February 15, 1923
MUSICAL COURIER
52
THE BERKSHIRE COMPETITION, 1924
The Berkshire Music Colony, Inc., announces for 1924 the competition inaugurated by Mrs. F. S.. Cool-idge to stimulate the composition of chamber music. It offers a prize of one thousand dollars ($1,000) to the composer of the best chamber composition which shall include one or more vocal parts in combination with instruments. The manuscripts will be submitted to a jury, the names of whose members will be announced later.
The prize winning composition will have its initial performance at the Berkshire Festival of Chamber Music, 1924, to be held at Pittsfield, Mass. The special conditions governing this contest are as follows :
The contest will be open from now until April IS, 1924. All manuscripts arriving later will be returned as ineligible, as will also those not complying with the conditions stipulated in this announcement.
Only compositions which are not published, and have not been performed in public, either in part or their entirety, will be aocepted. No composition which has already won a prize will be accepted. Transcriptions or adaptations will not be eligible.
The winner of the prize is to grant to Mrs. Cool-idge the sole control of the rights of performance (public or private) of the prize winning composition, during a period of nine months from the date of the award of the prize, pnd transfers to her from that date the ownership of the original manuscript thereof. This stipulation refers in no way to the copyright, but to the manuscripts as a souvenir.
All manuscripts (score and separate parts) must be sent anonymously, and marked with a nom de. plume or chiffre. A sealed envelope with the nom de plume or chiffre on the outside, and containing name and address of the composer, must be enclosed. Any distinguishing marks of identity will be concealed from the jury.
All music will be returned at the expense of the sender, and no responsibility is taken for manuscripts lost in transit.
The composition must be sent to :
HUGO KORTSCHAK,
1054 Lexington Avenue,
New York City.
New York City, February 1, 1923.
or her advice and study whatever he or she tells you is necessary for your artistic development. Your teacher knows and yo'u do not; give him or her the benefit of honesty. Learning to sing is hard work, and it takes time, courage and constant effort.
Languages.
“How many languages do you think it is necessary for a singer to have at least a speaking acquaintance with? Are Italian and French sufficient, or must one include German ? Thank you for any information you may give me.”
If you are to sing songs and arias in the German language ,it is quite necessary that you should have a correct pronunciation, for there is nothing much worse than to listen to a singer who does not know how to pronounce foreign words. A foreigner, trying to sing English, recently sang, “I vated for ze Lawd.” Bad pronunciation of German would be equally unpleasant to listeners who knew how it should be done.
Le Roi d’Ys.
“Would you kindly tell me if the performance of Lalo’s Le Roi d’Ys, at the Metropolitan Opera House in 1922, was the first time it was sung in this country?״
No, it was first produced in this country in New Orleans, January 23, 1890, thirty-three years ago, many years ahead of the New York production.
Michigan F. of M. C. Board Meets
The midyear board meeting of the Michigan Federation of Music Clubs brought ׳music leaders from all over the State to Ann Arbor, January 8. Mrs. Elmer J. Ottaway, of Port Huron, presided over the meeting. Excellent reports were brought in by the various committees. There are now sixty music clubs pledged to Federation aims and approximately one hundred towns putting on music memory contests under dub auspices. Significant among the new plans is the objective ׳for better church choir music. The Federation is much occupied with the arrangements for the state contests for young artists at Grand Rapids, March 20, and a state convention at Port Huron, May 8 to 10. The board members were guests of the University Musical Society at a recital by Paderewski.
Helen Buchanan Hitner at Wurlitzer’s
Helen Buchanan Hitner was the soloist at ■a concert given in Wurlitzer auditorium, January 24. Hers is a clear soprano voice of pleasing, sympathetic quality, to which she adds charm of personality. She sings artistically, shows intelligent use of her voice and interprets well. Among her songs were Autumn (Rogers), Tally-Ho (Leoni), The Answer (Terry), The Night Wind (Farley) and Dawn (Curran). The use of Oscar Saenger’s records in teaching was demonstrated and the baritone records were illustrated by Mr. Flood. Miss Ernst assisted in illustrating the soprano records. Both she and Mr. Flood, as well as Mrs. Hitner, are Saeiiger pupils. Hans Hanke revealed a remarkable technic in a group of piano solos.
