Evening Star Newspaper, September 12, 1926, Page 64

MUSIC By Helen Fetter. MUNICH, Germany, August 13. HE realm of grand opera has but one example of what popular fic- tion magazines tall “serial stories.” The serial opera is “Der Ring des Nibclungen,” written by Richard Wagner. It was originally and aptly termed “Stage Festival Play for Three Days and One Preliminary Evening.” The first production in its entirety was given at Bayreuth, the home of the composer, in August, 1876. The first complete American presentation of the “Ring” was given-in the Metropolitan Opera House in January, 1899, Although there are four distinct performances in the cycle. it is generally termed a triology rather than a tetrology. though the latter term is used to a certain extent. Such are leading facts behind the “Ring.” It is, indeed, advisable to hear the “Ring” as a whole in order to appreciate to the fullest the masterly conception, musically and dramatically, inspired in the mind of the great master of Bayreuth. 3 It is interesting, in this connection, to mention that when Wagner first p'anned his musical work, with the old Norse Eddas and the Germanic “Nibelungen Lied” as his inspiration, he first outlined a drama on “Sieg- ried’s Death,” now the last of the four operas, “Goetterdaemmerung,” or “The Dusk of the Gods." As he worked, however, the whole tetrology came into being, and the librettos were all completed in rather backward progression in 1833, The music, however, was written in chronological sequence. When half through “Siegfried,” third in the four operas, Wag- ner is reputed to have despaired of ever getting the cycle produced and to have suspended his working out of the music of the “Ring.” During this time he wrote “Tristan und Isolde,” considered his most beautiful opera, and “Die Meistersinger von Nuremburg,” another of his finest works. Through the interest his operas aroused in the King of*Bavaria and resulting in the establishment of the Festival Theater in Bayreuth, Wagner was again encouraged to continue to completion his composition oi the “Ring.” In “Der Ring des Nibelungen™ Richa est extent his idea of using leading moti each character in the operatic story its ine cally. He also conceived his depiction of t e op in a manner closely resembling the old Greek idea. The tetrology in itselt i< probably the most stupendous operatic undernkin? ever attempted and well deserves its place as subject of an annual festival. * ok kK N ities to hear this cycle of four operas telling one unbroken sequence. There have ductions in America,.but, at the in New York, annually rd Wagner developed to its great- ves, or guiding themes, which lent dividual and dramatic color musi- he gods and heroes of the operas ARE are the opportun hig allegorical tale in practically Deen isolated attempts at continuous pro present time, only the Metropolitan Opera House, w Y features cycle performances, and even these, given in the b?rmg. on Thurs- day matinees. require a lapse of seven days between each of the four works. It ic in Germany, and notably at Bayreuth and Munich, that it is pos- sible to hear the cycle within I than a week’s time during the now famous Wagner Summer festspiel. The close-knit quality of these festival productions, with an utter lack of the “playing up” of individuals, either singers or conductors, increases the almost religious atmosphere that makes attendance at a Wagner festival a genuine musical pilgrimage. During the past week the beautiful Prinzregenten Theater, where the first of two performances of the complete cycle of the “Ring” was given, was filled to capacity every time. Hans Knappertsbusch, general musical director of the entire festival, which covers the period from August 1 through September 5, conducted this first “Ring.” Clemens Krauss, con- ductor of the Vienna Philharmonic Orchestra, conducts the second cycle. The arrangement of the Prinzregenten Theater is admirable for opera. It has a seating capacity of 1.106 persons, and the auditorium is so con- structed that there is no balcony. The floor slants very decidedly from above the hooded space where the large orchestra of 130 pieces is ade- quately accommodated to the top, where one row of boxes is ranged against the back of the auditorium. Each seat is so much higher than that in front of it that there is no difficulty for the spectator in viewing the stage, which, in turn, is sufficiently large to contain