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Musical Courier 1892-01-27: Vol 24 Iss 623, 1892
223 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 10. See the scan on archive.org.
1Correspondence.
3Honolulu Musical News.
4THE members of the Royal Hawaiian Band are taking a month's vacation, and Bandmaster Bergh has gone to San Francisco to enjoy his holiday. The band will resume its regular concerts on Christmas Day.
6Great preparations are being made by the choir of the St. Andrew's Cathedral for the Christmas service. They will sing Dudley Buck's B minor "Te Deum," a jubilate by Wray Taylor, the organist, and Berthold Tours' anthem, "Sing, O Heavens." This choir consists of ladies and gentlemen, seven sopranos, six altos, four tenors, five basses. One of the tenors, Mr. George S. Smithies, is a constant reader of the Courier. On the Sunday following Christmas the choir will sing Tours' morning service in F, and in the evening Bridgewater in A, and as an anthem, "Thus speaketh the Lord of Hosts," by Stainer.
8A series of organ recitals are being given on the large Bevington organ in the Kawamakapili Church by Mr. Wray Taylor, F. C. C. G. They attract large audiences. The program of the last one was as follows, from which it will be seen that a member of the royal family of Hawaii took part:
9Overture in F ……………………………………………..Morandi
10Andante Pastorale ………………………………………J. H. Lewis
11Violin solo, "Traumerei" ……………………………….Schumann
12Song, "The Red Scarf" …………………………………Bonheur
13Organ fantasia, operatic (by request) ………………Dr. A. E. Nichols
14Song, "Diva Waltz" …………………………………….Vissetti
15Violin solo, "Ave Maria" ……………………………….Bach
16(With piano and organ accompaniment.) ………….Dr. A. Marcuse.
17Song, "Queen of My Heart" ……………………………Cellier
18Grand march, "Triomphe" ……………………………….Grison
19Mr. Wray Taylor.
20Hawaii Ponoil.
22A very pleasant musicale was given on the 11th inst. by the pupils of Oahu College, under the direction of Miss Louise F. Dale, the music teacher.
24On the 18th the pupils of Kawaiahao Female Seminary sang a number of vocal selections under direction of Miss S. R. Patch. Her Majesty the Queen, who is an enthusiastic musician, was present.
26Prof. G. L. Babcock, our leading piano teacher, has been under the weather, but is better. He has quite a large class of pupils.
28At the Christmas praise service of the Central Union Church the choir will do Händel's "Hallelujah" chorus December 22. HAWAII.
30Omaha (Neb.) News.
31OMAHA, Neb., January 14, 1892.
33THE Ladies' Musical Society, referred to in an earlier communication as the most potent factor in the development of musical culture and the elevation of musical taste in this city during the last few years, gave its 110th musical on Wednesday afternoon of the present week from the following program:
34(no line here) one of two readings
36Chaconne (duo) …………………………………………..Jadassohn
37Mrs. Muentefiering and Mr. Cahn.
38"La Serenade" …………………………………………..Tosti
39Mrs. Martin Cahn.
40Andante and variations (duo) ………………………..Schumann
41Mr. Cahn and Mrs. Muentefiering.
42"Since First I Met Thee" ……………………………….Rubinstein
43"One Spring Morning" …………………………………..Nevin
44Mrs. Cotton.
45Concerto (first movement) ……………………………Grieg
46Mrs. Muentefiering.
47Second piano by Mr. Cahn.
48"I Love Thee" …………………………………………..Grieg
49"Entr'eat" ……………………………………………….W. G. Smith one of two readings
50"Entr'eat" ………………………………………………….W. G. Smith one of two readings
51Mrs. Martin Cahn.
52Danse Tcherkesse (duo) ……………………………….T. Ritter
53Mr. Cahn and Mrs. Muentefiering.
54"Ah, fors' e lui" ("La Traviata") ……………………..Verdi
55Mrs. Cotton.
57Gentlemen have rarely been permitted to attend these regular entertainments, their patronage being held in reserve for the more pretentious efforts which are occasionally made in one or other of the opera houses. Through the kindness of Miss Elizabeth Poppleton, president, in whose lovely home the accompanying program was rendered, and to whom, by the way, a liberal share of credit for the society's gratifying achievements is due, I was admitted to the charmed and charming circle. The initial number of the program, while largely made up of rather heavy and dignified movements, ends in a particularly pleasing manner, and its interpretation by Mrs. Muentefiering and Mr. Cahn was exceedingly happy. Both players have had long experience with the best European teachers, Mr. Cahn having been a pupil of Jadassohn for several years, and quite en rapport with his method and musical ideas.
