The Edison phonograph monthly (Jan-Dec 1916)

12 EDISON PHONOGRAPH MONTHLY, DECEMBER, 1916 Who's Who in the Blue Amberol List for January FRANK FERERA Frank Ferera, the Blue Amberol artist whose portrait appears on the front cover of this issue, has the distinction of being the one who first introduced the Hawaiian style of playing the guitar into the United States. It was in 1900 that he brought the first ukelele here and commenced to charm vaudeville audiences with the weird and plaintive effects he produced. For quite a while he had the field to himself, but the fascination of the Hawaiian music met with widespread demand, and other players who came from Hawaii, or Americans who were taught by Mr. Ferera, commenced to tour the country. In a few years people were generally familiar with the music of the Hawaiian guitar, but it was not until about five years ago that the fever for Hawaiian music started. It scarcely can be called a fad, because this characteristic music has made such an impression by its distinctiveness and intrinsic beauty that there always should be a demand for it. Mr. Ferera, the one who is primarily responsible for all the pleasure that the people of the United States have derived from the ukelele, was born in Honolulu. It is said that the Hawaiian style of playing the guitar was originated by a Portuguese sailor. Perhaps this has something to do with the tendency that Mr. Ferera had toward the ukelele, for .he, although of Hawaiian birth, is of Portuguese descent. He was musical even in his childhood. The first musical instrument that came into his hands was a guitar. He soon became highly proficient with this instrument — so proficient that he decided to come to the United States, where he believed that he could popularize the Hawaiian guitar. How well he succeeded, after a few years of effort, everybody in touch with the world of music realizes. P. FROSINI To Americans, who generally are unfamiliar with the possibilities of the accordion, it may seem strange that instruction in the art of playing such an instrument should be given in such a world-renowned institution as the Conservatory of Milan. This is one of the most famous of all schools of music and it has produced some of the world's greatest musical artists, yet it was in this institution that P. Frosini, "the wizard of the accordion," studied the art of playing his chosen graduated after he had mastered it. So it readily can be understood that the music which this artist draws from the accordion does not resemble in the least the weird and tuneless strains that many so-called accordion players produce. Leaving Italy after completing his studies at Milan, Frosini came to this country, where his playing created a sensation in vaudeville circles. He has played in practically all of the high class theatres in the United States, having been given protracted engagements in many of the metropolitan playhouses. His success in America brought him foreign engagements and he was particularly successful in England, where he appeared in the leading music halls of London and other larger cities. Frosini is not only a master of the accordion, but is a composer of note, and many of the pieces that he presents are his own compositions, composed especially for the accordion. He has made a number of selections for the Blue Amberol catalog and his rendition of "New York Blues," a melodious ragtime number that now is very popular, made for the January supplement, is a fine example of his art. MERLE ALCOCK Merle Alcock, the well known young concert contralto who has come into prominence during the past two or three years, is an American and a product of American institutions. First studying in Mitchell, S. D., she later graduated from the Drake Conservatory of Music in Des Moines, la., only to continue her studies under William Wade Hinshaw and Paul Sauvage in New York. Manhattan music lovers first heard of her in connection with recitals given by Mrs. Ella BackusBehr, the noted vocal coach, under whom Mrs. Alcock studied for some time, and under whose direction she was taken to England for a London appearance. In the British capital she made her debut at Claridge's, winning the favor of music critics and of many music lovers prominent in English social circles. Upon her return to New York she was engaged by Walter Damrosch to appear as soloist with the New York Symphony Orchestra during a tour of the South. Her success in filling this engagement gave her a secure position among the concert artists of the country and since that time she has been heard in all of the great musical instrument and it was from here that he was centers and has established herself among the