the new and very spectacular scenery used for the first time at these festival performances. The exits are ranged on ascending tiers at either side of the auditorium, and there is but one central aisle. A bell rings three times in warning the andience of the beginning of each act and a fanfare of trumpets also is hlown. After the third bell no one is admitted until the succeeding act. There i< no scrambling in of late comers, no parading of those who would be seen after the opera has once begun_ All the parading onc could wish is ecasily available during the long intermissions. when strolling in the fovers and garden and eating in the dining rooms form the chief interests. The auditorium has simple Greek lines in the decor, with classical statues and urns placed at intervals in the niches along the sides, and Greek heads in bas relief around the walls. The lighting is indirect and excellently managed. The doormen, with their blue uniforms blazing with gilt buttons, snap the doors to at the given signal as the lights fade and the curtain rises on the stage. Best of all, and most amazing to the visit- ing American. an immediate and complete hush descends on the audience, a ~iletice which is not broken until the end of the act. The slightest attempt at conversation is grected with hisses irom the offenders’ neighbors. * * ok HE new scenery for the performances in Munich this Summer is en- tirely in key with the music and themes of the operas. It is modern and impressionistic without being obtrus The lighting, for which the Germans are noted. also was a great aid in helping the actors create both their own characterizations and the general atmosphere of the operas. The rainbow in “Das Rheingold” and the illusion of sea depths, as well as the grottolike realms of Alberich’s kingdom. were buuti(\lrly suggestive back- wrounds for the first episode that motivates the whole cycle—the stealing of the ring and the Rhine gold from the maidens who guard it. ch character was well cast. Wilhelm Rode, who led the list as father of the gods, was magnificent in his interpretation and vocal itzau, as Loge, was extremely effective. and the two giants, I a afner, were presented with ingenious individuality by Rerthold Sterneck and Julius Gless, Hermanp Wiedemann as Alberich, Carl Sevdel as Mime. Luise Willer as Fricka, Ella Flesch as Freia, and, ahove all, Maria Olszewska as Erda. seemed to be cast in roles that suited their voices and dramatic abilities excellently. In "Dic Walkuere.” perhap most popular of the cycle in America, the magic fire scene was never more impressively done than in this Munich production. The scene between Wotan and Brunnhilde, uncut in the Munich version. was a rare treat of musical dialogue. given in properly keved sctting. The Valkyries also were more numerous and did better charal work than ene is accustomed to hear elsewhere. Elizabeth Ohms: who had heen an effective Isolde a couple of days heiore, proved an ideal Brunnhilde. She looked, acted and sang her role <uperbly. Heinrich Knote, whom Washingtonians will remember as 2 mem- ber of the Wagner Opera Co.. was a traditional and satisfactory Sieg- mund, and Gertrude Kappel was thoroughly satisfying as Sieglinde. fn “Die Walkuerc.” as in the two following operas, the same singers who sang leading roles in “Das Rheingold” continued in those roles throughout the cntire cycle—an admirable and logical idea. In cgiricd” Otto Wolf. whose art is still strong, but whose voice and face at times betray the fact that he is no longer a young singer, at- tained a semblance of youth for this sturdy young hero of the “Ring” that was the more remarkable because of his handicap. He was more suc- cessiul in this role than in that of “Tristan,” which he also sang in the festival production of that opera. The big puzzle to the outsider is where are the young German dramatic tenors? Aren’t there any? Of course, in America we have heard Rudolf Laubenthal and Kurt Taucher. but they are not singers to become excited about. Krauss. who sang in the Mozart operas, has apparently too Iyric a quality to interpret Wagner's roles, and Richard Tauber also was listed only in lyric roles, In i Wotan rendition. Siegiried” William Rode was again excellent as the Wanderer, and Miss Olszewska, the fine contralto. came into her own in the few moments of Erda’s song in response to the plea of the Wanderer. This Sncident. too, was marvelously handled