Scan 6
Musical Courier 1892-05-04: Vol 24 Iss 637, 1892
107 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 7. See the scan on archive.org.
1Organ Loft Whisperings.
2A tenor, strong ascending, with power and health,
3A soprano at intervals sailing buoyantly over the tops of immense waves,
4A transparent base shuddering lusciously under and thro' the universe—
5I hear not the volumes of sound merely—I am moved by the exquisite meanings.
7ORGANIST H. E. PARKHURST is brother of "The" C. H. Parkhurst, that noble apostle of both law and gospel, who ministers to the congregation of the Madison Avenue Presbyterian Church, corner of Twenty-third street, a huge brown stone edifice, whose lofty spire rivals that of Dame Diana on the Madison Square Garden in directing attention heavenward. H. E. ministers the music to the same congregation, and has the unqualified sympathy and support of his more aggressive and reverend brother as well as those of the flock.
9He is a small sized man in whose rugged features eager, fun loving expression and blonde coloring, suggestions of both Bill Nye, the humorist, and John Gilder, the pianist, linger. A family resemblance exists between him and his brother, though the superficial observer might not detect this under the difference of complexion. A neat suit of black and gray, with black derby and omnipresent gray overcoat, are his present fashion environments, and a fine opal pin in the blue-gray tie proclaims a freedom from the thraldom of superstition as complete as that of his brother from conventionality.
11Essentially unaggressive in temperament he has none of the bombastic self extollment of the born leader. Reposeful and gentle, though a busy man he has none of the habitual swish of unnecessary haste assumed by the average metropolitan. He seems to consider it worth his while to live while he lives—to rise—"if the Norms have said it." Humorously philosophical, his conversation scintillates with wit, and the surprise of a dry drollery full of truth greets the ear at every sentence.
13A native of Massachusetts, he studied in Boston and New York as well as in Europe. (He thinks an artistic finish in Europe "at least wise if not wholly necessary.") He has had his present position four years. Although a skilled musician he has not entered into the field of recital or concert work, the field being "already too full of that sort of thing."
15His church insisting on musical simplicity, the choir work is not at all florid. That of the evening is more so than the morning, the seatings being then free, the congregation more miscellaneous and unrestricted in opinion. A quartet sings the morning service, a double quartet the evening. Mr. Parkhurst improvises most of his voluntaries. He usually plans the musical form and logic before commencing, but leaves the rest to inspiration.
17Mrs. Ida Smith, a slight, delicate woman, whose health forbade the carrying out of an operatic career, for which she was fitted, is soprano. A careful singer, her high soprano is at times thrilling and always effective.
19Mrs. C. D. Davis, of Bridgeport, Conn., also of rather slight physique, uses a pretty voice with good judgment, and sings intelligently. She has been in the choir three years.
21The tenor, Mr. S. Hine, came a year ago well recommended from Englewood and steadily improves. Mr. Purdon Robinson, the basso, whose good voice but rather expressionless methods are familiar to New York audiences, will yet make his mark in the grave, serious school of work of which he is a perfect type. "He eats his beefsteak with the same expression he does his pie!" a wag once remarked of Mr. Robinson's musical work. As this sort of thing is but a condition, not a necessity, he would no doubt conquer it in a two or three years' battle with some awakening process—love, war, or debt. His present trip to Europe may contribute all three to his enrichment—who knows?
23Mr. Parkhurst does not think that operatic preparation prevents churchly excellence of work, provided the training has been good and a supplementary study is made of sacred themes. The committee of his church do not object to "professionals," other things being equal. He thinks a good woman organist better than a poor man, but must acknowledge that in the majority of cases the verve and go are lacking from the feminine organ manipulation, probably owing to the lack of means for dynamic accent in the organ. He has many promising and ambitious feminine organ pupils, and finds them intuitive and painstaking.
25The Second Collegiate Church, 123d street and Lexington avenue, exists under a corporation that is over 200 years old. The congregation here is young, modern, "hustling" in temperament, demanding showy, florid music, with considerable strength and color in it. It believes in its music and is both liberal and appreciative.
27A quartet with occasional chorus under direction of Mr. Rutenber caters to this demand pleasantly—doubtless with more pleasure to the congregation than satisfaction to the organist, who, being a musician of classic tendencies, is doing what many a wise man has to do in this day and generation, "adapt not adopt" the best of the good in his art. Educated in Europe under Haupt, a composer of considerable note, his "Divine Love," an oratorio of rare beauty and value, brought out by Novello in London, was performed by the parish choir at Oxford. Excerpts from it were heard here during a spring session of the American Choral Association, under Agramonte. His "Romanza and Gavotte" for string quartet was placed recently also at one of the Manuscript Society concerts. Of English and German heritage he has the earnest tone of musical temperament that, combined with his talent, promises for him a brilliant future, if he does not permit himself to become discouraged by superficiality. He prints but little of the fine music that he writes. In Newburgh he has an excellent musical society of 130 voices made, up largely of choir singers, who are at present at work upon "Elijah," to be given at a concert in June.
