January 19, 1922
MUSICAL COURIER
42
THE PULITZER SCHOLARSHIP
At the request of Daniel Gregory Mason, Associate Professor of .Music at. Columbia University, the Musical Courier calls attention once more to the annual Pulitzer Traveling Scholarship in Music, the competition for which closes on February 1. The conditions are as follows:
Under the will of the late Joseph Pulitzer an annual scholarship, of the value of $1,500, was founded, to be awarded to the student of music in America who is deemed to be the most talented and deserving, in order that he may continue his studies with the advantage of European instruction.
The Pulitzer scholar in music will be expected to devote a sufficient amount of his time to composition, during the year he holds the scholarship, to produce a serious work in one of the larger forms, a copy of which shall be filed at Columbia University together with the works by which he gained the scholarship. It is hoped to publish or give public performance to the best of these works from time to time.
The scholarship is open to students of both sexes, resident in the United States, and the attention of those intending to compete is called to the following regulations:
1.	Only compositions showing mastery of harmony and counterpoint, and conceived in the more serious and extended musical forms—sonata for one or more instruments, trio, quartet, etc., overture, symphonic poem—will be considered. Songs and piano pieces should not be sent.
2.	Applications on the form provided by the University and supporting manuscripts should reach the Secretary of Columbia University, New York City, on or before February 1. They should bear, not the name of the composer, but a pseudonym, and should be accompanied by a sealed envelope bearing on its face the pseudonym and containing the name, age and address of the sender, and a brief biographical note, telling where and with whom he has studied, etc. Unsuccessful manuscripts will be returned.
3.	The compositions will be judged by a jury consisting of members of the teaching staffs of Columbia University and the Institute of Musical Art. If in any year the work of no applicant is deemed worthy, the scholarship will not: be awarded.
Church. The program was partly Christmas in character. He had the assistance of the Hudson Women’s Quartet, which sang a group of Christmas carols, “Kerry Dance,” Molloy, and “Ma Lady Chloe,” by Clough-Leighter.
The same evening Frank Wrigley gave the last of his series of organ recitals at the First Presbyterian Church. His program was given with technical skill and fine feeling. His program included the prelude from “Tristan and Isolde,” Wagner; “Largo,” Handel; sonata in E minor, Rogers; “Humoresque,” Tschaikowsky; largo from the “New World” symphony, Dvorak, and “Marche le Pro-phete,” Meyerbeer.
Quartet Makes First Appearance.
Thursday afternoon, December IS, at the Twentieth Century Club, a program was given by the Philharmonic Quartet, a new organization heard for the first time. It consisted of Muriel Mergyle Kyle, soprano; Helen Fitzgerald, contralto; John Koneczny, tenor, and Archibald Jackson, baritone ; Margaret Mannebach, accompanist. “The Persian Garden,” by Liza Lehmann, and the quartet from “Rigo-letto” were among the quartet numbers, followed by solos by each member of the quartet. All the singers are well known in choirs and concerts, and the ensemble was extremely good for so new an organization. Alma Clock is managing the business affairs of the quartet.
Notes.
Thaddeus Wronski, baritone, gave a recital in eight languages for the music group of the Twentieth Century Club Tuesday afternoon, December 14.
Young students of the May Leggett Abel Violin School gave a recital at the school Saturday afternoon, December 17.	J. M. S.
Many Dates for Trio Glassique
The Trio Classique, which gave a successful recital recently at Aeolian Hall and which won the praise of the New York press and the public alike, is now giving several programs in the high schools of New York, Brooklyn and the Bronx, which will keep the members busy until March 2. The next Aeolian Hall recital will take place on February 27 and immediately after it will start on an extended Spring tour.
Rosing Sings by Wireless
On New Year’s Eve Rosing sang a program by wireless from Newark, N. J., which was heard within a radius of many miles. He was very unique in introducing the songs himself, making a very great impression upon the people who heard him and singing several Russian songs and two arias, “Pagliacci” and the Cavatina from “Faust.”
Daniel Artist Opens Studio
One of the artist-pupils of Edna Bishop Daniel, Pearl Shreve Jenkins, has opened a studio in Leesburg, Va. Mrs. Jenkins has been Mrs. Daniel’s studio accompanist in Washington, D. C., for four years, and as she also has appeared successfully in recital, she is admirably fitted to embark on a professional career of her own.
Bartik to Introduce New Singer
Cheered, perhaps, by the conspicuous success of Marie Jeritza, the Vienna opera star, Ottokar Bartik will introduce another singer from the same house, Marcel Salzinger, baritone, to the American public in a song recital at Aeolian Hall on the evening of January 21, in a program in which Brahms and Strauss figure largely.
Elsa Fischer Quartet Concert January 23
The Elsa Fischer String Quartet, widely known in all parts of the United States, will be heard in concert at Aeolian Hall, New York, on Monday evening, January 23, in a program comprising quartets by Schumann (op. 41, A minor), Malichevsky (op. 6, C major) and Haydn (G minor.)	_________
Elizabeth Lennox to Sing at Newport News
Elizabeth Lennox, the young American contralto, has been engaged for a recital at Newport News, Va., on March 2.