scenically. Elizabeth Ohms was again the Brunnhilde, and a goddesslike singer, ever there was one. Anni Frind was the veice of the forest. and showed good taste in that difficult bit of beautiful high melody. The dragon, with its glittering eve and unholy grunts, alsb deserves special mention for its acting in this kcene. It was a thoroughly satisfactory dragon, both from the point of ~iew of fairy tales and of the legend about St. George and his famous antagonist. It seemed unfair that in German so marvelous a beast should be designated by the mere term, “Wurm.” The Twilight of the Gods'—"Goctterdaemmerung”—was completely wp to the standard of the other productions. Paul Bender came to the fore with his characterization of Hagen, and Ella Flesch was an alluring Gutrune. Hans Nissen was a_comsistent Gunther and Maria Olszewska was ‘effective as Waltraute. The three norns were artistically sung by $fedwig Fichtmueller, Luise Willer and Elizabeth Feuge. Their opening scene struck the note of fatality that dominates this work in fortissimo Sachion, whereas it had been more subtly and slightly suggested in the receding operas of the cycle, The last scene of the fall of the gods, with runnhilde casting the flaming torch on Siegiried's funeral pyre. is at the ame time a funeral chant nd a benediction. 1t is probable that nothing has ever been staged operatically which could surpass in beauty the man- per in which the scene of Siegfried’s death march was handled in this fproduction. - ® ¥ k X UNICH itself is a beautiful city, though somewhat chilly in climate. The Isar is a gay. broad river that dimples merrily as it dashes through ¢he middle of the town, guarded on either side by wel kept parkways. The Peutsches Musenm, in Munich, is a stupendous institution, with interesting detailed replicas in miniature of every industry and extensive exhibits of cientific and artistic materials. In the musical instrument section there ’s a remarkably complete collection of instruments of all periods, with pome one to demonstrate them intelligently. Ever so often concerts are given in this division on instruments of various periods, and organ recitals on the huge modern pipe organ are regular events. There also are the picture galleries, both of ultra-moderns, such as Puu and Manet, and of the established masters—El Greco, Goya, Rubens, ’an Dyke, Fra Angelico, Murillo, etc. There are also fascinating print and engraving shops and book and music publishegs that turn out the latest in Furopean literature and music, as well as beautiful editions of standard tlassics to intrigue the stranger. * * k% EXT year the festival will be held in Bayreuth, home of the great com- poser, and there Cosima Wagner, his ‘widow, is queen. The theater there for his operas is world renowned. The writer has never seen it, but it is difficult to believe that it could swrpass in adequacy, unless posli!fl‘ in capacity. the Prinzregenten Theater in Munich. the heautiful city whic offers the visitor so many auxiliary pleasures in artistic — | tion pictures and went back to ballet | THE SUNDAY | “Sounding Brass™ || NE of the outstanding features in the jazz orchestra world the | coming of Vincent Lopez to Wash-| ngton today. Mr. Lopez brings with | im his celebrated Casa Lopez Club Orchestra, which will play here dur- ing _the current week. | This popular conductor says: “By combining the proper music with its| logical colors we are abje to please the sensibilities of ouf audiences through a wide variety of rhyth- mically colored sclections ranging all the way from cxtreme restfulness to barbaric turbulerc: David Rubinoff, “the Man of a Mil- lion Melodies,” will appear at Loew's Palace tomorrow as soloist and guest conductor of Tem Gannon's Concert Orchestra, for a limited engagement. Rubinoff is distinguished for, his ability to score and time_motion pie- ture productions. Before ®he audience sees the film Rubinof® times each scene and arranges the music to each passing phase of emotion as depicted on the screen. Marguerite d'Alvarez, Peruvian con- tralto, with the Chicago Opera Co., will appear with George Gersh- win, the jazz composer, in a series of recitals in New York this ‘Winter. She says: ‘“Jazz is Amer- ica's greatest contribution to a great l?