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Musical Courier 1891-05-13: Vol 22 Iss 586, 1891
151 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 488. See the scan on archive.org.
1well acquainted, and of whom some time ago you gave an interesting biographical sketch.
3I have heard several of the most highly reputed musical organizations, East and West, in the United States which make a specialty of work similar; but to go no farther, I have no hesitation in saying that nothing in my experience has ever surpassed the performance, from an artistic standpoint, of the Haslam Vocal Society in their concert given on Thursday evening, April 30.
5I have, of course, often before heard concerts of the same character under Mr. Haslam's direction, but with comparative—I say comparative—indifference, the indifference being attributable to the fact that choral music, with the support and coloring of an orchestra, had greater attractions for me. On this occasion, however, everyone capable of forming an opinion at all must have been struck with the perfectly balanced tone of the 112 voices. These also in points of blending, true intonation, absolute precision, and an invariable observance of the delicate and also the pronounced shading, gave evidence of the most thorough work on the part of the musical director and his society. The points of excellence indicated cover about everything requisite in unaccompanied vocal music, provided the program itself be satisfactory. This I send herewith, so that you may judge for yourselves.
7PROGRAM.
8Part First.
9Part song, "You Stole My Love"………………………………………W. Macfarren
10The Haslam Vocal Society.
11Solo violoncello, fantaisie caractéristique……………………………….F. Servais
12Miss Flavie Vanden Hende.
13Part song, "Night"………………………………………………………..J. Rheinberger
14The Haslam Vocal Society.
15Romance ("Les Huguenots")……………………………………………..Meyerbeer
16Mr. Andreas Dippel.
17Part song, "Farewell to the Sea"………………………………………F. A. Gevaert
18The Haslam Vocal Society.
19Scena, "Qui Sdegno"…………………………………………………….Mozart
20Mr. Myron W. Whitney.
21Part song, "The Chimes of Oberwesel"……………………………….H. Baumer
22The Haslam Vocal Society.
23Duet ("Martha")………………………………………………………..Flotow
24Messrs. Whitney and Dippel.
25Motett, Psalm xliii, "Judge Me, O God"……………………………….Mendelssohn
26The Haslam Vocal Society.
27Solo violoncello………………………………………………………..F. Chopin
28Tarantella………………………………………………………..Popper
29Miss Vanden Hende.
30Song, "Three Fishers" (by request)…………………………………….Hullah
31Mr. Whitney.
32Serenades………………………………………………………..E. Lassen
33The Haslam Vocal Society.
34" Ich Lieb Dich"………………………………………………………..Grieg
35Songs………………………………………………………..Schumann
36"Wanderlied"………………………………………………………..Becker
37Mr. Dippel.
38Song, "A Mariner's Home's the Sea"…………………………………Randegger one of two readings
39Song, "A Mariner's Home's the Sea"…………………………………….Randegger one of two readings
40Mr. Whitney.
42As to the artists who interspersed the program I need say but little. They are well known to you and all three received encores and recalls ad infinitum.
44To the Haslam Vocal Society congratulations are due upon having furnished one of the greatest treats of Toronto's musical season.
46Noticeable coming events which will just about close up music for this season are Torrington's orchestral concert, May 12, and the Santeley-Burch vocal recital, under the auspices of the Philharmonic Society, May 19. one of two readings
47Noticeable coming events which will just about close up music for this season are Torrington's orchestral concert, May 12, and the Sankey-Burch vocal recital, under the auspices of the Philharmonic Society, May 19. one of two readings
49Syracuse Letter.
50SYRACUSE, N. Y., May 1.
52THE last season has been an eventful one in musical circles and the music loving people of Syracuse have no reason to complain over the class of entertainments given. For a city of its size—90,000—Syracuse has a large number of able musical artists, but I hardly think the audiences which turn out to hear the fine attractions presented do the city justice. To be sure, the March Musical Festival at the Alhambra was largely attended, but even then the receipts of the eight matinee and evening concerts would not again warrant a similar venture, were the promoters of the festival impelled by strict business motives. But the festival gave a decided impetus to musical matters generally in this town, and a similar undertaking next spring may meet with better success financially.
