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Musical Courier 1891-06-03: Vol 22 Iss 589, 1891
193 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 584. See the scan on archive.org.
1they neglect to do so when called upon—a good rule for all musical societies.
3All the public recitals, which occur once a year at the close of the season, are free to the public and 2,000 tickets of invitation are issued and distributed by the members. On these occasions the club secures the very best talent the country offers, and they have brought here on these pleasant occasions such talent as Mrs. Carreño, Mrs. Bloomfield, Miss Amy Fay, Mrs. Walter Wyman, Miss Gussie Cotlow, Mrs. Gerritt Smith, Emil Liebling, Sternberg, Powers and hosts of others. Their annual concert was given Monday evening, May 25, in Court Street M. E. Church. Program by Mendelssohn Quintet Club, which was an excellent one, the large auditorium, holding over two thousand people, being filled to its utmost capacity, numbers being obliged to take standing room only, and the exquisite decorations in white and pink, the colors of the club, and the unique fan programs, could only be devised by the hands of the fair sex of this club. The expenses incurred by these concerts are paid by these ladies out of their own treasury.
5It is through love for music and the great executive ability and untiring energy of the president, Mrs. Chandler Starr, that these delightful concerts are free to the public. Her genial disposition and good sense, which she displays in all her undertakings, secure to the club its existence and free it from those petty jealousies so often indulged in by musical people. Everything passes off as though all belonged to one great family striving to see how much each could do for the other, and as applause greets this one or that all feel a personal interest in it and are happy. The president, Mrs. Starr, devotes nearly her whole life for this good cause and without compensation. We were shown a magnificent gold watch set with diamonds, the dial of which was especially made to order in Switzerland, bearing her monogram, which the club presented to her as a kind token of love and esteem. We will write you again and keep you posted of the future work of this great Mendelssohn Club, of which the beautiful city of Rockford is ever proud and well may be.
7R. M. C.
9Pittsfield Correspondence.
11PITTSFIELD, Mass., May 29, 1891.
13THE Berkshire Musical Society, under Mr. George A. Mietzke, have just concluded a most successful music festival. Three concerts were given and the talent engaged comprised the Boston Symphony Orchestra of forty pieces, Emil Mollenhaur, concert master; Clementine de Vere, Mrs. Jennie Patrick-Walker, Gertrude Edmonds, Felix Winternitz, solo violinist; Victor Herbert, solo 'cellist; Gardner S. Lamson, baritone; Geo. J. Parker, tenor; Silas R. Mills, bass; Mr. Mietzke, conductor, and Victor Herbert, associate conductor. The works given were Hofman's "Melusina," Rossini's "Stabat Mater," Mietzke's "Festival Motet" and Beethoven's fifth symphony. The concerts were by far the best ever heard in Berkshire County and attracted immense audiences. Mr. Mietzke proved himself an able conductor and received an ovation after the rendition of his "Motet." The chorus numbered 200 voices and sang magnificently throughout. This first festival has been so successful that another next May is sure to follow.
15M. E. HASTINGS.
17Music in Toronto.
19TORONTO, May 20, 1891.
21Editors Musical Courier:
23IF congratulations are due in any quarter of the world a large share should find their way to your office for the admirable style of your paper now issuing therefrom. Owing to its well illustrated, handsome typographical and generally artistic appearance, backed up as these important points are by the newsiest of musical news and the soundest opinions upon matters within its province, THE MUSICAL COURIER must be admitted by every fair person capable of forming an unbiased opinion to now by far distance all competitors as a true exponent of musical thought in America. This little exordium may be said to represent the opinion of our best musicians and the Toronto music trade.
25TORRINGTON ORCHESTRA CONCERT.—The fifth season of the Torrington Orchestral Association closed with an admirable concert given at Pavilion Music Hall, May 12. The attendance was hardly worthy of the occasion, but the fact of the matter is the taste for orchestral music is of slow growth here. Local organizations have made wonderful progress within a few years, but their support has been most gingerly contributed. No; give Torrontonians Pat Gilmore, brass bands, circuses and dime museums for a little longer, until Mr. Torrington and others working in the same lines have killed themselves in their endeavors to establish, on a satisfactory basis, a taste for higher things.