‘l. It would be difficult for me to live without jazz.” She even ven- tures the opinion that jazz is the main reason for her living in America. Marjorle Joesting, otherwise *Miss Washington,” who represented the District in the annual beauty pageant at Atlantic City. has accepted an offer to work with Ed Dowling's “Honey- moon Lane” production after her par- ticipation In the pageant Is com: pleted. Helen Alt, formerly with St. Pat- rick Players of this city, Is at present with the “Honeymoon Lane” show as.an understudy to the prima donnas, Pauling Mason and Martha Morton. | St. Patrick Players also announce | that three of their former members | are now with Keith's circuit. They are Stephen Segan, Cifford Cox and Royal Foster, working in the “Wig: wam Act” from the St. Pat's Review The symphony orchestra at the | Metropolitan Theater, Daniel Bree- | skin, conductor, has been much im-| proved. To the first violin section | has been added D. H. Bowersox, a| former pupll of Carl Flesh. The brass section has been augmented by the| addition of Arthur J. Zeccola, for merly with Vincent Lopez, and Ben Bernie. Charles Willlams, tenor saxophonist, returns to the Metropoli- tan Symphony after an absence of a season. Another to return is Emil Spitzer, who plays the oboe and Eng- lish horn and was formerly with the Boston Opera Company, the Russian Symphony Orchestra and in Europe played first oboe and English horn with the Royal Opera in Vienna. The new bass player of the Metropolitan Symphony is Ellery Charles Quimby, who studied under Kuntze, the first bass plaver of the Boston Symphony Orchestra, and played formerly State Theater in Boston, Mas also plaved trumpet 12 years Victor Herbert. Added to these dis-| tinctions 1s the fact that he was band. | master of the 8th Massachusetts Reg- | iment for years. Mr. Quimby not | only plays string bass, but doubles in | sousaphone. This partial reorganiza- tion of the Metropolitan .Symphon has greatly strengthened Its instru- mental families and places it at the very top of permanent organizations in this city as among motion pletures and legitimate houses. On Sesqui Program | | 6. Grand scenes_from 4 SYLVIA LENT, The talented young violinist of Wash- | ington, daughter of the late Ernst| Lent, the cellist, honored last week in Philadelphia, when she appeared as the soloist with the Philadelphia Sym- phony Orchestra in the Tuesday eve- ning concert. Frederick Stock, conduc- tor of the Chicago Symphony Or- chestra, was guest conductor on this program. Miss Lent vplaved the Brah Concerto for Violin and Or- chestra, Greta Nissen Returns. RETA NISS . the exotic, blonde | Norse girl who recently left mo- dancing because she said it gave her more opportunity to express herself, has returned to the screen. In the role of La Belle Toulaise, temperamental and “vampy" Parisian actress, she is working in Florence Vidor's picture, “The Popular Sin,” directed by Malcolm St. Clair. To play the role she left the cast of Ziegfeld's “American Revue,” in which she was featured in an oriental ballet of her| own conception. ; Back now under the kleig !Ilh(u,’ she has expressed herself as genulnely | happy to be back in pictures. Miss Nissen has had a sensational career since she arrived in New York | two and a half years ago. Born in| Norway, Miss Nissen, at the age of 6, joined the ballet of the Royal Opera Co. at Copenhagen, Denmark, where she danced for seven vears, the first foreigner to become a member of that company. Her European success was even sur- by the furore she created in| her first American engagement as the he ballet of ‘“‘Beggar on Horseback.” A contract to appear ex- clusively in Paramount pictures fol- lowed, and she was featured in sev- eral productions, including ““The Wan- derer” “In the Name of Love, ~A Wife" “The King on Main and “The Lucky Fady,” ~ STAR, WASHINGTON, ELL A Washington singer, who has bec: when presented by Estelle Wi D. . SEPTEMBER s ABETH THORNBERRY, ne popular in her ma appearances in ntworth. She has just received a con- ing Josephine in “H. M. 8. Pinafore,” and an important role in “Th Mikado” in revivals of those fine ¢ the Auditorium Theater, under the Shubert management. Profession | Thornberry will appear as Jean Beverly. The company will play Washington during the coming season. lbert and Sullivan works in Chicago, Iy, Miss Begin New Year At W. C. of M. i HE Washington College of Music will open its twenty-third vear to- morrow with an enlarged faculty in all departments, as follows: Piano, Weldon Carter, Dorothy McCauley | Marr, Sara Becker, Rebecca Easter- brook, Roslyn Carter, Marjorie