Geza Kresz Hungarian Violinist
Studio: Schöneberger Ufer 44, Berlin W.
LOUIS BACHNER Singing
Staatl. Akad. Hochschule für Musik (National Academy of Music)
Berlin W. 15	Konstanzeretr. 62
LEONID KREUTZER, m
PROFESSOR AT THE STATE HIGH SCHOOL OF MUSIC LUITPOLDSTR, 29	BERLIN W 30
receiving by her young cousin, Noreen Boyd, also Mano-lita Thompson, Mesdames David Graham, Ada Heinemann, Grace Hartley, Mabel Robeson, Schuyler H. Wilbur, Hattie Sternfeld and Florence Soule; Georgina Southwick was chairman of the day, and Mrs. Motel Falco hostess, with Kate P. Roberts, chairmen of press.
American Composers at Dickinson Recital.
Sue Harvard, soprano, and Francis Macmillen, violinist, were soloists at the Friday noon-hour of music, February 2, in the Brick Church, Dr. Clarence Dickinson, organist and director, in a program of music by the Americans, William Y. Webbe, Harvey B. Gaul, Robert Huntington Terry, Joseph W. Clokey, Pearl G. Curran, Henry F. Gilbert, Dickinson and Macmillen. The Negro themes in Webbe’s Ecstasy, with its important pedal part (it is dedicated to Dr. Dickinson) ; the brilliant and sometimes humorous passages in Spanish Festival, for violin, played by the composer, Francis Macmillen (it has a graceful second part in A flat) ; the joyous spontaneity in the Terry song, with beautiful high A and B, as sung by Miss. Harvard; and the manifest interest in Dickinson’s scherzo (from Storm King Symphony), all this held the listeners’ attention. In brilliant rhythms, with pronounced and dominating Negro themes, I’se Gwine to Alabama and Old Ship Zion, by Henry F. Gilbert, the program closed.
February 9 the oratorio St. Paul was given with the following soloists; Marguerite Hazzard, Pearl Benedict Jones, Alfred Shaw and Frank Croxton.
A Widor program will be given at the Friday noon-hour of music, February 16, by Dr. Dickinson, with Adele Park-hurst, soprano; Messrs. Heim and Schlossberg, trumpets; Messrs. Falcone and Haines, trombones, and Alfred Friese, tympanist, which will include: Marche Pontificale, from symphony I; scherzo and andante cantabile from symphony IV; and nocturne, for organ; songs: Nothing I Ask Thee, Night of Wonder, O Lord Most Holy, and toccata for organ from symphony V, and Salvum Fac for trumpets, trombones, organ and tympani.
Capouilliez' Mid-West Tour.
Francois Capouilliez, on tour since October 30 through Eastern, Middle West and Southern States with his own company, has received fine press notices wherever he has sung. Such important cities as Toledo, Akron, Grand Rapids, Milwaukee, St. Paul, Des Moines, Omaha, Denver, etc., all praise him highly. Despite his French name, this singer is American born and received his entire musical training in this country, being a pupil of Louise Von Feilitzsch. His recent route has covered Alabama, Tennessee, Georgia and South Carolina.
Ruth Friedman, Pianist, Plays ׳for Radio.
Ruth Friedman, pianist, pupil of Samuel Spivak, gave a program February 6 at the WEAF radio station, Walker street, which was heard by many people within a radius of a thousand miles. On her program were several pieces by Liszt, which she played especially well.
Mr. Spivak has been her sole teacher, and this busy man (he teaches seven days in the week), has every reason to be proud of her.
Elizabeth K. Patterson’s Jenny Lind Souvenirs.
Elizabeth Kelso Patterson was presented by a friend with Jenny Lind’s card case, including her personal card, some years ago. Miss Patterson in turn presented it to her pupil, Estelle Leask, who values the gift highly.
