Scan 5
Musical Courier 1926-03-11: Vol 92 Iss 10, 1926
139 lines. Read by computer on 27 September 2026, twice; the two readings disagreed in places. Printed page 6. See the scan on archive.org.
1Laying the Corner Stone of the New Fifteen Million Dollar Miami University a Great Event
3The laying of the corner stone of the new fifteen million dollar Miami University, which took place February 4, aroused unusual interest. Educators from far and wide attended the celebration; men, women and school children by the thousands listened attentively for hours to the stirring addresses made by members of the board of regents, business men and educators. Pryor's Band and Garber's Orchestra furnished music.
5George E. Merrick, promoter and owner of Coral Gables, gave as a memorial to his father one million dollars in cash beside one hundred and ninety acres of land valued at five to seven millions dollars to the University. He has also promised four million in cash, provided five million be subscribed by those who will ultimately benefit from this improvement. Other outstanding donations were given, including one million by Victor Hope of Miami, and three hundred thousand by H. C. Penny.
7In this University classes will be held in the open air and in the great vaulted halls of one of the most beautiful and impressive buildings constructed for the purposes of education. The freest and most advanced type of education, non-sectarian, will be available.
9The board of regents of the University is as follows: Frederic Zeigen (managing regent), William E. Walsh, Clayton Sedgwick Cooper, B. B. Tatum, James M. Cox, Ruth Bryant Owen, Mitchell D. Price, Henry Salem Hubbell, Frank B. Shutts, E. G. Sewell, Leslie B. Robertson, George E. Merrick, Thomas Pancoast, Bertha M. Foster and Telfair Knight.
11The Miami Conservatory, which will be the music unit of the Miami University, has as its director and founder, Bertha M. Foster. Miss Foster established the Conservatory in October, 1921, having been for twelve years previous director of the School of Musical Art in Jacksonville, Fla. The Conservatory has proven an important factor in the South for the highest type of musical education and with Miss Foster's ever-prevailing public spirit for the betterment of the community she has not only endeared herself to the people of Florida, but is a part of every advancement musically and culturally of Miami's phenomenal growth. The faculty of the Conservatory is one of the best of any southern college, and additional instructors have been engaged from all parts of the country to complete the faculty when they shall automatically become the music unit of the University.
13Stracciari Brings Audience to Feet
15Riccardo Stracciari, distinguished Italian baritone, who has been appearing as guest this winter with the Philadelphia Opera Company, sang with that organization in the Palace theater, New Haven, February 28. He aroused tremendous enthusiasm after the famous aria, Eri Tu. Spectators literally sprang to their feet and cheered him. The New Haven Journal said of his appearance: "It was a notable event because it brought the famous baritone, Riccardo Stracciari here. The great baritone was in rare voice and spirit and unquestionably sang with as much fervor as he would in a more finished presentation of the opera. In his solo in the third act after his denunciation of his wife, he reached the difficult ranges and met the modulations in brilliant voice, and the audience simply went wild. There was a tremendous shout of approval and an encore was graciously given."
17Saminsky Elected to Academy of Florence
19Lazare Saminsky, composer, has been elected an honorary member of the Royal Academy of Florence, Italy, in recognition of his services to contemporary art. Mr. Saminsky, who has lived in New York for a number of years, conducted his symphonies, ballets and operas in performances given during the past few seasons by the New York Symphony, the New York Philharmonic, the Colonne Orchestra of Paris and at the Duke of York's Theater in London. He is a director of the League of Composers and is musical director of the Temple Emanu-El. For the past three seasons he has gone abroad at intervals to conduct works by American composers and to lecture on young American and Young Russian music. He began his career as conductor of the Petrograd University choir and was later director of a choral society in London, also musical director of the Duke of York's Theater. Among his works are three symphonies, several ballets and operas and numerous songs published in this country and in Europe. Mr. Saminsky is well known as a teacher of composition and among his pupils are the young Count Alexander Dru; Alice Hunt, daughter of Dr. Hunt of the Rockefeller Institute, and David Dushkin, pianist-composer. Two of his pupils, Evelyn Berckman of Philadelphia and Maxwell Eckstein of New York, had their works performed at the Sunday Symphony Concerts and by the Temple Emanu-El choir. Mr. Saminsky has been invited to address the Florentine Academy, which he will do sometime in the summer, taking contemporary American music as one of his subjects.
