Scan 6
Musical Courier 1902-01-01: Vol 44 Iss 1136, 1902
178 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 7. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1national pride. Italy, restored to liberty, should show that also in the arts she has so developed as to feel pride in being able to invite also strangers to take part in this peaceful emulation.
3Generosity in politics as in art ennobles nations. International emulation in study and work will bring to our country, in my opinion, incalculable advantages in every respect. It would attract the ever increasing sympathy of other nations, who are already impressed not only by the steady maturing of our free political views, but also by those progressive aspirations and artistic ideals which constitute the true glory of civilized countries.
5In 1889 it was I who promoted Italy's participation in the Paris Exhibition, which the deplored Crispi Government, for unfortunate reasons, was endeavoring to exclude from that memorable competition of art work and international brotherhood.
7Of the excellent practical results obtained, thanks to private initiative, let our artists and manufacturers speak. Nor less important were the political results, as perhaps even a break in the relations of the two countries was avoided—a break which unwise mismanagement was preparing, but which by a wiser train of thought our present rulers are endeavoring to convert into mutual friendship with reciprocal advantage.
9With the Exhibition of Milan we have a splendid opportunity for the advancement of universal brotherhood, acquiring at the same time additional esteem from all; why, therefore, lessen the value of an act of such world-wide importance by petty controversies?
11For my own part I, for these reasons, have pleasure in informing the committee that I am disposed to complete an initiative that I consider so promising, by inviting, on my own account, an international competition, with a 50,000 lire prize, for a musical work in one act, to be given, also at my expense, at the Teatro Lirico Internazionale, in accordance with the program which will shortly be made known.
13I have no doubt that the first effect of this double initiative will be that of encouraging our artists to prepare for 1904 works which may show to the world how in this new century our Italy fears not competition in this noble strife with artists of every nationality, who will be hospitably welcomed by us all.
15EDOARDO SONZOGNO.
17Mr. Blumenberg's desire could not be better interpreted or more completely satisfied, for, although Sonzogno's letter to the committee only sets forth the first idea of an international prize without mentioning the terms, yet I am truly glad to be able to be the first to tell you that also American composers are invited to compete for this prize of 50,000 lire for an opera in one act.
19In a long conversation I had with Edoardo Sonzogno for the purpose of setting before him the reason why it was necessary that North America should participate, he expressed his full concurrence in the idea that this artistic competition should be made important by the number of competitors. Indeed Sonzogno did not appear averse to the admission of an American composer to the board of international commission appointed to judge the relative merits of the works offered, and this because, while it must be flattering to the Americans to be represented among the foremost nations in musical art, it is also a guarantee to the American composers.
21And yet another most important thing, I am happy in being able to tell you, viz., that the libretto of the opera may be written in English, subject only, and naturally so, to the necessity of uniting with it a good Italian translation when it will be presented to the judicative committee.
23I will return to the subject as soon as the full and exact terms of the competition will be settled. In the meantime THE MUSICAL COURIER will do well to make known to the American composers that at last the day has arrived for them to measure their strength against Europe in the matter of music, that the day has come for America to show that to her commercial strength may be added also artistic strength, to prove that America possesses not only the dollars, but also artistic taste, and to show how, without any artistic heirloom (her forbears having devoted themselves principally to furthering the material greatness and liberty of their still young country), she seeks, now that she has reached her goal, to render it fully worthy of her greatness.
25It may not be amiss to recall how by the first Sonzogno competition, although only 3,000 lire, Italy gained the "Cavalleria Rusticana," of Mascagni, and how this "Cavalleria Rusticana" indicated a new musical vein, diligently followed, but not yet fully developed by the younger masters, although it is fair to hope that this new spirit of musical research may yet resuscitate the glorious times of fifty years ago.
27F. ORLANDI.
29KUBELIK'S PAGANINI MATINEE.
31IT is now generally conceded that as a Paganini player Jan Kubelik is peerless. He gave a matinee performance last Saturday in Carnegie Hall devoted to the compositions of the Italian virtuoso. The program was this:
32Concerto for violin, D major………………………………….Paganini one of two readings
33(Cadenza by Sauret.) one of two readings
34Concerto for violin, D major……………………………Paganini (Cadenza by Sauret.) one of two readings
35Herr Kubelik.
36Piano soli—
37Praeludium…………………………………………………Rachmaninoff one of two readings
38Praeludium ……………………………………………..Rachmaninoff one of two readings
39Etude de Concert (Am Meeresufer)…………………Smetana
40Herr Frimi.
41Violin soli—
42Andante…………………………………………………….Paganini one of two readings
43Andante ………………………………………………….Paganini one of two readings
44Campanella……………………………………………….Paganini one of two readings
45Campanella …………………………………………….Paganini one of two readings
46Herr Kubelik.
47Piano solo, Caprice Espagnol………………………….Moszkowski one of two readings
48Piano solo, Caprice Espagnol………………………..Moszkowski one of two readings
49Herr Frimi.
50Violin solo, I Palpiti………………………………………Paganini one of two readings
51Violin solo, I Palpiti………………………………….Paganini one of two readings
52Herr Kubelik.
54The young Bohemian was at his best. He played the D major Concerto with miraculous bravura, slashing out double thirds, sixths, octaves and tenths as if they were a mere diversion. His intonation, too, was excellent. Perhaps he was at his best in the Campanella Rondo from the B minor Concerto. It is familiar to all pianists because of Liszt's brilliant transcription. Kubelik delivered it in a bewitching manner. Herr Frimi, who is a prime accompanist, played his soli in finished style. He is a refined artist whose feeling for tonal nuance is marked. The well worn prelude was really made something of, and the Smetana Study proved to be an effective piece of the salon order. There was plenty of applause for both young men.