54Italo Campanini, always so well received in this city, was given a reception almost reaching an ovation, and the other soloists, Miss Clementina De Vere, Mrs. Jennie Patrick-Walker, D. M. Babcock, Fritz Giese and Felix Wintertinz were warmly received. Mrs. Charles E. Crouse, of this city, née Alta Pease, of the New Old South Church, Boston, and Tom Ward, of this city, both so well known here, sang exceedingly well and made many new friends among their own townspeople. Carl Zerrahn's orchestra was one of the principal attractions. one of two readings
55Italo Campanini, always so well received in this city, was given a reception almost reaching an ovation, and the other soloists, Miss Clementina De Vere, Mrs. Jennie Patrick-Walker, D. M. Babcock, Fritz Giese and Felix Wintertzen were warmly received. Mrs. Charles E. Crouse, of this city, née Alta Pease, of the New Old South Church, Boston, and Tom Ward, of this city, both so well known here, sang exceedingly well and made many new friends among their own townspeople. Carl Zerrahn's orchestra was one of the principal attractions. one of two readings
57"Patience" had a very pretty presentation at the Wieting Opera House on the 29th ult. by a company of local amateurs, who did themselves much credit. Prof. Grove L. Marsh was the musical director, and the stage matters were under the supervision of Harry L. Dixey, of New York. The piece was given for the benefit of the Syracuse Tennis Association.
59The English ballad concert of the Hatton Quartet on the 14th ult. was one of the good things of the month. Mrs. Jennie Patrick-Walker sang Sir Henry Bishop's "Should He Upbraid" in most delightful voice, and was heard to advantage in other selections. Miss Minnebel Smith, of this city, whose popularity is scarcely equaled by any local singer, received a most enthusiastic reception. Her splendid contralto voice was seldom heard more pleasingly. A part song by ten voices was a feature of the concert, the ladies, Miss Hattie Zankel, Miss Mamie Pitkin, Miss Alice Cummings and Mrs. George Roff being the bright stars of the galaxy. Mrs. L. E. Fuller and Prof. C. H. H. Sippel contributed piano solos. The members of the quartet, Messrs. Tom Ward, J. H. Weimer, E. G. Marquard and L. P. Brown, sang well both in their quartet work and in solo parts. The Hattons are very popular in Central New York State.
61The Syracuse Madrigal Club will give their third and last concert of the season at Music Hall on Thursday evening, May 21. The program has not yet been announced, but Mr. Ward assures us that some new faces will be seen among the stars.
63Music in Syracuse.
64SYRACUSE, N. Y., May 8, 1891.
66A TREMENDOUS audience was gathered together at the Wieting Opera House last night to listen to a concert by Gilmore's Band. The assisting artists were Miss Ida Klein, soprano; Miss Louise Mantelli, contralto; Mr. Sartori, baritone; Miss Maude Powell, violinist, and the veteran Campanini. Although interest centred particularly in the latter by virtue of his having sung here with great success at the festival in March, there is no doubt that the honors were carried off by Miss Klein and Miss Powell.
68The latter had never been heard here and instantly won her way to public favor.
70Her selection was the "Faust" fantaisie, by Sarasate, and she played it in a fashion absolutely flawless.
72Her intonation is always true and pure, her technic correct and she bows with a graceful ease and freedom that may be expected from a man but scarcely ever realized in a woman.
74Should Miss Powell ever visit us again she may be sure of a royal welcome. Miss Klein was heard here last year and confirmed the excellent impression she made then.
76Her voice and style have seemingly broadened and she sings with a repose of manner that is quite refreshing.
78Miss Mantelli possesses a contralto voice of great range and power, but her schooling is sadly wanting in refinement.
80Her rendition of "O! Mio Fernando" was against all accepted versions of that great aria, and the composition suffered in consequence. On the other hand, the "Brindice" from "Lucretia Borgia," which she gave for an encore, was sung almost faultlessly, being invested with all that abandon the number calls for.
