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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 IS. Hugo Kortschak, Institute of Musical Art, 120 Claremont avenue, New York City. William Burnett Tuthill, 185 Madison avenue, New York.
The National Federation of Music Clubs—$1,000 for a lyric-dance-drama ($400 for the libretto and $600 for the composer). Libretto to be in hands of judges May_15; completed work in hands of judges December IS. Mrs. Edwin B. Garrigues, chairman Composition Committee, Room 201, Bellevue-Strat-ford Hotel, Philadelphia, Pa.; $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 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.
New York School of Music and Arts—Ralfe Leech Sterner offers scholarship to voice student and Frederick Riesberg offers scholarship to piano student. New York School of Music and Arts, 150 Riverside Drive, New York.
De Reszke Student Engaged
Paris, France, January 3, 1922.—Juan Lorenzo, the Spanish baritone, has been especially engaged by Renaldo Hahn to sing the “Barber of Seville” at Cannes in February. He is a vocalist of unusual facility and has sung with great success at Nice and Monte Carlo. He was “discovered,” while fighting in the French army, by Jean de Reszke, who gave him his training for a singer’s career.
Namara to Sing in Baltimore
Marguerite Namara, who sang the title role of “Thais” in Chicago with success, appeared recently in Memphis, Tenn., in concert. On January 31 she sang in Baltimore at the Lyric Theater.
Mary Jordan Returns South
After filling a number of engagements in the vicinity of New York, Mary Jordan has returned South. February 1 she gave a recital at Galveston, Tex.
Three Piano Cycles
BY
Charles Wakefield Cadman
ORIENTAL SUITE (Omar Khayyam) $1.25
1.	Underneath the Bough
2.	The Desert’s Dusty Face
3.	Merry with the Fruitful Grape
4.	Within the Potter’s Shop
IDEALIZED INDIAN THEMES
Op. 54 $1.00
1.	The Pleasant Moon of Strawberries
2.	From the Land of the Sky-Blue Water
3.	The Sadness of the Lodge
4.	The Return of the Braves (Marche Fantastique)
THUNDERBIRD Op. 63 - - $1.25
1.	From the Village
2.	Before the Sunrise
3.	Nuwana’s Love Song
4.	Night Song
5.	Wolf Song (War Dance)
(None of the pieces in these cycles are published separately)
Order of your local dealer or of the publishers.
WHITE-SMITH MUSIC PUBLISHING CO.
BOSTON 11, MASS. NEW YORK	CHICAGO
40-44 Winchester St. 13 East 17th St. 316 So. Wabash Ave.
MUSICAL COURIER
BALTIMORE BEGINS BUSY
SEASON AFTER HOLIDAYS
A Variety of Programs Prove Interesting and Draw Good Sized Audiences
Baltimore, Md., January 18, 1922.—The Christmas lull in musical activities was broken by the De Feo Opera Company on December 26, 27 and 28 in a matinee of “Hansel and Gretel,” and evening performances of “La Boheme,” Rigoletto ’ and “Madame Butterfly.” The operas were well given and attracted favorable comment.
A Christmas program was given at the Sunday concert at the Pier on January 1 by the choir of St. Ann’s" Catholic Church, whose organist and director is H. H. Linhard. The soloists were Mrs. Charles R. Proffen, Mae Doeder-lein, Theresa Willax, Joseph Pentz, John Thillman, J. Walter Fairley. The concert of January 8 was given by the Jewish Educational Alliance Orchestra, Bensamin Klasmer conductor. One of the features was a violin “Concertino” (Gustav Strube), played by a talented young musician, Bensamin Sosmer, and accompanied by Carrie L. Clarke. A cornet solo was played by Louis Sorokin. On January 15 the artists were Mary Cizauskus, Lillian Howard, Estelle C. Amolsky, Helen Weishampel and Katherine Lucke.
Paul Kochanski gave an enjoyable recital on January 3 with the able assistance of Gregory Ashman at the piano. Mr. Kochanski’s program covered a wide range of time and style, with selections from Vivaldi, Chopin, Brahms and Kreisler. He was warmly received. This recital was the last of the delightful University Course arranged by William A. Albaugh.
The Philadelphia Orchestra appeared on January 11 with Vincent D’lndy as guest conductor. The most interesting number was the conductor’s own composition.
The second concert of the Baltimore Symphony Orches-tra, _ January 15, opened a week that is crowded with musical attractions. The program was felicitously chosen, and the concert proved one of the best that Director Strube and his musicians have given. Helen Jeffrey, violinist, was the soloist.
Mabel Garrison, lyric soprano, whom Baltimore claims as her own no matter how many years she lives in New York, gave a recital to her usual crowded house on January 17. Audiences for other musicians may be affected by bad weather, hard times, or other concerts, but Mabel Garrison is sure to draw a packed house in Baltimore, and to be applauded violently. She sang with her usual grace and charm, ably assisted by George Siemonn at the piano.
