Scan 13
Musical Courier 1892-04-20: Vol 24 Iss 635, 1892
175 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 14. See the scan on archive.org.
1THE MUSICAL COURIER.
3the complaint on this occasion, I wonder. Stick to it, Theodore; you're all right! The worthy "Columbian" director of music has a titanic load on his shoulders. Stand back, gentlemen, and give him air and encouragement, for "All's well that ends well," and let the Wagner night and American night atone for the shortcomings of this first season of the Chicago Symphony Orchestra.
5COLUMBIAN CUT LETS.
7Hawaiian volcanoes are to be exhibited, not in bulk, but as a spectacular panorama. Pain's pyrotechnics are to be eclipsed. A day has been set apart early in the fall session of the national commission for the answer to the 2,500 petitions a'ent the Sunday closing question. Quite a joust about the selling of liquor on the grounds. A prominent divine said to me the other day: "When 30,000 saloon keepers desire the Sunday closing, I say keep the Columbian open and give the people legitimate occupation. Go out to the grounds. Fill Jackson Park if needs be with the 'sound of the turtle in the land' of sacred song and evangelistic zeal; but don't drive tens of thousands away from the fair to more questionable places!" and a right, sensible view I take that to be of the question at issue.
9What a mercy! Nobody's piano is going to have a ribbon tied to it like a stallion at a horse fair. Now, native piano makers, don't be greedy, and give our foreign friends a show for a piece of the cake of publicity. I am assured that all makes of pianos will have equal rights to be heard in recitals at the exhibition recital hall, and all the artists to perform will not be engaged in advance by the leading American firms.
11Many will rather hear the Bechstein, Rönsch, Kapa, Bluthner, Bösendorfer, Schiedmeyer, Irmel and Römhild (of Weimar), of Germany, and also Mason & Risch, Newcombe and Heintzman, of Canada, alternately with our own makes. A fair field and no favor must be the rule of the musical arena. There seems to be a fear on the part of some of the German and Canadian makers who have communicated with me that it will be difficult for them to secure a hearing for their instruments. I am assured that this is not to be so. I have made it a duty and pleasure in my outside recitals in Canada and other States to make a short address, making clear the musical intentions of the Liberal Arts Department, and I have found that this idea met with much favor. Let all Chicago artists do likewise when it is feasible. one of two readings
12Many will rather hear the Bechstein, Rönsch, Kapa, Bluthner, Bösendorfer, Schiedmeyer, Irmel and Röhmlidt (of Weimar), of Germany, and also Mason & Risch, Newcombe and Heintzman, of Canada, alternately with our own makes. A fair field and no favor must be the rule of the musical arena. There seems to be a fear on the part of some of the German and Canadian makers who have communicated with me that it will be difficult for them to secure a hearing for their instruments. I am assured that this is not to be so. I have made it a duty and pleasure in my outside recitals in Canada and other States to make a short address, making clear the musical intentions of the Liberal Arts Department, and I have found that this idea met with much favor. Let all Chicago artists do likewise when it is feasible. one of two readings
14The Apollo Club announce a festival on May 17, 18 and 19 commemorating their twentieth anniversary. "Creation" (part), Berlioz's "Requiem" (part), "Acis and Galatea," "Hymn of Praise" and Bach's (Matthew) "Passion Music," orchestra of 125 in the requiem. The talent will be, ladies—De Vere, Johnston-Bishop, Amalie Joachim, Gentlemen—Lloyd, Knorr, Ludwig, Lamson. In 1873 the club first appeared as a Maennerchor with thirty voices. It now numbers close upon 500. In the requiem 800 voices will participate. The "Passion Music" will be then heard for the first time in Chicago. This is a "Chicago May Festival;" now whether it is grimy, old, fidele Cincinnati or windy, heaven storming Chicago to bear away the pain?
16W. WAUGH LAUDER.
18Honolulu Musical News.
