Scan 35
Musical Courier 1903-07-15: Vol 47 Iss 1216, 1903
192 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1shaw, piano; Miss Florence Pitts, piano; Miss Lucy Stewart, soprano; Miss Clara Wilson, piano. Associate members—Mrs. J. W. Aldrich, Mrs. W. H. Allen, Miss Blanche Abbott, Frank W. Aldrich, Miss Lulu Adams, Miss Mary J. Averitt, Mrs. Charles Burr, Mrs. Hudson Burr, Mrs. Alonzo Burr, Mrs. R. E. Brown, Mrs. Gustave Buescher, Mrs. A. J. Bengel, Mrs. J. J. Brittain, Mrs. George A. Brown, Mrs. J. A. Bohrer, Mrs. Ora Bishop, Mrs. T. A. Braley, Mrs. A. H. Bell, Mrs. J. L. Beath, Mrs. Edward Barry, Mrs. Harry Brand, Mrs. Paul Reich, Miss Colby, Mrs. R. W. Coats, Mrs. Proctor Coe, Miss Sarah Clark, Miss E. M. Chesney, Miss Clara Coith, Mrs. Miriam Christie, Mrs. J. H. Cheney, Miss Eleanor Coen, Miss Ruah Coen, Mrs. Charles L. Capen, Mrs. Henry Capen, Miss Constance Coen, Mrs. M. L. Christian, Mrs. E. W. Cavins, Mrs. H. J. Clark, Miss Pearl Crosthwait, Miss Clark, Mrs. Harry Cox, Mrs. N. C. Dyson, Mrs. A. E. DeMange, Mrs. H. K. Denlinger, Mrs. H. O. Davis, Miss Kate Downing, Miss Amy Dowe, Mrs. David Davis, Mrs. C. W. Diets, Mrs. H. C. DeMotte, Mrs. E. H. Espey, Miss Dora Eversole, Miss Florence Evans, Mrs. Spencer Ewing, Miss Helen Elbe, Mrs. R. W. Evans, Miss Frances Ellis, Miss Louise Ewing, Mrs. J. C. Elder, Mrs. J. H. Fenelon, Miss Lydia Fife, Deane Funk, Miss Hazel Funk, Mrs. Charles Freeze, Mrs. Jacob Funk, Miss Anna Freeman, Mrs. Isaac Funk, Mrs. Lawrence Funk, Miss E. S. Flatt, Miss Julia Funk, Mrs. Percy A. Folsom, Dwight E. Frink, Mrs. DeWitt Gray, Mrs. W. E. Guthrie, Mrs. Bernadine Guthrie, Miss Minnie Gratz, Miss Alice Graham, Miss Belle F. Goudy, Mrs. R. O. Graham, Mrs. J. C. Hartzell, Miss Julia Hodge, Mrs. A. L. Humphreys, Miss Effie Henderson, Mrs. B. F. Hoopes, Mrs. B. F. Harber, Miss Florence Herrick, Mrs. George Hanna, Miss A. D. Howell, Mrs. Jerome Howe, Miss Alice Harpole, Mrs. Harry Hawk, Mrs. E. D. Harber, Mrs. Howard Humphreys, Mrs. C. S. Jones, Miss Flora Jones, Mrs. G. G. Johnson, Miss Sybil Kennedy, Mrs. Mary Kates, Miss Clara Klemm, Miss Alice Kerrick, Mrs. E. A. Kidder, Mrs. C. F. Kimball, Mrs. F. C. Keatch, Mrs. J. T. Lillard, J. T. Lillard, Jr., Mrs. Lucia Lufkin, Mrs. W. M. Leavitt, Mrs. George Lynn, Mrs. B. D. Lucas, Miss Lucas, Mrs. E. S. Maddux, Mrs. George Moore, Mrs. Gustave Mueller, Miss Evelyn Mayes, Mrs. Mabel Mayes, Miss Isla McCarty, Mrs. C. C. Marquis, Miss Ruth Moore, Mrs. M. A. Marmon, Mrs. B. P. Marsh, Mrs. H. C. McCurdy, Mrs. J. R. Merwin, Mrs. J. V. Milner, Miss Kittie Montgomery, Miss Clara McMahon, Mrs. L. F. Mostoller, Mrs. J. J. Morrissey, Miss Moss, Mrs. Warren Milner, Miss Caroline Marsh, Mrs. C. J. Northrup, Mrs. Belle Nelson, Mrs. W. E. Nieberger, Mrs. F. W. Niergarth, Mrs. J. S. Neville, Miss Lillian Owen, Mrs. Howard Olds, Mrs. Henry Perrigo, Mrs. C. H. Pingrey, Mrs. Katherine R. Prince, Mrs. J. E. Pollock, Mrs. Eugene Packard, Mrs. W. E. Rossney, Miss Margaret Robinson, Miss Sarah Robinson, Miss Emily Rupert, Mrs. E. A. Richardson, Miss Ryder, Mrs. J. D. Robinson, Mrs. Herbert Rollins, Miss Henrietta Reeves, Miss Irene Seibel, Mrs. C. F. Shinkle, Mrs. Anna Slattery, Mrs. K. A. Shumaker, Mrs. Charles T. Stevenson, Mrs. S. D. Swayne, Mrs. George Stubblefield, Miss Helen Smith, Mrs. Philip Strain, Miss Nettie Smith, Mrs. C. P. Soper, Miss Ida Stevenson, Miss Alice Sutherland, Miss Isabel Simeral, Miss Mabel Spence, Mrs. M. D. Sprague, Mrs. H. D. Spencer, Mrs. H. W. Stillhamer, Miss Lucy Soper, Mrs. J. T. Snell, Mrs. M. T. Scott, Mrs. Horace Soper, Mrs. J. A. Sterling, Miss Letitia Stevenson, Clark E. Stewart, Mrs. Ross Thomas, Mrs. J. B. Taylor, Mrs. Cora Davis Tatman, Miss Cora Vance, Mrs. Arthur Wilson, Mrs. W. H. White, Miss Lottie Woods, Mrs. H. A. Weed, Miss Minnie A. Welch, Mrs. J. F. Wight, Miss Laura Webb, Mrs. L. T. Wilcox, Mrs. Welty, Mrs. Oscar Wakefield, Mrs. J. F. Welch, Lyle W. Funk, Mrs. Lewis B. Merwin. one of two readings
