Abstract
On December 12, 1925, the magazine Musical America initiated a historic $3,000 prize contest in search of the epic American symphony. The time was ripe, proclaimed its editor, Milton Weil, to stimulate the composition of a work by an authentic genius in a nation he believed lacked a great musical culture. Accordingly, the winning score would be selected by the eminent conductors Walter Damrosch, Alfred Hertz, Serge Koussevitzky, Frederick A. Stock, and Leopold Stokowski, and performed at a later date by their respective orchestras in New York, San Francisco, Boston, Chicago, and Philadelphia. As Weil boasted, Something never previously obtained for an American prize work is planned for the composition which wins the award.' More than two years later the Swiss-born Ernest Bloch, a naturalized citizen of the United States affiliated with the San Francisco Con-
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