Reed Miller at Williamsport Seminary.
Recently Reed Miller appeared in recital at Dickinson Seminary, Williamsport, Pa. According to the Williamsport Times, he gave a pleasing recital. Quoting further from this paper: “Mr. Miller has a true legato, his enunciation is distinct, and he sings intelligently.” Incidentally, due to his success there last season, the tenor was engaged for this recital.
Answers to letters received in this department are published as promptly as possible. The large number of inquiries and the limitation of space are responsible for any delay. The letters are answered seriatim.
Sight Reading.
“My vocal teacher wants me to learn to read music by sight, but it seems to me I do not need to take all that extra work upon myself and that there is quite enough for me to do in studying the many things required in order that my voice may be fully developed. Teachers seem to think if one is studying voice they do not want to do anything else in the world but must devote all their time in studying things that seem to me unnecessary. Is sight reading one of the things I ought to know? Do all teachers want their pupils to read music, that is sing music at sight? It does seem as if there was no end to the things to learn.”
Would it not be well for you to ask yourself this question:	Why
did I select the teacher with whom I am studying? Did you not take much pains and trouble to find out which of the many teachers of whom you heard, or who were recommended by your friends, would best suit your requirements? It does not seem probable that you went to the first teacher you heard of and said: “I want to take lessons of you.” That is not the usual course of pupils. Generally they visit many studios, talk with all their friends, look up every detail	they can think of	in connection with	pupils	who have
studied with	a teacher, then go	to the studio, talk,	discuss	and hesitate, taking	up the time of a	teacher who has no time	to waste,
then finally making a decision.	Having done this,	should	the pupil
not feel satisfied in having made the wisest decision and try to get the full benefit of the teacher’s experience and knowledge? That would be a natural conclusion. But it is far from the facts. As soon as a pupil commences to study, the teacher is looked upon as a personal enemy who is trying to put all sorts of obstacles, in the way of overwork, in the path of the student. Probably some one of your friends who is taking lessons of a different teacher, has said that sight reading is not necessary, and you are influenced by that friend instead of by the one you have so carefully selected. Are you studying seriously, or just to amuse yourself? If seriously and to make a career, you must be thoroughly equipped in all branches of your art. A singer many years ago, with a lovely voice, well trained, could not read a note of music and all her roles or arias were taught her note by note. Instead > of making a great career, as she should have done, she sung in music halls, and in a short time comparatively was lost to sight. Picking out the “tune” of a song or aria with one finger on the piano is slow work. A voice must be backed by a mentality. One of the most successful of the really great singers of this country studied constantly. She knew Italian and French as well as she did English, but that she might be fully equipped for her work, she took up the study of German and this was while she was singing successfully in grand opera. She would not sing in that language until she had mastered it, but in later years the greatest successes of her whole career were made in German opera. If you have confidence in your teacher, follow his
GOTHAM GOSSIP
Zilpha Barnes Wood’s Theater Party.
Nearly one hundred friends of Zilpha Barnes Wood, founder and director of the New York Grand Opera Socety, made up a theater party to Johannes Kreisler, which unique and highly enjoyable musical play was followed by peregrination to Greenwich Village, where the merry company sat down to supper, which incidentally lasted until the wee hours of the morning. At the festive board people prominent in the musical life were introduced by Mrs. Wood. Stage manager Charles Trier delivered quite a witty and informing talk. He spoke of the operatic situation in America, sketched a plan for performances similar to Dippel’s, mentioned the importance of phonographs in their educational work in American families, and said that there was to date no real American music. He believed that the so-called jazz contains in it the germ of representative, true American music, and that from it would come even grand opera. Mr. and Mrs. Riesberg were introduced as guests of honor, whereupon Mr. Riesberg took some time in reminiscences, more especially relating to the charming Zilpha Barnes Wood. He mentioned her first years in New York, when she personally coached, produced and conducted operas in Carnegie Lyceum; another period, when she was active as teacher, and the present period, devoted to the propaganda and production of opera in English. He mentioned a performance given by the society for the sole hearing of Leonard Liebling, who said he felt like King Ludwig of Bavaria, who often commanded performances of Wagner opera for his sole pleasure. The columns of the Musical Courier show continuous backing up of Mrs. Wood and her plans for opera in English, and this lady must have been delighted with the many manifestations of regard shown her this evening.
