March 29, 1923
CURRENT MUSICAL PRIZES AND SCHOLARSHIPS
[The Musical Courier will endeavor to keep this department up to date and to that end requests that all notices and prospectuses of musical prize contests be sent to the Musical Courier so as to be included in this department. It will be found that in each contest the name and address are given, to which intending candidates may apply directly for further information. Manuscripts are submitted at the risk of the composer.—Editor’s Note.]
Zuro Grand Opera Company (Details of contest in Musical Courier for January 25)—$100, $75, $50 and $25 for the designs of settings for any one of the following operas: Aida, Carmen, Faust, Rigo-letto. Contest ends April 15. Opera Design Contest, Carona Mundi, Inc., 312 West Fifty-fourth street, New York.
The Berkshire Music Colony, Inc. (details in issue February 15)—$1,000 for chamber composition which shall include one or more vocal parts in combination with instruments. Contest ends April 15, 1924. Hugo Kortschak, 1054 Lexington avenue, New York City.
The Hymn Society (details in issue February 15) — $50 _ for the best hymn-tune to be composed before April 8 for the Harvard prize hymn of Major Harry W. Farrington, Our Christ. Rev. Dr. Milton S. Littlefield, Corona, L. 1״ N. Y.
Chicago Musical College (details in issue March 8) Seventy-three prizes and scholarships, amounting to more than $20,000. Chicago Musical College, 624 South Michigan avenue, Chicago, 111.
Bush Conservatory (details in issue February 15) —Free scholarships for the summer school from June 27 to July 31. C. F. Jones, registrar, 839 North Dearborn street, Chicago, 111.
Philadelphia Conservatory (details in issue March 1)—Free scholarships for the Summer Normal at Beechwood School from July 5 to August 2. P. D. Cone, Eastern Manager, Art Publication Society, 1702 Walnut street, Philadelphia, Pa.
Committee of the Stadium Concerts (details in issue March &)—American composers, native born and naturalized, invited to submit unplayed manuscripts. Manuscripts will not be received until May 1. Auditions for soloists to be heard at the summer concerts will begin in April. Mrs. William Cowen, Room 712, Fisk Building, Fifty-seventh street and Broadway, New York, N. Y.
Baylor College—$1,000 in .cholarships and silver cups to winners in contests for piano, violin, voice, vocal quartet and orchestra. E. A. Schafer, Secretary, Baylor College, Belton, Texas.
American Conservatory (details in issue March 22) —Free scholarships for the summer session from June 25 to August 4. American Conservatory, 503 Kimball Hall, 300 S. Wabash avenue, Chicago, 111.
Washington State Music Teachers’ Association (details in issue March 22)—Medals and cash prizes in contest series for pianists, violinists and singers. Eleanor F. Scott, 728 Washington avenue, Wenatchee Wash.
MUSICAL COURIER
■erick T. Steinway, by Frank Seaman at the Hotel St. Regis, on March 10. Those present were: Mr. and Mrs. W. E. Allen, Mr. and Mrs. Wilhelm Bachaus, Mr. and Mrs. E. W. Bassick, Vincent¡ Bori, Lucrezia Bori, S. Bot-tenheim, Mrs. Eleanor Brown, Horace Cheney, Mr. and Mrs. Walter Damrosch, George Eastman, Mr. and Mrs H. J. Fuller, Mme. Frances Alda, Myra Hess, Mr. and Mrs. Percival S. Hill, Josef Hofmann, Mr. and Mrs Ernest Hutcheson, Henry Junge, Mr. and Mrs. Joseph Lhevmne, Mrs. Cyril Maude, Mr. and Mrs. Willem Men-gelberg, Ethel Newcomb. Andre Poloh, Marie B. Pond Mrs. O. B. Sarre, Mr. and Mrs. Ernest Schelling, Frank Seaman, Mr. and Mrs. C. B. Seger, Mrs. Hiram Sibley Mr. and Mrs. Albert Spalding, Mr. and Mrs. Frederick T. Steinway, W. Lyman Underwood and Mr. and Mrs C. A. Wooley.
