Page 122 - Weiss, Jernej, ur./ed. 2025. Glasbena interpretacija: med umetniškim in znanstvenim┊Music Interpretation: Between the Artistic and the Scientific. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 8

glasbena interpretacija ... | music interpretation ...
Cav. Paolo Chimeri (Italy), Louis Victor Saar (Ohio), Henning von Koss
(Germany) second prize; Josef Nesvera/Nešvera (Austria), Austin Conradi
(Maryand) and Carolus V. Agghazy (Hungary) third prize. 45
Without going into the analysis of the works, it is interesting to point
out which composers satisfied the American taste at the beginning of the
twentieth century: mainly European and American composers of “Europe-
an orientation” of the middle generation (the exception is Austin Conradi,
at the age of 22, considerably younger than other composers). Franz Liszt’s
influence can be seen directly or indirectly in many of them (e.g. Aggha-
zy, Ferrata directly, Conradi, Koss, Saar indirectly through their teachers).

Serenade Aux Etoiles And Its Interpretation
The Progressive Series Compositions published by the Art Publication So-
ciety in which, as mentioned, the composition Serenade aux etoiles was
published is part of a comprehensive method of piano teaching promot-
ed by the Art Publication Society. The Progressive Series included lessons
which, however, did not win the prize. Vittorio Radeglia, Ballade pour piano, op. 52,
manuscript (Department for History of Croatian Music: Zagreb, s.a.)
45 Anon., “Miscellaneous [The following are the prize-winners…],” The Musical Times
54, no. 841 (1913): 195, https://www.jstor.org/stable/907318. Only the names of the
composers are listed in the newspaper. By searching databases (IMSLP, Archive.
org), library catalogues and various other sources (e.g. eBay), we were able to de-
termine the compositions of award-winning authors. In doing so, the catalogues of
records related to copyrights proved to be very useful sources: Library of Congress
Copyright Office, Catalogue of Copyright Entries, Part 3: Musical Compositions, vol.
8, no. 1 (1913), https://archive.org/details/catalogofcopyri81libr/page/860/mode/; ,ol.
8, no. 2 (1913), https://archive.org/details/catalogofcopyrig82libr/page/n5/mode/2up:
Giuseppe Ferrata (1865–1928) Toccata Chromatique [CCE 1913, 8/1: 14433, p. 877s];
Louis V. Saar (1868–1937) Prelude [CCE 1913, 8/1: 14158, p. 861], Capriccio [CCE
1913, 8/1: 14157, p. 861] and Romance [CCE 1913, 8/1: 13127, p. 859] from “A Trilogy”;
Paolo Chimeri (1852-1934) Balade in A (Ballata in La) [CCE 1913, 8/1: 12753, p. 779];
Louis V. Saar: In a gondola from “Joyful Hours” [CCE 1913, 8/1: 13431, p. 819; it is
not certain whether the other movements of the cycle are also included for the com-
petition Hunter’s Song [CCE 1913, 8/1: 13333, p. 813] and Gavotte rococco [CCE 1913,
8/1: 13183, p. 804]; Henning von Koss (1855–1913) In the Rose-Bower [CCE 1913, 8/1:
13466, p. 821], First Loss [CCE 1913, 8/1: 13124, p. 801] and Summer Pleasures [CCE
1913, 8/1: 14321, p. 871]; Josef Nešvera (1842–1914) Scherzo Op. 69 [CCE 1913, 8/1:
13898, p. 846]; Austin Conradi (1890–1965) Song of the Brook [CCE 1913, 8/1: 14270,
p. 868] (and Morning [CCE 1913, 8/1: 13802, p. 840]) from “Two Fairy Dances”; Car-
olus/Károly V. Agghazy (1855–1918) By Moonshine [CCE 1913, 8/1: 12831, p. 784],
Hunting Humoresque [CCE 1913, 8/1: 13334, p. 813] and Fairy Play [CCE 1913, 8/1:
13101, p. 800] from “In the Forest” Op. 42. At this stage of the research, it was not
possible to find all sheet music editions.

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