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Musical Courier 1891-12-16: Vol 23 Iss 617, 1891
55 lines. Read by computer on 19 September 2026. Printed page 722. See the scan on archive.org.
1tor Capoul, a gentleman whose voice was a memory from the beginning of its existence. It cannot be said that Mr. Capoul sang his music. He made a noise with his throat which caused all those who did not think he had the croup to wish that he had.
3Mrs. Bauermeister was the nurse and a Miss de Vigne was "Stephano." It is a great pity that there is not a charitable institution for such persons. They ought not to be compelled to try to earn their livings by maltreatment of musical notes.
5There were others in the cast of "Romeo et Juliette," but no humane person would undertake a public description of their doings. It is bad enough to be obliged to record the fact that there was a chorus, and that it sang in a manner persistently out of tune with itself and with the orchestra! As for the orchestra, it did the best that could be expected of it under the circumstances, and at times played Mr. Gounod's bread and butter accompaniment beautifully. Mr. Vianesi described rectangular parallelograms with his baton in the heated air over the footlights and occasionally looked unpleasantly at the first violins. No doubt he is a great conductor.
7And thus began the much advertised season of grand opera in the French and Italian languages under the management of Messrs. Abbey & Grau. Let us hope that the two managers will not live to rue the day. But we are under the impression that a public which has had seven years of education in a school of opera in which artistic ensemble and dramatic vraisemblance are not sacrificed to the glorification of two or three high salaried stars will not hail the new dispensation with hymns of abiding joy.
9Clara Poole.—Two more musical and artistic triumphs are to be recorded for the above favorite contralto. At the musicale given in aid of the Home for Friendless Women in Brooklyn her singing made a sensation, and on Thursday with the Brooklyn Choral Society in the "Messiah," her most important solo, as the daily papers report, was unfortunately marred to a certain extent by the universal but ill timed applause of the over five thousand people present. Negotiations are now pending for her appearance on the New York concert platform, where without any doubt she will create a sensation equal to any as yet made in concerts.
11Music in Toronto.
12TORONTO, December 10, 1891.
13I HAVE been asked repeatedly why Toronto correspondence does not appear more frequently in THE MUSICAL COURIER. As others who have not inquired may also be similarly curious I wish to explain for the benefit of all that, knowing that in the aggregate you are applied to for much more space than can possibly be granted, I feel bound to make my letters as infrequent and as concise as possible.
15Mr. Frederick Boscovitz's first of a series of three subscription illustrated lecture concerts was given November 16 in the theatre of the Normal School. The cream of Toronto's fashionable people overflowed the pretty little auditorium, and the great interest evinced must have been most gratifying to Mr. Boscovitz. His "chats," as they were termed, were illustrated by some quaint old melodies, specially written for the spinnet and harpsichord. Among the composers presented were Byrde, Bull, Lully, Rameaux, Scarlatti and Bach. The second part of the program was of modern construction. Mr. Boscovitz had a spinnet for the occasion—his own property, and highly prized as an interesting relic. The contrasting effects between it and the noble specimen of Steinway's handwork, upon which Mr. Boscovitz also played, were calculated to impress one with the thought that if music had progressed in other departments as have its mechanical accessories what sublime heights would have now been reached. The lecture platform was evidently familiar ground to Mr. Boscovitz, and the reputation which he has attained in this particular field, and also as an artist, in America and abroad is easily understood. A pleasing diversity to the proceedings was Miss Morgan's singing of "Cherry Ripe" and Boscovitz's "By the Golden River." Mr. S. Nordheimer, who had introduced the lecturer to the audience, also called for a vote of thanks, which was enthusiastically indorsed. Mr. Boscovitz's second lecture concert is to be given December 21.
17A concert lecture for the Children's Aid Society was given by Mr. W. Edgar Buck, December 2, at Association Hall. Some thirty members of the Vocal Society and several other amateurs gave pleasing variety to the entertainment by contributing solos, duets, trios and choruses. Mr. Buck's lecture dealt with subjects more particularly relating to the singing and speaking voice. He made his points both clear and concise. The lecture was sufficiently interesting and instructive to deserve a much larger audience than was present. The musical part of the program was too long to be here dealt with in detail. Generally speaking, however, it was very pleasing, while some of the features, especially Mr. Buck's singing, were worthy of extended complimentary mention.