59Mrs. Cahn, who sang "La Serenade" and the two songs, came to Omaha three or four years ago a stranger to most of our people. The prominence of her friends here musically brought an early opportunity for a public appearance as a vocalist, and from that hour her popularity has been fixed. Attractive personally, genial, free from affectation, possessed of a voice of unusual sweetness and the ability to use it to the best advantage, it was only a matter of course that many of her enthusiastic friends should find a place for her at the head of our local singers. She has sung but little in public for the last year or two, owing partially to ill health, and her reappearance with her voice almost wholly regained is a source of pleasure for our people.
61Schumann's music, of which the andante here given is a pleasing illustration, is so distinctive in character that the name of the composer could almost be guessed if it were omitted from the score. One can easily imagine that the sirens of Caprea sang melodies for his inspiration, and that under the spell of their enchanting themes his beautiful harmonies were wrought.
63Mrs. Cotton sang the first of her dual number well and caroled the spring song admirably.
65The seventh number, which requires a sneeze for correct pronunciation, seemed to touch a popular chord and left the audience in an excellent mood for the closing song by Mrs. Cotton. The air from "La Traviata" was omitted, and in its stead, appropriately continuing the "Danse," came a delightful little love song whose author I do not recall. Miss Neally Stevens, the noted pianist, who is still a member of the society, will furnish the program for the next recital, and after her comes Aus der Ohe. I cannot close this brief allusion to Wednesday's musicale without expressing regret that the programs of the society cannot be rendered in public. I am now convinced that lovers of good music outside the circle are losing much more than they are aware of.
67The Ladies' Auxiliary of the Apollo Club is hard at work upon the vocal scores for the second of this season's concerts. The "Enchanted Swan," with Ludwig as soloist, is one of the numbers, but the others I am unable to give.
69A recent event of local interest was the first public appearance of the Temple Male Quartet, and the Reinecke Quartet, of ladies, in a concert under the auspices of the former, with Mr. Nat M. Brigham, formerly of the Lotus Glee Club, of Boston, and later a resident of Omaha, as soloist. I am not informed concerning the plans of the gentlemen, but the ladies' quartet, made up of excellent singers, is permanently organized and promises good work.
71I noticed copies of last week's Courier on sale at one of our news counters. I see no reason why so excellent a journal should not be liberally patronized, and shall make an effort to encourage its sale.
73I have been requested to forward the inclosed subscription from Mrs. L. A. Torrens for the current year, beginning with December 80.
75CARAL.
77Rockford Correspondence.
78ROCKFORD, Ill., January 18, 1892.
80Editors Musical Courier:
82SOME time since we have given you anything regarding the musical doings of this city, and you may be glad to find space in your valuable paper to record the following:
83(no line here) one of two readings
85The Mendelssohn Club held its regular meeting Monday afternoon, December 21, at the parlors of Court Street Church, with the following program:
86(no line here) one of two readings
88Spanish Serenade ………………………………………DeKoven
89Miss Miller.
90"Persian Love Song" …………………………………..DeKoven
91Miss Radecke.
92"Gondola" ……………………………………………..Henselt one of two readings
93"Gondola" ………………………………………………….Henselt one of two readings
94Miss Hull.
95Duet, "Gondolied" ………………………………………Miss Kennedy and Mrs. Elliot West.
96"Soguai" ……………………………………………….Schira one of two readings
97"Soguai" …………………………………………………..Schira one of two readings
98Mrs. Brouse.
99Tarantelle ……………………………………………….Talberg one of two readings
100Tarantelle ………………………………………………….Talberg one of two readings
101Miss Sturtevant.
102"A Summer Night" ………………………………………Goring Thomas
103Miss Kennedy.
104"Murmuring Zephyrs" (Jensen) ………………………..Niemann
105Miss Lewis.
106"The Exchange" ………………………………………….Denza one of two readings
107"The Exchange" …………………………………………..Denza one of two readings
108French Sonnet …………………………………………..Raff one of two readings
109French Sonnet ……………………………………………Raff one of two readings
110Mrs. Engstrom.
111Fantaisie Polonaise …………………………………….Rabb one of two readings
112Fantaisie Polonaise ………………………………………Rabb one of two readings
113Mrs. Starr.
114Cavatina, from "Roberto Diable" ……………………..Sung by Mrs. St. John,
115Fitzgerald's full orchestra accompanying.
116B minor capriccio ………………………………………Mendelssohn one of two readings
117B minor capriccio ……………………………………….Mendelssohn one of two readings
118Miss Sabin.
