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Musical Courier 1891-05-13: Vol 22 Iss 586, 1891
134 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 487. See the scan on archive.org.
1Correspondence.
3San Francisco Music.
4San Francisco, April 22.
6CONSIDERABLE post-lenten activity seems to pervade musical matters. The faithful rallied in swarms to encourage Leuchessi last week at his entertainment in the Grand Opera House for the benefit of a Catholic charity. The signor has reason to feel highly gratified at the success of his benevolent efforts.
8The tenor Guille, who came with the Hess Company and has been recently gleaning in the Tivoli pastures, is about to seek new fields of operation, as "a farewell testimonial to the greatest living tenor" took place in Odd Fellows Hall last Sunday, when, according to the "ad," we had our last opportunity "to hear the greatest tenor the world ever produced." He goes to New York immediately.
10D. Speranza, a veteran Italian, who came here twenty years ago and has for many years been at the head of a musical institute devoted to the encouragement of enthusiasts in the direction of Italian opera, has just died at the advanced age of seventy-six years. His funeral occurred yesterday and was largely attended by his fellow musicians, who united to make the musical services conspicuously fine.
12Speranza was a skillful musician of the Italian school. I first remember him as conducting for the début of Miss Sontag, a local aspirant for the glory of her celebrated ancestor, who, upon her return from Europe, made an appalling fiasco and has never been heard of since. He was the author of a book published here, which by a catalogued system of given phrases told the amateur, or anyone else, how to "compose" to any extent. It was ingenious and a mountain of labor for the author, but was not a success and has passed into oblivion.
14Another well-known name is printed in the death notices to-day. August Zech, son of a pioneer piano maker, educated abroad and for the last ten or fifteen years one of our most worthy and esteemed teachers, is to be buried to-day at the age of thirty-three years. He was a hard student and modestly energetic in promoting the interests of the profession. He was secretary of the Teachers' Society when it existed and was also the conductor of the Arion Society. He was our first and only student of the Jankó piano, having purchased one of them upon which he was perfecting himself.
16Mr. Zech dies highly respected and mourned by many warm friends.
18Master Frederick Williams, a boy soprano from Westminster Abbey, is giving nightly concerts in Metropolitan Temple to increasing attendance. He has the aid of Mr. C. A. E. Harris, a Montreal organist, and of various local talent, notably of Miss Florence Fletcher, a charming young lady violinist, whose admirable playing is quite as attractive as the singing of the boy. Master Williams is a very fine specimen of his kind. He renders his arias with admirable style and finish, but he fails to catch my sympathies and "drown the eye," as the eloquent little Kavanaugh never failed to do.
20The Bandurristos, a company of young gentlemen who have quite successfully emulated the performances of the Spanish students, give their annual concert this week. They will have the vocal aid of Mrs Mary Wiman Williams, who has recently assumed the position of a star of the first magnitude in the local vocal heavens. Mrs. Williams was the triumphant "Girofia" at the late amateur performance, and is the new soprano at Trinity Church. She has resided here several years, but only lately became so conspicuous. one of two readings
21The Bandurristas, a company of young gentlemen who have quite successfully emulated the performances of the Spanish students, give their annual concert this week. They will have the vocal aid of Mrs Mary Wiman Williams, who has recently assumed the position of a star of the first magnitude in the local vocal heavens. Mrs. Williams was the triumphant "Girofia" at the late amateur performance, and is the new soprano at Trinity Church. She has resided here several years, but only lately became so conspicuous. one of two readings
23Mr. Alfred Wilkie announces a concert for the 8th prox.
25Kohler & Chase have finally escaped from the wilderness where they've been awaiting "the promised land," like Moses and Aaron, for nearly a year, and are now in their new quarters on O'Farrell street, near Market, in the finest music store in America! I think I am entirely safe in the assertion. Space prevents me from describing the splendor of Mr. Chase's surroundings. I can only express the hope that my excellent old friend will long be spared in health and spirits to guide the firm's career in the new home as he has done so many years in the past. I know of no better man in any business anywhere.
27Byron Maury, who, besides running a large piano wareroom by day, has had no end of concerts there by night, at which the callow youth and gentle maiden can connoisseur and acquire a matrimonial trend, has at last been caught in his own snare. His hymeneal taking off was announced this week. But I presume the concerts will go on all the same after Maury returns from his temporary exile at the Del Monte, whither he went to hide his blushes.
29The Powell Street Theatre has reopened as a temple of the drama, with "Master and Man." "Kajanka" is at the Bush Street.
31H. M. BOSWORTH.
33Boston Budget.
34Boston, April 26.
36AFTER hearing Friedheim twice in varied programs will give my impressions of his playing. First, he does not bear the least personal resemblance to Liszt. The only thing about him which can in the least possible way mark him like his master is his long, straight hair.
38Liszt's personal appearance was attractive and impressive to the extent that all strangers meeting him would look at, watch and remark upon him as a wonderful man.
