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Musical Courier 1926-09-30: Vol 93 Iss 14, 1926
80 lines. Read by computer on 29 September 2026. Printed page 8. See the scan on archive.org.
1Curtis Institute Prepares for Third Season
2A faculty of surpassing distinction which has been strengthened by the addition of artists from Germany, Austria, Russia, England and America has assembled at the Curtis Institute of Music in Philadelphia to conduct the entrance examinations that precede the opening of the school on October 1. The sole qualification for entrance is the possession of a native musical gift worthy of cultivation by such masters. Removed as it is, from all commercial consideration, the Institute looks to the quality of its students rather than to numbers. Enrollment is limited to 250, so that adequate and thorough instruction can be given those who wish to become concert artists or who intend to teach.
4The broad cultural background essential for artists is supplied by supplementary courses conducted by a faculty drawn from the leading universities and colleges.
6Important innovations in the equipment of the Institute now are in progress under the direction of William E. Walter, the executive director. These include the addition of a spacious concert hall to the main building; the installation of a large four-manual pipe organ, and also of a music library that may ultimately include some twenty thousand volumes.
8During 1926-1927 one of the most notable trios of artist-teachers ever associated with any school of music will be assembled in the piano department, of which Josef Hofmann is director. Moriz Rosenthal and Benno Moiseiwitsch, as permanent members of the faculty, will instruct a limited number of advanced pupils of talent. Mr. Hofmann continues also as an active instructor, and remaining in the faculty as teachers will be David Saperton and Isabella Vengerova. Special lectures given by Wanda Landowska on the old masters of music will be of special benefit to piano students.
10Reginald Owen Morris, having resigned his post as Professor of Harmony and Composition at the Royal College of Music in London to assume directorship of the theoretical department, was among the early arrivals from Europe. Accompanying him was Herbert W. Sumson, English organist, who will teach harmony. Ethel S. Drummond, continuing as instructor, will be associated with Mr. Sumson, and for soffge there is a notable newcomer, Renee Longy-Miquelle, formerly head of the Longy School of Music in Boston. Rosario Scalero will resume direction of classes in counterpoint and composition.
12In the department of voice, of which Marcella Sembrich is director, the only new faculty member will be Harriet Van Emden, who has been teaching for the past two years in Cologne, Germany. Mme. Charles Cahier, Emilio de Gogorza, Horatio Connell and Madeleine Walther will continue their individual instruction of vocal students, and Richard Hageman will again be in charge of vocal coaching.
14The stringed instrument department remains unchanged with Carl Flesch directing violin work with the assistance of Richard Hartzler, Frank Gittelsohn, Sascha Jacobinoff and Emanuel Zetlin. Viola instruction is in charge of Louis Bailly, and cello is in charge of Felix Salmond, and both these noted artists are responsible for ensemble training. The harp classes will again be conducted by Carlos Salzedo.
16The student orchestra will be continued with weekly rehearsals under Leopold Stokowski, conductor of the Philadelphia Orchestra, who is in charge of orchestral training at the Institute.
18Placide de Montoliu, former director of the rhythmic ballet at the Paris Opera, will return from his school in Paris to conduct special classes in eurythmics.
20RUTH BRETON
21Violinist
22CONCERT MANAGEMENT ARTHUR JUDSON
23Steinway Hall NEW YORK
24Packard Building PHILADELPHIA
26"He is a refined and intelligent singer."
27—Pittsburgh Gazette-Times.
29Frederick Gunster
30TENOR
31Forwarding Address: c/o Musical Courier, 437 Fifth Avenue, New York
33Mr. PAOLO GALLICO
34Pianist and Pedagogue
35Having returned from Los Angeles, California, where he conducted Master Classes during the Summer, will resume
36PIANO TUITION
37At his New York Studio, 174 West 79th Street, New York City
38October 1st, 1926
39Specializing in Weight and Relaxation Technique
40Arrangements for lessons by mail or phone Trafalgar 2426
41Among the pianists before the public that have studied with Mr. Gallico are—Olga Steeb, Mme. Augusta Schnabel Tollesen, Ashley Pettis, Earle D. Laros, Irene Jacoby, Irving Schenkman—and others.
43VIOLIN INSTRUCTION
44RESUMED
45by
46VICTOR KÜZDÖ
47Studio
4819 West 94th Street New York City
50MUSICAL COURIER
51September 30, 1926
53Salzburg Festival a Financial Debacle
54SALZBURG.—An official statement of the Festival Society confirms the rumors that this summer's Salzburg Festival was financially disastrous. The deficit is one and a quarter billions of crowns, and the receipts were so far below the estimates that towards the end of the festival the society was unable to pay the artists their contractual fees. As a result some of them left before the festival was over, and had to be replaced by minor singers. The biggest disappointment, financially, was Reinhardt's production of Turandot which involved an investment of two billions. A close second was Ariadne auf Naxos, notwithstanding the fact that it was the best production of the whole festival, staged at a big cost and directed by Richard Strauss himself. The results of the festival prove conclusively that the presence of Strauss and Reinhardt, heretofore the dominating figures and hoped-for drawing cards of the festival, will not ensure financial success. It is interesting that the best monetary results were brought by the two Mozart operas, Il Seraglio and Don Giovanni, and by Die Fledermaus, the latter owing to the presence of Fritz Massary. It is expected that the lessons of this year's festival will lead to a complete reorganization of the society, and to a new artistic policy for the future.
55P. B.
57Russian Symphonic Choir Engages Noted Tenor
58Basile Kibalchich, conductor of the Russian Symphonic Choir, has just engaged a solo tenor for his organization who will prove an important addition to his forces. The new singer is Boris Belostotzky, who was for several years leading tenor of the famous Musical Studio of the Moscow Art Theater. Mr. Belostotzky will appear as soloist as well as in the ensemble numbers. The Choir began rehearsals last week and will begin its tour with a New York recital on Sunday afternoon, October 17, at Aeolian Hall.
60Horace J. Parmelee Returns from Europe
61Horace J. Parmelee, vice-president of the concert management firm of Haensel & Jones, who has been in Europe combining business and pleasure, returned to New York on the Homeric, September 22.
63OPENING WEEK
64J. Rosamond Johnson
65and
66Taylor Gordon
67In Programs of Negro Spirituals
68They Sing.
69Buffalo, N. Y., Oct. 3rd
70Detroit, Oct. 4th
71Flint, Mich., Oct. 5th
72Canton, O., Oct. 7th
73Chicago, Ill., Oct. 11th
74Then comes Louisville, New Rochelle, Boston, three recitals, New York, three recitals. Columbia University, Brooklyn Institute of Arts and Sciences. Southern tour late January and February. And the Pacific Coast, with Messrs. Behymer and Oppenheimer. Pacific Coast tour, March and early April.
76Management
77RICHARD COPLEY
7810 East 43rd Street New York
79Knabe Piano
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