Scan 11
Musical Courier 1892-04-20: Vol 24 Iss 635, 1892
177 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 12. See the scan on archive.org.
1to this overpowering brilliancy, at the close of the second movement he made a pianissimo the delicacy of which could not be excelled. It was really gossamer in texture, and was a surprise, coming from him.
3Schubert's impromptu, op. 90, No. 3, was a disappointment, and sounded cold and monotonous. D'Albert played it very slowly and with big tone in the melody, but it was destitute of charm and was too coarse. The lovely water-like accompaniment which should murmur softly beneath the melody he made nothing of. In the Strauss-Tausig waltz, "Man Lebt nur Einmal," he was again at home as a virtuoso, and Liszt's little gem, the "Liebestraum," a veritable "dream of love," was exquisite—all feeling and warmth. The difficult cadenza just rippled off d'Albert's finger ends in the most delicious way.
5Liszt's rarely heard "Spanish Rhapsody" closed a program which was beautifully arranged and of great variety. The "Spanish Rhapsody," as its name denotes, is composed on Spanish themes, instead of Hungarian ones. It is fascinating, as all Liszt's rhapsodies are, and d'Albert played it with such terrific fire and rush that his audience was nearly carried off its feet and recalled him again and again. Truly he is amazing.
7AMY FAY.
9The Ogden Musicale.
11IN keeping with the Lenten season the program of the musicale given by the Ogden Musical Club Tuesday evening of last week, at Sommer Music Hall, was composed entirely of sacred music, as follows:
13" Lovely Appear" ………………………………………Gounod
14Chorus.
15"The Good Shepherd" …………………………………….Odoardo Barr
16Mrs. W. H. Meyers.
17"Let the Bright Seraphims" ……………………………….Handel
18Miss Julia Stilling.
19"Stabat Mater" …………………………………………..Rossini
20Duet.
21Mrs. Ogden Crane, Miss Roma Davey.
22"I Know that My Redeemer Liveth" ……………………Handel
23Mrs. Geo. T. Musson.
24"Lead, Kindly Light" …………………………………….Shepherd
25Miss Cecilia E. Way.
26"Jerusalem" ……………………………………………..Parker
27Miss Ruth Hall and chorus.
28"Rock of Ages" …………………………………………..Shepherd
29Miss Bessie Letson.
30"My Redeemer and My Lord" ……………………………Buck
31Miss Roma Davey.
32"Come Unto Me" …………………………………………Handel
33Miss Daisy Hirschman.
34"Hear Ye, Israel" ……………………………………….Mendelssohn
35Miss Hattie Diamant.
36"Rejoice Greatly" ……………………………………….Handel
37Mrs. Ogden Crane.
39The club is formed of pupils of Mrs. Ogden Crane, and they do their instructor much credit, the members of the chorus singing with a unity which speaks well for their training. Miss Roma Davey, Miss Way and Miss Stilling deserve particular mention. Mrs. Crane's numbers were given in her usual excellent style and deserved the warm reception they received.
41The accompaniments were played in an able manner by Misses Ida Letson and Edith Hall.
43A Pupils' Concert.
45THE pupils of Mrs. Sara de Lande gave a very successful song recital in Sommer Hall last Thursday afternoon before a large audience. The following program was given and greatly enjoyed:
47Trio, "Evening" ………………………………………Lucantoni
48Mrs. Pray, Misses Smith and Corwin.
49Song, "To Rose" ………………………………………Curshman
50Miss Emma White.
51Songs—
52"Gavotte in Gray" ………………………………………De Koven
53"The Maid and Butterfly" ……………………………D'Albert
54Miss Ida Frame.
55Songs—
56"The Dying Flower" ……………………………………Rotoli
57"Dedication" …………………………………………..Schumann
58Mrs. Pray.
59Solo, "Slumber Song" …………………………………..Randegger
60With violin obligato.
61Miss Mabel Remington.
62Solo, "Ave Maria" ………………………………………Luzzi
63Miss Pauline Corwin.
64Duet, "Go, Pretty Rose" ……………………………….Marzials
65Mrs. Pray, Miss Remington.
66Songs—
67"Who Is Sylvia" ……………………………………….Schubert
68"The Vow" …………………………………………..Helmund
69Miss Mabel Ray.
70Violin solo, "Fantaisie Caprice" ………………………..Vieuxtemps
71Miss Bertha Behrens.
72Song, "Calm as the Night" ……………………………Bohm
73Mrs. Pray.
74Songs—
75"Lullaby" ……………………………………………..Gerrit Smith
76"Thou Art Like a Flower" ……………………………Liszt
77"Sunshine" ……………………………………………Grieg one of two readings
78"Sunshine" …………………………………………..Grieg one of two readings
79"The Robin" …………………………………………..Neidlinger
80Miss Lu Smith.
