23 MUSICAL COURIER I SEE THAT Bruno Walter, Munich conductor, will visit this country next season, leading the Detroit and Minneapolis orchestras in a few concerts as guest. Cecil Arden has been presented with the Order of Merit from Rome. Sonia Yergin, an artist pupil of Samofloff, has made good in Germany. Alexander Russell has been giving Saturday afternoon organ recitals at Princeton University. Reed Miller and Nevada Van der Veer will conduct a summer school at Bolton Landing, Lake George, N. Y. Vladimir Dubinsky, cellist, is now under the management of Hinkle Barcus. Sergei Klibansky left New York on April 15 for a short vacation in Europe. P. A. Tirindelli’s “L’Intruse” was well received when it was played by the Cincinnati Orchestra. George Reimherr will give a “request” program at his recital at the National Theater April 30. The Commencement Exercises at the Cornish School of Music, Seattle, extended over a period of three days. Arthur Rubinstein, pianist, will return to America next season under the management of George Engles. Rosing has given over one hundred recitals in the city of London. An opera class will be a new feature of next summer’s session at the Fontainebleau School of Music. Nashville (Tenn.) is celebrating its first music week (April 22 to 29). Mario Chamlee will sing for President Harding at the White House next Saturday. Renato Zanelli will be one of the principals with the Scotti Opera on its forthcoming tour. Beginning in June, Paul Koschanski will fill concert engagements in South America. The Althouse-Middleton tour is now definitely fixed to open in Sydney on August 12. Mrs. George Lee Bready is terminating a successful season of opera recitals. William Simmons will fill his twelfth . festival date at Spartanburg, S. C, May 4. The first meeting of the Junior Branch of the Washington Heights Musical Club was held on April 15. The Philharmonic Society gave sixty-eight concerts in Greater New York this season. Charles Wakefield Cadman hqs completed what he feels is the most successful concert tour of his career. The popularity of the Vanderpool songs with the Italian contingent in the opera companies continues to grow. The San Carlo Grand Opera Company has just closed a thirty weeks’ tour. Schumann Heink recently sang for the twenty-fifth time in Cincinnati under the management of J. H. Thuman. The Griffes Group adopted that name in honor of Charles T. Griffes, the composer, who died two years ago. Florence Foster Jenkins spent ten days in Washington, D. C., resting after her busy season. The engagement is announced of Dagmar Rybner, pianist and composer, and Joseph Whitla Stinson, lawyer. Marie Novello sailed last Saturday to fill engagements in London. The reappearance of Jeritza at the Vienna Opera House was greeted with unusual enthusiasm. Lee De Forest claims that he has perfected a device for talking motion pictures. An exhibition of Caruso’s art collection is being held at the Canessa Galleries. Emma Calvé will give her farewell recital for this season at Carnegie Hall on May 4. Nine musicians have formed what will be known as the American Music Guild. . Reinald Werrenrath has recovered from his recent illness and is on tour again. Gigli will make his first public concert appearance in New York at Carnegie Hall on May 2. A concert will be given at Town Hall on May 9 to raise funds for the Music Students’ League. Portland, Me., is to have a conservatory of Music at Westbrook Seminary with a faculty of prominent teachers. It is reported that Edward Johnson will sing at the Metropolitan next season. Puccini announces that his new opera, “Turandot,” will be completed very shortly. Gigli was soloist at the final Rubinstein Club concert for this season. Mary Garden has resigned as director of the Chicago Opera Association. Felix Salmond will play at the Pittsfield Festival in September and has also been engaged for next season as soloist with the New York Symphony. Irma Seydet has filled many orchestral engagements during her career. A. summer master course will be conducted at the Cleveland Institute of Music, beginning July 3. The Indiana Federation of Music Clubs recently held a successful three-day convention in Indianapolis. Frances Alda has filled a formidable list of engagements this season. Campanari will be a guest teacher at the Cincinnati College of Music this summer. A movement is being launched to establish an American Opera House. Katherine A. Borland has dedicated her latest work, “The Voice from Calvary,” to Caruso. Emily