19The Haslam Vocal Society (125 mixed voices) gave its first concert for this season at Pavilion Music Hall, Tuesday evening, December 8, under the direction of Mr. W. Elliott Haslam. For solo performances the services of that combination of good and in different talent, the Musin Concert Company, comprising Mrs. Tanner-Musin, Miss Inez Parmenter, Roger Dupuy, Emil Senger, Edward Scharf and Ovide Musin, had been engaged. The Musin Company is too well known to the majority of your readers to require extended mention. The "home" society sang Caldicott's "Message," Smart's "Stars of the Summer Night," Leslie's "Song of the Flax Spinner," Gounod's motet "O, Day of Penitence," a transcription of Sullivan's "Lost Chord," Stewart's "Cruiskeen Lawn," and with a quartet of the Musin Company, the "Miserere" scene from "Il Trovatore."
21I have frequently had occasion to speak in complimentary terms of Mr. Haslam's society, but, as a matter of fact, it has never been so satisfactory as upon the occasion of this their last concert. The one point in which it had previously seemed slightly deficient was in fullness and sonority. This has been completely remedied and now the chorus presents a rich, well balanced, powerful body of tone and a refinement of finish as exceptional as it is delightful. The Haslam Vocal Society concerts are very popular, and a fashionable audience filled every seat in the hall.
23Musical people here are looking forward with great interest to the visit of Alfred Grünfeld, pianist, and his brother Heinrich, the 'cellist, on January 7. The critically laudatory notices of these artists by THE MUSICAL COURIER lead us to expect a treat of the first water.
25Buffalo Letter.
26BUFFALO, December 14.
27THE "Orpheus" concert was a "stag" affair, no women appeared on the platform, but, as if to compensate for this in a measure, there were such a good looking lot of men assembled that I have not seen in many a day. Curious 'twas to note the tendency of those suffering (?) from a scarcity of hair to "flock together," as if to illustrate that "birds with one feather flock mit themselves."
28But this is not music—though hair often produces music, vide the violin. I have also known hair to produce cash, vide, those entrancingly beautiful and youthful females, the "seven Sutherland Sisters," now lingering with us.
30Mr. Lund's fifth season as conductor of the above named society began most auspiciously with this concert, which was of commendable brevity, one hour and twenty minutes short. The singing was finished and full of "go," the only suggestion being that a woman's voice would have relieved the sameness. Mr. Emil Fischer sang the noble aria from "Undine," and later two songs, taking a high F with as amazing ease as the low E flat in the next song; he certainly knows how to sing, though not at his best that evening. The new Concertmeister, Mr. Joseph Hartuer, played his violin solos with dash, albeit rather hurried or flurried or both. He commanded the attention of the large audience from the outset; I want to hear him when he is more at ease. As it was he demonstrated that he has all of technic and more style than the ex-Concertmaster Kapp. You remember that Kalynoff, the original concertmaster, he of the debt creating powers, ran off before we had a chance to hear him. There is no probability of his returning, for numerous folks here would make it extremely warm for him.
32It amused me to read in the local papers of the "finished style displayed by the strings in the ever welcome intermezzo by Gillet." The remark applies all right enough, only as it happens they did not play the intermezzo by Gillet. The prelude from Massenet's "Eve" was the number played, and it ought to have been familiar to the scribes, for surely we have heard it frequently.
34A concert in our big little suburb, Tonawanda—known as the "lumber town," because, next to Cheek-ca-go, it is the greatest lumber market in the world—deserves mention. I went in my professional capacity as solo pianist and found Kent's Hall, the scene of many former giddy festivities, of which I could a tale unfold, well filled by the bung-tung of the town. The Arion (male) and Ideal (female of course) quartets sang, Miss Louise Lewis contributed several charming solos, and the whole concert was a credit to the Y. W. C. T. U., and Miss True in particular.
35First Liedertafel—second orchestra concert, Mr. Rummel soloist, this week.
36F. W. RIESBERG.
38GRAND CONSERVATORY OF THE CITY OF NEW YORK.
40FOUNDED 1874.
42Incorporated by Act of the Legislature, 1885.
44OFFERS the accumulated advantages of many years of successful operation. The Conservatory has been attended by over 12,000 students from all parts of the United States, Canada and South America. The faculty consists of 35 instructors, including in the Piano Department M. HELMAY, a pupil of LIZT; JACQUES FRIEDBERGER, SIGISMUND HERZOG; Vocal Department, F. P. TAMBURELLO, A. FRENCHELLI, GIUSEPPE DI GRANDE; Organ Department, G. W. MORGAN, HOWARD E. PARKHURST, and many other prominent professors and artists. Students studying for the profession may secure private instruction from DR. E. EBERHARD.
46Free Instruction in Harmony, Composition, Counterpoint and Sight Reading.
48The Concert Company, as well as the Opera Company, are special features with the Grand Conservatory of Music.
50FOR PARTICULARS ADDRESS
52DR. E. EBERHARD, DIRECTOR.
54GRAND CONSERVATORY OF MUSIC, 16 EAST TWENTY-THIRD STREET, NEW YORK.
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