Davis, Emilie Bishop, Gertrude Dyre, Tamara D. Emitrieff. Emilie Mann and Burrus Williams; violin, C. E. Christiani, Marguerite Carter, Henry Christiani, Ethel Hicks, Fritz Maile and Ethel Payne; voice, Hugh R. Roberts, Clara Young Brown, Barbara Case, Savona Peters Griest Elizabeth Stewart; cello, Ludwig Manoly; harmony-composition, W. G. Owst and Fanny Amstutz Roberts; organ, Lewis C. Atwater; harp, Viola Abrams: public school music, Edwin N. C. Barnes, Evelyn N. Bur- gess, Bella B, Thompson and Edith B. Athey; languages, Harry B. Hum- phrey; speech and stage Margarette Root Zahler: history of music-ear training, Fanny Roberts; cornet and brass, L. %. Phillips; peda- £OgY. rguerite Carter; orchestral reading. 3. Christianl; accompany- ing. Marjorie Davis, Sara Becker and Burrus Williams. The college has opened two branch sdfools, one at 1316 Kenyon street and one at Takoma Park, hoth under di- rection of Gertrude Dyre. From the registration this past week it Is qulte evident that the college will have a busy season. Already student concerts and recitals —are being planned. A stage and other features, with artistic lighting, have been added to the concert hall, which will make monthly recitals very attractive, and the usual large public concerts at Central High School will be held. The college has issued an unusually attrac- tive and comprehensive catalogue this vear. and presence, Director-Organist EMILY G. DICKINSON, Who has been instrumental in bring- ing the music of National Baptist Memorial Church to a high standard, and will continue her work as choir director there this season, and also will be organist there. Mrs. Dickinson studied with Harvey Murray of this Porter, a lead- ing organist of New York. The church choir will not begin the Fall season of work until the new building at Sixteenth and Columbia road is formally opened a few weeks hence. UNITED STATES NAVY BAND. The program tomorrow at 5 p.m., at the Capitol, by the United States Navy Band, Charles Benter, leader; Charles Wise, second leader, will be: 1. March, “Brook's Chicago Marine Bn{n’r}' Vo 7 n Weher 2. Overture. “Eurranthe.”. ~Luigini 3. Ballet, “Egyptien (a) Allegro non troppo. Valse de Concert. Woman and T : soo v SUTAUSS rand scenes from the opera R “Gnd “Hipgarian Excerpts from “The M Siegfried’s Deat From *Die Goe t. Selecte he Star Spangled Banne Tuesday’s program, at 7 neodys i tterdaemmerung. Fox 0 p.m., | will be presented at Dupont Circle. It will be: 1. March. “Puniab” .. 2 “Overture in F Arlesienne’ . (d) La_Carillon . Valse de Strauss rbert Two, song: % Window'"...Brahe ol Gipey Love Song ¥ Tassed by Vour . “Madame Butterfly . Puceini 7. Paraphrase. “Die Lor Neavabada & Excernte from “The Red Mill.".. Herbert Fox trot. Selected. “The Star Spangled Banner.” The program Wednesday at T7:30 IMOGENE IRELAND, Who has been associated with the national Y. W. C. A. for a number of years and will be the new directer | of the music at the local Y headquar- ters. Music is to be featured in ‘he programs of the coming season. Miss Ireland directed the music he last convention of the associal The chi rommittee is Mrs. Fdwin B. of this city. p.m. at the band stand, Nayy Yard, will be: Mareh, * Overture, Suite, Blankenburg Mendelssohn Coleridge-Taylor Flying Arttllery" Fingal's Cave val Feast Scens and Conjuror’'s Dance. riiire Retimon FClarinat. Les Alsaciennes.Le Thiere (Musician L. Terzo.} Grand scenes from the opéra La Boheme.” Valee, “Artist's Lite". .. ' Suite de ballet, ‘‘Pantomine” Excerpts from “Suny ... ... Fox trot. '‘Selected.” Spangled Banner." Thursday's program at 7 p.m. in the Tubercular Hospital, Fourteenth and Upshaw streets northwest, will include: Blankenburg I Herol . Gounod Koven Avr, Tobani yla Bellini endercook Excerpta from *The Highw ‘Gems of Stephen Foster'" Grand scenes from “La_ Som: ke Front Park . ... ar Spangled Banner. THE MARINE BAND. At the Marine Barracks, at 4:30 p.m. tomorrow, a concert by the U. S. { Marine Band, William H. Santel- mann, leader; Taylor Branson, second leader, will have as the program: L March. “Yours frule Jewell e aritana 5. Characteristic ~Mareh of ihe = Wute:"dccoimpanied b7 diiarior of ek e French h ¥ion ’;‘d"dl"hy S d|’ " u“’ ¥ 0'Neil. Thaddeus Hess :.Vld A%nl:«;nm";‘:‘:u- 5. Grand scenes from “The Grand Duchess Gerolstein™. . . g nbach “Interrompue’’ | Tschaikowsky ce of Treland” . " Godfrey ‘& _"The Halls of Montezuma™ > Spangled Banner. At the U. S. Capitol, Wednesday at 4:30 p.m., a concert will e miben.