Stokes Hagar will be one of the soloists at the forthcoming Bach Festival at Bethlehem. May Peterson was severely injured when struck by an automobile last Monday. Caroline Russell Bispham is contesting the will of her late husband, David Bispham. Paul Kempf has purchased The Musician, a monthly educational magazine. Henri Verbrugghen will succeed Emil Oberdorfer as conductor of the Minneapolis Orchestra for the first half of next season. G. N. provided he would promise not to insist upon producing any of his own music. It must discourage a believer in eugenics to think of the colossal brain power of Richard Wagner and the superior intellect of his wife and then realize what the result of their union was. And, after all, the news of Siegfried’s coming may not be true. The sentiment toward Bayreuth has been pretty well felt out during the past winter by some prominent interested persons and they have found that the German-Americans are so occupied in furnishing aid to individuals and charitable institutions in Germany with which they have personal relations, that they have little interest in the project of aiding the revival of Bayreuth. They point out that Munich has been able to revive its festivals without soliciting outside aid and ask why Bayreuth, with its superior tradition, cannot do the same. Also the soliciting of funds for Bayreuth is said to have been mixed up with the paying of large commissions to certain solicitors in a way which had turned away other persons who were genuinely and unselfishly interested in helping the revival project along. ------- CLEVELAND INSTITUTE MAKES NATIONAL APPEAL “Figures Mean Growth,” says a circular just received from the Cleveland Institute of Music, and they certainly do mean a most extraordinary growth in the case of this remarkable institution. Here they are : Seven pupils were enrolled in the Institute when it opened its doors, December 10, 1920 ; sixty-nine pupils were enrolled at the end of the first term of five months; 130 pupils were enrolled when the present year started ; 380 pupils have enrolled in the past six months. These are from eleven Ohio cities and towns, and from Buffalo, New York and New Haven; thirty-six teachers are among the enrolled pupils ; twenty-two partial scholarship pupils and three full scholarship pupils are at the Institute ; three branches have been opened by the Institute; twenty-one teachers are on the faculty; 175 persons, in addition to the students, have attended the free lecture course under Mr. Bloch ; fifty men and women have formed a chorus conducted by Mr. Bloch which meets regularly every Monday evening. The fact that so eminent a musician and composer as Ernest Bloch is musical director of the Institute has had much to do with its growth, but the management and the assistant teachers must also be commended. A summer master course is now announced, beginning July 3 and ending August 12, the teachers being Ernest Bloch, Guido Silva, Beryl Rubinstein, André de Ribaupierre and Edwin Kraft. ----#---- THE CINCINNATI ORCHESTRA Cincinnati closed its symphonic season last week, a season that has been productive of exceptional results for the organization, financially and artistically, under the conductorship of Eugene Ysaye and with A. F. Thiele as business manager. Several novel features were included in the activities of the Cincinnati Orchestra this season, one of the most important of them being the educational concerts for young people, designed to serve as special training in musical appreciation for children of the public schools as well as music students. During the four years incumbency of the present conductor and the business manager, the Cincinnati Orchestra has visited 119 cities in nineteen States and Canada, playing to approximately 322,000 persons. The largest audience attending any one concert was in Milwaukee, where 7,327 listeners crowded into the auditorium there. Next in size were the audiences in New York at the Hippodrome, where the attendance was 5,200, and in Atlanta, where an afternoon concert for children brought out 5,219 school children and their teachers. The territory covered by the orchestra’s tours during the past four years has embraced practically every section of the United States, except the Far West. A very flattering and very well deserved article in the Cincinnati Inquirer of April 21 points out that the symphony orchestra there has become a true civic asset, that the name and fame of Cincinnati have been carried into many cities on tour, that