119Accompanied by Fitzgerald's full orchestra.
121Each number was well received and gave much delight to those who were so fortunate as to be present. The most pleasant feature of this recital was the appearance, for the first time since her return from Europe, of the charming young artist Miss Helen Louise Sabin. Her performance of Mendelssohn's B minor capriccio was wonderful, her technic perfect and her shading, considering the delicate mechanism of her fingers and hands, faultless. Her playing of runs, chords and arpeggios is so clear and crisp that it is a delight to listen. She received her first instructions in Auburn, N. Y., from a pupil of Moszkowski. After she had enjoyed instructions from Liebling and Sherwood she decided to go to Europe and study under Moszkowski, who was so well pleased with her former instructions that he advanced her most rapidly and gave her his very best help. Before returning she went to Italy and enjoyed the instructions of Buonamico during the summer and fall, after which she returned to her native country. We had the pleasure to meet her in her studio at the Rockford Female Seminary, and a more pleasant and agreeable lady we never met. She played to us several selections, among them the concert study "Gnomenreigen," by Liszt, which was rendered delightfully.
123Before closing this article we must not forget the "star" of the afternoon, the president of the Mendelssohn Club, who gave us Rabb's Fantaisie Polonaise in an able manner. You will hear from us again.
125Yours truly,
126ROCKFORD MUSIC COMPANY.
128Troy Music.
129TROY, N. Y., January 21, 1892.
131THE Vocal Society gave the fifth concert of their seventeenth season on the 18th of the month to the usual large audience. The best work was done in two choruses from "Epidus at Colonos," by Mendelssohn, and Schumann's "Great is Jehovah." In the latter the solo was taken by Campanini, who saved himself for the climax, and then, assisted by the large organ and chorus, produced a thrilling effect. The other concerted pieces were Marzials' "Sailor Boy," which was sung at a 2:20 gait, without break or pause of any kind, thereby losing all effect; Vogel's "Waltz," Dregert's "Blessed Angel, Stay with Me," in which the tempo was dragged so much that the first basses, who have the melody, depressed the pitch at least a third in the two verses that were sung; and Carl Weidt's "Spring Song," a little gem and well given. Campanini sang "Salve Dimora," from Gounod's "Faust," and "painted the lily," to the sorrow of those who love to hear an artist do artistic work, but it gladdened the hearts of the Trojan critics (!) who call it "style." Later in the evening he gave Meyerbeer's "Ill Mesto Crin" in a manner that makes one want to forget the joco-serious rendering of his first number. one of two readings
132THE Vocal Society gave the fifth concert of their seventeenth season on the 18th of the month to the usual large audience. The best work was done in two choruses from "Epidus at Colonos," by Mendelssohn, and Schumann's "Great is Jehovah." In the latter the solo was taken by Campanini, who saved himself for the climax, and then, assisted by the large organ and chorus, produced a thrilling effect. The other concerted pieces were Marzials' "Sailor Boy," which was sung at a 2:20 gait, without break or pause of any kind, thereby losing all effect; Vogel's "Waltz," Dregert's "Blessed Angel, Stay with Me," in which the tempo was dragged so much that the first basses, who have the melody, depressed the pitch at least a third in the two verses that were sung; and Carl Weidt's "Spring Song," a little gem and well given. Campanini sang "Salve Dimora," from Gounod's "Faust," and "Painted the Lily," to the sorrow of those who love to hear an artist do artistic work, but it gladdened the hearts of the Trojan critics (!) who call it "style." Later in the evening he gave Meyerbeer's "Ill Mesto Crin" in a manner that makes one want to forget the joco-serious rendering of his first number. one of two readings
134To the vocal society we are indebted for the opportunity of hearing in Troy such artists as Carrelo, Aus der Ohe, Rummel, Maud Powell, Camilla Urso, Otto Hegner, the Beethoven String Quartet and the Adamowski Quartet, also a great number of first-class vocalists, and the thanks of the entire community are due the directors of this organization.
136Remmertz, the basso, gave a song recital on the last night of the old year at the Pafraets Dael Club Rooms. He was assisted by the Excelsior Quartet and refreshments were served, "Wiener Wurst, Kartofelsalat und Bier." This was the third annual event and a great night for the club men.
138Last night we had the second concert of the Choral Club, which has been organized less than six months, and consists of about sixty young fresh voices, under the direction of Charles A. White, who has succeeded in obtaining from them excellent effects in tone color and fine gradations of light and shade. Mr. White is moreover a musician, and his readings are marked by an intelligence rarely equalled. The solo soprano, Mrs. Ida Bond Young, was suffering from la grippe and her work was not fully appreciated.