2THE MUSICAL COURIER. one of two readings
4The pupils of Miss Helen Jane Waldo gave a recital in Marinette, Wis., June 22. one of two readings
5MARION GREEN. one of two readings
7THE recent brilliant success of Marion Green, singer, in Gounod's "Faust" and other works, is recorded in the following press notices: one of two readings
9Mr. Green's work is nearer the embodiment of artistic singing than any bass who has before aided the Musical Union. While giving the part all the expression and feeling one could possibly expect in a man so young, he never stoops to force a single tone of his beautiful voice; and whether high or low, large or small, all his tones show perfect placing and the ease of delivery we so rarely find except in the greatest artists. His work can surely serve as an example to all our vocal aspirants.—Galesburg Republican Register. one of two readings
11Marion Green, the Mephistopheles of the cast, made his second appearance in Galesburg and won favor as before. Possessed of a magnificent bass voice, careful training has placed it at his entire command, and he sings with an apparent mastery of the details of voice culture. The part was thoroughly enjoyable, for Mr. Green entered into it heartily. The inflections of voice, the fine shades of portrayal, the winning mastery of the Satanic character were assumed with spirit, and the effort was one of the best of the evening. Mr. Green may be assured that upon a return visit to Galesburg he will be as well received as the expression of the audience last night showed him to be at this performance.—Galesburg Evening Mail. one of two readings
13Special interest was felt by the Burlingtonians in Marion Green and his work. His voice was the greatest in possibility and beauty of quality of any singer heard. Mr. Green is rather young for the role of Mephisto, but showed wonderful dramatic and musical skill nevertheless, and in the roles in which we shall hear him in Burlington he will appear to equal, if not greater advantage.—Burlington Hawkeye. one of two readings
15At the conclusion of this musical apostrophe to the infernal king to appear, Marion Green, basso, who impersonated Mephistopheles, arose, and then proceeded the remarkable scene in which the compact with the devil is made. Mr. Green has a big, strong, full voice, a voice of volume, suitable for the climaxes of such a part. His singing won favor. His voice and that of the tenor, Mr. Towne, harmonized excellently. Both sang with a dramatic fervor that quite carried the audience away, and the conclusion of the conference was greeted with a storm of applause. Mr. Green is a man of handsome appearance and impressive as a singer. While his voice has power, it is also clear and true, and his tones are well placed. * * * Then in the Song of the Golden Calf Mr. Green again showed the magnificent elements of his voice and the dramatic points of his style. Enthusiastic acclaim followed, to which the singer acknowledged his thanks. * * * The duel scene, in which Messrs. Towne, Green and D'Arnalle sang, was interpreted with spirit and fidelity. But the climax of all was the prison scene, in which Faust, Mephistopheles and Margarita appear, and in which the faith of the last triumphs over the pleadings of her lover and the wiles of Mephistopheles. Mr. Green as Mephistopheles was here equal to the subtle demands of his part. The intensity of his pleadings was evident. The trio constituted one of the most impressive parts of the entire drama. The voices were admirably harmonious and well balanced.—Galesburg Republican-Register. one of two readings