32
Mary Mellish a Radio Fan
Inasmuch as Mary Mellish is certainly up-to-date in other respects it was not at all surprising to find out that she is just now a radio fan. The writer called upon her early the other morning to hear about her recent successful con-
Eleanor Spencer Scores Success in Paris
Eleanor Spencer, the American pianist, who has been meeting with exceptional success in Europe during the last three seasons, holding a record of more engagements with the leading orchestras of Europe perhaps than any American pianist has ever been able to attain, made her first appearance in Paris in January and won another triumphant success. The Chicago Tribune’s Paris Edition of January 29 commented as follows :
Sgencf ׳ America* pianist, made her Paris debut in recital at the Salle des Agriculteurs, Friday evening. When she appeared on
SLr	bfSni! .hrer P™Sra.m she was greeted by an audience
which, if.it did not fill the auditorium to overflowing with its numbers, did so with applause. Many times throughout the course of the pr<¿ approbation*6 ° ^ hal1 .rang and shook with loud demonstrations of
By virtue of her appearances and successes in certain other sections ״״״rr0״P<.t’ M‘SS ,SPenc" s name has. practically become a household word in those parts, and when folks m those regions talk about good
opinion that was shared by the throng that heard her, to judge by the spontaneous and long applause.
Immediately after her Meadville concert a reception was held for the members of. the Phi Mu Epsilon Fraternity and the Allegheny College faculty. Mme. Schumann Heink received her admirers and expressed again her appreciation for the manner in which she was accepted. At the reception it was recalled that Mary Thorp, of Meadville, was the accompanist for Mme. Schumann Heink at her concert there twenty years ago, which was given in the Academy of Music.
From Meadville, Mme. Schumann Heink went to Youngstown, where she filled an engagement that she was previously forced to cancel due to her late illness. After the Youngstown concert she continued her regular tour in the Southern States.
Leonard and Hopkins Pupils in Recital
Piano pupils of Florence Leonard and Louisa Hopkins assisted by Lucien Cailliet, clarinet; Alexander Zenker’ violin, of the Philadelphia Orchestra, were scheduled to give an ensemble musicale on March 17 in Philadelphia. Among the interesting numbers programmed were a trio for violin, clarinet, and piano by Baussnern, compositions by Pierne and Saint-Saëns, and piano pieces by Chaminade, Godard and Liszt. A short recital by junior pupils preceded the ensemble musicale.
Sara Stein at Musical Art Club
Sara Stein, soprano, was exceedingly well received when she sang at the Musical Art Club concert in Philadelphia on March 4. She was heard in three groups of numbers, which included operatic arias and songs of different types in all of which she revealed fine artistry. Miss Stein is one’ 9,^ j, j artist-pupils of Giuseppe Bogherti, of New York and Philadelphia, who are gaining recognition in the musical world.
ELEANOR SPENCER
piano playing (so I am informed by a well-known writer) they invariably associate Miss Spencer with it.
Her reputation, as reputations have a way of doing, preceded her to Paris. Those who attended her performance expected big things and—got them. From all points of view it was a successful recital. With musicians such as Miss Spencer guardians over American artistic standards and standing, our United States has no cause to worry, for those standards are headed straight for the top and nothing can stop their progress. Every day Americans are finding new meaning in the old refrain, ‘‘Long may they wave.”
The first point on which Miss Spencer is to be lauded is her just-long-enough program. It occupied one hour and fifteen minutes. Miss Spencer is one of the few artists who does not deem it necessary to play an endless list of pieces in order adequately to submit her gifts and qualities as a pianist to public judgment.
The example of less fatiguing programs (this is with respect to both the performer and the audience) has been set. What a brightening up of the concert horizon if a great many more recitalists and concert-givers would be artistic and courageous enough to follow it.
Miss Spencer’s first number was Brahms’ Variations and Fugue on a theme by Haendel. Her reading was noble in sentiment. Each variation was the natural sequence or unfoldment of the preceding one. Around the work was shed the rich glow of idealism. The interest of the audience was held steadily from first note to last.
Schumann’s Fantaisie Op. 17 was the second number. Pianists have neglected this piece too much of late. It is too healthy and beautiful to put aside at this time. The Fantastique et passionne and the Modere-Energique, portions of the number were notable in their rhythmic sensitiveness, outbursts of dramatic fire, and prodigious variety of tone color.
To the long list of cities in which Miss Spencer has aroused emotions and admiration, she may now add Paris. It is to be hoped that she will not wait too long a time before coming back to this music-satiated town and arousing it again.	Irving Schwerke.
Szigeti Pleases Ysaye and Belgian King
At one of the Ysaye concerts in Brussels, Joseph Szigeti, the soloist, received a tremendous ovation after his performance of the Busoni violin concerto. Ysaye himself was so impressed that he embraced Szigeti before the entire audience. After the concert, Szigeti was invited to appear before the King and Queen at the Royal Palace. Their Majesties as well as the entire court were delighted with the young master and applauded him enthusiastically.
