June 29, 1922
MUSICAL COURIER
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James E. Bagley; first vice president, Mrs. C. L. Overlander ; second vice president, Walter J. Kugler; treasurer, Alfred DeVoto; financial secretary, Homer C. Humphrey; auditor, Henry M. Dunham; recording secretary, Bertha S. J. Graves; corresponding secretary, Minnie B. Fox; directors: Mrs. G. K. Bancroft, William L. Gray, Alice Hamlet and Harold H. Logan.
Louise Homer Receives Honorary Degree at Tufts.
The degree of Master of Arts was given to “Louise Betty Homer, of Bolton, N. Y., opera singer,” at the sixty-sixth annual commencement exercises of Tufts College last Monday, at College Hill, Medford, Mass. The award was made before a large gathering of distinguished guests and was conferred by President John A. Cousens of the college.
Boston Artists Go Abroad.
The annual summer exodus of local artists is well under way. Europe seems to be exercising its pre-war fascination. claiming three more willing victims during the past week. Laura Littlefield, the popular soprano, sailed from Boston last Friday on the S. S. Carmania. Dorothy Parker, her accompanist, sailed with Mrs. Littlefield. They will visit France. England, Switzerland and Germany, returning to America in late September for the beginning of her concert season.
Felix Fox and Harrison Potter, both members of the faculty of the Felix Fox School of Pianoforte Playing, and both of them solo pianists of striking merit, sailed from New York last Saturday on a French liner. Messrs. Fox and Potter will spend most of the Summer in France, Mr. Potter doing considerable work with Isidore Phillip, who was the teacher of Mr. Fox.
Other Boston artists now in Europe are Georges Longy, Richard Burgin. Arthur Fiedler and Jean Bedetti—all members of the Boston Symphony Orchestra. Pierre Monteux, the French conductor, who went abroad directly after the close of the Symphony season, sailed for New York from Havre last Saturday on the S. S. Paris. Mr. Monteux will join his family at Northport, Maine, immediately following his arrival.
American Opera Company Plans.
Nicola Oulukanoff, Russian baritone and well known vocal instructor, also organizer and general manager of the American Opera Company, announces that his company will give a season of operas sung in English during October, in Jordan Hall. After the Boston season he plans a tour of the largest New England cities, and preparations are being made to give a number of performances in New York City. Rodolfo Fornari and Mr. Oulukanoff, both members of the original Boston Opera Company, will direct the performances with the assistance of Ethel Freeman in training and rehearsing. The opening operas will include “Pagliacci,” “Cavalleria Rusticana” and “The Sleeping Queen.” J. C.
Prof. Wodell to Direct Spartanburg Festival
Spartanburg, S. C., June 23.—Prof. Frederick B. Wodell. of Boston, will be the director of the 1923 Spartanburg Music Festival, succeeding Prof. Louis Bennett, who resigned and returned North to open a studio.
Dr. Robert P. Pell, president of Converse College, announces that Martha Alexander-Mullin of New York, will be teacher of violin at Converse during the next session. Mrs. Alexander-Mullin holds the B. A. degree of Cooper Institute; she has studied violin with Visanski, Bendix, Witek and Von Ende.
Prof. Wodell, in connection with his duties as director of the next Music Festival, will be teacher of voice at Converse College.
It was reported that Dr. William Mayfarth, dean of the music department of Converse College, had resigned, but President Pell states that this is not true, as Dr. Mayfarth will continue his work here.	D. L. S.
Sibyl Sammis-MacDermid Presents Young Artist
\ era _ Small, soprano, who has been spending several months in New York with her former instructor, was heard in a studio musicale on June 20, in a program designed to display her versatility and in which she disclosed a voice of warmth and color. Mr. Small was heard in some well played flute solos and also in obligatos to some of the songs The program follows:	Songs—"Pale Moon,” Logan;
“Rain,’ Curran; “Charm of Spring,” Clark; aria from 'll re Pastore,” Mozart; “Sacrament,” “If I Knew You and You Knew Me,” “My Love Is Like the Red, Red Rose,” MacDermid; flute solos—“Andalouse,” Pessard; “Le Bibilard,” Terschak; songs—Micaela’s aria from “Carmen,” B!zet ׳' “Pipe Out Ye Silver Flutes,” Goatley; “Wild Bird,” Lieurance.