27But to return to our subject. The playing of the orchestra under Mr. F. H. Torrington's baton was exceedingly good. A clear, striking brilliancy of tone and dash and vim were noticeable where such qualities were desirable, while in the subjects requiring delicacy of treatment the effects attained were very satisfactory. I will not detail the work of the orchestra in its different numbers, nor of the soloists who diversified the performance. All concerned are entitled to praise and to the success which met their efforts. The program I give herewith:
29Overture, "Fest"…………………………………………..Leutner
30Orchestra.
31"Scherzo a capriccio"………………………………………Jadassohn
32Serenade, "Finale"…………………………………………..Jadassohn
33Orchestra.
34Vocal, "Still is the Night"………………………………….Carl Bohm
35Duo concertante (two violins)……………………………Kalliwoida
36Mrs. Mackelcan.
37Largo"………………………………………………………..Händel
38"Love's Dream"…………………………………………….Czibulka
39Valse, "Wenona"…………………………………………..D'Erviex Smith
40Overture, "Preciosa"………………………………………Weber one of two readings
41Overture, "Preciosa"……………………………………….Weber one of two readings
42Vocal, "Ferry for Shadowtown"………………………….DeKoven
43Mrs. Mackelcan.
44Concertstücke (piano and orchestra)…………………….Weber
45Piano, Miss Sullivan.
46"Notturno" ("Midsummer Night's Dream")…………….Mendelssohn
47"Loin du Bal"……………………………………………..Gillet
48Vocal, "The Star of Bethlehem"………………………….Adams
49Mr. Douglas Bird.
50Overture, "Ruy Bias"…………………………………….Mendelssohn one of two readings
51Overture, "Ruy Bias"……………………………………..Mendelssohn one of two readings
52SANTLEY-BURCH CONCERT.—Last night a concert, under the auspices of the Philharmonic Society, was given at Pavilion Music Hall to a large audience. The especial feature of the event was the return and farewell visit of Mr. Charles Santley, the English baritone. Mrs. Anna Burch, the charming New York soprano, was also an attracting star. The rest of the talent was local and the entire affair was very successful. The encore artist cast all previous records into the shade and floral contributors gave lots of color to the occasion. Everybody was happy. Here is the program: Piano, violin and 'cello, trio No. 1 (first movement), Beethoven; Miss Gurney, Mrs. Adamson and Franz Wagner; song, "The Last Watch"; Pinsuti, Mr. Douglas Bird; aria, "Il est doux" ("Herodiade"), Massenet; Mrs. Burch; song, "The Wolf," Shield, Mr. Santley; 'cello solo, Concerto Militaire, Servais, Franz Wagner; song, "Marinella," Randecker, Mrs. Burch; song, "Son of the Ocean Isle," Ralf Betterton, Mr. Santley; violin solo, seventh concerto, De Beriot, Mrs. Adamson; song, "First Meeting," Grieg, Mrs. Burch; song, "Thou Art Passing Fair," Sullivan, Mr. Santley; piano soli, (a) "Liebestraume," No. 2, Liszt, (b) scherzo, C sharp major, No. 2, Chopin, Miss Gurney; song, "Since First I Met Thee," Rubinstein, Mr. Douglas Bird; old English song, "The Vicar of Bray," Mr. Santley; vocal, "Spring Song," Weil, Mrs. Burch (violin obligato, Mrs. Adamson); vocal duo, "I Masnadieri," Verdi, Mrs. Burch and Mr. Santley. one of two readings
53SANTLEY-BURCH CONCERT.—Last night a concert, under the auspices of the Philharmonic Society, was given at Pavilion Music Hall to a large audience. The especial feature of the event was the return and farewell visit of Mr. Charles Santley, the English baritone. Mrs. Anna Burch, the charming New York soprano, was also an attracting star. The rest of the talent was local and the entire affair was very successful. The encore artist cast all previous records into the shade and floral contributors gave lots of color to the occasion. Everybody was happy. Here is the program: Piano, violin and 'cello, trio No. 1 (first movement), Beethoven; Miss Gurney, Mrs. Adamson and Franz Wagner; song, "The Last Watch," Pinsuti, Mr. Douglas Bird; aria, "Il est doux" ("Herodiade"), Massenet, Mrs. Burch; song, "The