the home concerts are an established part of the general life of Cincinnati, and that the painstaking rehearsals and the enthusiastic participation of the conductor and his players made the series one of the most elevat-vating and enjoyable that Cincinnati ever has experienced.. Compliments are paid to Ysaye as a program builder and a baton artist whose ability is balanced nicely between respect for the classics and responsiveness toward the work of the modern creators. Cincinati has every reason to be proud of its fine orchestra and conductor and to look forward to further symphonic enjoyments next winter. April 27, 1 922 VARIATIONETTES (Continued from page 21) ment, Mr. Huebsch is right indisputably ; Mr. Dam-rosch should have climaxed his courageous onslaught by mentioning the names of those guest conductors who employ the claque. The Musical Courier suggested this course to Mr. Damrosch immediately after his speech was published in the daily papers. It is not yet too late for the omission to be rectified. Justice, in fact, seems to demand the step as a defense of the innocent. *I *? »5 J. P. F. inquires: “New York’s Music Weak?” ^ ^ ^ If Oley Speaks, why does not William Tell? Here is one of the best of the “Tales of Hofmann” : New York, April 22, 1922. My dear Mr. Liehling:— You would very highly oblige me by letting me know whom you consider the supreme interpreter of the “Moonshine” sonata. Is it Ernest Hootcheson or Feruccio Boozoni ? Thanking you in advance for your very kind reply, I am, Most sincerely yours, Josef Hofmann. •t Neither, Josef. It is Mortimer Wiske, conductor of the Newark Festival. * » w And prohibitionally speaking, there is not much kick in Meyerbeer or in Mendelssohn’s “Scotch” symphony. *i *i It is not true that the name of “Cavalleria Rusti-cana” is to be changed to “He Who Gets Bitten.” »5 H *i Good-bye, grand opera. Take keer yourself. Leonard Liebling. -—--------- THE SAN CARLO SEASON Having closed a thirty weeks’ tour of his San Carlo Opera organization which has again spanned the continent and included most of the important cities in the United States and Canada, Impresario Fortune Gallo looks back once more upon the achievements of his ensemble with his customary satisfaction. A remarkable fact is that the prevalent widespread business depression, a condition which has worked severe hardships upon many worthy musical and theatrical projects, has affected the patronage of the San Carlo in but one or two isolated cases. This seems to show that the company has such a strong popularity that its success remains unimpaired by outward conditions. Recent engagements in St. Louis, Detroit and Toronto were of a record breaking character. The Gallo forces dosed their season in Buffalo Saturday evening, April 22. The 1922-23 season will, as usual, open in New York City, and according to Charles R. Baker, business manager of the organization, Mr. Gallo aims to make the coming tour of his songbirds the most pretentious of the company’s career. -----«־--- S. P. OF A. M. BULLETIN Under date of March 18 the Society for the Publication of American Music issues a bulletin giving information as to its most recent publications, those for this season, 1921-22, being as follows: quartet for strings, David Stanley Smith, op. 46; quartet for strings, Tadeuz Iarecki, No. 3, prize quartet for Pittsfield Festival of • 1918. Other publications of the society are: Sonata for clarinet and piano, Daniel Gregory Mason, op. 14; quartet for strings, Alois Reiser, op. 19; quartet for strings, Henry Holden Huss, op. 31; quartet for strings, Leo Sowerby, “Serenade.” As already announced, the society will receive applications for the publication of original compositions for the season 1922-23 not later than October 15, 1922, on which date they should be in the custody of the society’s secretary and submitted in the usual manner under assumed names. The secretary is William Burnet Tuthill, Room 1608, 185 Madison avenue, New York. The society does not encourage the submission of works of doubtful intrinsic value or questionable technic. It is understood that for the present only chamber music works will be considered. -----<$>-- “NOTHING” Not long ago the New York Times published on the front page the news that Siegfried Wagner is coming to this country soon to raise funds for the Bayreuth Festival planned for 1923. The Musical Courier published this news in the issue of September 15, 1921, remarking at the same time that the smaller Wagner might be welcome as a collector