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Musical Courier 1892-01-27: Vol 24 Iss 623, 1892
163 lines. Read by computer on 22 September 2026. Printed page 11. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1American pupils will gather about her and permit her to finish their vocal education.
3The Wulschner piano house lately gave a concert to introduce Mr. B. F. Peters, an expert and successful chorus and choir director, who with his wife, a very good contralto (pupil of Mrs. Sara Hershey Eddy), has lately come to reside and teach in our city. Mr. Edward Baxter Perry was the pianist, and gave one of his instructive piano recitals.
5Octavia Hensel.
7New York Philharmonic Club in Connecticut.
9J. W. PARSONS, organist of the First Church, New Britain, Conn., writes us that the concert in that city, January 13, by the New York Philharmonic Club was the most perfect musical entertainment ever heard in that city.
11The company, consisting of Eugene Weiner (flute), Mr. Marquardt (first violin), Mr. Leander (second violin), Mr. Hemmann (viola), Mr. Mahr (cello), Mr. Kalkhof (double bass), assisted by Miss Marion S. Weed (mezzo soprano at the Reformed Collegiate Church in New York), received a genuine ovation. A large number of the audience, largely musical people, remained to personally greet and congratulate the artists.
13The following day the artists were entertained by citizens and every courtesy was extended. Such a marked attention from citizens (Miss Weed being entertained by the most prominent lady singers in the city) could not but have been very pleasing to the artists.
15An urgent request was made the company to visit New Britain again in the near future.
17The people of cities visited by the Philharmonics and Miss Weed all testify to their splendid work.
19Syracuse Music.
21SYRACUSE, N. Y., January 21, 1892.
23THERE has been thus far this season such a dearth of music here that almost any announcement of a concert will draw a house, and it was largely for this reason that almost every seat in the music hall of Crouse College was filled on Tuesday evening.
25The occasion was a concert by the musical faculty of that institution. To judge from the mood displayed by the audience the affair was a great success; so lenient, in fact, were the listeners that some of the most glaring faults were received with an enthusiasm that does little credit to our usually discriminating public.
27A program was presented that contained very little of musical importance, and no amount of adverse criticism either as to its make up or its execution can be too severe.
29Professor Parker is a most capable organist and is always at his best when he confines himself to strictly organ compositions, and it is therefore to be regretted that he from time to time attempts such things as the "Tannhäuser" overture, a piece of writing that cannot be made effective on the organ, and therefore should never be taken out of its proper medium of interpretation—the orchestra.
31Of the pianistic efforts of the evening one can commend only Miss Gnibault. She plays with feeling and expression, has a fine touch and brilliant technic, and made the most of two very uninteresting compositions.
33Mr. Becker's violin numbers were well played, especially the latter, in which he displayed ample technic, and in the muted passage considerable feeling. He phrases beautifully and his tone gains breadth with every hearing.
35It would be a pleasure to record some good things about the head of the vocal department of the college, but truth and in justice to art the facts must be told.
37Miss Everett's voice is of an unpleasant quality to begin with and lacks power as well as sympathy.
39Her stage manner and style of singing smack decidedly of the amateur, and added to all this she has the unhappy faculty of singing off the pitch.
41This latter defect led her into finishing a cadenza in a totally different key from which it was begun, thus creating an effect hardly contemplated by the composer.
43It is a great pity that the powers that be see fit to pursue a policy of exclusion with regard to the use of their hall, one of the most beautiful architecturally as well as perfect acoustically in the country. Perhaps some day they may realize the moral obligation they owe this city for the financial aid extended at a time when most needed, to say nothing of the handsome gift made them by one of our leading citizens, now deceased. When that time comes, if it ever does, there will be a new impetus given to musical matters and add greatly to the popularity of the gentlemen in power.
45Pierre.
47Pittsburgh News.
49PITTSBURGH, Pa., January 7, 1892.
51THE Musical Association of Allegheny City, the Brooklyn of Pittsburgh, held its first two concerts of the season of 1891 and 1892 on Tuesday and Wednesday evenings, January 5 and 6. The first concert was given entirely by the New York Symphony Orchestra, assisted by Mrs. Ida Euler-Klein, soprano, and Mr. W. J. Lavin, tenor, both of New York city.
53The program selected for this first evening's entertainment consisted principally of things which we have heard over and over again from Thomas, Seidl and Nikisch. Even Gilmore, Cappa and others have set up these dishes for us so often that we would be tempted to cry out in the language of Elijah of old, "It is enough."
