January 19,. 1922
MUSICAL COURIER
18
COLORADO S. M. T. A. HOLDS FIRST
ANNUAL CONVENTION IN DENVER
CURRENT MUSICAL PRIZES AND SCHOLARSHIPS
Manuscripts are submitted at the risk of the composer
[The Musical Courier will endeavor to keep this department up to date and to that end requests that all notices and prospectuses of musical prize contests be sent to the Musical Courier so as to be included in this department. It will be found that in each contest the name and address are given, to which intending candidates may apply directly for further information.— Editor’s Note.]
Mrs. F. S. Coolidge—$1,000 for a string quartet. Contest ends April 15. Hugo Kortschak, Institute of Musical Art, 120 Claremont avenue, New York City. Contest held annually. William Burnett Tuthill, 185 Madison avenue, New York.
The National Federation of Music Clubs—$1,000 for composition, the style of which is to be designated later; $500 (prize offered by Mrs. F. A. Seiberling) for a chamber music composition for oboe, flute, violin, piano and two voices. Ella May Smith, 60 Jefferson avenue, Columbus, Ohio.
The National American Music Festival—$3,800 in contest prizes at the 1922 festival to be held at Buffalo, N. Y., October 2 to 7. A. A. Van de Mark, American Music Festival, 223 Delaware avenue, Buffalo, N. Y.
The Neighborhood Houses of New York—A silver cup for song on “Peace,” one voice part; another silver cup for song lyric on same subject; three prizes of $100 each for one-act play, community pageant and spring festival on any subject. The song on “Peace” contest ends February 1, and the one-act play contest ends March 1. Arts and Festivals Committee, 70 Fifth avenue, New York.
The American Academy in Rome. Horatio Parker Fellowship in Musical Composition, the winner having the privilege of a studio and three years’ residence at the Academy in Rome, besides an annual stipend of $1,000 and an allowance not to exceed $1,000 for traveling expenses. Competition ends March 1. Executive Secretary, American Academy in Rome, 101 Park avenue, New York.
Chicago Musical College—Seventy-three scholarships. 624 South Michigan avenue, Chicago, 111.
Baylor College—Scholarships ranging in value from $105 to $225 for high school students only. Contest ends in the spring. Baylor College, Belton, Tex.
The Pulitzer Traveling Scholarship in Music—Annual scholarship of the value of $1,500. Current contest ends February 1. Secretary Columbia University, New York City.
Ailment of the event, but also a full measure of praise for her splendid organ accompaniments.	M. W. G.
Kerr Pleases Camden, (N. J.)
U. S. Kerr, bass baritone, gave a successful concert at the Young Men’s Christian Association of Camden, N. J., on the evening of December 19. The Post of that city in its review of the concert said in part:	“U. S. Kerr
proved to be one of the finest bass cantante singers who have ever appeared in this city.” Mr. Kerr was assisted by Elvira Leveroni and William Reddick.
ley, of Longmont, spoke on the subject of “High School and College Credit for Applied Music.” Discussion of the question favored vigorous steps in securing recognition of music in the curriculum of schools throughout the State. “Public school music as a factor in the development of music in the community” was urged by Cora Hoffmer, of Colorado Springs. Dr. Lindsay B. Longacre, of Denver, and Clarence Reynolds, city organist, spoke along the same lines on the “Relationship of Church Music to the Appreciation of Music in the Community.”
Wednesday afternoon a discussion of “Standardization of Teaching Material” was led by Edwin J. Stringham and Mrs. James M. Tracy.
, Following this an excellent paper, '“Musicianship versus Mere Technic,” was given by Anna Knecht. The last discussion of the afternoon, “School and Amateur Orchestra as an Aid to Musicianship,” was directed by J. C. Richards, of Sterling.
Wednesday evening! the city gave a Christmas concert at the Municipal Auditorium which the convention attended (Continued on page 41)
during the past year, and gave a delightful account of themselves in Yon’s “Jesu Bambino,” with the composer at the organ. Much is to be expected of these youngsters in the future when the voices are sufficiently stabilized to permit of more difficult part singing.
Kathleen Parlow, with a tone as large and as broad as her masculine confreres, captivated her audience in a splendidly chosen program which gave her opportunity for disclosing her intellectual musicianship and ripe art.
Music lovers of Charleston deeply regret that the splendid small orchestra, ably conducted by Theodore Koster at the Garden Theater, will be disbanded at the close of the week. This organization has been presenting unusually high class program music under the most adverse conditions. Being placed in an unusually deep and narrow pit and totally out of sight, considerable tone volume has been lost and the conductor’s work decidedly hampered. It is to be hoped that the theater managers, to whose attention these facts have been brought, will reconsider their decision and replace the orchestra under more advantageous conditions.
