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Musical Courier 1891-06-03: Vol 22 Iss 589, 1891
139 lines. Read by computer on 19 September 2026. Printed page 582. See the scan on archive.org.
1feeling, the highest standard of pianistic excellence is attained.
3Tenth.—As the tones of the piano are in many ways an obstacle to a beginner's progress in learning correct finger movements, tone for a time should be dispensed with and clicks substituted, the clicks so adjusted as to mark with precision and accuracy both the up and down movements of the keys. The sense of rhythm and of correct playing movements are thus early established in the understanding and in the hands of the learner before mistaken ideas and incorrect habits become infixed.
5Eleventh.—That educational system which so classifies and clarifies a subject that all doubt and uncertainty are removed from the mind of the learner is logical, economical and best.
7Twelfth.—If a teacher thoroughly understands the clavier, and how to use it in conjunction with the piano, and then exerts a proper influence over his or her pupil, the youngest beginner can be made more interested in its use than in the use of the piano alone. Teachers and parents will learn that even in the study of music any bright child will find greater pleasure in the conscious fact that he can do to-day what he could not do yesterday or last week than is generally believed.
9Thirteenth.—It is an error to suppose, and one which teachers ought not to tolerate for a moment, that the only interest that can be aroused and maintained in children's minds in the study of music is the short lived, puerile interest which tune thrumming gives. It is folly to think of making a player of a child who indulges in this absurd notion.
11Fourteenth.—The best way to learn pieces, and to keep them learned, by both children and adults, is by the use of the practice clavier.
13Fifteenth.—Intelligent right doing will make a player when every other means fails.
15Sixteenth and lastly.—One special object of the clavier system is to supply teachers and pupils with exercises and facilities by which true piano technic can be taught and clearly comprehended, practiced and mastered by any intelligent beginner, as heretofore has been impossible.
17A recent report from the N. T. N. A. states that 95 per cent. of the piano pupils who come into the hands of artist teachers for finishing lessons have builded their playing habits upon so false a foundation that an entire reform must be wrought before there is any possibility of their becoming players, which at best means years of further study.
19Artist teachers are free to tell us of the condition of pupils when they come into their hands. Now suppose they go a step farther and state what their condition really is when they leave them. I have pressed the question to this point, and not only so but during the last eight years I have tested the condition of hundreds of such pupils, and while the artist teacher claims, and no doubt justly, that in most cases he works great reforms—in short, that he generally succeeds in patching his pupils up to such a degree that almost all are greatly improved in every way—still I find that these teachers really take pride in not over 10 per cent. of their pupils, even of those who finish their course.
21And a further aggravating fact is this one: That whenever a pupil chances to pass from one artist teacher to another, teacher No. 2 generally finds as much to condemn as teacher No. 1 did when the pupil first came under his tuition, and a second radical reform movement is begun. Thus the work of reconstruction is repeated as often as the aspirant for pianistic achievement is led to test the excellences of a new master. This is so because there has been no standard by which absolutely correct technical skill could be acquired or proven; every teacher "was a law unto himself."
23One great advantage of the clavier system is that it does establish an absolutely correct technical standard for all qualities of normal piano touch. Thus when the pupils' technical habits are gauged to this standard their shortcomings must be charged to some other cause than technical inaccuracy. And if it is a fact—which I am sure no one can deny—that right motions, with right muscular and nerve conditions, produce true musical effects, a very great advance in the art of teaching and playing is secured by the right use of the practice clavier.
25A CHANCE.—A young pianist and excellent sight reader desires a position during the summer at a hotel as accompanist, soloist or for dance music. Address this office.
27MARTIN'S "CHOPIN" RECITAL.—Thomas Martin, the well-known pianist, gave a Chopin recital recently in London, Ont., and played the following interesting program:
29Op. 21. Concerto in F minor
30Op. 28, Nos. I, VII, XV, XVI. Preludes
31Op. 32, No. 22. No. I. Nocturne
32Op. 17, No. I; Op. 34, No. III. Mazurkas
33Op. 60, No. I, E minor. Valses
34Op. 10, Nos. III, XII. Etudes
35Op. 57. Berceuse
36Op. 23. Ballade, in G minor
37Op. 66. Fantaisie Impromptu
38Op. 58. Polonaise, in A flat
40HOME NEWS.
42REHM.—Wm. C. Rehm, whose pupils have just given a successful concert in Atlanta, Ga., will pay New York a visit this summer.
44DEAD.—On May 12, 1891, at Sherbrooke, P. Q., Frederick ter Linden, formerly bandmaster at David's Island and West Point, N. Y., and late organist of St. Michael's Cathedral and professor of music in St. Charles College, Sherbrooke, P. Q. Age, fifty-two years.