17Marion Green is no stranger to Burlington musical audiences. He has sung here before, and all knew what to expect. Mr. Green has a superb bass voice of sweet quality and excellent range. His singing last evening was a delightful treat. In fact, his voice seems to have improved much since his last visit to Burlington.—Burlington Hawkeye. one of two readings
19Marion Green strengthened the fine impression made previously by his dramatic interpretations of the character of Robert in "St. John's Eve." His fine stage presence and magnificent baritone alone carried his audience, and the sympathetic interpretation of the music showed wherein he had grown in musical knowledge, the beautiful voice has strengthened, deepened and matured remarkably in the last two years.—Burlington Journal. one of two readings
21Marion Green, the basso cantante, who has been so generously received in Burlington musical circles on former visits, opened the work ("Swan and Skylark") with the lines, "A Grecian Poet I, But Born Too Late," and his fine voice filled the auditorium with its richness, and he received delightful recognition.—Burlington Gazette. one of two readings
23Marion Green was the basso of the evening. Mr. Green's perfection in his vocal art is widely known; his reputation is no more confined to this western country. On this occasion he made one of his greater triumphs. Mr. Green's voice is not an ordinary one. It is unusual. The perfect emission of his tones is commented upon by musicians and critics wherever he is heard. He has poise, power, wideness, resonance, naturalness, diction, perfection of phrasing and apparently everything that is required to make a great artist.—Dubuque Telegraph-Herald. one of two readings
25Miss Rebecca Mackenzie. one of two readings
27AFTER a successful season Miss Rebecca Mackenzie, the soprano, will leave for the West in a few days to visit her parents in Duluth. She will return to New York in September. By persistent work the singer has year after year added to her reputation and enlarged her artistic usefulness. Her success has been most pronounced. She has been repeatedly re-engaged in many cities. Several engagements have been closed by her manager, Mr. Renard, for next year, which promises to be the most successful in this gifted artist's career. The following notices refer to her appearance in "The Messiah," New Brunswick, N. J., and Swedish Singers' Festival, Tremont Temple, Boston, Mass: one of two readings
29Miss Mackenzie again scored a triumph, excelling in "He Shall Feed His Flock," rather than in "I Know That My Redeemer Liveth," which is usually considered the telling number for that voice. Her rendition of the latter was most sympathetic, and her voice certainly up to its full beauty and power.—Daily Times, New Brunswick, June 11. one of two readings
31Miss Mackenzie certainly never did better in any of her work, either last night or previously, than in the closing half of this same number ("He Shall Feed His Flock"), and showed quickly that she was in thorough accord with the spirit of the beautiful theme.—Daily Home News, New Brunswick, N. J., June 11. one of two readings
33Miss Rebecca Mackenzie is of Scotch descent, but sang in the Swedish language with a fluency that can hardly be equaled by the people coming directly from the old country. Miss Mackenzie also has a soprano voice that is a treat to hear.—Boston Globe, June 16. one of two readings
35The aria "Mireille" (Gounod) was rendered in a finished manner by Miss Rebecca Mackenzie.—Boston Journal, June 16. one of two readings
37First on the program (among the soloists) came Miss Rebecca Mackenzie, the young Scotch woman, who sings Swedish songs as Swedish as anyone. A splendid figure, together with a fine appearance, assists Miss Mackenzie in her effort to charm her public. Her voice is remarkably pure and sonorous, and possesses also strength, and whether she sings Italian or English, Swedish or German, she is a most thorough artist. A big soprano solo, the aria from "Mireille," by Gounod, was received with the heartiest applause; her encore was the old "Idyllen," "Skjutsplöken," by Lindblad. Her delightful delivery of this lively and beautiful number aroused the warmest approval. one of two readings