In reviewing the concert, L’Etoile Belgique said: “Corelli’s La Folia, in the Leonard arrangement, as well as the Busoni concerto, gave Mr. Szigeti an opportunity to shine at his best. He seemed to delight in all the difficulties; to triumph over the most subtle obstacles set by the composers, by the vertiginous speed of his bow. Nothing could have pleased the public better. Hence Mr. Szigeti was applauded, received ovations and recalls, such as rarely a violinist before him has experienced. Many artists have filed past us in the course of these last seasons, but this one, as a sporting gentleman would say, ‘beats the record.’ ”
Photo by G. Maillard Kessl&re.
MARY MELLISH
cert tour, and the first thing that caught her eye was a radio apparatus.
“I see you have the fever, too?” inquired the visitor.
“Fever?” she ejaculated with emphasis. “We are what you might call radio mad.” Then she turned a little lever, adding: “Let’s see if we can pick up anything. . . .Ah, here is something. ...”
. In a second the room was filled with the most intoxicating jazz, and without realizing it, Mary Mellish’s foot began to beat time.
Her attention being called to this, she laughed: “Now didn t I tell you ? It has us going. Why we hardly get any sleep any more. After the opera or when we come home late at night, we find ourselves sitting up until two and three in the morning trying to pick up Cuba and such places. We began to feel the strain and I finally forbid Jay (Mary Melhsh’s husband, although he is not the type who likes ׳being called “Mary Mellish’s husband”) even to go into the living room after we came in late. It worked well for a few nights, but then—the craving got us again. The other night Jay sneaked into the room and tinkered a second with the radio. Just as I was going to scold him, he called out_: “Come quick, Mary, I have Atlanta!” And before I realized it, I was sitting there shivering with the cold and listening with all my might. Now, can you beat it ?”
After the radio, its advantages and disadvantages, had been discussed for a little time, Mary Mellish settled down and told the writer that her season had been a very interesting one, having included concerts and recitals in a number of important cities in the East, Middle West and West. Incidentally, she has been kept busy singing her former roles at the Metropolitan and will not be able to take a rest until the end of June. During that month Miss Mellish has several dates, which will wind up a full season. Ac-cording to her managers, Haensel and Jones, the prospects for 1923-24 are excellent.	j. y
Elinor Mario in Florida
Elinor Mario, mezzo soprano, artist student of Estelle Liebling, recently filled an opera engagement in Tampa, Fla., February 19 to March 3 inclusive. This season of grand opera was under the direction of Nino Ruisi and presented by the Tampa Lyric Federation at the Centro Asturiano, Tampa. From all reports the opera enjoyed a real success. The repertory included Aida, Barber of Seville, Forza del Destino and Faust. Miss Mario sang the leading mezzo-soprano roles in all four operas. Giuseppe Augustin¡ was the principal tenor. The chorus was made up of members of the Tampa Lyric Federation and many of the principal singers were also local artists.
Henry F. Seibert Heard via Radio
״He״r7 F• Seibert gave a recital via radio on Sunday, March 4, for the Skinner Organ Company at its studio on bifth avenue in New York. April 29 he will give a recital at the conservatory of Pierre Du Pont in Wilmington Del. Palm Sunday afternoon the choir of Holy Trinity Lutheran Church (New York), of which Mr. Seibert is organist and choirmaster, sang Maunder’s Penitence, Pardon and Peace. The soloists were Esther Nelson, soprano; Rosa Hamilton, contralto (recently elected to West End Collegiate Church), Bruce Benjamin, tenor, and Lionel Storr, bass.
Florence Easton “Alusician Extraordinary”
Florence Easton,^ who opened her present western concert tour at Astoria, Ore., “captivated the large crowd of Astoria music lovers before whom she appeared,” according to the Morning Astorian, while the Budget pronounced her singing glorious,” with the “full power of a brilliant voice.
Schumann Heink “Delights Great Audience” in Meadville
“With her voice absolutely unimpaired from her recent illness, and with all the volume and entrancing sweetness which have ever characterized it, Ernestine Schumann Heink enraptured an audience last evening; her first number demonstrated immediately that her voice was as good as ever; the beauty, richness and tone quality were all present.” Such was the verdict of one of the Meadville, Pa., daily papers after the great contralto sang there recently an
Frank Seaman Gives Dinner
A dinner party was given in honor of Mr. and Mrs. Wil-lem Mengelberg, George Eastman and Mr. and Mrs. Fred-
Remember the Name
MAX CECNA
Russian Cellist