21S. P. A. M. to Print Orchestra Scores and Parts
23The Society for the Publication of American Music announced at its annual meeting, held in New York, February 27, that a long desired project for the expansion of its activities to include the publication of American Orchestral works, in addition to chamber-music was now possible through cooperation of the Carnegie Corporation of New York.
25At the instance of Burnet C. Tuthill, founder and treasurer of the Society, the Carnegie Corporation, through its president, Frederick P. Keppel, has provided a revolving fund to serve as capital in the printing of orchestral scores and parts.
27To carry the plan through, the symphony orchestras of the country will be invited to become cooperating members of the society, and in return will receive the full sets of material, just as do the individual members in the case of the Chamber-music works which have been printed during the past six seasons. Their membership fees plus the subscriptions of libraries and individuals for the scores, and outside sales to non-members, will produce, it is hoped, sufficient income to print each season two or three works, depending on length and character.
29At first there will be issued known works which have already been performed, selected under the advice of a committee of experts. Later, competitive methods may be used to select unknown works, the choice to be made only after a performance by full orchestra before the committee.
31This annual meeting, held at the studio of Edwin T. Rice, vice-president of the society, also selected the chamber-music compositions to be published in its seventh season, the chosen compositions being Frederick Jacobi's string quartet, in part based on Indian themes, recently performed by the Flonzaley Quartet and selected to represent America at the Zurich Festival of the International Society for Contemporary Music, and David Stanley Smith's Sonata Pastorale, for oboe and piano.
33The music committee and directors of the Society for the Publication of American Music are: Officers and Directors—John Alden Carpenter, president; Mrs. H. H. A. Beach, Rubin Goldmark, Edwin T. Rice, vice-presidents; Burnet Corwin Goldmark, treasurer; William Burnet Tuthill, secretary; Eric Delamarter, A. Walter Kramer, Oscar G. Sonneck, Louis Svecenski; Advisory Music Committee—Georges Barrere, Harold Bauer, Adolfo Betti, Chalmers D. Clifton, Rubin Goldmark, Lewis M. Isaacs, Hugo Kortschak, E. Robert Schmitz, Frederick A. Stock, and Emerson Whithorne.
35AN IDEAL SONG RECITAL PROGRAM SERIES
37Here are the programs of the four recitals given at Town Hall this season by Mme. Charles Cahier, internationally known American contralto, who is now a member of the faculty of the Curtis Institute of Music, Philadelphia. As promised in a recent editorial, they are reprinted here for the benefit of the many singers who are always on the lookout for good material, new or old, to add to their repertory. There is not a number on any program that is not well worth singing, and the arrangements of the various programs are ideal, testifying to Mme. Cahier's fine musicianship. Sudden hoarseness obliged her to change the final group of the third program, but it is listed here as originally planned.
39PROGRAM I (November 21, 1925)
40I. Charles Martin Loeffler: Four songs with viola obligato:
41a. La Cloche Félée
42b. Dansons la Gigue
43c. Le Son du Cor's s'afflige
44d. Scherzade
45II. Alexander Maria Schnabel: a. Vision
46b. Dorfszenen
47c. Fr. from the Russian
48d. From the Tunisian
49e. From the Hungarian
50f. From the Hungarian
51III. Charles Lavalé: a. Ballade de Jeannette (La Reine de Pédauque)
52Raoul Laparra: b. Danse de Sabots one of two readings
53Raoul Laparra: b. Danse des Sabots one of two readings
54Gabriel Dupont: c. Mandoline
55Reynaldo Hahn: d. Chorlos
56D. Respighi: e. Musica in Horto
58PROGRAM II (December 19, 1925)
59I. Bach: Two airs with acc. of Oboe d'Amore. Continuo and Organ:
60a. Ach Herr, was ist ein Menschenkind! (from the Cantata "Unser Mund sei voll Brot") one of two readings
61a. Ach Herr, was ist ein Menschenkind! (from the Cantata "Unser Mund sei voll des Segens") one of two readings
62b. All praises to the Lord (from the Cantata of the same title).
63II. Respighi: a. Acqua
64b. Eggle
65c. Fauni
66d. Crepuscolo
67Ravel: e. Trois beaux oiseaux de Paradis
68f. La Flute Enchantée
69III. Arthur Perleberg: a. Liebeslied.
70b. Es war im Mai.