20SATURDAY evening, March 12, a grand concert was given in the Kawaiahao Church before a large audience, which included Her Majesty the Queen. Selections were played by the Royal Hawaiian Orchestra, under Mr. Berger's direction. Dr. A. Marcus and Miss McGrew played violin solos; the Misses Dale, Holmes and Nolte gave vocal selections, as also did the Kawaiahao Church Choir and the Kamehameha Glee Club. The concert was a success in every way.
22A French play was given on the 18th at Oahu College by the pupils of Miss Wing's class. During an interval Miss Dayton played a piano solo, and Miss Dale and Miss McGrew a piano and violin duet.
24Over 2,000 persons were present on the verandas and in the grounds of the Hawaiian Hotel, Tuesday evening, March 22, when the new band pavilion was inaugurated by a combined concert by the U. S. flagship San Francisco band and the Royal Hawaiian Band. The new pavilion is a gorgeous affair, after one in the Crystal Palace, London. It is painted in the Oriental style, and lit up by a hundred or more different colored electric lights. The concert was much appreciated, and all present were enthusiastic in praise of the new pavilion, the acoustic properties of which are excellent. Following was the program:
26Fantasia, "The Palace Bugler" ……………………………………… Weissenborn
27Intermezzo, "Cavalleria Rusticana" ………………………………. Mascagni
28Fantasia, "A Dance on the Green" ………………………………. Eileneberg one of two readings
29Fantasia, "A Dance on the Green" ………………………………. Eilberg one of two readings
30Royal Hawaiian Band.
31Grand selection, "I Martiri" ……………………………………… Donizetti
32" Songs and Dances of Northern Europe" ……………………….. Kuhner
33U. S. F. S. San Francisco Band.
34Overture, "The Armorer" ……………………………………… Lortzing
35Fantasia, "Awakening of the Lion" …………………………….. Kontzky
36Chorus and march, "Tannhäuser" ………………………………. Wagner
37Two marches—
38" Queen Liliuokalani" ……………………………………… Wagner
39" Admiral Brown" ……………………………………… Wagner
40"The Star Spangled Banner" and "Hawaii Pono'i" …………. Combined bands.
42HONOLULU, March 25, 1892.
44Montreal Letter.
46THREE important concerts have taken place since I last wrote you—the Mendelssohn Choir April 5 and Miss Pavny's début on the 6th and 8th.
48The concerts of the Mendelssohn Choir are always looked forward to as musical events in the record of our season's musical fixtures, and the concert on the 5th inst. has been no exception to the rule that makes it a favor to obtain a ticket over and above those belonging to the associate and active membership. Not even the inclemency of the weather could militate against a packed house being the order of the evening.
50The program contained many items of interest, and received the adequate rendering that is not only always expected but almost invariably received at the hands of the Mendelssohn Choir under the baton of their esteemed and talented conductor.
52The number that received very sympathetic rendering was sung so thoroughly con amore by the choir, in spite of its scholarly difficulties that practically place it only within the reach of choirs such as the Mendelssohn, as to make the nom de plume Perceval an open secret, and the enthusiastic reception by the audience must have been equally gratifying to composer, conductor and choir. The soloist, Mr. De Pachmann, seems to have impressed our public more on technical than intellectual grounds, there seeming to be a consensus of opinion from able critics that, while his technic is masterly and equal almost to every other artist who has chosen the piano as the favorite expression of his musical personality, Mr. De Pachmann cannot rank equally with those whose intellectual plane demands reverence in expressing the composer's thoughts as well as showing forth their own digital facility.
54We regret to be obliged to record the fact that Montreal with her many music lovers does not rise to the occasion if suddenly offered a concert by an unknown artist, no matter how good the advance notices of their talent may be. Whose is the fault? That an inadequate audience received Miss Pavny is a fact to be deplored, for her artistic merit was speedily appreciated by all who were present. Miss Pavny is a splendid artist and the future will find her among those who take a first place in the inner circle of the few who achieve this position.
56The sale to subscribers for the Lloyd concert opened on the 11th and a packed house is already assured to receive this first of concert tenors. Mr. Lloyd is supported by a company of artists as yet almost all unknown to Montrealers and much interest is evinced in their debut, especially in that of Mr. Cornish, but still there is a feeling that more numbers by Mr. Lloyd would have been acceptable.