82Campanini was in poor voice and sang the beautiful "Celeste Aida" with more force than elegance. He made it evident to all present that his voice has departed beyond recall; even his marvelous phrasing of former days is now only a memory. He sang for an encore "Good-bye, Sweetheart, Good-bye," and this brings out the coincidence that Brignoli in his declining years sang this same number frequently.
84The band was in its usual good form, but it is doubtful if such programs as Mr. Gilmore presented last night accomplished anything in the cause of art.
86The overture to "Semiramide" may have been good twenty-five years ago, but at the best it is but circus music.
88Gillet's "Loin du Bal" was written for strings and loses its effect when played by a lot of shrieking clarinets.
90The same may be said of Schumann's "Traumerei."
92The concert closed with a symphonic poem by Sousa called "The Chariot Race."
94Johnstone-Bishop, Miss Lena Little, Mr. Paul Zimmerman, Dr. Carl Martin. However, on account of the sudden illness of Mrs. Bishop, Mrs. S. C. Ford, of Cleveland, Ohio, was substituted, and her performance, as well as that of her associate soloists, was exceedingly effective. The interpretation of the work was admirable throughout, a fact which reflects no little credit on the conductor of the Mozart Club, Mr. J. P. McCollum.
96The music lovers of this vicinity are looking forward with great expectation to the great May Musical Festival, which will receive its initial performance on Tuesday evening next, May 12.
98SIMON BISSELL.
100Charlotte, N. C., Correspondence.
101THE festival of the North Carolina Choral Association in Charlotte, May 6 and 7, was a brilliant success. The Baltimore Symphony Orchestra, under Ross Jungnickel, rendered valuable assistance, and was particularly fine in Grieg's "Peer Gynt" suite and Sven- sen's "Norwegian Rhapsody." Miss Jennie Dutton was very successful in the "Creation," showing to great advantage the beautiful tone and flexibility of her voice.
103In Parker's "Redemption Hymn" and Gaul's "Holy City," Miss Marion Weed, the New York contralto, distinguished herself and elicited great enthusiasm. Mr. William J. Lavin found little scope for his fine voice in "Holy City" and "On Shore and Sea" (Sullivan), but in the "Creation," particularly in the air, "In Native Worth," he scored a brilliant success.
105Miss Kate Gerlach, of Cleveland, Ohio, did most acceptable work in Bruch's "Fair Ellen" and "On Shore and Sea." Gustav Bernike, a young basso, who scored such success in the Petersburg concerts last week must have been very much delighted at his enthusiastic reception, and his noble voice and careful work were genuinely appreciated. The chorus, numbering about two hundred and forty voices, under the baton of Mr. Joseph Maclean, conductor of the Charlotte Philharmonic Society, showed great improvement over last year, both in quality of tone and certainty of attack.
107A spacious auditorium, with seating capacity of 3,000, was occupied for the first time, and the city was thronged with visitors, the audience numbering from two thousand to two thousand five hundred. Already plans are making for next year's festival, which will be on a much larger scale.
109HANS HEILIG.
111Ottawa Correspondence.
112OTTAWA, Canada, May 2, 1891.
114I HAD the pleasure of attending a piano recital given in St. James' Hall, on April 28, by Mr. Ernest Whyte, who has lately returned from Leipzig, where he has been under the tuition of Martin Krausse. Mr. Whyte is a native of Ottawa, and prior to his departure for Leipzig had given evidence of his love of the art, as well as a strong desire to interpret the best masters. Reference to his programs of March 30, 1882, November 20, 1884, and March 25, 1886, reveals a daring that might be looked upon as very unusual in an amateur, while, at the same time, pointing to a determination to conquer the difficulties and revel in music of the highest class.
116His program of 1884 contains the names of Jadassohn, Lachner, Scharwenka, Beethoven, Schubert, Schumann, Gade, Chopin and Weber. In that of 1886 we find some of these with Corelli, Scarlatti, Dvorák and Reinecke.