| The program will be: . Overture. “Russlan and Ludmilla, Glinka - ficenes Espagnola, “Sevillana”. .. Elear e tolo. “Celes Robert E. Clark. L “Marche Slave. . s . Ballet music 3 ) Czardas: (b} azurka: (d) Marche . Xslophone solo. “Valse Capr Wilbur D. Kieffer. - Fantasy of national songs. - lerbert-Chambers “The Star Spangled Banner.” In the Sylvan Theater, Monument Grounds, Thursday at 7:30 p.m., a concert by the U. S. Marine Band will have as the program: “Tannhauser”. ..._...W, ng Prince. and the Young 7 from ™ Scheherazads™t . Copogt solo. Scherzo. *Showers of gy n P White, o one _poe: inlandia”. ... ..Sibelius tholdy . “Rondo Capriccioso, endelssohn-Bart . . Scharbau 136 * Lente: inse. ice." Wieniawski Valee lento. “Lilact s Xisphone solo. " Valse Canrice,’ Withur D, Kiaflee, A rian Rhapsody. No. 14 : e Star Spankied Banner.” This concert will close the U. Marine Band's outdoor season for the band leaving Washington. D. C., Monday, September 20, to begin its annual concert tour. 8. “Hu .. Liszt s Romeo Guaraldi, baritone of Italian Embassy staff, and Mrs, Guaraldi, contralto, together with Elizabeth Gardner Coombs, pianist; Mrs. Walter Galt and Howard A Coombs, motored to Keswick, Va. during the past week, where a recital was glven Friday evening by the singers and Mrs, Coombs. \ o) inners an " Rlinoens the | 9 1926—-PART 3 Will Present Concerts In Continental Hall. interesting musical announce- ment was made yesterday by Mrs. Wilson-Greene, local concert manager, to the effect that Memorial Continental Hall, headquarters of the Daughters of the American Rev- | olution, at Seventeenth and C streets | northwest, will be used for four of the six Saturday evening concerts in the Wilson-Greene series. Since her return from Europe early in August Mrs. Wilson-Greene has sought to meet the increasing demands of evening concert patrons for an auditorium of a more intimate nature than was afforded by the Washington Auditorium, where these concerts were held last season. Ne- gotlations -were opened with national officers of the D. A. R, with the re- sult that Memorial Continental Hall was obtained late last week. to be presented in Memorial Continental Hall will include those of Tito Schipa, leading tyric tenor of the Chicago Opera Co., November 20: the English Singers and Ossip Gabrilowitsch in joint re- cital, January §: Dusolina Giannini. mezzo-soprano, January 22, and the Cincinnati Symphony Orchestra Feb- ruary 19. Owing to the popularity of two artists appearing in this sefies—John McCormack, tenor, and Amelita Galli-Curci, coloratura soprano— their concerts will be given at the Washington Auditorium, where last Winter McCormark sang before an audience that packed the Auditorium to capacity. McCormack's concert date at the Auditorium is still unan- nounced._ Galli-Curci is booked to appear Wednesday evening, Febru- ary 9. Memorial Continental Hall, na- tional home of the Daughters of the American Revolution and the scene of the annual gatherings of that famous organization, has been re- zarded as one of the most beautiful buildings In Washington. The seat- ing capacity is about 1%700. The hall also affords the social and arglstic atmosphere conducive o suc- cess in an evening concert. N g s Plans for Menjou. ADMIRERS of Adolphe Menjou will be interested to learn that the Paramount star will transfer his fu- ture production activities to the Hel- lywood film plant. Among the pictures already sched- uled for him is “The Last of Mrs. Cheney,” which will be Krnst Lu- bitsch’s first production under his new contract with Paramount. According to the film executive, Menjou will begin work upon his first vehicle, “An Angel Passes,” within the next three weeks. Closely fol- lowing will be “With Thelr Eyes Open,” a sophisticated comedy to be directed by Luther Reed. The third picture, according to Jesse L. Lasky, will be an adaptation of the famous stage play, “The Last of Mrs. Che- ney” in which Florence Vidor will be featured also. under the direction of Ernst Lubltsch. ‘An_Angel Passes French book and pldy, written by Jacques Bouquet and Henri Falk. “With Their Eyes Open” is a recently published novel by I. A. R. Wylie. Menjou's two most recent perform- ances were in D. W. Griffith’s master- piece, “The Sorrows of Satan,” in which he e and in Micheal Arlen’s “The Ace of Cad is a popular official us & notice of a poem contest. don't approve of their contest, be- cause: First, the judges are to be se- lected, not by poets or people informed in Columbla Commissioners and the Dis- trict of Columbia Federation of Music Clubs! judges do not appear, lnd'l.nparenfl.