81Quartets—
82"Bygone Days" ……………………………………….Osgood
83"Santa Lucia" …………………………………………Reis
84Mrs. Pray, Misses Smith, White, Corwin.
86The recital was one of unusual merit for a pupils' concert, the voices clearly showed the result of careful training, and the numbers were given with clearness and intelligence, those of Mrs. Pray and Misses Remington, Corwin and Smith being especially noticeable. Miss Behrens has a good style and played her selection in a very clever manner.
88A Reply.
90Editors Musical Courier:
92MR. F. H. TORRINGTON'S "protest," as published in THE COURIER several weeks ago, does not prove all that is claimed by that gentleman. The oft resurrected list of works which represent the result of twenty years of effort by our pioneer oratorio society, including the few orchestral works mentioned, does not blind us to the living fact that, although the present season is far advanced, there has not been given here a single orchestral concert, either good, bad or indifferent.
94As this was in substance what several writers have been agitating for here, Mr. Torrington's surprise and indignation, as expressed in his "protest," are somewhat amusing, to say the least.
96It is quite the thing in certain quarters of this city to regard as rankest treason any suggestion, however unselfish, that our public should awaken to the sense of its responsibility and realize our true musical position by an exercise of the same liberality in musical enterprises which in neighboring American cities (Buffalo, for instance) is doing so much to elevate the public taste.
98The absurd pretensions advanced from time to time that this city will bear comparison with recognized art centres, and that its musical fame has become a household word even in Europe, are responsible for much of the lethargy which exists among our art patrons. These evidently believe that if Toronto is equal or superior to Paris, Berlin or Dresden, it is just as well to let well enough alone. While this contented frame of mind is being encouraged by those who should know better, we read of the practical doings in a neighboring city of similar size, where the orchestral work of one season will compare favorably as to quantity with twenty years of work here. To compare the quality of the work would be uncharitable to our resident musicians, who certainly do the best they can with the material available.
100That this is becoming a live question with us is evidenced by the editorial utterances of such papers as the "Canadian Musician," the "Saturday Night" and considerable correspondence which has appeared in the Toronto "Mail," a journal which justly occupies a leading position here for its independent criticism.
102It is not my purpose to discuss the merits of the statements made by the music editors of the two first mentioned papers as to the doubtful quality of oratorio and other performances here of late years, and the consequent growing indifference of the public in this direction, but I would simply add that musicians who advance what has justly been termed "the ridiculous and aggressive claim that Toronto is a great musical centre" are themselves the greatest enemies to honest advancement in this particular and simply stand in their own light.
104I take it that a musician's usefulness should be gauged by the quality of the work prepared by him for public instruction and not so much by the quantity. I also believe that it is a poor class of patriotism which is so blind to the defects in our local efforts that it refuses to learn a lesson from centres where the standard is unquestioned.
106These statements are not intended as a reflection on any resident musician, but simply as a "protest" against the ill tempered exceptions which are taken from time to time to mild statements of the truth, from which some may unselfishly desire that a lesson might be learned.
108Yours truly,
109PROGRESS.
110TORONTO, April 11, 1892.
112NEW YORK COLLEGE OF MUSIC.
113ALEXANDER LAMBERT, DIRECTOR.
114Mme. FURSCH-MADI, Principal of Vocal Department.
115ALL BRANCHES OF MUSIC TAUGHT.
116Faculty comprises the most eminent instructors.
117NOTICE.—The New York College of Music HAS REMOVED to its new and handsome building
118128 and 130 EAST 58th STREET.
120BREITKOPF & HÄRTEL,
12115 East 17th Street, NEW YORK.
122NEW PUBLICATIONS.
123BACH—Fifteen two part Inventions (Busoni) ………………Net, $1.00
124The same (Reinecke) ……………………………………… .75
125Fifteen three part Inventions (Busoni) …………………….. .50
126The same (Reinecke) ……………………………………… .90
127Ten two part and six three part Inventions. New edition by A. Dupont ……………………………………… 2.00
128Twelve Short Preludes (New edition by A. Dupont) ………. .50
129Well Tempered Clavichord (Franz and Dresel), two vols., each ……………………………………… 1.50
130The same (Reinecke), two vols., each …………………….. 1.00
131PLAIDY—Technical Studies, paper ……………………………. .75
132The same, cloth ………………………………………….. 1.00
133KÖNNER—Studien-Schule (new), twelve books in progressive order, each ……………………………………… 1.50
134PAPINI—Violin School (English edition), complete ………….Net, $5.00
135The same, singly, four books, each ……………………….. 1.75 one of two readings
136The sa. e., singly, four books, each ……………………….. 1.75 one of two readings
137I.—Rudiments in first position. II.—Exercises in the higher position. III.—Exercises for different kinds of bowing. IV.—General development of arm and left hand.