29His present aim with his choir is so to sandwich heavy with light music that the tendency shall be upward. A committee of two unite with him in arrangement of choral matters. He has a good salary and is free in action. He was organist at St. Andrew's for twelve years, but in some critical moment transferred his affections and his entire choir to his present organ loft, a step he has had no cause to regret.
31The church is at present without a pastor, but expects to call Mr. Hasha from Omaha, a very musical as well as clever man. There is no doubt but that the organ loft efforts of this church have had powerful influence in keeping the flock together during its year of shepherdlessness. The organ is a very sweet toned instrument. Mr. Rutenber would like well to have a stable chorus, but would want it made responsible and painstaking by means of salary obligation. He believes in paying every member of a choir, if only a nominal salary, and holding them strictly to the performance of duty.
33The silver throated J. H. McKinley is tenor at this church, in his second year. In concert parlance "J. H. is singing all the time now" in and out of the city. He has recently had flattering testimonials from the critics of Cincinnati, where he has been singing in "Elijah" and "Messiah," and the eye of the "Organ Loft" caught sight of a bonafide check showing $125 a night for a neat little engagement of the past week. Not bad for so modest and gentle a tenor di grazia!
35The contralto is a niece of Mr. George C. Jeune, the former leader of the most showy boy choir ever in the city, that of St. John's Chapel. She is a "well groomed musician," a good worker, young, nice looking and does acceptable quartet work in concerts. An earnest girl, she deserves to succeed as she wishes. This is her fourth year in the choir.
37Miss Wing, the soprano, is new and promises well, reads capably and has a nice, broad voice with a few vocal habits that could be easily remedied under the direction of some conscientious teacher. She is a blond of pretty manners and sensible character. Mr. Angell, the baritone, is an excellent soloist, good looking, musically and popular, a pretty singer, reliable and willing to rehearse.
39It is stated that once, at a moment when the quartet brow was puckered over some musical problem of heavy responsibility, the blower peeped around his low door jamb and suggested that Mr. Rutenber had an "Angell" wid "Wings" in his choir.
41EDGAR.
43The Handel Festival.
45THE Händel Festival in honor of the 150th anniversary of the first performance of "The Messiah" began at the new Music Hall last Thursday evening. "Acis and Galatea," a pastoral play in two acts, by G. F. Händel, was selected as being a genuine novelty for the first evening.
47"Acis and Galatea" was given as an operatic performance, with full scenery and costumes. The scenery, which had been painted for the occasion by Wilhelm Kranz, represented a classic Grecian landscape, diversified with rocks and shady groves, with the ocean in the distance. As the curtain rose this scene is bathed in early morning light, which gradually brightens into day. A chorus of nymphs and shepherds enter dancing and singing; this is followed by the entrance of "Galatea," who breathes her love for the shepherd "Acis" in the languorous strains, "Hush, ye pretty warbling choir," the music of the orchestra throughout imitating the music of the birds. "Acis," the shepherd, enters, declaring his love in the graceful air, "Love in her eyes sits playing," and their voices finally unite in the duet "Happy, happy, happy we," in which the chorus joins triumphantly. The music throughout this first act is wonderfully bright, graceful, and in the love portions quite passionate.
49In the second act the chorus is heard singing before the curtain rises in a well developed polyphonic strain. They bewail the doom of the wretched lovers on whom Fate has passed the sad decree that "No joy shall last." In frightened accents they announce the approach of the giant "Polyphemus." "The mountain nods, The forest shakes, The waves run frightened to the shores, Hark! how the thundering giant roars!" As the curtain rises the giant "Polyphemus" enters, the chorus of frightened nymphs and shepherds hurrying away at his approach. The dramatic recitative of "Polyphemus," "I rage, I melt, I burn," in which he declares his love for "Galatea" in ponderous accents, as well as the air which follows it, "O ruddier than the cherry," are well known to concert goers. They are reckoned among Händel's most remarkable examples of musical writing and declamation. As "Polyphemus" declares his love for "Galatea" she spurns the uncouth suitor, and "Acis" entering declares his resolve to combat the giant in the famous air, "Love sounds th' alarm, and fear is a-flying." "Acis" and "Galatea" declare to each other the constancy of their love, and "Polyphemus," enraged, lifts his club and strikes the unfortunate "Acis" to the ground. "Acis" dies, calling out "Help, Galatea! Help, ye parent gods, and take me dying to your deep abodes!"