56ESTABLISHED 1867.
57CHICAGO MUSICAL COLLEGE.
58DR. F. ZIEGFELD, President.
59The Largest and Most Complete Institution of Musical Learning in America.
60COLLEGE BUILDING, 202 MICHIGAN BLVD.
61The finest structure in existence devoted exclusively to a Musical College.
62SCHOOL OF ACTING, MUSIC ELOCUTION, ORATORY, LANGUAGES.
63BOARD OF MUSICAL DIRECTORS.
64DR. F. ZIEGFELD, HANS VON SCHILLER, BERNARD LISTEMANN, RUDOLPH GANS, HERMAN DEVRIES, HART CONWAY, Director School of Acting.
65Catalogue Mailed Free.
66HANNAH & HAMLIN Dissolved June 1st.
68THE HAMLIN COMPANY
69DIRECTORS OF CONCERTS AND MUSICAL ARTISTS.
70514-517 KIMBALL HALL CHICAGO.
71LOUIS EVANS, President.
72CABLE ADDRESS: LINARK, CHICAGO. LONG DISTANCE TELEPHONE: HARRISON 2255.
74REPRESENTATIVE AGENCY OF MIDDLE STATES
75EXCLUSIVE DIRECTION
76HELEN BUCKLEY and JESSICA De WOLF—Sopranos.
77SUE HARRINGTON FURBECK and ELAINE De SELLEM—Contraltos.
78GEORGE HAMLIN and HOLMES COWPER—Tenors.
79CHARLES W. CLARK and SYDNEY BIDEN—Baritones.
80ARTHUR DUNHAM—Organist, and THEODORE SPIERING—Violinist.
81WE WILL NEGOTIATE FOR ALL HIGH-CLASS ARTISTS.
83CHICAGO ADVERTISEMENTS.
85HARRISON M. WILD
86CONCERT ORGANIST.
87Studio 6, 241 Wabash Ave., CHICAGO.
88Piano and Organ Instruction.
89D. A. CLIPPINGER,
90THE ART OF SINGING.
91Conductor.
92Author of "The Development of the Singing Voice."
93410 Kimball Hall, Chicago, Ill.
95Frederick Warren
96BARITONE,
97CHICAGO AUDITORIUM CONSERVATORY.
99MARY PECK THOMSON,
100SOPRANO,
101620 Fine Arts Building, CHICAGO.
103JEANETTE R. HOLMES,
104Contralto.
105Oratorio and Concert.
106613 Fine Arts Building, Chicago.
108Chicago Auditorium Conservatory.
109FREDERIC GRANT GLEASON, Director. ROY ARTHUR HUNT, Manager.
110*Phones: Harrison 1910 and 1736. Unsurpassed Faculty Teaching.
111ALL BRANCHES OF MUSIC.
112Stage Training, Elocution, Languages and the Fine Arts. SEND FOR CATALOGUE.
114ALLEN SPENCER,
115PIANIST. Concerts, Recitals.
116Address: KIMBALL HALL, CHICAGO.
118KARLETON HACKETT,
119Teacher of Singing.
120Kimball Hall, Chicago.
122EARL R. DRAKE,
123VIOLIN VIRTUOSO.
124Teacher.
125Studio: 505 Handel Hall, Chicago.
127HOWARD WELLS,
128Pianist,
129Kimball Hall, Chicago.
131JOSEPH VILIM
132VIOLINIST. Trio Concert Co. Orchestra.
133SEND FOR PROSPECTUS.
135JAN VAN OORDT,
136VIOLINIST.
137KIMBALL HALL, CHICAGO.
139CAROLYN LOUISE WILLARD,
140PIANIST. Instruction.
141Pupil of Ernst Jedliczka, Bloomfield-Zeisler.
142Address: 4164 Lake Avenue, Chicago.
144MRS. THEODORE WORCESTER,
145PIANIST.
146Address, 1402 Auditorium Tower, Chicago.
148MRS. MARY HEALY MULLETTE,
149DRAMATIC MEZZO-SOPRANO,
150ORATORIO, CONCERT, RECITAL.
151Address 638 Fine Arts Building,
152CHICAGO.
154Gottschalk Lyric School.
155Musical and Dramatic.
156CATALOGUE MAILED ON APPLICATION.
157KIMBALL HALL, 243-253 Wabash Avenue, CHICAGO.
159THE CHURCH PARSONS MUSIC METHOD.
160Kindergarten and Graded Course.
161610 FINE ARTS BUILDING, CHICAGO.
163AMERICAN CONSERVATORY,
164KIMBALL HALL BUILDING, Wabash Avenue and Jackson Boulevard, CHICAGO.
165THE LEADING SCHOOL OF MUSIC AND DRAMATIC ART IN THE WEST.
166Among the fifty eminent instructors the following might be mentioned:
167PIANO—JOHN J. HATTSTAEDT, VICTOR GARWOOD, ALLAN SPEER, GERTRUDE MURDOUGH, HENRY WELLS.
168SINGING—KARLETON HACKETT, GLENN HALL, HOLMES COWPER, RAGNA LINNÉ, MABEL GOODWIN, LOUISE BLISH
169Catalogue mailed free.
171R. CAPOUL CUTTRISS WARDE,
172SINGING MASTER.
173The teacher of many prominent artists now before the public. Send for list.
174STUDIO: No. 911 Cable Building, Cor. Jackson and Wabash, CHICAGO.
176GRACE VAN VALKENBURGH, CONTRALTO.
177Management DUNSTAN COLLINS, Fine Arts Building, CHICAGO.
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