Ware and Green, Thursby Guests.
Harriet Ware, well known American song writer, and Mrs. *William Houston Green, of Philadelphia, the possessor of a dramatic soprano voice, were guests of honor at the fifth Friday musicale, given at the studio of Emma Thursby, on February 2.
During the afternoon, Mrs. Green delighted those present by singing several groups of songs, including numbers by Bemberg, Poldowski, Duparc, Debussy and Paladilhe, with Helena Soren at the piano. Miss Ware played the accompaniments for two of her own songs, Hindoo Slumber Song, and Stars, which were sung by Miss L. A. Ceballos. Norma Drury, a talented young pianist, rendered Chopin’s nocturne in F sharp major and MacDowell’s polonaise. Augette Foret, a distinguished interpreter of song, gave a group of French Creole songs in her own charming manner. Milan Lusk, violinist and composer, was heard in his own arrangement of the sextet from Smetana’s Bartered Bride, Novacek’s Perpetuum Mobile, and his own Caprice Espagnol, accompanied by Ludmilla Wetche. Randall Hargreaves, baritone, sang an old Londonderry Air and Thomas’ Sois Leurense, playing his own accompaniments.
A large number of Muss Thursby’s friends, including many well known artists, were present, among them Mrs. E. C. Knight, Max Jacobs, Mrs. Wm. Robinson, Mr. and Mrs. William Cullen Bryant, Josephine Leeds, Mrs. John Moody, Mrs. Edward Kidder, and others.
Women’s Philharmonic Society Concert.
A feature of the twenty-fifth season of the Women’s Philharmonic was the presence of Giovanni Martinelli, tenor, and Roberto Moranzoni, conductor of the Metropolitan, as guests of honor, at its annual reception to the president, Leila H. Cannes, January 28, at Carnegie Hall.
The musical program was furnished by Gwyneth Hughes, contralto, who sang Welsh songs in native costume, accompanied by Mr. Williams, and Der Erl König (Schubert) ; Helen Thomas, soprano, who gave the Bird Song (Pagliacci), accompanied by Miss Stodard, and Josef Turin, who sang an aria by Tschaikowsky, and Russian songs, accompanied by Mrs. Holmes. An immense crowd packed the rooms to the doors, and showed its appreciation of the artists by frequent recalls.
The Women’s Philharmonic Society is noted for the artistic excellence of its programs, and the two distinguished guests expressed themselves delighted with this one. They enjoyed the social element to such an extent that they wish to be invited again; it was the second appearance of Mr. Moranzoni with the society. The president was assisted in
Pianisti Prepared for Pablic Appearances
SWAYME
WAGER
3 Ave. Sully Prud’homme (Quai d’Orsay) Paria vii, France
Jean de Reszke 53 Rue de la Faisanderie Paris
I CCrtirTI7YV Institute LlOLiIli 1 !¿״IV I of Piano
Gaveau Studios, 45 rue la Boetie, Paris, France
Under the personal direction of MME. THEODORE LESCHETIZKY
(Marie Gabrielle Leschetizky)
John Heath, Associate Director. Artists' Class and Private Lessons
AUSTRALIA-NEW ZEALAND-HONOLULU
INTERNATIONAL TOURS, Ltd.
Head Office, 15 Castlereagh Street	Sydney. Australia
E. E. Brooks, Secretary
L. E. Behymer. Los Angeles, American Representative
Frederic Shipman, Managing Director, has made an arrangement with International Tours, by which they will not command his entire time, as heretofore, and he will devote the greater portion of each year to Personally Directed Tours of the U. S. A. and Canada. Mr. Shipman’s address for the next six weeks will be Hotel Trenton, Los Angeles.