140To the other assisting artist, Miss Bertha E. Bucklin, violinist, too much praise cannot be given. She came unheralded, but is a wonder, diminutive, seventeen and simplicity itself. She gets a pure tone, bows gracefully, plays difficult passages with great facility and has an artistic temperament. Her home is at Little Falls, N. Y., but she has received her musical education in France and Germany.
142Next week Abbey and Grau give us "La Sonnambula," with Pettigiani, Bauermeister, Cernusco, Carbone, Rinaldini, Grossi and Montariol.
144The high salaried quartet of the First Presbyterian Church has been re-engaged for another year.
146POPP.
148The Thomas Orchestra in Louisville, Ky.
149(no line here) one of two readings
151THE third and fourth concerts of the Thomas Chicago Orchestra series have just been given at our Auditorium.
153Whether Thomas has, like wine, improved with age, or whether he has been taking "notes," one thing is certain—he conducts and brings out more musically worth from his orchestra than he ever did before. Traces of Seidl and Nikisch are constantly apparent, not only in his conducting, but in his interpretations. He was always masterly, head and shoulders above any conductor America ever had before he came, and now he shows the intellect of genius in being influenced by the methods of his great contemporaries. He was always titanic in his power of controlling tone source, in his hands, as from the brush of an artist painter nature in its primeval grandeur materializes. The mysticism of melodic interpretation of theme through variation, the graceful scherzo, the inevitable, irresistible fugue assume under his control the individuality of their separate tone form.
155With Seidl the tones bring visions of Oriental splendor, the luxury and sensuousness of magnolia blooms; he, too, is titanic, but in an Eden world, into which no demoniac spirit has entered.
157If Thomas gives to tone the grandeur of nature, Seidl covers his orchestral harmonies with the finish and completion of the composer's thought.
159As for Nikisch—well, the Boston Symphony Orchestra would itself materialize for us an Eden of delight, a world of intellectual spiritual intelligences, even if that sympathetic, geistreich conductor did not breathe the magnetism of his intellectual Delasartian over their tone interpretations.
161On Monday night we listened to this program:
162Overture, "Oberon" ………………………………………Weber one of two readings
164Overture, "Oberon" …………………………………….Weber one of two readings
165Andante Cantabile, op. 97 ……………………………….Beethoven-Liszt
166Scherzo, "Midsummer Night's Dream" ………………..Mendelssohn
167Aria, "Samson and Delila" ……………………………..Saint-Saëns
168Suite, op. 42 (new) ………………………………………E. A. McDowell one of two readings
169Suite, op. 42 (new) …………………………………….E. A. McDowell one of two readings
170Fugue, A minor …………………………………………..Bach
171Theme and variations from D minor quartet ………….Schubert
172Fantasia, "Di Bravura" …………………………………..Schuecker one of two readings
173Fantasia, "Di Bravura" ………………………………….Schuecker one of two readings
174String orchestra.
175(no line here) one of two readings
176Fantaisie Polonaise ………………………………………Ed. Schuecker one of two readings
177Songs, "At Twilight" …………………………………..Ethelbert Nevin
178"Ma Voisine" …………………………………………..Goring Thomas
179Suite, "Sylvia" …………………………………………..Delibes
180(no line here) one of two readings
182In the Beethoven-Liszt andante cantabile the orchestra did marvelously good work, especially in the sustained legato of the opening theme.
184In the faterique "Midsummer Night's Dream" the delicate staccato of the bassoons was exquisite. Their notes fell as dew drops on the datura like theme until lost in the pulsing crescendo of the syncopation.
