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MUSICAL COURIER
February 23, 1922
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. 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 15. 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.
Harmony Club of Fort Worth, Texas, $500 at the next biennial of the National Federation of Music Clubs for the best one-act opera by an American composer. Mrs. John F. Lyons, 900 Southland avenue, Fort Worth, Texas.
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. 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 England Conservatory of Music—$450 in prizes to students of the school. Ralph L. Flanders, New England Conservatory of Music, Boston, Mass.
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.
ensemble training of the participants. The outstanding piano students were, first and foremost, Ida Winegor, who played, together with her teacher, a concerto by Haydn, in which she revealed a well rounded technical equipment as well as singing tone; others who distinguished themselves by their pianistic ability were Fannie Berman, Sadie Rabino-witz and Jennie Adus.
Mr. Frank deserves much praise for his excellent work. Few teachers can boast of such a uniform precision when presenting so large a class. The young pianists who appeared were:	Anna Diamond, Samuel Phillips, Lottie
Hengber, Ethel Zuckerman, Ida Silverman, Frieda Kaplan, Sylvia Altshuler, Lena Rosenthal, Esther Lesch, Ethel Epstein, Mary Kuritzky, Julia Cohen, Fannie Lerner, Gussie Steinbart, Sadie Bevtin, Julius Cohen and Samuel Cohen.
Among the violinists (all pupils of Julius Miller) particular mention must be made of Harry Aleshinsky, who played De Beriot’s “Scene de Ballet”; Ethel Levine, who was heard in the “Meditation” from “Thais,” Massenet, and Maurice M. Frank, who played De Beriot?s brilliant concerto No. 6.
Other pupils of Miller who appeared were Benjamin Joseph, Abraham Cohen, Anna Liebman, Samuel Miller, Solomon Pearlmutter, Henry B. Goldman, Samuel Frieberg, Raphael Huberfield, Sol Karlin, Benny Joseph, Bernard Moses, Nathan Cohen and Rebecca Heiger. The selections from “Le Prophete” and “Tannhaeuser,” arranged by Borris B. Feibisch, proved exceptionally interesting and received warm applause. These works were played with good׳ tonal balance.
How Caruso became the greatest tenor of the age
CARUSO
and the Art of Singing
By SALVATORE FUCITO and BARNET J. BEYER
Caruso’s official coach describes in detail the study methods of the great tenor including ־breathing, tone production and the very vocal exercises he actually used. A book of inestimable value to teachers and students.
Fully illustrated, $3.00
FREDERICK A. STOKES COMPANY
443 4th Avenue	New York
WHERE THEY ARE TO BE
From February 23 to March 9
Reuter, Rudolph:
Chicago, 111., Feb. 28.
St. Denis, Ruth:
Greensburg, Pa., Feb. 24. Salvi, Alberto:
Clarksdale, Miss., Feb. 23.
St. Louis, Mo., Feb. 25. Schelling, Ernest:
Washington, D. C., Feb. 26. Dobbs Ferry, N. Y., March 2. Philadelphia, Pa., March 3-4.
Schumann-Heinke, Mme.
Greeley, Colo., Feb. 24. Wichita, Kan., Feb. 27. Hutchinson, Kan., March 1. Shawnee, Okla., March 3. Seidel, Toscha:
Manchester, England, Mar. 4. Shawn, Ted:
Greensburg, Pa., Feb. 24. Sousa’s Band:
Asheville, N. C., Feb. 23. Columbia, S. C., Feb. 24. Charlotte, N. C., Feb. 25. !Durham, N. C., Feb. 27. Raleigh, N. C., Feb. 27. Greensboro, N. C., Feb. 28. Winston-Salem, N. C., Feb. 28. Danville, Va., March 1. Lynchburg, Va., March 1. Norfolk, Va., March 2-3. Richmond, Va., March 4. Sparkes, Lenora:
Pine Bluff, Ark., Feb. 24. Grenada, Miss., Feb. 27. Tuscaloosa, Ala., March 2. New Bern, N. C., March 6. Steel, John:
Syracuse, N. Y., Feb. 27-
March 4.
