MUSICAL COURIER
44
June 29, 1922
the same concert. This is the first time in the history of the American Conservatory and in fact at any commencement here that a student has appeared twice on the program. Miss Morris’ school year at the conservatory has been, a brilliant one this year inasmuch as, besides winning first place in the contest for playing at the commencement in both violin and piano, she also took the Paganini gold medal in the graduating class contests in violin and the W. W. Kimball gold medal in the graduating class in piano—a remarkable record. Thus, interest was keen when she appeared in the first part of the program, playing the first movement of the Bruch D minor violin concerto and considerably keener when she closed the program with the first and third movements of the Saint-Saëns G minor piano concerto. That she fulfilled all expectations goes without saying and she was the recipient of much hearty applause and numerous floral tributes. Her playing, on the violin and on the piano, was unusual, especially her piano work which seems to be her forte. She is a great credit to the American Conservatory.
Two movements of the Tschaikowsky B flat minor piano concerto were well done by Erwin Brunn, who played with fine technic and good understanding. Carolyn Hippenhamer, who braved the “Pace mio Dio” aria from Verdi’s “Forza del Destino,” revealed good training and musical intelligence. In the hands of Leo Braveman the first movement of the Lalo “Symphonie Espagnole” was given a splendid rendition and earned for the violinist numerous plaudits. Although Harry Hauge forgot his lines in the “Ella giammai m’amo” from Verdi’s “Don Carlos,” he set forth worthy ' achievements throughout the aria, disclosing a baritone of excellent quality, which he uses with care and skill. Adolf Weidig conducted the orchestra that furnished the accompaniments for the soloists, which was made up of members of the Chicago Symphony Orchestra.
Karleton Hackett, who is an associate director of the American Conservatory besides heading its vocal department and officiating as critic on the Chicago Evening Post, made a brief address. He then assisted President Hattstaedt in awarding the degrees, diplomas, certificates and medals on the largest graduating class in the history of this great institution of music, which numbers 274 and represented thirty-one different States.
Chicago Musical College's Fifty-sixth Commencement.
Chicago’s oldest musical school—the Chicago Musical College—indeed holds a conspicuous place among the institutions of its kind in America, and this week terminated a notable page in the musical history of this city. Its great prestige is chiefly due to Carl D. Kinsey’s unbeatable business management. Never content with the achievements of the college, Mr. Kinsey is constantly endeavoring to make each season better than the last one and thus establish a new record for each ensuing year, making his faculty stronger by the engagement of new and progressive instructors yearly. Thus, today the rosier of the Chicago Musical College is a splendid array of prominent names which stand for much in the musical world. With Felix Borowski as president, Richard Hageman as vice president, Lathrop Resseguie as assistant manager, and Dr. F. Ziegfeld remaining as president emeritus, Mr. Kinsey has an excellent staff.
As to its fifty-sixth commencement concert held at the Auditorium Theater, Wednesday evening, June 21, before a packed audience, it proved a most worthy concert and highly creditable to the college and its teachers. Sixty-five members of the Chicago Symphony Orchestra, under Richard Hageman’s efficient leadership, supplied the accompaniments, lending good support throughout, save in one instance when they were off guard. This occurred in the first number— the first movement of the Huss B major piano concerto, played by Eulalia Kober, where the orchestra was caught napping and lost out on a few bars. Miss Kober did well with the Huss concerto, which is a rather difficult number. The other pianists appearing were Adelaide Anderson, Dorothy Kendrick and Florence Scholl. Miss Anderson
nd Miss Kendrick represented two of the four prize winners taking part in the program—the former winning the Mason & Hamlin grand piano, and the latter, the Cable ׳ Piano Company’s Conover grand piano. The other two prize winners were Philip Kaufman, who carried off the Lyon & Healy violin, and Zelma Smithpeter, the Chicago Musical College prize of a complete musical education, won in the recent college prize competitions. Fine tone, delicate touch, fleet fingers and splendid technic are among the qualifications possessed by Miss Anderson, who offered a stirring rendition of the first movement of Felix Borowski’s worthy D minor concerto. The finale of Chopin’s E minor cfincerto served to display Miss Kendrick’s beautiful, mellow tone, pearly runs, surety and clean-cut playing. A dominating performance was given the first movement of Tschaikowsky’s B flat minor concerto by Florence Scholl, whose playing may well be classed as brilliant.