58LAD.
60Music in Baltimore.
62BALTIMORE, April 17, 1892.
64THE recital of Eugene d'Albert on Monday last was an important event in the estimation of every true lover of music in this city. The honesty of purpose, the sincerity and devotion to his work, and the technical perfection of his performance were the chief characteristics of d'Albert on this occasion. This was his program:
66Prelude and fugue, D major ……………………………………… Bach-D'Albert
67Sonata, op. 109 ……………………………………… Beethoven
68Variations sérieuses, op. 54 ……………………………………… Mendelssohn
69Nocturne, op. 9, No. 3 ……………………………………… Chopin
70Valse, op. 49 ……………………………………… Raff
71Suite, op. 91 ……………………………………… Raff
72"Sonetta di Petrarcha" ……………………………………… Liszt
73"Feux Follets" etude ……………………………………… Liszt
74"Rhapsodie Espagnole" ……………………………………… Liszt
76The recital was a great success, and everyone hopes for an early return of the wonderful pianist.
78The Auditorium Company, with a capital stock of $300,000, has been incorporated here for the purpose of building a large music hall—just what is needed here.
80HANS SLICK.
82Binghamton Budget.
84BINGHAMTON, April 16, 1892.
86THE musical festival of this city begins June 27 and closes July 1. The following artists have been engaged:
88Mrs. Patrick Walker, of Boston, soprano; Miss Ida Klein, of New York, soprano; Miss Olive Fremstadt, New York, contralto; Italo Campanini, tenor; Mr. Isham, of New York, baritone; Cyrilla Tyler, of Detroit, tenor.
90The prize choir of thirty voices from Wilkesbarre, Pa., and the male choir of Binghamton will also appear.
92"The Messiah" and the "Stabat Mater" are the principal works. Carl Zerrahn will be the conductor and Miss Florence Brown the pianist.
94Miss Winifred Williams, contralto, gave a very successful song recital in the Congregational Church April 14.
96She was assisted by the Orpheon (male) Quartet, of Binghamton, and Miss Cartzdafer, soprano, from New York, and Miss Emma Meagley, pianist, of Binghamton. one of two readings
97She was assisted by the Orpheon (male) Quartet, of Binghamton, and Miss Cartzdafner, soprano, from New York, and Miss Emma Meagley, pianist, of Binghamton. one of two readings
99Miss Williams has a sweet and sympathetic contralto, and expects to make New York her future home.
101Miss Cartzdafer possesses a light and flexible soprano and sings with ease. Miss Meagley is an excellent accompanist and also a clever solo performer. one of two readings
102Miss Cartzdafner possesses a light and flexible soprano and sings with ease. Miss Meagley is an excellent accompanist and also a clever solo performer. one of two readings
104Most all the numbers were vigorously applauded and encored. RAFF.
106Cleveland News.
108CLEVELAND, April 18, 1892.
110AFTER so long a silence I will endeavor to take up our little chronicle again and give you an account of what is now going on in the musical circles of this city, only pausing to say that in this long interval, during which nothing has been written you, there has been but little to attract the attention, except in early March Paderewski, whose enthusiastic reception in this city was but a repetition of that in every other city which he visited.
112But that is too far distant. On Tuesday, April 5, Miss M. S. Johnson, having recently returned from two years' study with Moszkowski, gave her piano recital in Association Hall, playing compositions of her master and others. I was unable to attend, but learn that her audience was very favorably impressed with her attainments, both technically and interpretatively; she is looked upon as a valuable acquisition to the number of home artists.
114On Saturday, April 9, occurred the Cleveland Artists' second concert, the performers being Miss M. Florence Drake, soprano; Mr. Gustav Berneike, basso; Mr. H. Kroesen, piano; Mr. Carl Bernthaler, flute, and Miss Marie Ste. Urbain, harp. This was Miss Drake's final concert appearance before leaving for New York and she was very cordially greeted; she is one of our most gifted young artists and has been a favorite with concert going people during her comparatively short stay in this city since her return from foreign studies. I was unable to hear the program, but understand the concert was an artistic success, and that all of the performers acquitted themselves nobly and were enthusiastically applauded.