39Miss Mackenzie appeared, if possible, to even greater advantage in No. 12 on the program, when she sang in three languages. In our opinion she succeeded best in "Alte under himmeins fôste," the appealing Swedish folksong which has such wonderful power to reach your heart and feelings. If there had been, as we first thought, something a trifle affected in her appearance in her first number, there was now a deep emotion shown in her fair face.—Svea, Worcester, Mass., June 17. one of two readings
41Dr. Beardsley Sails. one of two readings
43DR. WILLIAM E. BEARDSLEY sailed for Europe Wednesday, July 8. From Rotterdam he will travel direct to Berlin to join Mrs. Beardsley and their daughter Constance, both pianists. The statement in a Brooklyn paper that Mrs. Beardsley and Constance have been studying at a leading conservatory in Berlin is incorrect. They are both studying, but not at a conservatory. The Beardsleys will return to Brooklyn the end of September, when Mrs. Beardsley will reopen her studio in the Pouch Gallery. one of two readings
45THE WOODRUFF METHOD one of two readings
46OF TEACHING one of two readings
47Non-syllable Sight Reading, Piano, one of two readings
48Music History and Harmony. one of two readings
49H. ESTELLE WOODRUFF, one of two readings
5036 East 23d Street, New York City. one of two readings
52A perfect system of mind and ear training for all classes of musicians—singers especially. one of two readings
53Send $1.50 for one copy of Comprehensive Music Course. See the article, "Why Syllables Should Not Be Used." one of two readings
54LESSONS BY MAIL. one of two readings
56PARIS.
58SCHOOL FOR ACTING.
59EMIL BERTIN,
601er Régisseur de la Scène de l'Opéra Comique.
61Stage Practice. In Cast.
6241 rue des Martyrs, Paris.
64LA VILLA VIOLETTE
65TROCADERO,
6622 rue Raynouard. Madame Fiesinger.
67Assortment of rooms. Excellent table. Gardens.
68All facilities of 'bus and tram.
70MLLE. KIKINA,
71PROFESSEUR DE CHANT
72Ancienne Elève de MARCHESI.
73100 Avenue de Villiers, Paris. one of two readings
74100 Avenue de Villiers. Paris. one of two readings
76DELLE SEDIE, Paris.
77Pure Italian Method. Complete course. Stage practice. Voice, lyric, declamation, language, sol. fège, ensemble music, mise-en-scène.
78Class and single lessons.
79Regular course, three years. Terms moderate.
8030 rue St. Petersbourg.
82PARIS.
84BALDELLI,
85ITALIAN BARITONE.
86Théâtre Royal, Madrid. Professeur de Chant.
87(Champs Elysées.)
886 rue Euler, Paris.
90MME. J. VIEUXTEMPS,
91VOCAL PROFESSOR.
92Classes and Private Lessons. Placing and Mending of Tones. 25 rue de Tocqueville (Monceau).
94ECOLE LESCHETIZKY.
95FRIDA EISSSLER,
96Pupil and authorized representative of PROF. LESCHETIZKY.
97Brilliant Autograph Diploma.
9869 Avenue d'Antin, Champs Elysées, Paris.
100THE FRENCH LANGUAGE
101Rapidly, easily and correctly acquired by KIMON'S PRACTICAL SYSTEM.
102(3 francs, post free.)
103Private lessons by M. D. Kimon.
10410 rue Cambon, Paris.
106PARIS.
108MISS JULIA KLUMPKE,
109VIOLINISTE.
110Pupil of MM. Eugène Ysaye and G. Rémy.
111Concerts, Musicales, Lessons, Violin and Accompaniment.
11210 rue Freidevaux.
114MME. ROSINE LABORDE,
115PROFESSEUR DE CHANT.
11665 rue de Ponthieu, Paris.
118Mlle. GRACE LEE HESS
119Supplementary Education.
120French Language Obligatory.
121145 Avenue Victor Hugo, Paris.
123London, England.
125MME. MORIANI.
126Private Academy for Voice Training and School for Opera.
127Complete Training for Voice, Style and the Different Repertoires.
128Special Classes for Gentlemen on each Monday and Thursday from 5 to 7.