H. F.
Klibansky Pupil for Pacific Coast
Miriam Steelman, artist pupil of Sergei Klibansky, has been selected from among seventy aspirants for a five months’ tour to the Pacific Coast. Among other announcements of Sergei Klibansky are these: Lottie Howell, who has been engaged by Mr. Hinshaw to sing the soprano role in the “Impresario” by Mozart, is singing this week at the Albany Theater, Schenectady, N. Y.; Dorothy Claassen has been engaged for All Soul’s Church, New York; Katherine Mortimer Smith sang in Plymouth, Pa.. December 25 and 31. Sara Lee will be soloist with the Plainfield Symphony Orchestra in March; Elsie Duffield was successful at a concert at Washington Irving High School, January 8; Juliette Velty sang at the reception given by Mr. Lafarge, January 8.
Mr. Klibansky has been giving several pupils’ recitals at the Institute of Applied Music; another will be given February 10 at Germania Hall, Brooklyn; February 17 at the Y. M. C. A., and February 22 a concert under the direction of the Evening Mail. Alveda Lofgren, another Klibansky pupil, will give a concert in Middletown, N. J., February 18. Grace Lidane sang at a concert at the Washington Irving High School, January 15.
Williamsport Lauds Patterson
On January 25, Idelle Patterson appeared in Williamsport, Pa., at the celebration for the twenty-second anniversary of the local order of Scottish Rite Masons. According to the Grit, Miss Patterson “won immediate favor by her ^remarkable rendition of the ‘Mad Scene’ from 4Lucia.’ ” And, to continue quoting this same paper: “The soloist came with an artistic reputation of the highest character and fully sustained it.” On Miss Patterson’s program, besides the Donizetti aria, was “Come, My Beloved” (Handel), “Hay fields and Butterflies” (Del Riego), “Ram” (Curran), and “Chanson Provencal” (Del Acqua).
On February 12, the soprano sings in concert in Boston for the Boston Athletic Association.
Louis Kazze Plays at MacDowell Gallery
The Dramus, May Arno founder and director, gave an interesting evening of plays and music at the MacDowell Gallery, January 28. Louis Kazze gave two groups of piano solos, including a Rachmaninoff prelude, “Troika” by Tschaikowsky, and “Valse Caprice” by Rubinstein. He played with a firm touch, had energy, and showed intelligence in his interpretations. Zona Maie Driswold sang Micaela’s aria from “Carmen,” Lieurance’s “By the Waters of Minnetonka” and a Brahms song. She has a pleasing soprano voice of brilliancy and color. Several interesting one-act־ dramas were presented, and one of the best of the dramatic readings was the potion scene from “Romeo and Juliet,” given by Anne Dale.
Gescheidt Pupils Win More Success
Albert Erler, basso, has been engaged by the Ellison-White Bureau for a twenty weeks’ western coast tour, beginning in April; also as soloist of the Third Presbyterian Church of Newark, N. J. Lucille Banner, another young artist with remarkable coloratura ability, was soloist at the banquet of physicians of the People’s Hospital at the Hotel Biltmore^ January 22, and also engaged as soloist for the 75th anniversary of Central Synagogue, N. Y. Frederic Baer, a baritone of unusual quality and range, appeared as soloist, January 24. with orchestra, at Masonic Temple, Brooklyn, Sandolphin Lodge; he was also soloist, January 27, for the seventy-fifth anniversary services of the Central synagogue, N. Y.
February 9, 1922
W. Paxton & Co., Ltd., London
“MAYTIME AND PLAYTIME,” five easy duets for piano beginners by Ernest Newton. Descriptive studies for the teacher of youngsters. There is nothing the kiddies love better than an interesting duet.
Clayton F. Summy Company, Chicago
“THE DEERS,” “COUNT YOUR BLESSINGS,” and “MIRACLES,” three readings with music by Clay Smith. There is a great demand for this type of composition, and the firm of Summy seems to have a wealth of them. When well done there is nothing more entertaining. The above compositions are equally effective as songs.
Composers’ Publication Society, Philadelphia “SAVE LORD, OR WE PERISH,” an anthem for chorus by T. Tertius Noble. Another number for the church choir by this composer who has contributed so many selections for the religious service.
G. Schirmer, Inc., New York
“THE INVITATIO'N” and “THE DANCING LESSON,” two characteristic pieces for the piano by the prolific composer, Rudolf Friml. Teaching numbers for not too advanced students. Very short and exceedingly simple.
“THE BALLET,” “IN MERRIE ENGLAND” and “PEASANT DANCE,” three dances in early grades for beginners, by Mathilde Bilbro. Excellent selections for the teacher who wants variety, demanded by the very young student. This observation is based upon numerous conversations with teachers from all parts of the country. The child mind' must be stimulated.
“THE EVENING HOUR” and “LIGHT AT EVENINGTIME,” two hymn-anthems by Oley Speaks and arranged by Lucian G. Chaffin. Vesper anthems for four-part chorus of mixed voices with solos and organ accompaniment. The first is with soprano and ténor solos and the last is with soprano solo.