A noteworth event, taking place on Tuesday evening, December 20, at St. Philip’s Church, was the presentation, after a lapse of many years, of Handel’s “Messiah.” All credit for the giving of this Christmas oratorio is due to Mrs. Wm. G. Locke, the able organist of the church, who, with, boundless energy, organized the Oratorio Society and drilled it thoroughly for the purpose of presenting this magnificent work yearly to Charleston music lovers. Volunteers from every parish in the city brought forth a chorus of over a hundred voices, and these, together with Elsa Bargmann, soprano; Ida Wietrs, contralto; William G. Locke, tenor, and Frank Myers, bass, as the principals, gave a performance tfipt will long be remembered. Miss Hyams, the director of the chorus of the Musical Art Club, ably assisted Mrs. Locke by assuming the baton at the final rehearsals and concert, it being impossible to place so many singers in a position where Mrs. Locke, as organist, could be seen to continue the directorship. Miss Hyams’ ability to carry out the ideas of Mrs. Locke was amply demonstrated by the success of the undertaking. And to Mrs. Locke falls not only the credit for the conception and ful-
Denver,- Col., December. 30, 1921.^The~Colorado State Music Teachers’ Association, which was enthusiastically formed a year ago, held its first annual convention in Denver December 27, 28 and 29, at the commodious Wolcott School auditorium, which was numerously attended by delegates from various towns throughout the State as well as by local musicians.
The convention opened Tuesday evening with a. reception and concert, the program being of _ exceptional interest and introducing several delightful musicians, i. e., Beatrix Hurley-Carpenter and Edith Kingsley Rinquest, pianists, of Denver; Irving Miller, vocalist, of Greeley; Mrs. Harry E. -Douglas, vocalist (Mary Reynolds Guerber, accompanist), of Boulder; Stella Toffier-Myers, vocalist (Caroline Holme Walker, accompanist), of Windsor; Eugene Shaw Carter, violinist, of Greeley.
Wednesday morning John C. Kendel, president of the body, opened the convention with an address of welcome. One hundred and fifty members are now enrolled in the association -and under present plans 1,000 more! applications are expected. -Following Mr. Kendel, Mrs. Monroe Mark-
GHARLESTON HEARS “MESSIAH”
AFTER LAPSE OF MANY YEARS
Lucrezia Bori Sings to Sold Out House—Pietro Yon and Kathleen Parlow Heard
Charleston, S. C, January 4, 1922—The musical season was opened again this year by the Charleston Musical Society. Concerts have followed each other in rapid succession.
Ernest Schelling gave some of the finest Bach playing ever heard and a Schumann “Carneval” with splendid effects.
Lucrezia Bori, charming and incomparable in a costume recital of old Italian, French, English and Spanish songs, completely won all who heard her. The house was sold out. To the gifts of youth, beauty, grace, and a voice of exquisite quality she adds an intellectual conception which makes her art a thing apart.
Close upon the heels of this concert followed the first of the Concert Intimes of the society. Mendelssohn’s trio in D minor was given an adequate reading by Emily Magrath, Ruth Baynard Bailey, and Maud W. Gibbon, pianist, violinist and cellist respectively. Theodore Koster and Spencer Atkinson gave an excellent performance of the Albeniz Spanish rhapsody for two pianos, and the Forellen quintet of Schubert, which closed the program, was given with all the ease and-finish of an established organization rather than by a group which, it was ascertained, had had but a few weeks’ rehearsals. Not only to Theodore Koster, George Gaskell, Tony Hadgi, Maud Gibbon and Carl Behr, who comprised the quintet, but also to all the participants in the program must be given the credit for presenting one of the best Concerts Intimes ever given by the society.
Pietro Yon came for a return engagement under the auspices of the 'Bishop England High School, and luckily nothing went wrong this year with the organ of the Cathedral of St. John the Baptist, and Yon, therefore, was heard at his best. The youthful choristers, under Father O’Brien’s able conductorship, have been doing good work
GABRILOWIT
“The audience was so large that the stage was filled with chairs to hold the overflow. Deservedly Gabrilowitsch’s following is increasing.”—N. Y. Telegram.
“He played with such poetic feeling, with such musical authority and with such command of all the technical features of the pianist’s art that there was nothing for the audience to do but sit comfortably in the seats and enjoy the feast made for musical epicures.”—N. Y. Herald.
“There are few pianists who stand alone not because of the mere fact that they are successful virtuosi or expert musicians but because of the ideal beauty and nobility which they preserve in their art. One of the chosen few is Ossip Gabrilowitsch.”—Boston Post.
“The perfection that Mr. Gabrilowitsch sought in all his music was perfect chiseling, sustaining and undulating the musical line; an equally exquisite moulding of every phrase, even to the shaping of almost every note; an exceeding evenness of rhythm, grace of ornament and delicacy of modulation; a super-refined play of sentiment upon and through the music.”—Boston Transcript.
Carnegie Hall, New York
For Terms and Dates Address Mason & Hamlin Piano
LOUDON CHARLTON