138DAVID—Violin School …………………………………….Part I., net, $1.50; Part II., net, .90 one of two readings
139DAVID—Violin School ………………………………………Part I., net, $1.50; Part II., net, .90 one of two readings
140RHYL—School of Velocity ………………………………….Book I., $1.50; Book II., 2.00 one of two readings
141RHYL—School of Velocity …………………………………….Book I., $1.50; Book II., 2.00 one of two readings
143BOSTON NEWS.
144BOSTON OFFICE OF THE MUSICAL COURIER,
145157 TREMONT STREET, April 16, 1892.
147THE program for the twenty-third Symphony concert this evening was:
148Symphony No. 1, in B flat, op. 38……………………………Schumann
149Aria, "Alessandro" …………………………………………..Händel
150Suite from the music to Shakespeare's "Hamlet," op. 50….Henschel
151Prelude ("Hamlet").
152Prelude to Act II. ("Ophelia")
153Interlude, Act III., and pastorale, Act V.
154Prelude to Act IV. ("Ophelia's" death).
155Danish March.
156(First performance in America. Conducted by the composer.)
157Aria from "Herodiade" ………………………………………Massenet
158Overture, "Oberon" ……………………………………….Weber one of two readings
159Overture, "Oberon" ………………………………………….Weber one of two readings
160The soloist was Mrs. Georg Henschel.
161The performance of the d'Albert symphony, announced for this concert, was postponed on account of the non-arrival of the orchestral parts from Europe.
162Although the Schumann symphony, selected by Mr. Nikisch as a substitute for the d'Albert work, is and will ever be a favorite, there was considerable disappointment expressed because of the unfortunate circumstance which precluded all possibility of hearing the d'Albert symphony this season.
163The Schumann symphony was given an animated and energetic reading by Mr. Nikisch. The orchestra, however, was somewhat rough, particularly in the first two movements. On the other hand, the "larghetto" was smoothly and carefully performed and may be considered quite as satisfactory as any playing during the evening.
164Owing to its novelty the Henschel suite from the "Music to Shakespeare's 'Hamlet'" was the feature of the program in which was centred the greater interest.
165Although the composition is artistically conceived, fully, effectively and even richly scored, it could not be called original by the composer's most enthusiastic admirer. The short and commonplace themes were repeated again and again, and but for the colored instrumentation would have been tiresome to a degree. The pastorale seemed to be the only bit unsuggestive of "midnight oil," and gave evident pleasure to its hearers. The orchestra played each movement excellently well. Mr. Henschel conducted, and in a firm, graceful, dignified manner. That he had improved since his absence from Boston was seen at once, and the increased control which he had acquired, both over himself and his men, was plainly apparent.
166Mrs. Henschel, however, has not improved. Not that there was a deal of room for it at the time she was last heard here, as her singing was ever finished and satisfying as far as the limitations of voice permitted. In her second selection, the Massenet aria from "Herodiade," these limitations were especially noticeable. Though cleverly sung it sadly needed the breadth and impressive force which this aria requires in order to be most effective.
167The last concert of the present season will be given next Saturday evening, and the program as announced will be: Symphony in G, Haydn; concerto for violin, Paganini, and Brahms' symphony No. 1. Mr. Franz Kneisel will be the soloist.
168* * *
169On Monday evening Mr. Walter Damrosch and his orchestra, assisted by Miss Gertrude Franklin, Miss Annabelle Clarke and Miss Lena Little, gave a concert in Music Hall. The program was: Overture, "Leonore," No. 3, Beethoven; concerto for violin and orchestra, Beethoven, and the following selections from Wagner: "Procession of the Gods" and "Lament of the Rhine Daughters," from "Rheingold;" "The Ride of the Valkyries," from "Die Walküre;" "Forest Sounds," from "Siegfried;" "Song of the Rhine Daughters," and "Siegfried's Funeral March," from "Götterdämmerung."
170In the performance of this program both Mr. Damrosch and the orchestra deserve very warm praise.
171Whatever may have been its shortcomings, it certainly was not wanting in the essential characteristics of satisfactory orchestra playing.
172The strings, while not equal, possibly, in tone volume to those in our own band, were prompt, steady and delightfully clean. Even in the fortissimo passages of the Wagner numbers the "firsts" were never overpowered. Never before have we heard these Wagner excerpts given with such fire or in such truthful spirit. The brass was simply a revelation and although overpowering in effect not once ceased to be musical. With the remaining departments of the orchestra no fault can conscientiously be found.
173Mr. Brodsky gave a superb rendering of the Beethoven concerto. We do not recall such a masterly interpretation of this work by any other player to have been given in Boston.
174This observation applies to the entire concerto, excepting possibly the first movement. In the second (slow) movement Mr. Brodsky atoned for his lack of warmth in the first. Never have we heard this movement played with such warmth and purity of tone or such expressiveness.
175A perfect storm of applause greeted him at the end, and it was justly deserved.
176Miss Franklin, Miss Clarke and Miss Little sang the
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