Watson, Pauline:
Mansfield, CL, Feb. 24. Zerola, Nicola:
Washington, D. C., Feb. 24.
McCormack, John:
Portland, Me., Feb. 24.
Boston, Mass., Feb. 26. Brooklyn, N. Y., Feb. 28. Maier, Guy:
Montreal, Can., Feb. 23. Washington, D. C., Feb. 26. Harrisburg, Pa., Feb. 28.
St. Louis, Mo., March 3-4. Montgomery, Ala., March 9.
Menth, Herma:
Sandusky, O., Feb. 24.
Miura, Tamaki:
Seattle, Wash.,. Feb. 20-25. Tacoma, Wash., Feb. 27-28. Spokane, Wash., Mar. 1-2. Calgary, Alberta, March 6-8. Edmonton, Can., March 9. Morini, Erika:
Buffalo, N. Y., Feb. 23. Norfolk, Va., Feb. 27.
Ney, Elly:
Boston, Mass., Feb. 25. Houston, Tex., March 3.
New Orleans, La., March 6. Chattanooga, Tenn., March 9.
Pattison, Lee:
Montreal, Can., Feb. 23. Washington, D. C., Feb. 26. Harrisburg, Pa., Feb. 28.
St. Louis, Mo., March 3-4. Montgomery, Ala., March 9. Patton, Fred:
Brooklyn, N. Y., Feb. 26. Peege, Charlotte:
Memphis, Tenn., Feb. 23. Prihoda, Vasa:
Hanford, Cal., Feb. 23. Modesto, Cal., Feb. 24.
San Francisco, Cal., Feb. 27, Los Angeles, Feb. 28. Portland, Ore., March 8. Tacoma, Wash., March 9.
Galli-Curci, Amelita:
Rochester, N. Y., Feb. 27. Garrison, Mabel:
Newark, N. J., March 5. Gerhardt, Elena:
Detroit, Mich., Feb. 23-24. Gruen, Rudolph:
Albuquerque, N. M., Feb. 28. Heifetz, Jascha:
Dayton, Ohio, Feb. 23.
Terre Haute, Ind., Feb. 27. St. Louis, Mo., Feb. 28. Indianapolis, Ind., March 2. Philadelphia, Pa., March 6. Wheeling, W. Va., March 9. Hess, Hans:
Davenport, la., Feb. 26. Chicago, 111., Feb. 28.
Hess, Myra:
San Francisco, Cal., Feb. 23. San Jose, Cal., Feb. 24.
San Francisco, Cal., Feb. 28. Los Angeles, Cal., March 3. Kerns, Grace:
Albany, N. Y., Feb. 23. Konecny, Josef:
Lamar, Colo., Feb. 23.
Las Animas, Colo., Feb. 27. La Junta, Colo., Feb. 28. Rocky Ford, Colo., Mar. 2. Lennox, Elizabeth:
Newport News, Va., March 2. Letz Quartet:
Aurora, N. Y., March 2. Saratoga Sp’gs, N. Y., Mar. 7. Northampton, Mass., March 8. Boston, Mass., March 9.
Lhevinne, Josef:
Cedar Rapids, la., Feb. 23. Sioux Falls, S. D., Feb. 24. Milwaukee, Wis., Feb. 26. Green Bay, Wis., Feb. 27.
Alcock, Merle:
Clinton, la., March 8.
Alda, Frances:
Lancaster, Pa., Feb. 25. Clearfield, Pa., _ Feb. 27. Anderson, Marion:
St. Louis, Mo., Feb. 23.
Fisk, Tenn., Feb. 24. Birmingham, Ala., Feb. 27. Arden, Cecil:
Ridgewood, N. J., March 9. Barber, Lyell:
Washington, D. C., March 2. Baroni, Alice:
Nashville, Tenn., Feb. 23. Memphis, Tenn., Feb. 25. Little Rock, Ark., Feb. 27-28. Bessnier, Eugenier: Poughkeepsie, N. Y., Feb. 27. Peekskill, N. Y., Feb. 29. Braslau, Sophie:
Tucson, Ariz., Feb. 28.