46DIPPEN.—Andreas Dippel, the tenor of last season's Metropolitan Company, sailed for Europe last week. He has contracted with Henry Wolfsohn to sing at thirty concerts in this country during April and May of next year.
48DE VERE.—Miss Clementine De Vere will be the soloist at the Richter concert in London on July 6.
50MRS. HARRISON'S MUSICALE.—Washington, May 27, 1891.—A soirée musicale was given by Mrs. Harrison at the White House to-night, to which a number of friends of the President and Mrs. Harrison were invited. Secretaries Rusk, Foster and Tracy, Postmaster General Wanamaker, Mrs. Breckinridge, Mrs. Rusk and Mrs. Catlin were among those present. The musician of the evening was Master Bertie Shelley, who gave several violin recitals.
52THE PHILHARMONIC CLUB.—Our oldest chamber music organization has given over one hundred and fifty successful concerts here and in other cities during its fourteenth season of 1890-1. The club has been reorganized for next season as follows: Eugene Weiner, flute; John Marquardt, first violin; Sebastian Laendner, second violin; Friedholf Hemmann, viola; Ernst Mahr, violoncello, and August Kalkhof, contrabasso.
54Mr. Ernst Mahr, born in Berlin, studied for six years under the famous violoncellist Prof. Rob. Hausmann, at the Royal Academy of Arts of that city, at which institution he attained a thorough experience in solo and ensemble playing, also in the quartet classes of Prof. Dr. Josef. Joachim, Professor De Anna and Prof. Woldemar Bargiel, receiving such certificates of the masters named as to prove his great artistic qualities. After leaving the academy a large number of engagements as solo and orchestra 'cellist in the leading orchestras of Germany, as, for instance, the Berlin Philharmonic Orchestra, the Richard Wagner Theatre, under Angelo Neuman, the Berlin Concert House, &c., gave him that routine in the various styles of solo and ensemble music with which he came to this country, where he is a member of the New York Philharmonic Club.
56Miss Marion S. Weed, contralto, has been engaged for 100 concerts as vocal soloist. New works will be written for the Philharmonic Club by Peter Tschaikowsky, Heinrich Zoellner, Theodore Gouvy, Asger Hamerik, Ernst Gilbert and others.
58LAMBERT'S CONSERVATORY.—Work has been begun on the fine new building of the New York College of Music in East Fifth-eight street.
60A SONG RECITAL.—Dr. Carl Martin and William Courtney gave an interesting song recital last week at the Knickerbocker Conservatory. The two artists were assisted by Jessamine Hallenbeck, soprano; Mrs. Frederick Dean, contralto, and Mrs. Martin, accompanist.
62AN INAUGURAL CONCERT.—A grand inaugural concert for the benefit of and at the New Union Church, Steinway, Long Island, was given last Thursday evening. The following was the program:
64Grand trio from "Die Meistersinger," for violin, piano and organ. R. Wagner
65Miss Franko, Messrs. Macfarlane and Dulcken.
66Song, "Frühlingsnacht" ("Spring Night"). R. Schumann
67Miss Heckle.
69(a) Nocturne. Fred. Chopin
70(b) Scherzo. Mr. Rummel.
71Male chorus, "Die Kapelle" ("The Chapel"). C. Kreutzer
72Vocal Society "Harmonie."
73Organ solo, overture to "Oberon". C. M. von Weber
74Mr. Macfarlane.
75Aria of the page, "Les Huguenots". Meyerbeer
76Rosa Linde.
77Violin solo, "Hungarian Rhapsodie". Hauser
78Miss Franko.
79Song, "Mein Glück". Carl Bohm
80Piano solo, "Rhapsodie Hongroise". Franz Liszt
81Mr. Treumann.
82Male chorus, "Das Kirchlein" ("The Church"). V. E. Becker
83Vocal Society "Harmonie."
84"Ave Maria," for soprano, violin, piano and organ. Bach-Gounod
85Miss Heckle, Miss Franko, Messrs. Macfarlane and Dulcken.
87THE SCHARWENKA CONSERVATORY.—The Scharwenka Conservatory of Music, which is to open in September at 81 Fifth avenue, announces the following list of instructors: Counterpoint, harmony and composition, Bruno O. Klein; violin, Richard Arnold and Emil Gramm; violoncello, Adolf Hartdegen; vocal, Emily Winant, Edward Schlomann and Mrs. Albert Prox; piano, Gonzalo Nunez, Albert M. Bagby, C. V. Lachmund, August Arnold, Walter Petzet, J. Wirsching, Albert Prox, Grace Cowles, H. C. Grant and Albert Veit.
