawn." After a pleasing rendition of Luigini's "Ballet Suite Egyptien," the male quartette sang Candish's "Song of the Jolly Roger," "A Little Brown Bird by Wood, and a travesty on the famous "Rigoletto Quartette' which had most of the audience doubled up with laughter.

The quartette is composed of Wilbur Carpenter, James Murphy, Theodore Rich and Reginald Snyder. The final number, a choral fantasia from "Tannhauser," in which both the choral and the orchestra took part, proved a fitting climax to a decidedly worthwhile musical evening. Ella Good is conductor of the Brooklyn Edison Glee Club and Mrs. Margaret Eichert is the accompanist. Mrs.

Pearl V. Quick is Chairman of the Glee Club Committee. The other mekibers of the Committee are Miss Anna Turano, Mrs. Mary Wooledge, Mr. John Cronin and Mr.

A. M. Temme. THE APOLLO CLUB gave the third and last concert of their fifty-first season at the Academy of Music on Tuesday evening, April 30th, under the conductor-ship, with the exception of one number, of Mr. William Armour Thayer.

The number which he did not conduct was a setting of "The Night Has a Thousand Eyes" by Dr. John Hyatt Brewer, conductor emeritus of the Club. The composer conducted and was greeted with rounds of applause, the audience, which is always appreciative, later demonstrating its enjoyment of his quiet, melodious composition. Distinctly the high point on the program was the last number in the first part Anton Rubinstein's "Seraphic Song." This was beautifully performed, a choral paraphrase by Samuel Richard Gaines being used. Kathryn Meisle of the Chicago Civic Opera Company, the assisting artist of the evening, sang the incidental contralto solos, and Roland E.

Meyer played the violin obbligato. It is a pleasure to hear the Club sing something which is really worthy of their powers. They gave Rubinstein's beautiful composition an entirely adequate performance. The Pilgrim's Chorus from "Tannhauser" was the other "big" number on the program. No matter how many times one hears it, it seems always possible to enjoy it once more.

Miss Meisle's numbers were sung in a thoroughly musicianly manner. Her voice appears to be even and sweet throughout its entire range, and she sings in a way that shows understanding and thoughtful-ness, although it seemed to me that she would do well to pass by compositions demanding as much fire as the "Erl Konig," which she sang for an encore. She was perhaps at her best in a group of songs by Haydn, Purcell and Handel which formed her opening number. N. F.

HTHE MASTER INSTITUTE of United Arts which is planning to expand the scope of activities upon its removal this Fall in the new quarters in the twenty-four story Master Building, 310 Riverside Drive, presented one of its most ambitious concert programs of its season on Saturday, April 27th at Pythian Temple. Both faculty and students of the school participated in the program which consisted of orchestral, violin, piano and 'cello numbers. A String Quartet in Major by Mozart opened the program, and was interpreted with true understanding of Mozart's style by Macy Gordon, 1st Violin, Hinde Barnet, 2nd Violin, Ludwig Stein, Viola, and Stuart Moore, 'Cello, all of whom are members of the Chamber music class under Mr. Percy Such. Mme.

Alba Rosa Vietor, violin, and Mrs. Ethel Prince Thompson, piano, followed the Mozart number with a Sonata by Vera-cini, playing with great finesse and depth of tonal quality. Both are members of the faculty of the Master Institute. "Canzone," by Bruch and a Bach Suite were interpreted with exquisite taste and rare musicianship by Percy Such, a member of the 'Cello faculty of the Master Institute and the head of the Chamber Music Department. The fine performance of the student string orchestra which accompanied the last number of the program a Bach I) Minor Concerto for Piano was due to the splendid efforts and training of Mr.

Such. Leo Levy, who was the soloist for this Concerto is considered one of the best known chamber music performers in the city, and is also distinguished for his constructive work at the Educational Alliance where for the last sixteen years he has brought to the people of the East Side the finest examples of the classic and modern masters with the assistance of such organizations as Flonzaley, Kneisel and London String. Mr. Levy's rendition of the Concerto was notable for the clarity of the achitectonic of Bach, as well as for warmth and bigness of tone. Mr.

Levy is a former pupil of Mrs. Sina Lichtmann, who is a member of the piano faculty and Director of the Master Institute of United Arts. In conclusion, Louis L. Hirsch, President of the Master Institute gave a short address, outlining the future scope of activities of the Institution upon its removal this Fall into the new quarters where numerous concerts, lectures and exhibitions will be held next season. MR.

J. TREVOR GARMEY, organist at Union Church, Bay Ridge, formerly of Trinity Church and director of Music at Friends School, gave an organ recital Monday morning on the new organ at Polytechnic Preparatory Country Day School. The recital was given at the request of Mr. Frank Hancock, director of music at the School. Mr.