YULETIDE WELCOMED IN DETROIT BY LARGE GROUPS OF CAROLERS
Clara Clemens Soloist with Symphony—Saminsky Comes to
Direct His “Vigilas”—Italian Program with Arrigo Serato—Orpheus Club at Orchestra Hall—Chaliapin Scores Success—Philharmonic Quartet Makes First. Appearance
Detroit, Mich., December 27, 1921.—Yuletide was welcomed in Detroit by groups of carolers. It was estimated that the carolers numbered about one thousand, and they sang before the houses in various parts of the city. One large group sang about the municipal Christmas tree in front of the City Hall, while another, with the quartet of the Universalist Church as a nucleus, led by Jason Moore, organist and choir leader, gave a radio concert. On Christ-, mas Day elaborate musical programs were given in all the churches, including many cantatas, and, in one or two instances, Handel’s “Messiah.” The Sunday afternoon concert by the Detroit Symphony Orchestra at Orchestra Hall was devoted to dance music, making it a festal occasion. Victor Kolar directed.
Clara Clemens Soloist with Symphony.
The program for the fifth pair of subscription concerts given by the Detroit Symphony Orchestra at Orchestra Hall, Thursday and Friday evenings, December 15 and 16, was somewhat different in character from the preceding ones of the season. The usual symphony was omitted and the concert was notable for the presence of L. Saminsky, who came to conduct his composition, “Vigilae,” heard here for the first, time. The work shows originality and an understanding of orchestral resources. There were beautiful passages for the strings and the horns, moments of somber longing and of joyous exaltation, but the composition was not one to be grasped nor understood at one hearing. The audience gave a hearty welcome to the composer and gratifying applause to his work.
Clara Clemens appeared as soloist for the first time since her residence here, although she has been heard several times in recital. As usual, her interpretative ability and intelligence made her numbers most interesting. There were five in all—Beethoven’s “The Majesty of God,” Strauss’ "Serenade” and "Death the Releaser,” Handel’s aria, “Ombra mai fui,” from “Xerxes,” and Schubert’s “Erl King.” She was greeted with much applause and a wealth of floral tributes. The orchestral accompaniments under the leadership of Gabrilowitsch provided a splendid musical background for the songs.
The program opened with the overture to Mendelssohn’s “Midsummer Night’s Dream” and closed w.tn R.msky-Korsakoff’s colorful “Scheherazade,” which was given an electrifying interpretation by Gabrilowitsch.
Italian Program with Arrigo Serato.
Sunday afternoon, December 19, the orchestra gave a program Italian in nature Mendelssohn’s "Italian Symphony,” Rossini’s “William Tell” and Sinigaglia’s “La Baruffe Chiozzotti” were the orchestral numbers. Arrigo Serato, violinist, was the assisting artist and gave compositions chosen to show his technical skill—d’Ambrosio’s concerto; op. 29, and Vitali’s “Chaconne.” He was immensely liked by the audience and was recalled many times. Gabrilowitsch conducted and the work of the orchestra throughout was most satisfactory.
HULDA LaSIIANSKA AND ReINALD WeRRENRATH HEARD.
Tuesday evening, December 13, Hulda Lashanska and Reinald Werrenrath were heard in a joint recital at Arcadia in one of the Philharmonic-Central concert series. Both artists are well known and attracted a capacity audience that enjoyed to the full the artistry of these fine singers, who gave of their best, both in their program and their encores, which were many. The high point in Mme. La-chanska’s work was Gretchaninoff’s “The Steppe,” while the Kipling songs, “Rolling Down to Rio” (German), “Fuzzy-Wuzzy” (Arthur Whiting) and “Mandalay” (Oley Speaks), sung by Mr. Werrenrath, seemed to make special appeal, although few will forget Frank Bridge’s “Love Went a-Riding” and “Duna,” by McGill. The program closed with Goetze’s duet, “Still wie die Nacht.” Harry Speir, accompanist for Mr. Werrenrath, and Werner Joston, for Mme. Lashanska, proved to be exceptionally good. _
On the day of 'the concert Mme. Lashanska was initiated in the Delta Chapter of the Sigma Alpha Iota Sorority as chapter honorary.
Orpheus Club Heard at Orchestra Hall.
It was unfortunate that the Orpheus Club should have chosen Tuesday, December 13, as the date of its first concert of the season, thus conflicting with the Lashanska-Werrenrath date, but a fine audience of sustaining members greeted this distinguished organization that has for so many years been recognized as one of Detroit’s' great musical assets and which, under the able direction of Charles Frederic Morse, has reached such perfect ensemble. The program consisted of well chosen numbers providing interesting and pleasing variety. It included two hunting songs by Mendelssohn, a Finnish lullably by Palmgren, “Serenade” by Chadwick, “Swing Low, Sweet Chariot,” “Song of the Huntsman” and “Carry Me Back to Ole Virginny.”
The club had the assistance of Amparito Farrar, soprano, possessed of pleasing voice and charming manner. She gave two groups of songs, including numbers by Campbell-Tipton, Kramer, Burleigh, Curran and La Forge,
Chaliapin Scores Success.
That Feodor Chaliapin, Russian basso, was well known to his countrymen was shown Tuesday evening,׳ December 20, when they came in numbers to Arcadia to hear him sing. He was liked not only for his wonderful voice but also for his remarkable interpretative ability. He is intensely dramatic and unconventional in his manner. Schubert’s “Death and the Maiden” and Schumann’s “The Two Grenadiers” were the most familiar numbers. Among others were songs by Glazounoff, Glinka, Rimsky-Korsakoff, Rubinstein, Sakhnovsky and Moussorgsky.
Joseph Stopak, violinist, contributed numbers to the program and found much favor with the audience, while Leo Berdichevsky was impeccable a,s- accompanist.
Two Organ Recitals.
Guy Filkins, organist, gave his second organ recital of the season Monday, December 12, at the Central Methodist
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