55"But why did the conductor of this band of artists treat us so?" said one of our concert goers. "There can be only three causes for such selections," said he; "first, our minds, like our smoky atmosphere, may be befogged and therefore not capable of appreciating high-class novelties at first; secondly, his band had not time to learn new pieces before starting for Pittsburgh, because of the many other engagements; or, thirdly, being that Thomas, Seidl and Nikisch had attempted such compositions in our city, we would be enabled to hear a more perfect interpretation of the works presented." The cynical asperity of our "concert goer," however, may be a little too much.
57A number of our papers treated the visit of New York's only permanent orchestra as more of a society event than an artistic appearance of a great conductor and his band of thorough musicians. The "Dispatch" society column contained the following: "Mr. Walter Damrosch, as the son-in-law of Mr. Blaine and protégé of Andrew Carnegie, attracted a fashionable audience to Cyclorama Auditorium, Allegheny, last evening."
59The "Times" says: "On the second night there was, however, a marked decrease of the society element, which probably had its curiosity satisfied." As to the playing of the orchestra, it is scarcely fair to criticise, as the acoustics of the Auditorium where the concerts were held is anything but conducive of musical results. There was such a multiplicity of echoes in the building that the fortissimo passages were so blurred and muddy as to render it painful to the "understanding" ear. It reminded one of the manner in which some pianists use, or rather abuse, the so-called loud pedal.
61Mrs. Klein's effort in "Elizabeth's" greeting to the hall of song was really an excellent performance and the intensity and earnestness in which she entered into her task suggested to even the ordinary listener that Wagner's music drama is not simply amusement but the utterances of human passion in musically declared speech, which is intensified by the passion awaking power of the modern orchestra, for, in such words as "Elizabeth's" greeting, "But now the flame of hope is lighted, Thy vaults shall ring with glorious war," etc., the dramatic fire of intense feeling bursts forth in rich volumes of Mrs. Klein's musical voice.
63The same praise cannot be awarded to Mr. Lavin for his rendition of "Walter's" prize song from the same great master's "Meistersinger," although the young Franconian knight triumphed in the contest of minstrelsy and won the hand of "Eva." Mr. Lavin, who impersonated him, did not win the hand of the audience for his effort. Not that Mr. Lavin is not a finished singer, but he fell into the hands of the mighty orchestra, which completely swallowed him up in its accompanimental display of power. An organist who sat near me said: "Mr. Damrosch should adopt an organ swell idea for accompanimental work until he has his young orchestra under better control." Such a plan would put all of the players in a worse "box" as well as the conductor.
65The principal musical number, however, which interested the majority of the citizens was the choral work, "The Legend of St. Cecilia," by Jules Benedict. This cantata was given on the second night by the Allegheny Musical Association with assistance of the New York Symphony Orchestra and four vocal soloists. The solo parts were sustained as follows:
67Cecilia……………………………………………………Mrs. Klein
68Christian Woman………………………………………Miss Bankerd, of Allegheny
69Valerianus……………………………………………..Mr. Lavin
70Perfect……………………………………………………M. Homer Moore, Pittsburgh
72The chorus, which consisted of 125 voices, did some admirable choral work, which exhibited in a very marked manner that a most painstaking and skillful drill master had stood before them in many rehearsals and pointed the way they should go. Mr. W. A. Lafferty, who is the efficient director of this organization, conducted the entire cantata during its public performance, but, of course, was scarcely "at home" in such a capacity.
74An orchestra composed of the highest artistic material requires the same quality in a conductor. Mrs. Klein scored another success in the interpretation of her part. Miss Bankerd evidently sang herself into the affections of the audience, for the applause which she won was long and loud. Mr. Lavin was at his best in the more suitable rôle of "Valerianus," and proved himself an artistic singer. Mr. Moore, as the "Prefect," was fully up to the dramatic requisites of a part so full of vindictive maledictions.
76The balance of the program was made up of orchestral selections by Walter Damrosch and his New York Symphony Orchestra.
78There was an excellent attendance at both concerts, as the Cyclorama Hall, which has a seating capacity of 2,000, was comfortably filled at each performance. Taking it all in all the affair was a grand success.
80Simon Bissell.
82San Francisco.
84JANUARY 10.
86THE year just gone has made several notable vacancies in the ranks of the musical profession of this city, especially among organists.
88For nearly forty years the incumbent at St. Ignatius Catholic Church has been Mr. J. Muller, who had followed the fortunes of the parish from its infancy to its present magnificent abode in one of the finest buildings in California, where he played a large Hock organ.
90Poor old Muller has finally gone to the realm of St. Peter, leaving his choir to be conducted hereafter by a younger man.
92A recent arrival, with the paradoxical name of Zoberbier, has been playing since Muller's death, and, I understand, is likely to be retained permanently, as his performance is said to be satisfactory to the Jesuit fathers of the church.
