Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1917-10-27
SCHUMANN-HEINK
IN SPLENDID MOOD
CHARMS HEARERS
Opens Program With Serious
Numbers and Closes With
Rollicking Songs
BY JOHN w. PHILLIPS

hundreds OF voIumes-written about
voice and singing; and that each is
published with the idea that it con-
tains the last word about a great
art, we shudder. because, while many
of them are written honestly and
sincerely, and are really helpful to
the teacher, yet no two volumes
agree. Yet they are all written as
truth by so-caned authorities. One
has reason to be suspicious of the
teacher who teaches any subject out
of a book. and the voice student who
takes singing books forth and back
from lessons will not begin to study
singing until the books are thrown
away.
The vocal student will get more
good from reading books on other
subjects. and listening to lectures
and sermons. In the study of sacred
music, the imaginative powers are
just as necessary as in secular music.
For instance. a series of sermons de-
livered quite recently in this city on
Elijah were remarkable for the vivid
portrayal of the great prophet, his
character his local surroundings and
the interesting incidents in his rela-
tion and struggle with the Baalites.
Now, any student of singing, espe-
cially of oratorio, after hearing such
addresses. could not fail to absorb
much about the manners and Gus
toms OF the people, and would surely
gain more definite idea of the great
prophet himself, of his courage and
faith, of his sturdiness and strength.
and the student of Mendelssohn's
Elijah" would study it with a clear
er vision and more definite purpose.
And let it be said right here that
many church singers lose lots of
valuable musical material in not
paying more attention to sermons.
Singing is a bigger subject than
most people Imagine.
In Splendid Mood
a great audience assembled last
evening at Chestnut Street Audito-
rum to hear Nine. Schumann-H Heink.
1t was very encouraging. indeed, to
know that so many people were in
terested in good singing and in good
songs. Perhaps some went from
curiosity,-never mind, they were
there; that's the point
The great contralto was in splen-
did mood, and opende the program
with three serious numbers-"My
Heart Ever Faithful by ]. T. Bach;
Il Love Thee" by Beethoven, and
"AhS My Son. from Meyerbeers
opera. THE Prophet" Did any one
ever hear a better sermon than the
first number, full of sweetness, rev.
erence, power and praise. The Bee
thoven song was like a tender bene-
diction. and the final number, of in
tercession. a times so tender, so
hushed, then again so fervent, so
education in singing and dramatic
art, an education not to be found in
books
Many Rare Qualities
The group of German songs re-
vealed many other rare qualities
of the great singers art. The
Trout" by Schubert, was delivered
with a freedom and elasticity, yet
with a preservation of rythm and
musical proportion delightful to hear.
The Erl King" also by Schubert,
a interpreted and sung by Schu-
nann-Heink. is not equaled by any,
other singer to-day. Most of them
make it too noisy. The Madam's
conception of the fear of the child,
with the short. agitated crescendos,
the imitation of the voice; the assur-
sive voice of the Erl King, the race
with death, was delivered with a
fin esense of proportion and re-
straint.
The Dream in the Twilight" by
r Strauss, is one of his best; writ
ten when he had the enthusiasm of
youth. In this song the soft tones
of the singer were remarkable for
their purity and sustained character.
The Song" by Carl Loewe. and an
old German folk song were both
cleverly done-facial expression and
voice combining to make these songs
charming, humorous and interesting,
and proving conclusively that stage
or opera training is very valuable in
giving style and freedom to the con-
cert singer.
The singer ended the program with
FIVE songs in English. three by Amer
an Englinsh and a French composer.
Sings With ROguIsh Abandon
How many listeners noticed the ac-
compartment to Dawn in the Des-
ert'-the little figure that suggested
the monotony and loneliness of the
vast desert? The "Cry of Rachel" is
a splendidly written song. but too
depressing, especially at this time
Down in the Forest" would be a
commonplace song with most singers
but it was made beautiful and in
teresting by Schumann-Heink. Good
Morning Sue is a merry, flirtatious
song, and was sung with a roguish
abandon that captivated the audi
once. Encores were added, "At Part
ing" by Rogers, and the old beauti-
full choral, silent Night"
Schumann-Heink is the type of
singer that is not duplicated once in
a hundred years. Surely the world
is better because of her great voice,
great art and heart
Edward Mcnamara, baritone. as
sisted in the vocal recital. He has
plenty of voice, but is not so boun-
tifully supplied with musical ideas.
In many of the softer passages he
displayed excellent tone quality. but
in using full voice, in the middle
and lower register, his tone is not
focused or entirely forward, so that
a muddy. breathy effect is noticea-
BILE; nor does he always sustain
where required. and the pitch was
not always true. He may not have
been at his best. The audience was
enthusiastic. however. and he sang
"Ould DIR. McGinn." by Lohr, as an
encore. Mr.. Mcnamara has a pleas
ing appearance and in less brilliant