“JUBILATE DEO” and “TE DEUM LADAMUS,” two numbers for four-part chorus of mixed voices with organ accompaniment, by Bernard Johnson. These selections belong to Schir-mer’s new catalogue of church music.
“A LITTLE SUITE,” of pieces for the piano, by Adolf Weidig. Second and third grade work for young students. There are six of these little numbers in the set. Each one a descriptive composition. In the hands of good teachers they could be made not only interesting for the beginner as exercises, but also pieces with a melody to play for admiring friends. Nothing delights a child more than to learn this type of composition with which to “show off.”
Oliver Ditson Company, Boston “APRIL IN CHURCH,” by Harry O. Osgood. Spring, youth and happiness are embodied in this newest contribution from the versatile composer. There is a subtle humor in the lyric that makes this number unique, and the setting enhances the piquancy, thereby making it most acceptable for the recital program.
“HEAR, FORGIVE AND SAVE,” by Lillian Taitt Sheldon; words by Eliza Morris. A sacred song for any voice.
“O' SAVIOUR OF THE LOST,” by Arthur F. M. Custance. Another sacred song from the same series.
“SO NEAR TO GOD,” by William Arms Fisher, to text by Gordon Johnstone. Written for the medium voice in E flat and high in F. A most acceptable sacred song.
The Willis Music Company, Cincinnati
“PIANO PICTURES,” for the little artist, by Edouard Mayor. There is nothing so important as stimulating the youthful mind with the correct material. This little folio contains ten simple compositions for the tiny tots who are just beginning. Each selection has an illustration to be colored and words to create a picture. There is also a key for the teacher, so that the child may learn, each hand separately.
“SUNNY RHYMES,” from childhood, for the piano, by E. C. Tracy. Another book of easy pieces for children. They are also published separately in sheet form. Excellent numbers.
The Heidelberg Press, Philadelphia
“SUNNY EYES,” a song with violin and cello obligato, the words and music by Russell J. England. A lullaby with easy melody carried in the accompaniment. The lyric pictures a negro mammy crooning to her babe as she rocks him to sleep. The same type of song as “Mighty Lak a Rose.”
“OVER THE HILLS TO YOU,” song, with violin and cello obligato. Words are by Russell J. England and music by Clay Smith. Composition of the lighter type, with love theme. Encore number or for the studio. Ideal solo with illustrated setting for the movies.
W. A. Quincke & Co., Los Angeles, Cal. “DRIFTING CLOUDS,” by Walter A. Quincke. A tone poem for young students of the piano, fourth and fifth grades. Good work in fingering, which is clearly marked. Also exercising the left hand. Pupils’ recital number.
“ON THE LAGOON,’’ another number of the same series by Walter A. Quincke. This selection is for third and fourth grade students. Both of these numbers can not fail to interest the pupil, and they answer the double purpose, exercises and for the school concert.
John H. Densmore, Publisher, Brookline, Mass.
“THE VOICE AND THE FLUTE,” an aria for soprano and flute by John H. Densmore; words by Mary Gardenia. It is in truth an aria, and a brilliant composition only for the coloratura voice. The piano accompaniment is effective and at the same time without too difficult a construction. A recital number for the best artists that lends itself gracefully to the voice. There are innumerable runs and trills, with the flute answering as an echo. Only a finished student should attempt this, but when mastered it would show not only the beauty of the voice but also its qualifications. A composition that demands serious consideration.
Jacob Reuter, Publisher, Wausau, Wis.
“BERCEUSE” (No. I), for violin and piano, by the well known teacher, Jacob Reuter. A study for violin pupils not too advanced.
“THE CLOWN,” Morceau Caractéristique, by the same composer, for violin and piano. This study is more difficult and a longer composition. Not only for the studio, but also a concert number. Good exercise for the bow arm and use of the pizzicato with difficult passages in fingering.
“SWEET REMEMBRANCE,” also for the piano and violin. A simple little number with melody, and not difficult.
“NOCTURNO,” perhaps the most brilliant of all of the selections by Mr. Reuter, reviewed here; for violin and piano. Another composition for the teacher.
“WHEN THE EYES SPEAK,” a song by Jacob Reuter. Arranged for high and low voice. A study in larghetto and phrasing.
White-Smith Music Publishing Company, Boston
“HEAR THOU, WEARY TRAVELER,” a sacred song by Charles Huerter, set to words by Maude H. Lyman. A new church number from the 1922 catalogue of this house. Written in the key of G.
“THE LOVE MOON,” music by Ernest Harry Adams, to words by Lilian Middleton. In the key of A flat. The setting has broad, sweeping chords that carry the melody. A love ballad.
M. J.
Fergusson Artist Scores
A joint recital by Tom Williams, baritone (pupil of George Fergusson), and Justin Williams, brother of the singer and a successful pianist, under the management of a third brother, Rhys I. Williams, is certainly a unique and rare combination. Of the singing of Tom Williams the New Castle, Pa., Herald wrote:
Tom Williams again demonstrated his many excellent qualities in fine singing, resonant tone, clear dicticm, and in his ability to enter the mood of the composer. His voice js one of tremendous power, and a big future is predicted for him.