Wolf," Shield, Mr. Santley; 'cello solo, Concerto Militaire, Servais, Franz Wagner; song, "Marinella," Randecker, Mrs. Burch; song, "Son of the Ocean Isle," Ralf Betterton, Mr. Santley; violin solo, seventh concerto, De Beriot, Mrs. Adamson; song, "First Meeting," Grieg, Mrs. Burch; song, "Thou Art Passing Fair," Sullivan, Mr. Santley; piano soli, (a) "Liebestraume," No. 2, Liszt, (b) scherzo, C sharp major, No. 2, Chopin, Miss Gurney; song, "Since First I Met Thee," Rubinstein, Mr. Douglas Bird; old English song, "The Vicar of Bray," Mr. Santley; vocal, "Spring Song," Weil, Mrs. Burch (violin obligato, Mrs. Adamson); vocal duo, "I Masnadieri," Verdi, Mrs. Burch and Mr. Santley. one of two readings
55THOMAS ORCHESTRA COMING.—Since exhausting my vials of bitterness upon the indifference of Torontonians to orchestral music I have learned that Theodore Thomas is coming with his orchestra, June 11 and 12. If the occasion is overwhelmingly patronized, as it should be, nothing will afford me greater pleasure than to recant and find some other reason than a lack of cultivation.
57SMIF.
59Syracuse Correspondence.
61SYRACUSE, N. Y., May 22, 1891.
63THE concert by the Thomas Orchestra announced for Wednesday afternoon did not take place. An unfortunate accident on the D., L. and W. Railroad delayed the company over ten hours, and as they were booked for Rochester in the evening we were deprived of what would doubtless have been the chief musical event of the season.
65The house was completely sold out, and the disappointment experienced by all knew no bounds.
67The Madrigal Club gave its last concert last evening, and it was heard with evident pleasure by a good sized audience.
69The work of the club shows remarkable improvement since its last concert, the attention to the beat, the precision of attack and intonation reflecting great credit on the conductor, Mr. Tom Ward. Miss Kate Tyrell, soprano, of Buffalo, and Mr. Max Weil, violinist, of Philadelphia, were the out of town attractions.
71The former has been heard here before and was listened to again last night with pleasure.
73She possesses a voice of great purity and range and uses it with skill and intelligence. The "Reine de Saba" aria is not one exactly fitted to her style, however, this number requiring a breadth of tone and a dramatic fervor of which Miss Tyrell is incapable; but she sang in good tune and with a clear understanding of the subject, at least so far as her powers would permit.
75She made the most of the Meyer-Helmund song, which was written for tenor.
77Both numbers won her enthusiastic recalls.
79Mr. Weil was a disappointment.
81He is unfortunate in the possession of a very poor instrument, which he was unable to keep in tune, and in double stopping passages this fact grated harshly on the ear. Furthermore his technic is not good, and altogether he would suffer by comparison with even some amateur players we have heard.
83The Hatton Quartet were unable to appear owing to the illness of their first tenor, and their place was filled by Mr. E. G. Marquard, who sang Schubert's "Erl King."
85Mr. Ward's selection won him an encore, principally because of the excellent rendition he gave it. The composition itself is trash. The trio by Hermes was the best sung number of the concerted ones on the program. No finer blending of ladies' voices has ever been heard here, and the shading and accuracy of pitch (it was sung without accompaniment) was a delight.
87Mrs. L. E. Fuller had the most difficult part to fill, that of accompanist, and she acquitted herself with great credit, as she always does.
89Exception may be taken to the taste in selection of certain chorus numbers, not only at this concert but at the two previous ones. Some of them were calculated to improve the public taste for music and were selected solely for qualities likely to capture the popular ear.