186But the pièce de résistance of this group was E. A. McDowell's suite, op. 42. The forest of the Atlin Graben in the wondrous Austrian Tyrol seemed to rise in every columned climax of the instrumentation, the ghostly greeting of the double basses, the weird wail of wood and wind instruments, the rushing cascades of the Hochquelle—simulated by violins, the entire instrumentation of the mysterious theme, tempted one to believe the "Haunted Forest" was in the imperial land, even the "Idyl of Summer," durchsichtig mit goldlicht, and the Czechish weise of the shepherd song, held us beneath the sceptre of Franz Josef I., but when those delicious Saint Siens-ish intricacies in the fourth movement rushed into the echt Amerikanish measures of a Creole or ante-bellum plantation dance, the kinkiness of gray moss and flash of firefly's lamp were revealed in tones forming fitting entourage for forest spirits. But Saint-Siens "isn't in it" with our own American McDowell. With such native composers I am reconciled to my United States pedigree and writing D. A. R. (Daughter of the American Revolution) after my name, hold myself ready to fight for our national "altar" of music, and the "fire" of our American composers. one of two readings
187But the piece de résistance of this group was E. A. McDowell's suite, op. 42. The forest of the Atlin Graben in the wondrous Austrian Tyrol seemed to rise in every columned climax of the instrumentation, the ghostly greeting of the double basses, the weird wail of wood and wind instruments, the rushing cascades of the Hochquelle—simulated by violins, the entire instrumentation of the mysterious theme, tempted one to believe the "Haunted Forest" was in the imperial land, even the "Idyl of Summer," durchsichtig mit goldlicht, and the Czechish weise of the shepherd song, held us beneath the sceptre of Franz Josef I., but when those delicious Saint Siens-ish intricacies in the fourth movement rushed into the echt Amerikanish measures of a Creole or ante-bellum plantation dance, the kinkiness of gray moss and flash of firefly's lamp were revealed in tones forming fitting entourage for forest spirits. But Saint-Siens "isn't in it" with our own American McDowell. With such native composers I am reconciled to my United States pedigree and writing D. A. R. (Daughter of the American Revolution) after my name, hold myself ready to fight for our national "altar" of music, and the "fire" of our American composers. one of two readings
189Mr. Schuecker, the harpist, doubtless played well; but to one whose ears were trained by Boscha and Ap-Thomas, whose student life was lived near Godfrey, of Paris, Beatrice Fells and Zamarra, of Vienna, harp playing, in the language of Wayback, "ain't what it used to be."
191Tuesday, January 19, the following selections were given:
192(no line here) one of two readings
194March, "Solonelle" ………………………………………Tschaikowsky
195Overture, "Leonore," No. 3 …………………………….Beethoven
196Scherzo Capriccioso, op. 66 ……………………………..Dvorak
197Aria, "Queen of Sheba" ………………………………..Gounod
198Fantasia, "Le Désir" …………………………………..Servais one of two readings
199B. Steindel. one of two readings
200Vorspiel, "Meistersinger" ……………………………….Wagner one of two readings
201Fantasia, "Le Désir" …………………………………….Servais one of two readings
202Vorspiel, "Meistersinger" ……………………………….B. Steindel. one of two readings
203Two melodies, op. 58 …………………………………..Grieg
204"Invitation to the Dance," "L'Allegro, il Penseroso ed il Moderato" (Chadwick) one of two readings
205"Invitation to the Dance," "L'Allegro, il Penseroso ed il Moderato" (Weber-Berlioz one of two readings
206Songs, "The Lament" ("Ilen-Hur") ……………………Chadwick
207"Ouvre Tes Yeux Bleus" ……………………………….Massenet
208Symphonic poem, "Les Préludes" ……………………..Liszt
210In the opening of Tschaikowsky's Muscovite solemnity Thomas reminded us of descriptions of General Blucher, who always "got there" with a resolve and dash that carried the day. The orchestra, responding to the dash of the conductor, played magnificently. The grouping of the first three numbers was a well arranged feast to musically ears—Muscovite, German and Czechish weisen in quick succession—such programs instruct mentally, as surely as wanderings with shawl strap and sketch book through Russia, Bohemia and the dear German land educate the student in the home life of Europe.
212In the Dvorak scherzo we are shown the intricate possibilities of strings; the music bears a character all its own, semi-concealed passion, then a joyous, coquetish theme which steals along the verge of German tonality as sometimes heard in Beethoven, but which reels off into a Polish dance rhythm, most fascinating.
214"Le Désir," that arena for technical virtuosity, gotten off by Servais when he wanted something he couldn't get at, was splendidly played by Steindel; his technic and phrasing is superb, and received the sympathetic applause it deserved.
216The "Meistersinger" Vorspiel was given with a rush as if the orchestra was fiendishly glad to tackle it and then ease off on Grieg's melodies—the "Norwegian"—thoroughly a pine tree's sigh, soft, sweet, but a bit regretful for a "first meeting."
218The singing was a great disappointment to Octavia. As has been said of another singer, we say of Mrs. Wyman—"she sings music she does not understand in a language she cannot speak."
220Heralded by local newspapers as a pupil of Mrs. Marchesi, a singer of artistic excellence, we expected to hear singing, but Mrs. Wyman evinced little of the artist. Her voice shows no Marchesi or other skillful training. She occasionally makes a good tone, but the placing of the voice is not correct, certainly not that of Marchesi.
222Letters lately received from Paris tell me that Marchesi is coming to America, expecting to reside in New York. It is to be hoped her many
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