Los Angeles, Cal., March 3-4. San Diego, Cal., March 6. Redlands, Cal,, March 7. Buhlig, Richard:
Los Angeles, Cal., Feb. 24. De Cisneros, Eleonora: Washington, D. C., Feb. 24. De Kyzer, Marie:
Stamford, Conn., Feb. 27. Dux, Claire:
Detroit, Mich., March 9. Fanning, Cecil:
Santa Ana, Cal-, Feb. 28. Flonzaley Quartet:
Kingston, Can., Feb. 23. Detroit, Mich., Feb. 25. Schenectady, N. Y., Feb. 27. Plainfield, Mass., Feb. 28. Long Branch, N. J., March 1. Millbrook, N. Y., March 2. Princeton, N. J., March 3. Boston, Mass., March 9.
Zimbalist displayed his ample technic and solid musicianship to good effect in the hackneyed D minor concerto by Vieuxtemps, the “Prize Song,” and “Zigeuner-weisen” by Sarasate. Harry Kaufman’s accompaniments were of uniform excellence. Eleanor Scheit, who accompanied Mme. Gluck, rendered admirable support.
Chorus Concert.
A delightful concert was given January 22, at the Auditorium, by the Denver Teachers’ Chorus Club, numbering eighty voices, when Gounod’s “Gallia” and Bliss’ “A Midsummer Night” were given a fine performance. The soloists were Florence Reid, dramatic soprano; Ethel Combs, lyric soprano; Muriel Austin, mezzo-soprano, and Elizabeth N. Fowle, contralto. The director was William Alfred White, music supervisor of public schools, and accompaniments were supplied by Clarence Reynolds, municipal organist, and Pauline Harper, pianist.
Werrenrath’s Program.
Reinald Werrenrath, whom his press agent ardently proclaims “America’s leading baritone” has a voice of lovely, rich timbre, which he uses with complete artistry. One rarely hears such perfect production, or feels such a sense of confidence in an artist’s absolute control of his vocal apparatus. Everything Mr. Werrenrath sings is imbued with such charm of individuality that interest never flags. He is a master of enunciation, whether it be French, German, Italian or English, and seems to feel the inmost poetic sense of what he sings at all times. This concert was one of the Slack series.
Paul Clarke Stauffer Recital.
Paul Clarke Stauffer, head of the Denver Conservatory of Music, presented some of his students in a piano recital at Knight-Campbell Hall, January 26. A capital program was creditably presented to an enthusiastic audience, the last number being the first movement of the Rubinstein concerto, played by Chester Garbutt, with Mr. Stauffer at the second piano. Those taking part were Blanche Calkins, Dorothy Waltman, Homer Pennington, Russell Grimes, Dorothy Ford, Mary Frances McGuire, Gwendolyn Ash-baugh, Chester Garbutt, Marjorie Skivington and Hugh Miller.
Ginsburg Recital.
The third monthly faculty recital of the Wolcott Conservatory of Music presented, on the evening of January 27, the excellent violinist, Henry Trustman Ginsburg, of whom we have previously written. Possessed of a scintillating technic and a tone of breadth and luscious beauty, Mr. Ginsburg is a violin virtuoso of whom Denver has every reason to be proud. The following program was given with brilliance and finish: concerto, E minor, Mendelssohn; “Slavonic Dance,” No. 2, Dvorak-Kreisler; “Ave Maria,” Schubert-Wilhelmj; “Caprice,” No. 20, Paganini-Kreisler; sonata, Rust; “Polonaise Brillante,” Wieniawski; “Zigeunerweisen,” Sarasate. La Veta Bertschy gave excellent support at the piano.
Anna Knecht Recital.
On the evening of January 28, the piano pupils of Anna Knecht gave a program of unusual interest at the Knight-Campbell Hall, assisted by Tommy Herbert, a five year old violinist, pupil of Josephine Trott, who played the concertino No. 4 of Huber with astonishing ease and fluency for so young a child. The program disclosed much excellent pianistic talent and showed clever work on the part of both teacher and students. The following were presented: Louise McCreery, Louise Koepcke, Inez Norgren, Agnes Obery, Esther Hackmeister, Riccarda Farrest, Julia Wiener, Virginia Parfet, Eileen Spence, Isabel Marsh, Inga Black and Estella Moore.	J. T.