129Sole teacher of Alice Verlet, Claire Friché, the incomparable "Louise" of Charpentier's opera, and Madame Birnie.
130For the address and terms, see Secretary of Madame Moriani's School, 3 York Place, Baker Street, London W., England.
132RENÉ PAPIN,
133Authorized Representative of the Yerain Method of French Diction.
1347 Dorset Squares N. W., London.
135(Near Baker Street station.)
137MARIE WITHROW,
138VOICE PRODUCTION.
13944 New Bond Street, London.
141THE WOODRUFF METHOD one of two readings
142OF TEACHING one of two readings
143Non-syllable Sight Reading, Piano, one of two readings
144Music History and Harmony. one of two readings
145H. ESTELLE WOODRUFF, one of two readings
14636 East 23d Street, New York City. one of two readings
148A perfect system of mind and ear training for all classes of musicians—singers especially. one of two readings
149Send $1.50 for one copy of Comprehensive Music Course. See Method article, "Why Syllables Should Not Be Used." one of two readings
150LESSONS BY MAIL. one of two readings
152MARION GREEN. one of two readings
154THE recent brilliant success of Marion Green, singer, in Gounod's "Faust" and other works, is recorded in the following press notices: one of two readings
156Mr. Green's work is nearer the embodiment of artistic singing than any bass who has before aided the Musical Union. While giving the part all the expression and feeling one could possibly expect in a man so young, he never stoops to force a single tone of his beautiful voice; and whether high or low, large or small, all his tones show perfect placing and the ease of delivery we so rarely find except in the greatest artists. His work can surely serve as an example to all our vocal aspirants.—Galesburg Republican Register. one of two readings
158Marion Green, the Mephistopheles of the cast, made his second appearance in Galesburg and won favor as before. Possessed of a magnificent bass voice, careful training has placed it at his entire command, and he sings with an apparent mastery of the details of voice culture. The part was thoroughly enjoyable, for Mr. Green entered into it heartily. The inflections of voice, the fine shades of portrayal, the winning mastery of the Satanic character were assumed with spirit, and the effort was one of the best of the evening. Mr. Green may be assured that upon a return visit to Galesburg he will be as well received as the expression of the audience last night showed him to be at this performance.—Galesburg Evening Mail. one of two readings
160Special interest was felt by the Burlingtonians in Marion Green and his work. His voice was the greatest in possibility and beauty of quality of any singer heard. Mr. Green is rather young for the role of Mephisto, but showed wonderful dramatic and musical skill nevertheless, and in the roles in which we shall hear him in Burlington he will appear to equal, if not greater advantage.—Burlington Hawkeye. one of two readings
162At the conclusion of this musical apostrophe to the infernal king to appear, Marion Green, basso, who impersonated Mephistopheles, arose, and then proceeded the remarkable scene in which the compact with the devil is made. Mr. Green has a big, strong, full voice, a voice of volume, suitable for the climaxes of such a part. His singing won favor. His voice and that of the tenor, Mr. Towne, harmonized excellently. Both sang with a dramatic fervor that quite carried the audience away, and the conclusion of the conference was greeted with a storm of applause. Mr. Green is a man of handsome appearance and impressive as a singer. While his voice has power, it is also clear and true, and his tones are well placed. * * * Then in the Song of the Golden Calf Mr. Green again showed the magnificent elements of his voice and the dramatic points of his style. Enthusiastic acclaim followed, to which the singer acknowledged his thanks. * * * The duel scene, in which Messrs. Towne, Green and D'Arnalne sang, was interpreted with spirit and fidelity. But the climax of all was the prison scene, in which Faust, Mephistopheles and Margarita appear, and in which the faith of the last triumphs over the pleadings of her lover and the wiles of Mephistopheles. Mr. Green as Mephistopheles was here equal to the subtle demands of his part. The intensity of his pleadings was evident. The trio constituted one of the most impressive parts of the entire drama. The voices were admirably harmonious and well balanced.—Galesburg Republican-Register. one of two readings
164Marion Green is no stranger to Burlington musical audiences. He has sung here before, and all knew what to expect. Mr. Green has a superb bass voice of sweet quality and excellent range. His singing last evening was a delightful treat. In fact, his voice seems to have improved much since his last visit to Burlington.—Burlington Hawkeye. one of two readings