94The other organists who died in 1891 were Mr. George Little, of St. John's Church, where he was succeeded by Mr. R. Fletcher Tilton, late of Brooklyn, and Mr. Richard J. Wilmot, the blind organist and composer. Both these gentlemen were of English birth and, strange to say, were both asphyxiated by gas within a few days of each other.
96Mr. Wilmot played at St. Paul's Episcopal Church. He has been succeeded by Miss Clara Van Wyck, who previously occupied the position some years ago.
98For the last few years Carl Bergstein, a contemporary and fellow countryman of Carl Fornes, has been a teacher of vocal music in this city. After reaching a ripe old age he succumbed to the grip and died quite suddenly last month. He had been a well-known opera singer in Germany and had a large fund of reminiscences of his artistic career. He was an estimable man, highly esteemed by those who knew him intimately. He leaves a widow in comfortable circumstances. His remains were cremated at Los Angeles.
100I am apprised, by the receipt of copious printed circulars from Marcus M. Henry, our local impresario, that Wm. H. Sherwood is to give two recitals here next week, January 12 and 14. Mr. Sherwood may not play quite as well as Paderewski, but though I never heard either I've seen their pictures and can testify that our American is very little behind the European artist in the matter of hair. Pad's capillary aureole, however, seems to present the more frenzied appearance to the casual observer.
102Queer how genius seems to run to hair!
104The tri-weekly concerts in Golden Gate Park are attracting such an increasing throng of attendance that a new auditorium is to be provided this summer. The present one has only been in use three years, and though it is the second one it is already too crowded. An outlay of $40,000 is now to be devoted to arranging a third concert ground in a natural amphitheatre which will seat 60,000 people. And no one doubts that there will generally be a full house. All the street railroads of this pre-eminently street railroaded city have the park as their objective point.
106It has been proved by discontinuing the concerts for a few weeks that they are the chief attraction for the people, and, since Mr. Coggins inaugurated them, seven years ago, property near the park has appreciated in value 400 per cent., and the park commissioners now obtain with a quintuple appropriation from the municipal fund. No wonder Coggins is proud of his enterprise and thinks it "one of the biggest things of the kind on earth."
108When it is remembered that these concerts are continuous, run all the year round, not merely for a short summer season, they are the more remarkable; but, though worthy of imitation, there is only one Golden Gate Park in which such things are possible.
110The rehearsals of "Bluff King Hal" are progressing with spirit and increasing interest. The opera will be produced before Lent.
112The Tivoli has been giving "The Island of Zenobar," a spectacular, home made musical mélange, to crowded houses during the holidays. The dressing and scenery are very beautiful and the whole show extraordinary at the price.
114The "Mascot" is announced for next week, then the "Yeoman of the Guard."
116The Orpheus is presenting "The Princess of Trebizonde." I remember Drew and John Howson together when this opera was first given in San Francisco nearly twenty years ago. Drew seems just as good as ever, if not better, while poor Howson is only a pleasant memory.
118The Carleton Company close a two weeks' engagement at the Baldwin to-night with "Indigo." They have also played "The Gondoliers," "Dorothy" and "Nanon" to fair attendance. They lost the first night through being delayed on the railroad from Oregon.
120The Powell Street Theatre, now only used for the Sheeny opera on Sunday nights and for an occasional sporadic entertainment at other odd times, has been leased by L. R. Stockwell, for the last five years connected with the Alcazar, and is to be reconstructed at an outlay of $30,000.
122It is intended to make it a rival of the Baldwin for first-class patronage. Its location is quite as good, they being close by each other, but it will be very hard to compete with such an excellently managed neighbor, having such prestige as has been achieved by Mr. Hayman and his able and popular lieutenant, Mr. Alfred Bouvier. The Baldwin gives us everything good that is seen anywhere else in America, and doesn't make us wait very long to see it, either.
124Frohman's company, with "Wilkinson's Widows," is there for three weeks.
126Hayman's other theatre, the California, which under the management of Mr. Harry Mann is always making money, has been turning people away from "Judah," which is on for two weeks for Wiliard's return visit.
128H. M. Bosworth.
130Galveston Music.
132GALVESTON, Tex., January 18, 1892.
134THERE is not much going on in the Island City at present, musically speaking. The different singing societies are quietly preparing themselves—I might just as well say "very quietly"—for the coming State Singerfest, which is to be held in Dallas, Tex., this spring. In fact, we have even had only a few professional attractions in the musical line. The concert of the Whitney Mockridge Company last December was a decided success artistically as well as financially. Mrs. Mayo-Rhodes, the prima donna of the company, left the company at Dallas and is now residing in this city.