\' will not be disclosed, as closes contest, MUSIGRAPHS HIS year 13 seems to be the chosen number of local musicians for the leading music schools, and many of the private studios an- nounce their opening for the season for tomorrow—September 13. Whether this much discussed number will prove lucky for them or not remains to be seen as the season unfolds its everlengthening list of recitals and crosses the threshold into history. Never previously has there seemed to be quite so much energy, and, in good old American, “pep,” in the sprucing up of studios for the new work as this year. The telephone is buzzing with announcements,” changes of address, new church quartet memberships, new courses, etc. It is all very promising and energetic. I This is a unique contest in many of its provisions. Although from most quarters it has aroused enthusiastic support and encouragement, one lead- e e MMINENT upon the horizon of the present week is the closing date of the poem contest for words for a song for the District of Columbia ing poetry magazine chose to condemn it in rather wholesale fashion. This magazine, which is published in Chicago, comments as follows : “The District of Columbla wants an tl;nthn leading music puhns;‘\ifl‘ hflrv:-- = ;- of the country will publish the Dis g, toRser i e ",‘d trict song and pay royalties to both We | the writer of the words and the com poser of the music. As for the fourth contention on the part of the evidently conscientlous objector, it seems to the writer that whether or not it is possible to get a good State song by means of such a contest is largely a matter of individual opin fon, and that one should at least give each attempt the benefit of the doubt the District of the art, but by Second. the names of the he contest September 15, Third, no money award is oftered. Fourth, we teel very doubtful about such efforta to get State songs; a- good State or Natlonal song is possible, but we have never heard of one resulting from a in which the chances for banality are about a million to one.” Now it Is probable that every one at all interested in the contest, who is in Washington knows that the writer of the above-quoted comments was, to put it mildly. misinformed. However, it is possible that there are some in this city even who do not realize the exact state of the matter. For them, we give the following as facts in the case: Lirsi—although the contest is under e supervision of the District of - el Do et (stlanre andifhis Digs | YOun IIGE R whsi AT pEaHIGH] o trict of Columbla. Federation of Music |berlence: = fhe MeOlEr Curane 1o Clubs, the actual judges of the merits | Americans who o i of the manuscripts submitted are not | poCHE Lkt in ,";",:L"“rl‘f;,“,’;,T Of these groups, but are three literary | houses and who pey fof (RS FIEGo0C people and two musiclans (the latter |, MTE (TECTES oh Taver there to assist in deciding if the poem can ! | keen. Now, however. all oyer this be set to music), Carl Engel, director | ¥o0Y oF fhe muaic division of he Library |S0URtry home cpportufties fo IV of Congress; Harold Randolph, di-| resing, in number, and local singers rector of the Peabody Institute, Bal- | ;1 o ; are urged to keep such facts in mind timore, Md.; Faith Van Valkenburg |14 ‘ciigider them serfously. Every Vilas, ‘poet of New York City; Mrs. | Giter’ with = real gift should go Willlam Wolff Smith, president of the | 2500 T 560 (e Gr another, for local Pen Women's League, and Mre.| {here are cultural advantages and ‘_mg"ué"o»""“f“;l“‘fl‘““ic‘l; (i background available in those coun Y T s Club of | iries of the old world that our coun ‘Washington. Secondly, the names of try, rich as it 1s, does not yet possess. these judges have appeared not only ; 16 locel mewipatiars: IRANGENG it i) it Sugte of WiGSIgtex, SO tn gust 29, but also in national poetry | Elizabeth Bonner and others whose magazines and musical journals some |names are known all over this coun time previous to the closing of the|try saw fit to make their opera. debuts contest. with the Washington Opera Co. Also Third, no money award is offered |that Klda Vettor, because of her fine because the District of Columbia Fed- | performance with the company last