The violin department was well represented. Phil Kaufman, the prize winner, of course carried off first honors with a remarkable rendition of the difficult Sarasate fantasia on “Carmen.” From his instrument Mr. Kaufman draws a big, round tone and his technical equipment is nothing short of astonishing. He scored heavily with the listeners. Although she played off pitch most of the time, Gladys Welge ■gave a good account of herself in the first movement of the Wieniawski D minor concerto. Catherine Wade-Smith, who
UMBERTO BEDUSCHI
formerly leading tenor, Covent Garden, London; Royal Argentina, Rome; Royal Theater, Madrid.
Voice placing and development, Coaching for Grand Opera, etc. Suite 70, Auditorium Bldg., Chicago
Marie LIGHTHALL
2051 S. Sedgwick St., CHICAGO
Soprano
WALTER SPRY
PIANIST
Columbia School of Music	Chicago
CHICAGO’S PROGRESSIVENESS IN MUSIC WELL PROVEN AT ANNUAL COLLEGE AND SCHOOL COMMENCEMENTS
College of Music, American Conservatory and Musical College Hold Their Annual Commencement Concerts, the Many Students Taking Part Reflecting Great Credit on Their Respective Institutions—Bush Conservatory Also Begins Its Final Exercises—Mary Wood Chase School’s Closing Programs—Other News
are involved as on this occasion—some fourteen students taking part—but a word is due each one at this time. The first two appearing—Bernice Solomon, who played the first movement of the Mozart D minor concerto, and Mildred Goldstein, who presented Friml’s “Les Ginta”—were not heard. Bessie Harrison was well into the first movement of the Mozart D major concerto when this scribe reached the hall, and in that part heard she gave a good account of herself. Following her, Miriam Horwitz set forth a fine reading of the first movement of the Haydn D. major concerto. In the Reckzeh-Bach D major concerto, Sam Raphling did some good piano work. In the hands of Frances Fox the last movement of the G minor concerto of Mendelssohn received splendid handling. Celia Steinpress accomplished excellent results in the Liszt A major concerto; likewise Rebecca Benson, who negotiated the first movement of Hiller’s F sharp minor concerto. Rose Smoler did herself, as well as her teacher, proud by the remarkable rendition she gave the first movement of the Saint-Saëns G minor concerto, and Florence Siegel brought the program to a brilliant‘ close with the Polish fantasie of Paderewski. Each participant reflected added glory on the Chicago College of Music and its distinguished president, Esther Harris-Dua, who came in for the major portion of the evening’s success as most of the students have received their instruction under her splendid guidance. Much credit was brought on the vocal department of the school by the vocalists appearing—Therese Swartz, who offered the “II est deux, il est bon” aria from Massenet’s “Herodiade;” Mary Fagin, who sang well the “Habanera” from “Carmen;” Helen Golden, who did good work in Bemberg’s “Now Joan Ardently,” and Lillian May Sindahl, who presented “My Noble Knights” from Meyerbeer’s “Huguenots.”
Degrees, diplomas and medals were conferred on the large class of graduates and post-graduates by Leopold Saltiel.
American Conservatory’s Closing Exercises at Auditorium.
The American Conservatory’s commencement exercises and concert at the Auditorium Theater, Tuesday evening, June 20, marked the thirty-sixth milestone in the brilliant career of this staunch musical institution, which has been brought to its present high standard by John J. Hattstaedt, its able president, who has carefully yet skilfully guided its progress. Always alert as to the necessity of new blood and new ideas to keep his institution up to modern requirements, President Hattstaedt continues adding new names to his already excellent faculty until today it contains many world-renowned artists and teachers. This thirty-sixth annual commencement shed new lustre on the Hattstaedt regime. May it long reign supreme 1
The program was well arranged and well done for the most part, for back of the endeavors of the evening there was not only disclosed splendid pedagogy, but much skill and good taste on the part of the participants. In Jacob Hanneman the Brahms D minor piano concerto had an excellent interpreter. Maren Grace Johansen disclosed a soprano, lovely in quality, especially in the upper register, in the aria “Io t’amero” from Mozart’s “II Re Pastore.” First honors went to Margaretha Morris, however, a remarkably talented miss, inasmuch as she accomplished the feat of appearing both as violin soloist and piano soloist at
CHIC AGO-MOOSEHE ART
Pageant and Music Festival in honor of our distinguished guest
WARREN G. HARDING
President of the United States Week of August 20, 1922
HENRY W. B. BARNES, General Director
PARTICIPANTS
Adult Chorus .... 1,000	Special Scenes . 600
Children’s Chorus... 1,000	Boy Scouts ...... 1,000
Concert Band and Orchestra 150 Massed Children ..5,000
¡NICOLAY
T ——"
N Reengaged for eleventh season as leading i Basso with Chicago Opera Association Address: CHICAGO GRAND OPERA - ־ CHICAGO
EDGAR NELSON
Piano and Organ Instruction
BUSH CONSERVATORY 839 North Dearborn Street, Chicago
Flora Waalkes
Soprano
1625^Kimball Bldg. -	- Chicago
CUSTAF HOLMQUIST
BASS-BARITONE
Private Address: 1430 Argle Street Address Bush Conservatory, 839 North Dearborn Ave., Chicago
ALEXANDER RAAB
Pianist
CHICAGO MUSICAL COLLEGE
Chicago, 111., June 24.—With the commencements this week of the Chicago College of Music (Sunday), the American Conservatory (Tuesday) and the Chicago Musical College (Wednesday)—the balance of Chicago’s most prominent musical institutions—another school year went into history. Last week the Bush Conservatory of Music wound up its series of closing exercises, and likewise the Mary Wood Chase School of Musical Arts and the Columbia School of Music.