Dr. Vilem Zemanek Dead
Prague, June 9.—Dr. Vilem Zemanek, who died here last night at the age of forty-seven, has been one of the most commanding musical figures of the Czecho-Slovak Republic. He studied at Vienna with Schalk and Lowe and, after acting as kapellmeister with the municipal operas of El-berfeld and Riga, in 1903, was entrusted with the leadership of the Czech Philharmonic Orchestra of Prague which under his conductorship gained a great reputation. When Czecho-Slovakia became independent in 1918, Zemanek fell a victim to certain chauvinist national currents and since then headed one of the most important concert bureaus of this city. He was also a pianist of great achievements
P. B.
Oscar Saenger at the Chicago Musical College
Oscar Saenger left New York Saturday afternoon for Chicago, where he will conduct master classes in private voice lessons, teachers’ and repertory classes, and auditors’ classes, at the Chicago Musical College for a term of five weeks, from June 28 to August 1. Associated with him are two assistant teachers from his New York studios• Emily Miller and Willis Ailing. During the summer months, the New York studios will be in charge of several assistant teachers in voice, coaching and practice lessons and all arrangements may be made with L. Lilly, secretary, at his New York studios.
ENDICOTT PRIZES AWARDED AT NEW ENGLAND
CONSERVATORY COMMENCEMENT IN BOSTON
Scholarship Winners Also Announced—Boston Artists Sail—American Opera Company's Plans
Martha V. Brubaker, Myrtle M. Bruner, Donna L. Buck, Jessie Bullock, Althea X. Carr, Doris M. Carver, Lillian N. Chrislip, Malcolm L. Cobb, Della E. Davidson, Dorothy Devans, Jean A. Dunn, Herman Feltcorn, Blanche H. Finke, Esther A. Flaxman, Ruth A. Fraser, Eleanor P. Furminger, Ada P. George, Susie Gid-dings. M. Ethel Goodale, Helen A. Gordon, Norma E. Greenwood, Henrietta C. Harper, Esther K. Hawkins, Frederick W. Heim, Grace H. Held, Jean E. Jamieson, Ethel D. Knights. Clarence F. Knudsen, Louis W. Krasner, Leon C. Kuntz, Muriel La France, Margaret F. Leong, Harold H. Logan, Mary E. Madden. Helena C. McGuire, Helen L. McNamara, Ellen C. Neilson, Pauline L. Xemser, Cornelia E. North, Dorothy D. K. Okey. Clarice M. Painter, Dorothy E. Perkins. Antoinette J. Perner, Hildreth W. Polley, Gladys H. Posselt, Lillian M. Pride, Patrel F. Randall, Alice M. Rathbun, Myrtle E. Richardson, Helen Ring. Virginia C. Ruffin. Theresa M. Santoro, Harold F. Schwab. Camille C. Serra. May E. Shuman. Carol F. Simpson, Dorothy G. Simpson, Donald S. Smith, Yora M. Smith, Julia E. Sonnabend, Besse S. Spectre, Edith E. Spinazzola, Rebecca D. Stoy, Grace M. Stutsman, Ruth E. Thomas. Maie V. Underwood, Antoinette G. Watson, Helen L. Welch, Clara F. Wells, Mary T. Wendell, Godfrey H. Wetterlow, Eleanore Whittinghill, Katie M. Williams, Elizabeth D. Wood, Lillian E. Wood.
Post-graduates who completed their work this year were:
Freda R. Feldman. '20: Alice M. Hamlet, ’20; Sarah L. Johnson, ’21; Marjorie F. McClure, ’19: Ruth Shubow, ’20; Charles P. Touth-ette, ’21.
Seniors on the commencement program and the numbers they rendered were as follows: Harold Francis Schwab, of Los Angeles, Cal.. Handel’s first movement of the concerto in B flat major, No. 2, for the organ; Louis W. Krasner, of Providence, R. L. Wieniawski’s fantasy on two Russian airs for violin and orchestra; Elizabeth Bingham, of Wood-stock, Vt., Wagner’s aria from “Lohengrin;” Alice M. Rathbun, of Mansfield, Mozart’s first movement of the concerto in C minor, for pianoforte and orchestra; George A. Brown, of Melrose Highlands, two movements of Lalo's concerto in D minor; Muriel LaFrance. of Toledo, Ohio, Verdi's “Caro nome” from “Rigoletto;” Malcolm L. Cobb, of New Haven, Conn., Widor’s intermezzo from the Sixth Symphony for the organ; Eleanor Proctor Furminger, of St. Catharines, Can.. Converse’s fantasy for pianoforte and orchestra: Martha N. Atwell, of Boston, recitative and aria from Verdi’s “Aida;” and Minot A. Beale, of Rockyand. Bruch’s two movements of the Scottish fantasy for violin and orchestra.