eration of Music Clubs is too poor to Fall as the star of “La Tosci and afford any financial award, and it is|George Chechanovsky, who worked humbly suggested that there is surely | up in small parts and won united some honor accruing from the fact | praise from critics and audience alike that the Capital of the United States |for his singing of the herald n uses a writer's effort as the chosen : song. However..it has heen arranged EGGY ALBION, who is still some what under the weather, due to her serious automobile accident couple of months ago, is just as ac tive as ever in spite of this handicap in forwarding the interests of the Washington Opera Co. It is the plan of the company to put on the first broduction of the year in Washing ton December 6. The name of the work to be given is mot yet available for publication However, that part of the announce ment which Is of immediate interest is the statement that voice trials for ashington singers will be held at the Washington Auditorium Thurs day and Friday of this week at 3 pm Here is real opportunity for ambitious (Continued on th Page.) BESSIE N. WILD Voice Culture. Piano and Harmony. Studio. 6824 5th st.. Take . D. Fhone Adsme 8840 - 0 & MISS AMY CLEMEN FLANO, VOICE, fisnrn'.ifi?n;'{{ i ecom; 196 Eloventh Btreet N:W. SAXOP Piano, Tenor Banjo. Guitar. Drums. Ete. In 10 to 20 Lessons Special Fall course. $12 for 10 lessons. Come in. write or phone for booklet. Free lessona it you buy instrument from us. CHRISTENSEN SCHOOL OF MU 1822 G 8i. N HOOL Of otn 1458, BEATRICE CUNRADI L. R. A. M. London er of Piane and Rarmony, Banja. Man- alian Guitas ‘l;d Ukalele. Teach dolin, Guitar. Ha PAUL BLEYDEN Operatic_and Coneert Tenor TEACHER OF SINGING I STUDIO 1325 G St. ' R. DEANE SHURE | | announces the opening of his studio at Mt. Vernon Place M. E. Church South for the season of 1926-27 of five years n_Church choir. W wolo} wishes position 1 Call N._ 3388 work _preferred W. G. OWST Late Read of the . Comnosition DearTmens "4 Wash. College of Music and Organ—Piano—Voice Main 911 THERE, of service. > % ¢ é The Lawrence Voice Studios ROBERT LAWRENCE ALICE LAWRENCE 1332 Eye St. N.W., Washington 1613 Walnut St., Philadelphia 57 W. 48th, New York City Phone Franklin 1467 for Free Voice Trial or Terms Private Instruction orin Class 01 d advanced pui pl. n.w. Phone 1751 New Hampshire Ave. Voice—AUGUST KING-SMITH. Piano—EMMANUEL WAD, EDITH DAWKIN'S, GENEVIEVE WESTER- I}:gNN. ELIZABETH WINS- [ Violin—HELEN WARE. Dancing—PAUL T CH E RNIK- OFF. ELIZABETH GARD- R. (Private Studios) Languages—Native Teachers. Dramatic Art— CAROLINE McKINLEY I | Children’s Music and Dancing— | Fletcher Music Method Write for Folder "Telephone North 10585 " The Von Unschuld | University of Music | MME. MAI%’I‘E \'OZ%SSCHULD President Twenty-third School Year Begins September 15th | 1338 New York Ave. N.W. Frank. 1828 Uptown_Studio, 1644 Columbia Road Phone Columbia 2742 e KATHRYN JEAN i | MacNEAL Pianist and Teacher 1913 Eye St. N.W. : Franklin 7764 | and Stahl mandolins and guitars. BENJAMIN RATNER formerly of the plane faculty Will Accept a Limited Number of Pupils at Their Studio 805 O St. N.W. For appointment eall North 7168, Walter T. Holt Stadios Ensemble Dpractice with No» c: Sol meencs” Tor the Tamous Bacon banjos PHONE COL. 946. 1801 COLUMBIA RD. “An Established Conservatory on European Lines” "WASHINGTON CONSERVATORY OF MUSIC 1408 'New Hampshire Ave. Adjoining No. 1 Dupont Circle A serious institution. No student teachers. faculty of over thirty-five. - Dormitory facilities. Ten years in present building. The majority of Washington's notable music instructors have bee peiblilontl o 'n or are connected with the Main 7858 Students’ Orchestra All Branch Fall Opening Monday, Sept. 13th Augmented Y e —— Washington College of Music, Inc. Including Preparatory School Seventeenth Street at Pa. Ave. o Franklin 4491 FALL TERM OPENS TOMORROW Elementary and advanced courses leading to CERTIFICATES—DIPLOMAS—DEGREES FACULTY PIANO y SCHOO! Weldon Carter r[m‘:fiysw = Dorothy McCawley Marr . Nara Becker Rosl Marfor Emilio SPEECH-STAGE PRESENCE Margarette Root Zahler CORNET AND BRASS L. Z. Phillips ORCHESTRAL ING €. K. Christiani HISTORY OF MUSIC EAR TRAINING Faany A. Roberts PEDAGOGY Marguerite Carter ACCOMPANYING Marjerle Davis—Sara Berker—Barrus Williams Write or Phone for 192627 Yearbook W. G. Owst Faany Amstutz Roberts . ORGAN Lewis C. Atwater LANGUAGES Harry B. Humphrey