91This would not be so objectional were there an effort made to observe more catholicity in representing composers of various nationalities, but the past concerts have been confined mostly to one school and that the English.
93It is to be hoped that another season will see an improvement in this direction.
95The program is appended herewith:
97Market chorus from "Masaniello"…………………………..Auber
98Adagio, concerto No. 11………………………………….Spohr
99Mazourka…………………………………………………….Zarzicke
100Glee, "Five times by the taper's light"……………………..Storau
101Cavatina, "Reine de Saba"………………………………..Gounod one of two readings
102Cavatina, "Reine de Saba"…………………………………Gounod one of two readings
103"The Erl King"…………………………………………..Schubert one of two readings
104"The Erl King"…………………………………………….Schubert one of two readings
105Serenade, "Moonlight and Music"………………………..Pinsuti one of two readings
106Serenade, "Moonlight and Music"………………………….Pinsuti one of two readings
107Song, "Leonore"…………………………………………..Trotere
108Polonaise No. 2…………………………………………..Wieniawski one of two readings
109Polonaise No. 2……………………………………………Wieniawski one of two readings
110Humorous glee, "Humpty Dumpty"………………………..Caldicott
111Song, "Gondoliera"……………………………………….Meyer Helmund one of two readings
112Song, "Gondoliera"………………………………………..Meyer Helmund one of two readings
113Trio, "The Lonely Rose"…………………………………Herme one of two readings
114Trio, "The Lonely Rose"………………………………….Herme one of two readings
115Cradle song, "Peacefully Slumber"………………………..King
117PIZZARO.
119Music in Dresden—III.
121THE concert season is at an end and we have now to concentrate all our musical interest upon the opera. Before the close of the season George and Lillian Henschel, as well as Edward Strauss, with his orchestra, gave recitals, and last, not least, Adelina Patti honored Dresden with a concert which was visited by nearly 2,800 persons.
123The two recitals by Mr. and Mrs. Henschel attracted a large gathering of music lovers to Braun's Hotel, and were in all respects successful. The programs included vocal music by very different composers; Cimarosa, Händel, Pergolesi, Beethoven, Liszt, Brahms, Schubert, Henschel and others. Three songs by George Henschel, charmingly sung by his wife, were enthusiastically received by the public, but rather less appreciated by the critics.
125Adelina Patti's outward appearance, her exquisite way of dressing and the brilliant splendor of her diamonds kept up the delusion of the former Patti, but her voice was not quite the same as of old, though her brilliant execution and excellent method helped to smooth over those deficiencies which the influence of time causes.
127Since the sensational opera "Cavalleria Rusticana," by Mascagni, appeared here, we have been waiting for several new ones, promised long ago. But the performances, caused by illness and other unforeseen reasons, have always been postponed. Carl Gramann's "Melusine" lately had to bewail this sport of fortune because of the illness of Miss Malten. As the reigning system in the Dresden Opera consists in having each part studied only by one artist, the consequence is that the indisposition of a single singer may be the reason for the putting off of the opera not only for that evening but for some length of time from the repertoire. This system brought on a hot discussion, caused principally by an excellent article on the subject in the "Dresdner Zeitung" by its well-known critic, who is remarkable for severity and sound judgment in all matters of art. "Melusine" is now planned for May 23, and Alban Forster's "Lorie" is to be brought out at the beginning of June.
129Miss Malten's illness gave a very young opera singer, Miss Eliza Wiborg, from the court opera in Schwerin, an opportunity to appear on the stage before the critical Dresden audience—and the still more critical critics—in the part of "Sautuza" in Mascagni's "Cavalleria Rusticana." Her teacher, Miss Natali Haenisch, had the pleasure of witnessing a most brilliant result of her method. Miss Wiborg had a complete success and will ere long be one of those stars noticed also in other places besides Dresden and Schwerin. Her highly dramatic style as well as fine voice were lauded by all the critics and very much admired by the public.
131A. F.
133Florio on Rummel.