89THE METROPOLITAN CONSERVATORY.—The Metropolitan Conservatory gives its annual commencement exercises to-night at Chickering Hall. An interesting program is put forth.
91ADELE PLAYS.—Adele Aus der Ohe plays the Tschaikowsky B flat minor piano concerto at the next Worcester festival in September.
93PHILADELPHIA.—There will be a recital by the professors of the Broad Street Conservatory of Music next Saturday evening in the Quaker City. John F. Rhodes, Emil Gastel and Michael J. Kegrize will participate.
95ZIELINSKI.—Mr. J. de Zielinski gave a students' musical evening last Friday in Buffalo.
97CHICAGO MUSICAL COLLEGE.—The annual competitive examination for the diamond and gold prizes donated by prominent citizens of Chicago to the Chicago Musical College will take place next Friday for voice and violin, and next Saturday for piano. The twenty-fourth annual concert and commencement exercises of the college will occur at Central Music Hall on Tuesday evening, June 23. The annual entertainment of the Chicago Musical College school of oratory and dramatic art will be given on Thursday evening, June 4, under the direction of Mrs. Laura J. Tisdale. The graduating class will be assisted by Miss Fanchon Thompson and August Hyllested. The summer normal session will open on Monday, July 6, and close Saturday, August 8. Applicants for the fifteen free scholarships and 100 partial scholarships must register before August 1, 1891, and come well recommended.
99ORPHEUS CLUB.—The Orpheus Club, of Norwich, Conn., Eugene Wallner conductor, gave a concert last Wednesday, assisted by Miss Marcelina Gonzalez, soprano.
101DE PAUW UNIVERSITY.—The seventh annual musical festival of the De Pauw University, Green Castle, Ind., takes place June 3, 5, 8 and 9. Jas. H. Howe will be the conductor.
103MINNEAPOLIS.—The fifth annual public school concert and matinee of the High School Hall, Minneapolis, took place in that city May 15 and 16.
105F. SLADE OLIVER.—This gentleman is a well-known organist and choirmaster of Marquette, Mich. He has recently given some very successful organ recitals.
107BEETHOVEN PROGRAMS.—Two concerts were given by pupils of Miss Porter and Mrs. Dow's school for young ladies at Farmington, Conn., on the 21st and 22d ult. Bernardus Boekelman is the musical director and professor of the piano, and his pupils had the co-operation of one of the vocal pupils of Miss Elizabeth S. Colton. The following were the two Beethoven programs performed at these concerts:
109Thursday, May 21, 1891, 8 P. M.
110LUDWIG VON BEETHOVEN.
111Born December 17, 1770. Died March 26, 1827.
112Overture, "Egmont," op. 84. Arr. by Buchard
113Andante, op. 28
114Bagatelle, No. 1, E flat, op. 33
115Song, "Adelaide," Larghetto-Allegro molto, op. 46.
116Allegro, op. 10-2
117Allegretto-Presto.
118Allegro, No. 1, op. 2
119Prestissimo.
120Variations sur un thème de Beethoven. Camille Saint-Saëns
121For two pianos.
123Friday, May 22, 1891, 8 p. m.
124Sonata Pathétique, op. 13.
125Grave—Allegro di molto e con brio.
126Adagio cantabile, rondo allegro.
127For two pianos, arranged by A. Henselt.
128No. 2, G major, op. 49.
129Allegro molto non troppo; Tempo di minuetto.
130Allegro molto e con brio, No. 1, op. 10.
131Rondo, Andante cantabile e grazioso allegretto, No. 2, op. 31.
132Adagio sostenuto, No. 2, op. 37.
133Allegretto presto agitato.
134Menuetto-moderato e grazioso presto—con fuoco, No. 3, op. 31.
135Fifth symphony, C minor, op. 67.
136Allegro presto, for eight hands.
138At a wedding, an organist, specially engaged for the event, had just commenced to play a long and elaborate march, when the bride arrived a little sooner than expected, and everyone was in readiness for the service to begin before the organist was half way through the march. Now occurred a not uncommon difficulty—the exercise of clerical power in opposition to the organist's artistic perception of the exigencies of musical form. The minister, who did not like to be kept waiting, beckoned to the clerk, and told him to tell the organist to cease playing. "Tell the minister," said the organist, "that I must finish the piece." The message was duly delivered, whereupon the minister sent a peremptory command that the organist was to stop instantly. "But it will spoil the march," observed the player; "ask the minister to wait, it will not take long." The minister, however, was firm, and directed the clerk to take the blower. This was done. The bellows became exhausted in the midst of unresolved discords; the pipes emitted peculiar noises, and then ceased to speak, to the wonderment of the bridal party and congregation.
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