116April 12 occurred the fourth Philharmonic concert, marked by the largest though not the most demonstrative audience of the season, and characterized by the same evidences of care in rehearsal, and efforts toward maturity of artistic growth that have been so especially noticeable in the past two seasons. The orchestral numbers were as follows:
118"Fridtjof" Symphony ……………………………………… Heinrich Hoffmann
119Overture, "Richard III." ……………………………………… Volkmann
120"Festival Dance" and "Waltz of the Hours," from "Coppelia" ……………………………………… Delibes
121"Zarzdas" ……………………………………… Mascagni
122Slavonic March ……………………………………… Tchaikowsky
124In the Hoffmann symphony the orchestra appeared at its best; a magnificent portrayal of the varying moods of the composition was given, and the impression left with the audience was one of admiration for the composition and its interpreters. That strange work of Volkmann's, the "Richard III." overture, was likewise carefully, if not brilliantly, worked out, but its peculiar contrasts and striking effects were imperfectly understood, it being, I think, its first rendition in this city, and it was not so heartily applauded. The orchestral numbers were fully up to the standard set by previous concerts this season, and gave much pleasure to the hearers.
126The soloists were Mrs. Ford and Mr. Paul Egry. Mrs. Ford, being at home, was royally welcomed on her appearing to give the aria, "Let the bright seraphim," from "Samson." It showed faithful study, and judging from the character of the applause which followed was pleasing to the audience. Her other numbers were two songs by Ernest Ford, "To the Queen of My Heart" and "Bridal Song."
128Mr. Egry made his first appearance in Cleveland as a concert soloist on this occasion and scored a brilliant success. He having lately been engaged to take the place in the conservatory left vacant by the withdrawal of Mr. John Marquardt, his first appearance as a soloist was looked forward to with considerable interest, and one thing is certain, the young man had reason to be pleased with the result. His selection was Sarasate's "Gypsy Melodies," and for animation which does not, through haste, sacrifice clearness, and facility of execution which is always subordinate to pure tone production, he is worthy to rank with many an older artist. While his tone is not as broad as might be desired, it will no doubt acquire largeness in the future, and, taking everything into consideration, we may congratulate ourselves upon so valuable an addition to the faculty of the conservatory and the artists of Cleveland.
130C.
132Schubert.
134Oh, winter snow shall whirl and drift
135And spring shall kiss the mead and mere,
136And summer days may follow swift
137Where all the lilies lean and lift,
138Till autumn shadows chill and sear.
140Oh, far beyond the lambent west
141The moon shall mask her shining eye;
142But thou, blithe soul, forever blest,
143Shall glad the world with thy bequest,
144The songs that live and shall not die.
146The theatre's gilded, shallow glare,
147The hum of jeweled vacancy,
148The tinsel pageant's fret and blare,
149The buskin'd stride, the tragic stare,
150Are not, oh happy heart, for thee.
152But thine the hearth and thine the fire,
153And thine the comrade, pipe and bowl;
154The child, the wife, the heart's desire,
155The strings of God's great human lyre,
156Are thine, thou singer of the soul.
158W. J. HENDERSON.
160Bertini, Not Burdeau.—Miss Nina Bertini, and not Marie Girard Burdeau, is engaged as the prima donna for "King Kaliko."
162The First Joachim Recital.—The first vocal recital of Mrs. Amalie Joachim, the well-known Lieder singer, took place last Monday afternoon at Chickering Hall. The program consisted of "Die Schoene Muellerin," Schubert's cycle of twenty songs, which were worthily interpreted by the concert giver as far as the intellectual element went, but her voice sinned most sadly in the matter of intonation. As a singer she has certainly seen her best days, but her singing is nevertheless interesting for the student of Lieder literature. The concert closed with two duets by Schubert, sung by Mrs. Joachim and her pupil, Miss Villa Whitney White. The second recital takes place next Saturday afternoon at Chickering Hall, when the program will consist of numbers by Schumann, Brahms, Wagner, Liszt, Haydn, Schmidt, Robert Franz and Dvorak.
