61
MUSICAL COURIER
ered in the Whitman College Chapel. . . . Miss Smith possesses a clear, resonant voice with enunciative qualities the equal of any heard here.”
According to the .Manitowoc Times, “A splendid spirit of enthusiasm was shown on the part of the audience” at the recital which Miss Smith gave in Manitowoc, Wis. Among the many other successful recitals given in the West was one in Salem, Ore., at which time the critic of the Capital Journal stated: “Miss Smith sang several groups of songs with a perfection of technic, which is especially pleasing when one knows that all her training was received in the United States. Her dramatic interpretation of her numbers she sang was particularly well done and appreciated. . . . There was a charm and wistfulness about the children’s songs that made that group unusually appealing as sung by Miss Smith.”
$500 Prize for String Quartet
The Chamber Music Association of Philadelphia announces a prize of $500 for the best composition for string quartet, under the following conditions:
1.	Compositions to be for string quartet (2 violins, viola, cello).
2.	There are no limitations as to the form of the composition.
3.	There are no limitations as to the nationality of the composer.
4.	Score and parts must be in the possession of the Chamber Music Association of Philadelphia, 1317 Pennsylvania Building, Philadelphia, Pa., not later than November 1, 1923. Works received after that date will not be considered.
5.	Each score must have written on the title page, in ink, a nom de plume and be accompanied by a sealed envelope containing a paper with the composer’s name inside and the nom de plume outside.
6.	Judges will be appointed by the directors of the Chamber Music Association and their decision shall be final.
7.	To be eligible, any composition must, in point of technical workmanship and musical content, reach the standard for works commonly given public performance in the regular concerts of symphony orchestras or chamber music organizations, respectively, of the first rank in the United States.
8.	The work receiving the award will be given a performance at one of the concerts of the Chamber Music Association during the coming season or at one of the early concerts of the season 1924-25.
9.	The right of first performance will belong to the Chamber Music Association.
10.	Only compositions never before performed publicly shall be eligible for the competition.
11.	Scores and parts are sent at the composer’s risk, and the Association will not be responsible for their safe return, although every endeavor will be made to return material submitted.
Easton-Althouse Concert Praised by Local Manager
After Florence Easton and Paul Althouse’s recent joint recital in Portland, Ore., under the local auspices of the well known Elwyn Concert Bureau, the following letter was received from that concern attesting to the success of the affair:	“The Easton-Althouse concert was one of the
most artistic and thoroughly successful that we have ever managed. This was Althouse’s third consecutive appearance on our Portland series, and he certainly has made a host of friends here. Easton gave a marvelous performance. It was the first time that we had ever heard her in concert, but she is fully as great an artist in concert as she is in opera. Altogether, their program has been one of the outstanding events of the season.”
the choir of boys and men was Stanford’s anthem, The Lord Is My Shepherd. In this there was impressive restraint^ as well as fine climax, the boys giving forth excellent high G’s and A’s, and a splendid unison effect was heard in Yea Though I Walk. Also the men sang with fervor, Thou Hast Anointed.
The descriptive notes by Dr. Alexander Russell added much interest to the program.
Jean de Reszke and Harold Hurlbut
Harold Hurlbut, the de Reszke disciple, will begin his third summer season of master classes in San Francisco in May, continuing his classes later on in Seattle, Spokane and
Lewiston, Idaho. Mr. Hurbut’s annual transcontinental tours have been the source of much gratification to his teacher, Jean de Reszke, who wrote recently :	“I have al-
ways followed with interest your work and your conferences. I have been happy to read of your success and expect you to develop some brilliant pupils. Your devoted master, (signed) Jean de Reszke.”
That the great artist’s expectations are being realized is proved by the many successful artist-pupils of Mr. Hurlbut who are now singing throughout the United States. Representing the vocal teaching profession of New York in the Rotary Club, Mr. Hurlbut will sing_ and speak at twenty-four meetings of Rotary Clubs on his tour.
HAROLD HURLBUT
Ethelynde Smith Arouses Enthusiasm
Ethelynde Smith, soprano, received many flattering press notices while on tour recently in the West. The programs she presented were interesting and well arranged, consisting of eighteenth century classics, French songs, operatic arias, Russian songs, songs by composers of America and England and־ children’s songs.
In commenting upon a recital given by Miss Smith in Aberdeen, the Aberdeen World stated that the audience was delighted with the program presented by the soprano.
Following Miss Smith’s apparance in Walla Walla, the Union of that city headlined its review of the recital as follows: “Noted Soprano Heard in Song Given Ovation— Ethelynde Smith Responds to Encore After Encore in Chapel—Has Pleasing Voice With Personality and Won Her Audience.” The critic of that paper then had this to says: “Appearing in one of the most splendid musical recitals yet held in Walla Walla, Miss Smith was forced to respond to encore after encore before a large crowd gath-
A p ril 12, 1923
Folk Tune, and in April the Mendelssohn Club of Chicago will sing his choral work, I Am the Reaper. Albert I. Elkus com;s from a musical family; his mother is a fine pianist and musician and one of the founders of the Saturday Club.
Pauline Ireland gave a song recital at her studios the other evening.	A. W. O.
METROPOLITAN OPERA
(Continued from page 24)
honors of that act. In appearance, she was beautiful, her figure and grace making instant appeal. The choice and attractiveness of her costumes added to the general completeness of her impersonation.
Scotti, as usual, aroused much enthusiasm in a role with which his name is always associated, and Gigli sang beautifully as Cavaradossi, being acclaimed after the famous letter song in the last act. Cecil Arden was the Shepherd and her rich voice lent a significant note to the performance. Moranzoni conducted with his accustomed skill.
Guiomar Novaes on Long Tour
On March 25, Guiomar Novaes, the Brazilian pianist, began a long concert tour which will take her to the Pacific Coast. Dates yet to be filled are:	April 12, San Diego,
Cal.; 19, Sacramento, Cal.; 20, Oakland, Cal.; 23, San Francisco, Cal.; 25, Portland, Ore. (with Portland Symphony Orchestra) ; 27, Tacoma, Wash.; 29, Seattle, Wash, (with Seattle Civic Orchestra) ; May 1, Spokane, Wash.
W. Warren Shaw Pupils in Recital
The following pupils of W. Warren Shaw took part in a successful song recital at the Mansent Conservatory of Music, Harrisburg, on Wednesday evening, March 21; Mrs. H. S. Gensler, Alice Barker and Mrs. Beech, sopranos; Clarence Segher, bass; Henry Shope, tenor, and W. E. Taylor, baritone.
Last Bachaus Recital
Bachaus, pianist, will give his fourth and last recital in Town Hall on Sunday afternoon, April 15.
Dupre Recital in St. Thomas’ Church
An organ recital by the celebrated French organist, Marcel Dupré, at St. Thomas’ Church, March 13, was attended by a large congregation. As usual, his improvisation was a feature of the program, giving two of them on this occasion. A Magnificat, by the old English composer, William Byrd (who lived in the fourteenth century), sung by the choir, gave Mr. Dupré his theme for improvisation; there were many unusual features in this, notably his unusual use of the flute-group. A marvel of clearness and flexibility־ was his playing of the celebrated Bach toccata in F, and the piece which followed, Carillon (Bourdon), shone all the more because of its modernity; it is dedicated to M. Dupré. There was variety and charm in his own prelude and fugue in G minor, in which all manner of theme combinations were heard; other organ numbers were from symphonies by Widor and Vierné. An effective choral number sung by
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