136Well, despite the usual difficulties, the Emma Juch Grand (?) Opera Company landed here last Wednesday. They butchered Wagner's "Tannhäuser" unmercifully. Emma Juch personally was very good and made a splendid "Elizabeth." The prayer in the last act was especially well rendered. Excepting Emma Juch and the Messrs. Broderick ("Landgraf") and Mertens ("Wolfram"), the balance of the cast was very poor. "Tannhäuser" itself was miserable and the chorus not worthy of criticism. It was Wagner under difficulties, but with all that it gave Galvestonians a faint idea of the grandness and magnificence of Wagner's immortal composition. The performance, taking it all in all, was an imposition on the public, and especially when considering the admission fee charged. The company was to appear in "Cavalleria Rusticana" at the matinée, but some way or another the latter performance was cancelled. I was very anxious to hear Mascagni's composition and was disappointed in not hearing and seeing same, as it was the only chance to listen to the much talked of work. The Juch Company managed to leave here in good order, having been well patronized, but judging by the following clipping from yesterday's Galveston "News" (which speaks for itself) they must be having a rather warm time:
138OPERA UNDER DIFFICULTIES.
140THE FINANCIAL TROUBLES OF THE EMMA JUCH COMPANY AT FORT WORTH.
142FORT WORTH, Tex., Jan. 16.—Fort Worth has been having grand opera under difficulties for two days. The Emma Juch troupe did not arrive here last night until 10 o'clock, and the performance, which commenced after 11, did not conclude until after 2 o'clock this morning.
144At the matinée this afternoon there was a long delay in opening the performance, owing to a strike for salary by Miss Sofice Romani, who is "Inez" in the cast of "II Trovatore." She was settled with and the performance went on, but not until the audience was disgusted at the long wait.
146To-night there were two more hitches. After the balcony scene from "Romeo and Juliet" had been concluded and the curtain was about to rise on "Cavalleria Rusticana" the orchestra struck for their salary and would not scratch a note until they were settled with. They got their money and were about to begin when the chorus wanted their money, and the performance had to be delayed until they were settled with. The audience became impatient and disgusted. The gods in the gallery got impatient and took no trouble to conceal their feelings. It was after 10 o'clock when accounts were all squared, and then the opera was begun and finished, but not before many people had left the house.
148The concert of the Boston Symphony Orchestra Club was a success and was highly appreciated by all present. Mr. Max Bachert left Galveston in good humor. He also did well at Houston. The next musical attraction will be Mr. Edward Baxter-Perry, who is to play here on the 27th inst. under the auspices of the Galveston Quartet Club. Judging by the interest that is being taken in same the outlook is very promising. It may be of interest to the profession to learn that the Tremont Opera House, of this city, has a seating capacity of about 1,600 and the Harmony Hall about 1,300. The former is under the management of Mr. Henry Greenwall, who is also the lessee of the Grand Opera House at New Orleans, and of the theatres at Dallas and Fort Worth, Tex. Manager W. B. Seeskin and Treasurer Geo. H. Walker have charge of the affairs at this end.
150Regnis.
152Detroit Letter.
154DETROIT, Mich., January 14, 1892.
156THE principal musical event of the Christmas season was the performance of Händel's "Messiah" by the Detroit Musical Society at the Detroit Opera House, which is, by the way, not a place for such an entertainment, as the acoustic properties are very bad, and the place for the orchestra and chorus is lacking; the Detroit Rink Hall is better adapted for such concert.
158The soloists were Miss Gertrude Edmonds, contralto, of Boston; Mrs. Geneva Johnstone-Bishop, soprano, of Chicago; Mr. Charles Knorr, tenor, of Chicago, and Mr. Garner Lanson, basso, of Boston. The chorus, which was advertised to be numbering 300, had by actual count 125 and an orchestra of thirty-five men. The tout ensemble was good, and we have no doubt that the director, Mr. Arthur A. Stanley, has worked hard to bring his chorus to this degree of proficiency, but a great deal more is expected from a local society in a city of 250,000 inhabitants; we should be able to have a chorus of 500 voices and an orchestra of seventy-five to render such compositions with effect and grandeur.
160Mrs. Bishop sang the soprano rôle effectively. Miss Edmonds, contralto, has a sweet voice, but not strong enough for oratorio work. Her rendering of the aria, "He shall feed His flocks" was her best effort and was much appreciated by the audience. Mr. Knorr, tenor, is always a favorite, and his singing gave universal satisfaction. Mr. Lanson, basso, sang acceptably his allotted part. The orchestra was not always en raffort with the chorus, and in few passages they had their own way. More rehearsals will certainly remedy this.
162The Musin Concert Company gave one of the best entertainments of the season at the Y. M. C. A. Star course. A program of high order, rendered by first-class artists, each receiving encores by an enthusiastic audience—such was the evening given by the Musin Company. The chief
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