166Marion Green strengthened the fine impression made previously by his dramatic interpretations of the character of Robert in "St. John's Eve." His fine stage presence and magnificent baritone alone carried his audience, and the sympathetic interpretation of the music showed wherein he had grown in musical knowledge, the beautiful voice has strengthened, deepened and matured remarkably in the last two years.—Burlington Journal. one of two readings
168Marion Green, the basso cantante, who has been so generously received in Burlington musical circles on former visits, opened the work ("Swan and Skylark") with the lines, "A Grecian Poet I, But Born Too Late," and his fine voice filled the auditorium with its richness, and he received delightful recognition.—Burlington Gazette. one of two readings
170Marion Green was the basso of the evening. Mr. Green's perfection in his vocal art is widely known; his reputation is no more confined to this western country. On this occasion he made one of his greater triumphs. Mr. Green's voice is not an ordinary one. It is unusual. The perfect emission of his tones is commented upon by musicians and critics wherever he is heard. He has poise, power, wideness, resonance, naturalness, diction, perfection of phrasing and apparently everything that is required to make a great artist.—Dubuque Telegraph-Herald. one of two readings
172Miss Rebecca Mackenzie. one of two readings
174AFTER a successful season Miss Rebecca Mackenzie, the soprano, will leave for the West in a few days to visit her parents in Duluth. She will return to New York in September. By persistent work the singer has year after year added to her reputation and enlarged her artistic usefulness. Her success has been most pronounced. She has been repeatedly re-engaged in many cities. Several engagements have been closed by her manager, Mr. Renard, for next year, which promises to be the most successful in this gifted artist's career. The following notices refer to her appearance in "The Messiah," New Brunswick, N. J., and Swedish Singers' Festival, Tremont Temple, Boston, Mass: one of two readings
176Miss Mackenzie again scored a triumph, excelling in "He Shall Feed His Flock," rather than in "I Know That My Redeemer Liveth," which is usually considered the telling number for that voice. Her rendition of the latter was most sympathetic, and her voice certainly up to its full beauty and power.—Daily Times, New Brunswick, June 11. one of two readings
178Miss Mackenzie certainly never did better in any of her work, either last night or previously, than in the closing half of this same number ("He Shall Feed His Flock"), and showed quickly that she was in thorough accord with the spirit of the beautiful theme.—Daily Home News, New Brunswick, N. J., June 11. one of two readings
180Miss Rebecca Mackenzie is of Scotch descent, but sang in the Swedish language with a fluency that can hardly be equaled by the people coming directly from the old country. Miss Mackenzie also has a soprano voice that is a treat to hear.—Boston Globe, June 16. one of two readings
182The aria "Mireille" (Gounod) was rendered in a finished manner by Miss Rebecca Mackenzie.—Boston Journal, June 16. one of two readings
184First on the program (among the soloists) came Miss Rebecca Mackenzie, the young Scotch woman, who sings Swedish songs as Swedish as anyone. A splendid figure, together with a fine appearance, assists Miss Mackenzie in her effort to charm her public. Her voice is remarkably pure and sonorous, and possesses also strength, and whether she sings Italian or English, Swedish or German, she is a most thorough artist. A big soprano solo, the aria from "Mireille," by Gounod, was received with the heartiest applause; her encore was the old "Idyllen," "Skjutspoiken," by Lindblad. Her delightful delivery of this lively and beautiful number aroused the warmest approval. one of two readings
186Miss Mackenzie appeared, if possible, to even greater advantage in No. 12 on the program, when she sang in three languages. In our opinion she succeeded best in "Alte under himmeins fôste," the appealing Swedish folksong which has such wonderful power to reach your heart and feelings. If there had been, as we first thought, something a trifle affected in her appearance in her first number, there was now a deep emotion shown in her fair face.—Svea, Worcester, Mass., June 17. one of two readings
188Dr. Beardsley Sails. one of two readings
190DR. WILLIAM E. BEARDSLEY sailed for Europe Wednesday, July 8. From Rotterdam he will travel direct to Berlin to join Mrs. Beardsley and their daughter Constance, both pianists. The statement in a Brooklyn paper that Mrs. Beardsley and Constance have been studying at a leading conservatory in Berlin is incorrect. They are both studying, but not at a conservatory. The Beardsleys will return to Brooklyn the end of September, when Mrs. Beardsley will reopen her studio in the Pouch Gallery. one of two readings
191(no line here) one of two readings
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