After the foregoing program a reception was given by the Conservatory Club to the graduates, trustees and faculty in Recital Hall. On Monday evening, the Conservatory Alumni Association held its annual reunion at the Hotel Victoria. Henry M. Dunham spoke on “The Conservatory in Franklin Square Days;” Wallace Goodrich, dean of the Conservatory, on “The Conservatory of Today;” George W. Chadwick on “The Conservatory of the Future,” and Rev. Ransom M. Church, of the Church of the Messiah, on "Church Music.” The speeches followed a reception and dinner.
The follow’ing officers wrere elected for 1922-23; president,
Boston, Mass., June 24, 1922.—A class of ninety-one seniors and six post-graduates received diplomas from the New England Conservatory of Music after an inspiriting commencement concert on Tuesday. June 20, in Jordan Hall. Notable features of the program were the first performance before any audience of a fantasy for piano and orchestra by Frederick S. Converse and the revival, as a memorial to the late Samuel Carr, former president of the board of trustees, of George W. Chadwick's Elegy for orchestra and organ.
For the first time announcement was made of the award of the Endicott prizes in composition. These prizes have been guaranteed for a period of five years by H. Wendell Endicott, of the board of trustees, whose idea is that creative work shall thus be stimulated among the students. Each prize awarded carries, in addition to its award in money, a scholarship in composition at the Conservatory for the ensuing year. The disbursements were as follows: To E. Aldrich Dobson, of Hyde Park, was awarded $100 for the best composition for orchestra; to Margaret Mason, of Clarinda, la., $100 for the best composition for string quartet; to Doris Carver, of Los Angeles. Cal., $50 for a pianoforte composition. “Novelette,” and $50 for a set of three songs, and to Grace Stutson, of Boston, $50 for a set of three songs.
In addition to the Endicott prizes major scholarships for 1922-23 were assigned as follows: The Bergman scholarship (pianoforte), Jesus Sanroma of Porto Rico; the Converse scholarship (voice), to Miss Bingham. Miss LaFrance and Martha Atwell of Bellevue. Penn.; the Converse scholarship (pianoforte), to Ella Flanders of Skowhegan. Me.; the Brown scholarship (voice), to Bernice Batson of Hattenburg. Miss.; the Evans scholarships in pianoforte, to Margaret Mason, Edith Spinazzola of Medford. Mass.. Lillian Chrislip of Phillip¡, W. Va., Marguerite Rist of Turners’ Falls, Mass., and Mary Hobson of Park City, Utah; the Evans scholarship in voice, to Marion Herrick of Dorchester, and the scholarship for violoncello to George Brown of Melrose Highlands: the Carr scholarship (violin) to Ruth Fraser of Detroit. Midi., and the Sampson scholarship (voice) to Esther Marshburn of Boston.
The class which w’as graduated from the New’ England Conservatory w’as probably the best, in point of scholarship, that has ever gone forth from the school. The class average, according to figures given out from the office of the dean of the faculty’, for the junior and senior years was between B and B plus, or, on a percentage basis, about eighty-seven per cent. The class membership was as follows:
Adaline E. Albright, Ruth H. Anshen, Wills H. Astill, Martha N. Atwell, Josephine O. Austin, Hermine S. Avdjian, Kathrvn M. Barsbinger. Minot A. Beale, Ruth D. Bellows. Agnes C. Bev-mgton, Elizabeth Bingham, Beatrice A. Blanchard. Tulia E. Blank-enship. Margaret M, Bower, Rose L. Brener, George A. Brown,
Soprano
A CASE OF CRITICAL AGREEMENT Richard Aldrich in N. Y. Times—
Miss Hayden’s voice is an unusually beautiful one; its quality is peculiarly individual, fresh, poignant. It has abundant power; it is admirably equalized throughout its extent. Her production of it is excellent. It is thus to be seen that she is richly endowed at the beginning of her career, and she has great poise in front of an audience.
Her singing was striking in its great beauty of tone, in its excellence of phrasing, its charm of delivery, the genuine musical feeling that pervaded it, the intelligence with which the character and significance of most of her numbers were grasped and expressed. All in all, she is one of the most promising appearances that have been noted recently in the New York musical world.
H. E. Krehbiel in N. Y. Tribune—
Her singing provided one of the surprises and genuine delights of the season. She is the possessor of a soprano voice of exquisite timbre and purity. Miss Hayden sang intelligently, tastefully, as if she knew and felt the beauty of melody and instinctively knew׳ how to produce it. Ahvays she disclosed the loveliness of the line, an artistic virtue of which the newxomer at the opera seems unconscious.
In all her songs, Miss Hayden follow׳ed her exemplar (Mme. Marcella Sem• brich) in a blending of poetical sentiment w’ith the beauty of the melodic line, making the music eloquent without resort to the dramatic manner, so often abused.
Management LOUDON CHARLTON, Carnegie Hall, New York