118Even in those days Mr. Whyte acquitted himself with credit, though as a matter of course no amateur could be expected to achieve equal excellence in all his efforts; nor did he. I have before me his latest program, which contains excerpts from Bach, Scarlatti, Beethoven, Bilow, Mozart and Chopin, and I am free to confess that Mr. Whyte's improvement in general rendition, technic, phrasing, interpretation and treatment is marvelous. Mannersisms apparent in former years have been removed, and instead we find a clean execution, combined with intelligent articulation. In my opinion Mr. Whyte attained his altitude in C minor fantaisie, Mozart, and in Beethoven's F minor sonata, his treatment of the adagio being exceptionally good. Next I rate the nocturne in B flat minor, Chopin. A little more warmth of expression might be infused; otherwise Mr. Whyte's work was most highly to be praised. one of two readings
119Even in those days Mr. Whyte acquitted himself with credit, though as a matter of course no amateur could be expected to achieve equal excellence in all his efforts; nor did he. I have before me his latest program, which contains excerpts from Bach, Scarlatti, Beethoven, Bilow, Mozart and Chopin, and I am free to confess that Mr. Whyte's improvement in general rendition, technic, phrasing, interpretation and treatment is marvelous. Mannersisms apparent in former years have been removed, and instead we find a clean execution, combined with intelligent articulation. In my opinion Mr. Whyte attained his altitude in C minor fantaisie, Mozart, and in Beethoven's F minor sonata, the treatment of the adagio being exceptionally good. Next I rate the nocturne in B flat minor, Chopin. A little more warmth of expression might be infused; otherwise Mr. Whyte's work was most highly to be praised. one of two readings
121To Mr. F. C. Smythe, Mus. Bac., T. C. D., now of the Canadian College of Music, Ottawa, belongs the honor of having prepared the first instrumental candidate for the Montreal scholarship in the Royal College of Music, London, England. Miss Russell, of Montreal, is the fair recipient of the privilege of this scholarship, which entitles her to three years' gratuitous tuition, with many other advantages, at one of the best schools of music in the world.
123LEONATUS.
125Knoxville, Tenn.
126ON Sunday night, April 19, at the Second Presbyterian Church, to a large, fashionable and cultured congregation, a musical lecture was given by the Rev. Dr. Southerland on "Sacred Music," assisted by the quartet choir of the church, consisting of Misses Flemming and Carter, and Messrs. Oliver and Tucker, Professor Garrett presiding at the organ. The reverend gentleman gave a broad view of sacred music from the time of Solomon down to the present time. He contrasted the music of the Catholic Church with that of the Protestant Church in a liberal manner, which gave great credit to his large heart and musical taste. The program of music to illustrate the lecture was carefully selected, and in some parts was touching and pathetic, especially when describing the death of a musician on the battle field during the late unpleasantness. The singing of Miss Mary Flemming deserves especial notice. She possesses a voice of sweetness. This departure from the regular service marks an advancement in church musical culture and taste that is desirable and attractive, which will result in much good and benefit generally.
128I. L. DA VIES.
130Pittsburgh Correspondence.
131MAY 2, 1891.
133THE Mozart Club has just closed its most successful season since its organization by giving two most excellent concerts. The first, which took place on Thursday evening, April 30, was given entirely by the magnificent Boston Symphony Orchestra, under the able and skillful leadership of Arthur Nikisch, assisted by Mrs. Arthur Nikisch, vocalist.
135PROGRAM.
136Symphony No. 1, in B flat……………………………………………..Schumann
137Canzonetta and Page's aria, from "The Marriage of Figaro"………….Mozart
138Andantino and scherzo, from Symphony No. 4, in F minor………….Tschaikowsky
139Symphonic poem, "Danse Macabre"……………………………….Saint-Saëns
140Songs with piano—
141"Die Quelle"…………………………………………………….Goldmark
142"The Goldsmith"…………………………………………………Gade
143"Bon Jour, Suzanne"…………………………………………..Delibes
144"Waldbewen," from "Siegfried"…………………………………Wagner
145Prelude, "Die Meistersinger"……………………………………Wagner
146The second night was principally a choral concert, when Verdi's "Requiem" was given by a chorus of 150 voices, with the assistance of the Boston Symphony Orchestra.
148This concert was prefaced by the performance of Liszt's symphonic poem "Tasso," which was an appropriate introduction to so solemn a choral work.
150The soloists announced on the program were as follows: Mrs. Genevra
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