164Elviry Lidwater on Paderewski.—"Well, now, if I ain't glad to get home again! And, land! how tired I be—while 'Lisha, poor man, 's all wore out. And it's real nice of you, Seline, comin' over here the very first thing. Well, we went to the city, 'Lisha and me, to hev a good time. You know how against them Callahans you were last summer, and says you to me as they was leavin': 'Don't consider their invite worth anything; city boarders are all for take and no give.' But they was just grand, I can tell you—piloted us 'round all over, and once we was up to tea.
166"The next night says Mr. Walter: 'Shall we hear Paderewski to-morrow?'
168'Land! I didn't know who he was, but 'Lisha'd been readin' up, it seems, and he put in, 'I don't suppose a livin' man can tackle the pianner equal to him?' And I smiled knowin' like, as if 'Lisha and me'd been talkin' him over. 'We already have the tickets,' says Mr. Walter. So it was settled. And what attention we had for goin' with them! Why, even the man in the aisle bowed very low and went clear to the pews with us and let down the seats. I suppose them Callahans is well known.
170"Well, while we was waitin' I took a good look round at the buildin', and I got to musin' and wond'rin' what old Huram Dusenbery'd say to such a place, and he makin' such a time last fall donatin' the op'nin' of his new barn to a church social—that old barn—when here was a buildin' put up by a gen'rous man just for music and the like—all glitterin' like ivory, and the plasterin' firm and solid as a rock! Land! how small them Dusenberys is. But my musin' broke off like a pipe stem, for all of a sudden ev'rybody was clappin' hands and in come the performer. 'Lisha give me a nudge. 'Never mind,' said I, 'he's away from home and maybe forgot his comb.' (I always try to think kind thoughts when I can, but that one had to come very quick, I tell you.) But, my days, Seline, what playin'! I never hear anything like it. It wasn't' one mite like Till Peters' practicin'; no indeed. Why this was all soft and velvety, with little flashes of fire here and there, and beautiful dreams and flowin' streams and always that little bit of water that forgot itself some way and come tricklin' down all alone. I can see him now, sittin' at his instrument, coaxin' it to do its best, and then lookin' 'round at us all as if we was his friends and glad he was doin' so well. We were glad, too, everyone; even 'Lisha looked round triumphant to Miss Gertrude and says: 'When a fellow can soak a piano like that it's wuth lis'nin' to.' And I was wonderful pleased with 'Lisha showin' such insight."—Recorder. one of two readings
171"Well, while we was waitin' I took a good look round at the buildin', and I got to musin' and wond'rin' what old Huram Dusenbery'd say to such a place, and he makin' such a time last fall donatin' the op'nin' of his new barn to a church social—that old barn—when here was a buildin' put up by a gen'rous man just for music and the like—all glitterin' like ivory, and the plasterin' firm and solid as a rock! Land! how small them Dusenberys is. But my musin' broke off like a pipe stem, for all of a sudden ev'rybody was clappin' hands and in come the performer. 'Lisha give me a nudge. 'Never mind,' said I, 'he's away from home and maybe forgot his comb.' (I always try to think kind thoughts when I can, but that one had to come very quick, I tell you.) But, my days, Seline, what playin'! I never hear anything like it. It wasn't' one mite like Till Peters' practicin'; no indeed. Why this was all soft and velvety, with little flashes of fire here and there, and beautiful dreams and flowin' streams and always that little bit of water that forgot itself some way and come tricklin' down all alone. I can see him now, sittin' at his instrument, coaxin' it to do its best, and then lookin' 'round at us all as if we was his friends and glad he was doin' so well. We were glad, too, everyone; even 'Lisha looked round triumphant to Miss Gertrude and says: 'When a fellow can soak a piano like that it's wuth lis'nin' to.' And I was wonderful pleased with 'Lisha showin' such insight."—"Recorder." one of two readings
173WANTED—Two fine tone regulators at once. Steady work; good pay. To go out of the city.
174Call A. B. CHASE COMPANY, 86 Fifth avenue, city.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.