Garmey's program was made up of Karg-EIert's "Triumphal March" which he played with great brilliance and precision; Bonnet's "Elves" a light descriptive piece which showed Mr. Garmey's clear technique; Faulke's "Theme and Variations," which gave one an opportunity of hearing both the stirring theme and the color, with splendid rhythm; and the "Londonderry Air," in which remarkable lyric beauty of tone was produced. The recital met with great response from the boys and the numerous friends who had assembled. Mr. Hancock closed the program for the morning with a school song, in which the school orchestra, also SUCCESS IN MUSIC DEPENDS ON "CLASS" Almost every great success in music can be summed up in one expressive and angy word: "Class." "Class" may mean a great many different things, and it cannot lie defined readily.

A singer who makes his appeal through startling performances of operatic airs has it. So has a pianist who is known principally for his interpretations of Debussey. The two have almost nothing in common, musically speaking, but both have that important quality known as "class." There are many well equipped artists who make promising debuts and receive good notices and then disappear gradually fiom the scene. They may be nearly impeccable, from a purely musical point of view but they fail because they have not sufficient "class" to draw a public to their recitals. "Class" might be set down as synonymous with distinction, but it is more than distinction.

It is, if this is not too involved an adventure in words, distinction plus an air of distinction. Many a professor of music can play Beethoven sonatas with musical distinction but without a trace of this desirable quality. Our hypothetical professor has almost every asset except that something that sets him apart from other pianists. When he plays, no one is persuaded at least momentarily that there are not other pianists who can play the same music just as well. "Class" also is essential in the presentations of concerts.

It comes out of the manner in which they are presented to the public. The mere fact of sporsoring good artists is in itself distinction. Good showmanship superimposed on the project adds the touch of "class" that distinguishes this particular sequence of musical events from any other. When there is something about concert course that is attractive, apart trom the artists themselves, the success of that course is assured. It may be slangy, but "class" tells the story and brings in the receipts at the box-office! MISS IRENE LEWISOHN assisted by her sister, Miss Alice Lewisohn.

are certainly to be congratulated upon their "Neighborhood Playhouse" production this year. The offering was by a company dancers and actors under the direction of Irene Lewisohn and the Cleveland Orchestra, Nikolai Sokoloff, Conductor, in two programs of symphonic music with stage orchestra. The performances were given in the Manhattan Opera House, and on April 26th, 27th. and 28th, the program was "Ein T'eldenleben" a Symphonic Poem by Richard Strauss in which the composer has said that he wished to present "not a realistic portrait of a particular historic or poetic figure, but rather a more general and free ideal of great and manly heroism that heroism which relates to the inward battle of life." Hubert Raidich played the part of The Hero, who stands aside while the phantoms His Inner Self and His Adversaries act in beautiful dance forms. Charles Weidman danced His Inner Self while Martha Graham is His otnpanion, and the other dancers were Ruth Florenz, Bat-Ami, Sophie Bernsohn, Paul duPont, Benjamin Zemach.

His Passing Loves are danced by Felicia Sorel, Blanche Ta'mud. and Doris Humphrey, and there are ten other dancers in the production. It was performed most artistically and was very One felt that Richard Strauss, himself, would have been pleased with the acted and danced interpretation of his work, and delighted, too, with (Continued on page 23) JESSIE WARD HAYWOOD'S SONG, based on the Mendelssohn thought and dedicated to "the universal American voice," "Ride Out on Wings of Song," made into a choral number bv William Berwald of Syracuse University, had its first Public presentation Monday nierht, April 29th, at the concert of the Philomela Club. Etta Hamilton Morris conducting, at the Brooklyn Academy of Music. It held the place THE BROOKLYN EDISON GLEE CLUB delighted a large audience with a varied program, which included both vocal and instrumental numbers, at their annual spring concert, held in the opera house of the Brooklyn Academy of Music on Tuesday evening, April 23rd.

THE MABEL COREY WATT SCHOOL OF MUSIC Solicits Pupils From All Schools, Both Public and Private STUDIOS IN TTJT7 TTT ATPTTCW CPUnm Nwklrk Brooklyn. N. V. lrllii rLAlCUorl bLnUUL Telephone. nUCkmlnMer 7834 Piano and Perfield Class Work for Pupils of All Grades, From Kindergarten to Normal Training.

MAIIEL COREY WATT. Bin. nireetor Examining Normal Teacher Perfield Course Catalog and Appointments on AnnllonHon MUNSON SCHOOL OF MUSIC 357 Ovington Avenue Lawrence J. Munson, Director Branch Studio -117 Mead Brook Road, Garden City A Superior School with Specialist Teachers Elementary to Advanced Grade For Catalogue, Address Secretary, 357 Ovington Brooklyn.