MUSICAL COURIER
55
January 25, 1923
VOCAL TEACHER AND COACH
Consultation by Appointment Studio : 25 WEST 86th STREET, NEW YORK CITY
Phone: 8107 Schuyler
mCURCI
been numerous, his coming is always awaited eagerly by music lovers “where the West begins”—and ends. Among the concerts in which he will sing is an all-Wagner program by the Los Angeles Philharmonic Orchestra, Walter Henry Rothwell conducting, at which he will be soloist. Although Mr. Karle is known chiefly as a recital artist, he made his debut in opera on the coast, and he is equally at home in the music of the operatic stage.
The return of Theo Karle to the Far West always is in the nature of a “welcome home,” both for the singer and for his audiences. Mr. Karle was born on the coast and gained his early recognition there. The story of how he first took up singing seriously exemplifies the curious turns which fate is known to take. The young singer had always possessed a splendid voice, and although it was greatly admired in his home town, Olympia, Wash., he did not at first look to singing as his career. One night, however, he joined in with some friends as a member of an improvised male quartet. The singing attracted the attention of an organist who happened to be passing by. The singular
Guarneri Having Busy Season
Fernando Guarneri, the Italian baritone who sang and acted the part of Amonasro so effectively at the special Sunday evening performance of Aida on January 7 at the
FERNANDO GUARNERI
Montauk Theater, Brooklyn, is having a very busy season. He has already completed his twenty-eighth week at the Century Theater, Baltimore, where he is doing scenes from various operas in condensed form with other artists. In addition to this work he comes to New York every week for phonograph engagements. Mr. Guarneri is booked solidly until June 27.
JOSIAH	ZURO
Director of
THE ZURO GRAND OPERA COMPANY COACHING	TEACHING
Phone: Circle 0100	744 7th Ave., N. Y. City
© Ira Hill
THEO KARLE
beauty of the tenor’s voice caused him to engage Mr. Karle as soloist in his church for the imposing remuneration of one dollar a Sunday. But it was not long before the young tenor was graduated from the choir loft to the operatic stage and thence to the concert platform—as well as to the recording laboratory, for Mr. Karle is one of the most popular of record makers.
Mr. Karle will be on the coast for about ten weeks singing many engagements en route and back.
THE HUBBARD STUDIOS OF VOCAL INSTRUCTION
ARTHUR J. HUBBARD VINCENT V. HUBBARD
BOSTON: Symphony Chambers	NEW YORK (Mr. Vincent V. Hubbard on Mondays): 807-808 Carnegie Hall
VIRGINIA GILL Lyric Soprano
“A Voice ol Distinctive Charm"	Now Booking lor Season 1922-1B23
CONCERT-ORATORIO-OPERA
Address: 1014 Division Street	Camden, New Jersey
Address 408 Park Place, B’klyn, N. Y Tel. 4230 W. Prospect Mgt. Cosmopolitan Musical Bureau 1425 Broadway	New York City
SOPRANO
Concerts—Recitals
RAYMOND
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“From the first gracious bow to the final ‘tick took’ of her ‘Clock Song,’ Anna Fitziu, was in perfect harmony with the large audience that greeted her. Anna Fitziu’s tones are clear as a bell and absolutely true and with all of her great love in her voice, she sings straight to the souls of her audience.”—Florida Metropolis.
Management:
E. JOHNSTON
R.
Anna FITZIU
1451 Broadway New York
GUEST ARTIST SAISI CARLO	OF״ ERA CO.
PAPALARDO
“A master of vocal art and a coach and accompanist for artists. ”
The Season of 1922-23 marks the Eighth Year of the Papa-lardo Vocal Art Studios, well known both here and abroad.
Maestro Papalardo has also conducted opera in Florence, San Remo, Reggio Emilia, Novi Ligure, Cagliari, Sassari, Italy; Odessa, Russia; Rio Janeiro, San Paulo, Brazil; New York City, and twice on tour in the United States of America.
STUDIOS: 315 West 98th Street	New York City
Telephone. Riveroide 1669	Telephone, Marble 1573
Carl Craven’s Activities
Carl Craven has grown much in musical prominence as a tenor and teacher of voice since enlarging his music school for voice culture a year ago, now known as the Carl Craven Studios, at S23, 524, 525 and 526 Fine Arts Building, Chicago. He is well equipped to take care of a large clientele, with which he seems to be favored. His facilities consist of three large studios opening into each other, affording when needed a roomy recital hall; in addition is added a reception hall and office, all furnished to meet the requirements of his ever increasing work.
It becomes a pleasure to note from year to year the advancement being made by this popular tenor and pedagogue, and the demands made upon his time, which, it is said, is now equally divided between singing and teaching. Among his other duties is the direction of the Charles A. Stevens & Brothers’ Ladies Chorus of 100 voices (his third year) ;
CARL CRAVEN
director and tenor soloist of St. Paul’s, on the Midway (sixth year) ; directed production of Rose Maiden by Cor-ran at his church, December 15; directed Pageant of Progress Chorus, 1921 and 1922; soloist in several oratorios, among them, Elijah at Grand Rapids (Mich.) May Festival ; The Messiah at Ottumwa, Iowa, December 24, where he scored heavily, according to the telegram appended:
Ottumwa, Iowa, December 24.
Harry Culbertson, 4832 Dorchester avenue, Chicago, 111.
Carl Craven, tenor, interprets Messiah in perfect style; remarkable rendition; re-engaged.
(Signed) Margaret White Stoltz, director.
He also holds the following interesting voluntary letter from the distinguished American dramatic star, the late Frank Bacon, herewith appended :
FRANK BACON
Blackstone Theater, February 17, 1922.
My dear Mr. Craven:
Although two or three weeks have passed since Mrs. Bacon and I heard you sing at the Illinois Colony Club luncheon, we have not forgotten your very beautiful voice. I am writing this to thank you for the pleasure your singing gave us. I anticipate a very brilliant career for you.
With the best of wishes to you, I am	.
Yours sincerely,
Eighty-Nine Enter Balaban & Katz Contest
Eighty-nine American composers have entered manuscripts in the $1,000 Symphony Contest which Balaban & Katz of Chicago closed at midnight on December 31. Each composition was minus the name of the author and otherwise obeyed the rules of the competition. None of the composers is known by name, as the identity of each is sealed and locked in the Chicago Theater safe, to be opened and announced to the world only when the $1,000 winner of the first prize and the five winners of the second prizes have been selected by the judges. Complete freedom from prejudice for or against any writer of music is assured m this manner. Only native-born or naturalized American composers are eligible and from the first announcement of the contest manuscripts have come in mixed with inquiries and requests for rules from all over America. All States but three were heard from in the inquiries, and the postmarks on the eighty-nine manuscripts officially received and filed away awaiting judging indicate that twenty-nine States of the Union are represented in the list. Preliminary examinations of the manuscripts received are now being made by Nathaniel Finston, conductor of the Chicago Theater Symphony Orchestra, and Adolf Weidig, an authority of musical history, theory and composition.
Mr Weidig has been added to the list of judges which is to include Richard Hageman, associate conductor of the Chicago Civic Opera Company; Felix Borowsky, and the music critics of the Chicago daily newspapers—Herman Devries, Edward C. Moore, Karleton Hackett, Eugene Stinson,’ Maurice Rosenfeld and Farnsworth Wright.


Theo Karle will make his third coast concert tour under e local management of L. К Behymer within five ;ars, when he appears in a series of concerts in the bar Jest, beginning in February. This will also include Mr. arle’s fourth tour of the Northwest within five years. Although Mr. Karle’s appearances in the Far West have