71c. Rache
72d. Junggesellenlied
73e. Ach Lieb, ich muss nun
74f. Schlectes Wetter
76PROGRAM III (January 16, 1926)
77I. Three songs for voice and strings:
78Thomas Greaves: a. Man First Created was—
79Thomas Bateson: b. If Floods of Tears
80Richard Nicholson: c. Cuckoo
81II. Johannes Brahms: a. Auf dem Kirchhof
82b. O Kübler Wald
83c. Gang zum Liebchen
84d. Immer leiser wird mein Schlummer
85e. Verschönter Ständchen
86f. Willst du dass ich geh?
87III. Four Scotch Folk songs with Strings and Piano Accompaniment, arranged by Joseph Haydn:
88Sung by Mme. Cahier at the Haydn Festival in Vienna, on May 28, 1909, accompanied by Rosé Quartet.
89IV. Ildebrando Pizzetti: a. La Madre al Figlio Lontano
90Debussy: b. Fantoches
91Gabriel Grovlez: c. Terreurs
92Georges Enesco: d. Changeons Propos, c'est trop Chanté D'Amour
94PROGRAM IV (February 4, 1926)
95I. Joh. Seb. Bach: (1685-1750)
96Guillaume de Machault: a. Douce Dame jolie
97G. Telemann: (1681-1767) c. Die Rechte Stimmung
98Calderara: (1687-1736) d. Selve Amiche
99Mozart: (1756-1791) e. Das Veilchen
100Haydn: (1732-1809) f. The Mermaid
101II. Henry Eichheim: a. Aedh Wishes His Beloved Were Dead
102Charles Griffes: b. Symphony in Yellow
103Marion Bauer: c. Night in the Wood
104Aaron Copeland: d. An Old Poem
105Ethel Leginska: Three Mother Goose Rhymes:
106a. Three Little Mice
107b. Sleepy Baby, Sleep
108c. Old King Cole
109III. Ildebrando Pizzetti: a. La Madre al Figlio Lontano one of two readings
110Claude Debussy: b. Fantoches one of two readings
111a. La Madre al Figlio Lontano one of two readings
112b. Fantoches one of two readings
113III. Ildebrando Pizzetti: a. Cantar one of two readings
114Claude Debussy: b. El Vito one of two readings
115Two Spanish Folksongs
116Arr. by Joaquin Nin: c. Cantar
117d. El Vito one of two readings
118Georges Enesco: d. El Vito one of two readings
119Georges Enesco: e. Changeons Propos one of two readings
120e. Changeons Propos one of two readings
122Cleveland Institute Notes
124CLEVELAND, O.—An experiment in choral work at the Cleveland Institute of Music, under the direction of John Peirce, head of the voice department, is attracting much interest. Formerly, there was one large chorus at the school, made up of men and women, students and outsiders, who met each week for rehearsal. They belong to the chorus because they were music lovers, and because they wanted the advantage of the splendid training offered by Mr. Peirce. From the single large chorus group Mr. Peirce has selected the men and women with the finest voices and formed smaller groups, in order to give the singers more individual training, and to make possible better balanced choruses.
126A mixed ensemble group, and another group for women, only, meet weekly. A small fee is charged, that only those genuinely interested will be attracted. Attendance must be absolutely regular. Entrance depends upon an examination by Mr. Peirce, and meeting his requirements. Admission is not limited to students at the Institute.
128By working with smaller groups it will be possible for Mr. Peirce to undertake more elaborate and unusual work. Many of the interesting forms of very old music will be revived. Mr. Peirce in working with the smaller groups will have more opportunity to stress points of appreciation and theory and less arduous duties directing.
130An especially interesting feature of Mr. Peirce's plans includes the use of compositions by members of the faculty and student body of the school. A motet by Elizabeth Wilford, one of the advanced students, will be among the first original compositions rehearsed.
132During this first season little effort will be expended preparing the singers for public appearance. They will sing possibly at regular Institute recital programs later in the season. "It is an experiment, and an unusual one," said Mr. Peirce. "It has been tried out in a few large schools, but very few."
134The results at the Institute promise much for the future of choral work at that school.
136George Liebling Continues Busy
138George Liebling, pianist-composer, has just finished a tour of thirty concerts in the middle west, including Chicago, Detroit, St. Louis and Sioux City. Wherever he has appeared his success has been noteworthy, re-engagements following at nearly all the places where he played. He has also given three concerts in New York this winter. At Aeolian Hall he gave the first hearing of his own piano concerto (Eroico) which was praised by all the critics. Mr. Liebling's present bookings will keep him occupied through the months of March, April and May.
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