40There is nothing wonderful about Friedheim in his looks or actions to mark him different from any other man of good physique and possessing a bright, intelligent face. Second, there is but one musical resemblance to Liszt, and that lies in his great power and facile execution. Friedheim is a thoroughly well equipped pianist, possessing a good physique, power of endurance, a strong, well made hand, with fingers wonderfully well trained in all that pertains to execution.
42Now, possessing all these needful requirements, it seems passing strange he does not always play well. Friedheim plays both well and bad. To make our assertion clear will take his rendering of Beethoven's sonata C major, op. 53, generally considered the most exacting in technical difficulty, for an example. The first movement was characterized by good tempos, clean cut, finished scale work; reverent, thoughtful delivery, evincing care, study and appreciation of the music.
44The phrasing was excellent throughout and the whole movement was satisfying to the most exacting critic. The second movement was less satisfactory, in that the left hand overpowered the right to the extent of making it unmelodious, marring its intrinsic beauty. The first part of the last movement was perfection, but when it came to the change of key in A flat the left hand again pounded out metallic, hard tones, covering up entirely the difficult triplet scale passages of the right hand. The right hand apparently played right on its spinning wheel course, regardless of how it was being inundated by its brother's left. Clear, distinct phrasing is always to be desired, but when carried to sledge hammer length it ceases to be a virtue. The tendency of Mr. Friedheim is to pound more with the left than with the right hand and this makes his playing unequal and unmusical at times. The G flat etude of Chopin and the C minor were taken at tremendous lightning speed, showing the great virtuosity of the man. In the B flat minor sonata of Chopin we can only speak of the funeral march, which was played more to our liking than any artist heard this season, even to Pachmann. The closing number, the colossal fantasy of "Don Juan," showed what a wonderful virtuoso Friedheim is, but it does not stamp him as a genius.
46To be a wonderful, dexterous virtuoso does not require genius but a vast deal of hard work; and Mr. Friedheim shows undoubted proofs of having performed that work. Mr. Pachmann is a specialist, showing great genius in the department of music he has studied, but what he could do as an all round virtuoso like Friedheim is only a question of conjecture. Franz Bendel was the best representative of Liszt I ever heard; he had real genius as well as executive ability, and he looked, acted and played more like the master than any other of his so-called scholars.
48The good people of Weimar will fully bear me out in this assertion.
50The performance of "Parsifal" which took place here some time ago has stirred up considerable feeling in certain quarters, but as I was not one of the favored ones present, know nothing about the matter.
52JAMES M. TRACY.
54Kansas Correspondence.
55Kansas City, Mo., April 25, 1891.
57IF quality, quantity and unbounded enthusiasm can be taken as a criterion for appreciation of musical genius, then Carl Busch, Kansas City's gifted and ambitious composer, should feel proud of the representative musical and cultivated audience that listened to his composition at the testimonial concert tendered by his friends, Tuesday evening, April 21, in the Y. M. C. A. Auditorium.
59The program, while just a bit heavy as regards the soloists, afforded ample scope to display the poetic temperament and musical ability of the young composer, whose appreciation of art seldom permitted him to sacrifice art for effect, thereby elevating his compositions in himself above the average music and composers of to-day.
61It is much to be regretted that some of his orchestral music, especially the string movements, in which he excels, could not have been rendered. However, enough was presented to indicate that in Mr. Busch Kansas City has a musician and composer that any land may well be proud to acknowledge. Mr. Busch is nothing if not original, and the blending of his melodious themes with his rich and original harmonies is of great interest. His exquisite use of the abrupt cadenza and modulations keeps one on the constant alert, and the impression left is one of peculiar pleasure. It is easily seen that the composer is permeated with a wonderful depth of feeling, indicated also by the comparison of the different numbers, which show evident improvement, his last being the best.
63Of the two choruses the "Hunting Song," the rendition of which was a trifle weak on account of uncertainty of parts in the double quartet, proved the most attractive.
65The aubade for flute, excellently interpreted by Mr. Massino, is an admirable composition.
67The romance for violin would prove more interesting with orchestral accompaniment.
69The piano sketches, "Solitude" and "Waltz Capriccio," are very dainty movements and were admirably played by Mr. Fisk.
71The nocturne for 'cello, while not pretentious, deserves mention on account of the excellent rendition by Mr. Mathieson.
73The "Spring Song," with violin obligato, was well rendered by Mrs. Beardley and Mr. Moodie, the former being in excellent voice.
75The "Skating Song," a late composition, proved to be the gem of the evening. The song, encompassing two octaves, was magnificently rendered by Mr. N. Du Shane Cloward, and being of the order of the "Toreador," from "Carmen," was admirably adapted for Mr. Cloward's excellent baritone, and he has never sung with such effect since his sojourn in the city. The appreciation was shown by unstinted enthusiasm on the part of the audience.