135WELLS COLLEGE,
136AURORA, N. Y., May 23, 1891.
138Editors of The Musical Courier:
140FULLY intended to have written to you before this to give you some account of Mr. Franz Rummel's recital here, but could not do so until some of the first excitement had subsided. If this seems ridiculous to you, who take your daily meals of music, assimilate them immediately, and with calm self control write about them, it must be remembered as my excuse that for a year I have been shut off from all music but such as my own and my pupils' efforts could furnish, with the single exception of Mrs. Bloomfield-Zeisler's recital, of which I sent you an account.
142Mr. Rummel's program was as follows:
144PART I.
145"La Bandoline"……………………………………….François Couperin, named "Le Grand" one of two readings
146"La Bandoline"………………………………………….François Couperin, named "Le Grand" one of two readings
147"Le Bavolet Flottant"………………………………….Born in Paris, November 10, 1668.
148Died in Paris, 1733.
149Gavot et Variations………………………………………Jean Philippe Rameau
150Born in Dijon, September 25, 1683.
151Died in Paris, September 12, 1764.
152Sonata, op. 58…………………………………………..Ludwig van Beethoven one of two readings
153Sonata, op. 58……………………………………………..Ludwig van Beethoven one of two readings
154Born in Bonn, December 16 (christened December 17), 1770.
155Died in Vienna, March 26, 1827.
157PART II.
158Sonata, op. 35…………………………………………..Frederick Chopin one of two readings
159Sonata, op. 35……………………………………………..Frederick Chopin one of two readings
160Born in Zelazowa Wola, March 1, 1809.
161Died in Paris, October 17, 1849.
163PART III.
164Impromptu, op. 90, No. 4………………………………..Franz Schubert
165Born in Lichtenthal, near Vienna, January 31, 1797.
166Died in Vienna, November 19, 1828.
167Capriccio (Klavierstücke No. 29, op. 76)…………………Johannes Brahms
168Born in Altona, May 17, 1833.
169Lives in Vienna.
170"Spinnerlied" ("La Fileuse"), op. 157……………………Joachim Raft
171Born in Lachen (on Lake Zurich) May 27, 1822.
172Died in Frankfort-on-Main, June 25, 1882.
173Scherzo, op. 35…………………………………………..S. Jadassohn one of two readings
174Scherzo, op. 35……………………………………………S. Jadassohn one of two readings
175Born in Breslau, August 13, 1831.
176Lives in Leipzig.
177"Elevation"………………………………………………Otto Floersheim one of two readings
178"Elevation"……………………………………………….Otto Floersheim one of two readings
179Born in Aachen, March 2, 1853.
180Lives in New York.
181Gondoliera………………………………………………Franz Liszt one of two readings
182Gondoliera……………………………………………….Franz Liszt one of two readings
183Tarantelle……………………………………………….Franz Liszt one of two readings
184Tarantelle…………………………………………………Franz Liszt one of two readings
185Born in Raiding, near Oedenburg, October 22, 1811.
186Died in Bayreuth, July 31, 1886.
188I should like to write a detailed description of each number and its performance, but for this neither time nor space will suffice; I must mention only the more prominent matters.
190To take them in order, then, I begin with the Couperin pieces. They were played with all the delicacy and dainty finish that they demanded, and would of themselves have furnished a more than sufficient answer to those carping and unjust critics who persist in stigmatizing Mr. Rummel as "a pounder." Of course he has power at his command; he would not be the great pianist he is if he had not; but, where delicacy is needed, no pianist—not even Josephy, the apostle of pianissimo playing—has more tender accents at his service, and hardly any other can combine with that tenderness the continuous singing quality that Mr. Rummel imparts to it. The Rameau "Gavotte and Variations" again showed this, and showed besides that when power was needed, without the orchestral clang he introduces in some of the more modern works, he could give us that also.
192It was with the next number, however, the Beethoven "Waldstein" sonata, that the real interest of the recital began for a musician. And what a number it becomes in Mr. Rummel's hands! I should be afraid to undertake to
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