Scan 4
Musical Courier 1890-07-02: Vol 21 Iss 541, 1890
61 lines. Read by computer on 22 September 2026. Printed page 5. See the scan on archive.org.
1Thursday, July 3—10 A. M.
2Chorus, "To Thee, O Country!" ……………………………………… Eichberg
3Class from Everett School, Detroit.
4Essay, "Our Duty as an Association of Public School Music Teachers." Dr. Luther Whiting Mason, Boston, Mass.
5Essay, "Musical Education for the Masses."
6W. F. Heath, Fort Wayne, Ind.
7Aria, "Angels ever brighten" ……………………………………… Händel
8Master Cyril Roderic Tyler,
9Soprano soloist Grace Church Vested Choir, Detroit.
10Essay, "Tonic Sol fa as an Expression of the Psychology of Music." Theodore F. Seward, East Orange, N. J.
11Chorus, "Lightly My Bark" ……………………………………… Minard
12Class from Detroit Schools.
14Friday, July 4—10 A. M.
15Chorus, "Here I Come Creeping" ……………………………………… Veazie
16Class from Everett School.
17Essay, "Elements of Success Pertaining to Musical Instruction in Public Schools." Benjamin Jepson, New Haven, Conn.
18Vocal, recitative and aria, "Spirito Gentil," from "La Favorita" ……………………………………… Donizetti
19Chorus, "The Foot Traveler" ……………………………………… Abt
20Class from Detroit Schools.
21Essay, "Music Instruction in our Public Schools." P. M. Bach, Milwaukee, Wis.
22Solo, selected ……………………………………… W. H. Lieb, Kansas City, Mo.
23Essay, "Music in Our Schools." Mrs. Emilie Wakefield, Titusville, Pa.
25These essays will be followed with discussions, led by Dr. Field, S. L. Houghton, F. H. Pease, W. H. Lieb and others.
26The children's choruses will be accompanied by a juvenile orchestra, under the direction of William Luderer.
28J. H. Hahn.
29IT affords THE MUSICAL COURIER great pleasure to present to its numerous readers an excellent likeness of Mr. J. H. Hahn, the chairman of the executive committee of the Music Teachers' National Association, a sterling musician, an ardent worker in the cause and a gentleman. My acquaintance with Mr. Hahn dates back to the Indianapolis meeting, and as I found him then I still find him—warm hearted, impulsive, always taking off his coat and "pitching in," a fanatic for the divine art and right royal fellow.
30I speak by the card, and I fancy what I write will be corroborated by his numerous friends and admirers.
31A few biographical details of the man who has contributed so much to make the Detroit meeting a success will not be amiss.
32J. H. Hahn was born in Philadelphia forty-two years ago the first day of December last. While not an infantile prodigy, yet he began to play the piano at five years of age, giving even thus early unmistakable evidence of the possession of unusual talent. His progress was such that he played in public when seven years of age, and when fourteen years old he was thoroughly versed in the piano music in vogue at that time, and played well—as playing went in those days—the compositions of Gottschalk, Mason, Thalberg, Prudent, Osborne, Gorla, &c., devoting his entire time to conscientious study, with frequent public appearances intervening.
33Mr. Hahn's first insight into classical music was obtained at the hands of Dr. F. Ziegfeld, of Chicago, when that teacher, a young man fresh from his musical studies abroad, was beginning to earn the enviable reputation he now wears so gracefully.
34When eighteen years of age Mr. Hahn was tendered and accepted the direction of the musical department of the female seminary at Coldwater, Mich., and so well did he handle his new charge that in a short time it became the chief feature of the institution. He afterward went abroad, and at Leipsic he continued his studies under the supervision of such noted pedagogues as E. F. Richter and Louis Plaidy, where as a systematic, painstaking and intellectual pupil he laid solid and well an ultra-classical and conservative foundation as a musician, which has proved an admirable balance wheel for his exceptional disposition, which is at once stirring and progressive. Professor Richter characterized Mr. Hahn as "Ein durchaus gebildeter Musiker," and Professor Plaidy expressed himself in even warmer terms of commendation.
35Unquestionably the talent paramount in the composition of the subject of this sketch is that of teacher. A rigid disciplinarian, he is also patient, conscientious and careful. He not only demands but he has the faculty of bringing out the best there is in his pupils. Hence the remarkable progress of the Detroit Conservatory of Music, which he first established in 1874, and which, conducted strictly on its merits as an educational institution, has advanced in public favor until to-day it has upward of twenty-two teachers and seven hundred pupils.
36During the past sixteen years he has been the head and front, heart and soul of music and its various enterprises in his locality, and to enumerate his musical success and achievements during that time would well nigh comprehend the history of the art in Detroit and Michigan.
37The patent and merited success of such a musician and teacher, based as it is upon a conscientious and enthusiastic adherence to a well defined principle of giving and requiring the very best to be found in music, makes of the gentleman an exceptionally valuable factor in the growth of music in this country.
38While yielding to no one in his rigid adherence to the great classicists, he is nevertheless thoroughly in accord with the progressive tendency of the times. So long ago as 1884 he gave an entire program of compositions by Jean Louis Nicode, in which was presented for the first time in this country a number of Nicode's finest works, including the sonata for piano and 'cello, op. 25, and the romanza for violin and piano, op. 14.
39He is one of the foremost champions of American music, and has demonstrated most loyally his interest in American composers and their works by requiring that at least one American composition shall appear upon every weekly program of the Detroit Conservatory. Among his most notable achievements in this direction and which stand forth prominently as models are the complete programs of works by E. A. MacDowell in May, 1888, and Arthur Foote in 1889.
40A program given by pupils of Richard Burmeister at Baltimore and published in a recent number of THE NEW YORK MUSICAL COURIER is quite suggestive of one presented by pupils of J. H. Hahn, of Detroit, as far back as June 9, 1876. It is reproduced here as a matter of historical interest:
41Concerto in C minor ……………………………………… Mozart
42First movement, with cadenza, by J. H. Hahn.
43Concerto in G minor, op. 25 ……………………………………… Mendelssohn
44Second and third movements.
45Concerto in F minor, op. 19 ……………………………………… Sterndale Bennett
46Second and third movements.
47Rondo Brillante, op. 29 ……………………………………… Mendelssohn
48Concerto in C minor, op. 185 ……………………………………… Raff
49Second and third movements.
50The numbers were all given with quintet accompaniment, and the simple publication of the program demonstrates that the pioneer times of the best instructive works in piano playing in Detroit belong to the distant past.
51JAMES G. HUNEKER.
53—At Cracow a curious case has been decided in an extremely practical manner. Czibulka, composer of a gavot, sued a rival composer for pirating his melody. The judges seemed hopelessly at sea about the matter until Czibulka had the happy idea to be allowed permission to play the two tunes on the violin. This settled the matter and Czibulka gained the day.
54—The number of musical publications in Germany for the year 1889 exhibits a rather considerable decrease as compared with the preceding year. The total number of new publications fell from 7,169 in 1888 to 6,650 in 1889. The greatest falling off was in the department of instrumental music, where it was about 12 per cent., while the diminution in vocal music was under 2 per cent. But in the literature of music, books, periodicals, &c., there was an increase of 60, the numbers being 312 against 252.
56THE SOHMER PIANOS
58Are Preferred by the Conscientious Musical Instructors.
60Are the FAVORITES of the Music Loving Public.
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