77The talented musicians who so willingly tendered their assistance in the interpretation of Mr. Busch's compositions, while confined to natural limitations of a young composer, need not regret having devoted themselves to Mr. Busch's music for an evening.
79By the way, a young débutante, Miss Lorina Searcy, made herself quite prominent by admirable and faultless work.
81BEETHOVEN CONCERT.
83The last of the chamber concert series of the Beethoven Club was given Tuesday evening at Music Hall, Mr. Charles Stevens, of Detroit, being the soloist. Mr. Stevens was in excellent voice, and his method is such as to make all that is possible of his numbers.
85Schubert was the selected composer of the evening.
87Mrs. Behr's renditions of the piano selections were in her usual brilliant and excellent manner, and with the assistance of Mr. Charles S. Darling, who, by the way, is a delightful performer, she played the "Fantaisie" as arranged by Liszt for two pianos as the closing part of the evening. It must be confessed that the interpretation was excellent in every way.
89NOTES.
91The Apollo Club, the best organization of male voices that Kansas City has had, gave a concert at the Coates Opera House on May 26 under the auspices of the Kansas City Commandery No. 10, Knights of Templar.
93Through the exertions of Mr. S. Khronberg, Theodore Thomas and his orchestra appear at the Wader Grand May 30, matinée and evening. Raphael Josephy as the soloist.
95The Young Ladies' Orchestra, a promising organization under the direction of Von Rola Macielinski, make their second appearance at Chickering Hall, Thursday, April 30.
97Yours truly, B SHARP.
99Denver Notes.
100Denver, April 30.
102A COMPLIMENTARY concert will be given Mr. Leroy Moore at Trinity Church to-night. Mr. Moore will return to the East to live. He came here from Kansas City and has had charge of the large chorus choir of Trinity for nearly a year.
104The "D. H. M." Male Quartet made its début a few evenings ago and created a favorable impression. It takes the above initials in honor of its director, Mr. D. H. Morrison, formerly of Philadelphia.
106The St. Cecilia Quartet, composed of ladies, is a new acquisition to Denver's musical circles. Its members are favorite singers.
108W. A. G.
110Music in Toronto.
111Toronto, May 6, 1891.
113CONSPICUOUS among the principal events of this season was the production on April 23, 24 and 25 of Gilbert and Sullivan's "Iolanthe," by the Harmony Club, under the auspices of the Royal Grenadiers, one of our crack volunteer regiments. The Harmony Club is essentially a fashionable organization. Its president, to whom a large measure of the club's prestige and success is due, is Mr. Albert Nordheimer. With him are associated a dozen or more active officers, while the conductor's baton is now wielded by Mr. E. W. Schuch. Mr. A. H. Bell, of New York, acts as stage manager. In the performances now under mention there were a chorus of sixty excellent voices and an efficient orchestra, while the principal parts of the cast were distributed as follows:
115Phyllis…………………………………………….Miss Maud Gilmour
116Queen of the Fairies…………………………….Mrs. Frank Mackelcan
117Iolanthe…………………………………………..Miss Lash
118Celia……………………………………………….Mrs. James Crowther
119Fleta……………………………………………….Miss Sybil Seymour
120The Lord Chancellor…………………………….Mr. A. H. Bell
121Earl of Mountararat……………………………Mr. J. A. Macdonald
122Earl Tolloller…………………………………….Mr. T. C. Beddoe one of two readings
123Earl Tolloller……………………………………Mr. T. C. Beddoe one of two readings
124Private Willis……………………………………Captain Manley
125Strephon…………………………………………Mr. J. F. Kirk
127The original intention was to have given only two performances, but there was such a rush for seats and so many people were left out in the cold, gnashing their teeth, that a third presentation was felt necessary.
129To deal with the principal singers in detail would involve too much space, but it is certainly true that, as amateurs, they were in every way admirable, while the first three—Miss Gilmour, Mrs. Mackelcan and Miss Lash—won successes which professionals only too rarely attain. Mr. A. H. Bell, of course, does not come in the category of amateurs. His "Lord Chancellor" is simply inimitable. The three principal fairies and Messrs. MacDonald, Beddoe, Manley and Kirk were the recipients of favorable recognition, which was well deserved.
131Everything in connection with the stage management reflected the greatest credit upon Mr. Bell, while the conductorship in Mr. E. W. Schuch's hands could not possibly have been more satisfactory. Every detail in the musical requirements was attended to with a degree of care and with such a thorough appreciation of the composer's ideas that really nothing was left to be desired in the interpretation, and it is generally conceded that, taken in all, never before was an amateur operatic performance given here with the same éclat or success.
133HASLAM VOCAL SOCIETY CONCERT.—A strong feature in Toronto is the fondness for unaccompanied vocal music which has been developed principally, if not wholly, within the past six years through the efforts of Mr. W. Elliott Haslam, with whose career as a musician you are, of course,
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