Frank and Miller Pupils in Recital
Jacob Frank, piano teacher, and Julius Miller, violin teacher, presented a number of their pupils in recital at Carnegie Chamber Music Hall, New York, on February 12. A large and enthusiastic audience attended.
The program was made up of piano selections for two, four and six hands, which served to emphasize the good
DENVER DELIGHTED WITH
SAN CARLO OPERA COMPANY
Varied Bill Offers Many Inducements to Opera Goers— Numerous Recitals Also Attract
Denver, Col., February 1, 1922.—With several fine performances by the Scotti Opera Company in the fall, four popular offerings by the San Carlo Company, beginning January 3, and the prospect of another visit from the Chicago Opera Association in the spring, Denver is getting quite a metropolitan taste of opera this season. The engagement of the San Carlo Company was due to our energetic local manager, A. M. Oberfelder, and was highly successful. The company has made big improvement since its last Denver appearance, and the four operas presented were given gratifying performances. The general ensemble is of decidedly higher quality, the soloists are chosen with better personal qualifications for their roles, and the settings are far more attractive than before.
“Rigoletto,” given the first night, served to introduce a wonderful young Gilda in Josephine Lucchese, who possesses a fresh, sparkling voice of crystalline clearness, limpid, facile, absolutely true to pitch; her Gilda was a triumph. The role of Rigoletto was sung by Joseph Royer, with splendid dramatic sense and excellent vocal ability. Romeo Boscassi, as the Duke of Mantua, was well cast; he is especially prepossessing in appearance and has a fine dramatic tenor voice which he uses to excellent advantage. His acting, also, was marked by an unusual finesse and sincerity which made his work a pleasure.
Verdi’s “Aida” was the opera selected for the second evening and was given a very good presentation. Without question, the outstanding artist of the cast was Bianca Saroya in the title role; she has a dramatic soprano voice of telling power and quality, and also acts cleverly,^ her portrayal of the part being convincing as well as fascinating. Both Miss Saroya and Miss Lucchese are great “finds” for the San Carlo Company. Gaetano Tomma-sini, as Radames, was a stunning young Egyptian warrior and sang and acted the part acceptably. Mario Valie, as Amonasro, made much of small part. His voice is rich and capable, and of great variance of feeling. Nina Fras-cani played Amneris skillfully and the chorus did some particularly admirable singing.
“Madame Butterfly,” with Tamaki Miura as Cio-Cio-San, filled the auditorium for the Thursday matinee. The little Japanese prima donna, with her appealing lyric voice and remarkable acting, as well as her unstudied poses and unaffected manner, delighted the audience. Giuseppe Agostini, as Pinkerton, left little to be desired in singing or acting; his Pinkerton was boyish and imaginative and beautifully sung. Mario Valie made a. dignified Sharpless. Joseph Tudisco was a splendid Goro.
The concluding opera of the series was “II Trovatore,” given the same evening. Bianca Saroya proved her versatility as Leonora. Romeo Boscacci was an excellent Manrico and Miss Frascani, as Azucena, sang and acted well.
Ernest Knoch, who conducted the four performances, achieved a genuine success at his important post.
Middleton and Althouse Concert Delightful.
Mr. Oberfelder again provided a treat for Denver music lovers on January 6, when Arthur Middleton and Paul Althouse gave a joint recital in the auditorium, and from the point of vocal beauty it proved to be one of the best concerts of the season. Both artists were in excellent voice and gave of their best unstintingly. They were recalled so many times that the program was almost doubled. The several duets gave especial pleasure, the two beautiful voices blending ideally.
Gluck and Zimbalist.
A sold-out house greeted these two favorite artists who appeared at the Auditorium, January 16, under Robert Slack’s management. Mme. Gluck’s charm and beauty, and her delightful stage deportment always endear her to her audience, and she was recalled again and again. One of her most interesting numbers was a “Russian Folk Song” by Zimbalist, which she was forced to repeat. Mr.