Chicago College of Music Commencement.
A concert, under the auspices of the Chicago College of Music, regardless of whether it is the commencement concert or one during the regular school year, is always a source of surprise and astonishment, for this institution (especially its prominent head, Esther Harris-Dua) has established the reputation of developing more young children into concert players of remarkable ability than probably any other institution. To bring out children from the tender age of six, and upwards, to play concertos with a symphony orchestra is a remarkable feat in itself, but when they play as astonishingly as do the students presented by the Chicago College of Music it is a distant reflection on the ability of the teacher. As a teacher of children, Esther Harris-Dua has but few rivals, and her thorough training in the different schools and the adoption of ideas and methods from many sources, enables her to select the best adapted to each individual. Nor are the results obtained under her tutelage based on the achievements of one single student. Often a student may be possessed of unusual talent and thus will make a creditable showing under ordinary circumstances, but on the work of the average pupil it tells the tale of the standard of scholarship exhibited. Esther Harris-Dua has surrounded herself with an excellent faculty and the educational plan of the Chicago College of Music is based on modern and progressive principles.
For the twenty-seventh commencement concert, at the Blackstone Theater, Sunday afternoon, June 18, an interesting program was arranged, made up for the major part of piano numbers. An orchestra consisting of members of the Chicago Symphony Orchestra, under the direction of Karl Reckzeh, supplied the accompaniments for the participants, lending them splendid support. It is indeed difficult to detail the work of a program in which so many
DADDI
FRANCESCO
0! Chicago Opera Association
Specialist in Voice Placing and Coaching for Opera, Stage and Recital Studio: 720 Fine Arts Building, Chicago, 111.	Harrison 5755
Bush Conservatory
CHICAGO
Kenneth M. Bradley Edgar A. Nelson President	Vice-President
Edward H. Schwenker Secretary SUMMER SESSION ( Ten weeks, May 24 to August 2.
J Eight weeks, June 7 to August 2. THREE TERMS ■j !rive weeks, June 28 to August 2.
( (Normal Courses and Master Classes) Featuring DISTINGUISHED FACULTY OF 85 ARTISTS Many of international reputation TEACHER’S NORMAL TRAINING COURSES INTERPRETATION CLASSES FREE to Summer Students FIVE BIG RECITALS BY FAMOUS ARTISTS OTOKAR SEVCIK, WORLD FAMOUS VIOLIN TEACHER
Instructor of Kubelik, Kocian, Morini, Mary Hall Kort-schak, etc., has been engaged to teach at Bush Conservatory beginning in October. Sevcik s only ASSISTANT iEACrl-ER ANDREA PROUDFOOT, will be available during the Summer Session.
STUDENT DORMITORIES, especially desirable for the convenience of Summer Students. Rates Reasonable, convenience^ yoUR RESERVATIONS NOW
Write today for Summer Session Bulletin M. C. Jones, Registrar 839 North Dearborn St., Chicago^
AURELIA ARIMONDI
First Prize, Milan. Italy, Conservatory
VITTORIO ARIMONDI
Leading Basso Chicago Opera Association and all the Principal Theatres of the world
Voice Placing, Coaching for Opera, Stage and Concert Deportment
Studio: 612 Fine Arts Building	Chicago
Chicago Musical College
ARONSON
MAURICE
PIANIST
PEDAGOG
VERA- KAPLUN
CONCERT
PIANIST
HERMAN DEVRIES
Formerly baritone with the Metropolitan Opera House, New York: Covent Garden, London: Grand Opera, and Opera Comique, Paris, Theatre Royal de la Monnaie, Brussels, etc.
_______VOCAL TEACHER----------
MRS. HERMAN DEVRIES assinshh?cto)r/vl
Studios:	518-528 Fine Arts Building Chicago, 111.