51As the shades of night gradually envelop the scene the chorus enter singing the wonderfully pathetic chorus, "Mourn, all ye muses." Together with "Galatea" they mourn the death of "Acis," until finally "Galatea" uses her divine power and changes her dead lover into a flowing river. This river is seen bubbling out of the rocks, its waves sparkling in the moonlight as it flows on towards the sea, there to mingle continually with the waters of the ocean, the home of "Galatea."
53The preparations for the performance were careful and adequate. The Greek costumes in their delicate colors were picturesque. The cast was as follows:
55Galatea, a sea nymph, Clementine de Vere-Sapio
56Acis, a shepherd, Mr. Wm. H. Rieger
57Damon, a shepherd, Miss Irene Pevny
58Polyphemus, a giant, Emil Fischer
60The chorus included such well-known names as Miss L. Esperanza Garrigue, Mrs. Gerrit Smith, Mrs. Carl Alves, Miss Anna L. Kelly, Mrs. Marion Hendrickson, Mrs. Theo. F. Baldwin, Mrs. Theo. Bjorksten, Mrs. J. Williams Macy, Miss Margaret H. Elliott, Mrs. Frederic Dean, Miss Jennie Dutton and Messrs. Ericsson F. Bushnell, Charles Herbert Clarke, John M. Fulton, William A. Howland, Emil Erhardt, J. H. McKinley, Dr. Arthur T. Hills, Addison F. Andrews, Albert F. Arveschou, Henry Lincoln Case and Grant Odell.
62Walter Damrosch conducted carefully and very effectively. It cannot be truthfully said that the performance was one to cause the spine to tingle, nor yet was it a soporific one, for the vast gulf 'twixt the dramatic ideal of the eighteenth and nineteenth centuries could not better be apprehended than in "Acis and Galatea," with its flavor of gentle, if somewhat artificial, poetry.
64There are but two or three numbers that are at all palatable to modern ears, "O ruddier than the cherry," sung by Mr. Fischer, being a favorite specimen.
66One can quite understand Händel's dislike in permitting a performance of "Acis and Galatea" in operatic form. It has very little action, and that of this performance was more than supplied by a very skittish and decidedly unabashed chorus.
68Mrs. DeVere sang very well and so did Mr. Rieger, though neither displayed any particular histrionic ability. Miss Pevny seemed quite at home on the stage, though not in the language. The evening began by a performance of Händel's concerto grosso in G minor for string orchestra, with two violins and violoncello obligato, Messrs. Adolf Brodsky, Jules Conus and Anton Hekking participating. The general impression of the "Acis and Galatea" was that link boys, sedan chairs, patches, powder and queer sounding oaths would have been a fitting and eighteenth century environment for the work. It is too archaic for modern tone saturated ears and its want of orchestral color and rhythmical variety gives it only historical interest.
70It was repeated Friday afternoon for the benefit of the St. John's Guild. Saturday night the festival closed with an excellent performance of "The Messiah," which was given for the first time in America with Händel's original orchestral accompaniment and with the three usually omitted numbers—a chorus, "Their sound is gone out;" tenor air, "Thou shalt break them," and the bass air, "The trumpet shall sound," with a trumpet solo. The soloists were:
72Sopranos, Mrs. Jennie Patrick Walker
73Miss Margaret Reid
74Alto, Mrs. Marie Ritter-Goetz
75Tenor, Italo Campanini
76Bass, Ericsson F. Bushnell
78Miss Reid Engaged.—Abbey & Grau have engaged Miss Margaret Reid for the Opera next season.
80BREITKOPF & HÄRTEL,
8115 East 17th Street, NEW YORK.
83NEW PUBLICATIONS.
85BACH—Fifteen two part Inventions (Busoni) Net, $1.50
86The same (Reinecke) 1.75
87Fifteen three part Inventions (Busoni) 1.50
88The same (Reinecke) 1.90
89Ten two part and six three part Inventions. New edition 2.00
90J. A. Dragonetti 2.00
91Twelve Short Preludes. (New edition by A. Dupont) 2.00
92The same (Reinecke) 1.50 one of two readings
93The same (Reinecke) .60 one of two readings
94Well Tempered Clavichord (Franz and Dresel), two vols. each 1.50
95The same (Reinecke), two vols. each 1.00
96PLAIDY—Technical Studies, paper 1.75 one of two readings
97PLAIDY—Technical Studies, paper .75 one of two readings
98The same, cloth 1.00
99KÖHNER—Eduard-Schule (new), twelve books in progressive order, each 1.50
101(no line here) one of two readings
102PAFINI—Violin School (English edition), complete Net, $5.00
103The same, singly, four books, each 1.75
104I.—Rudiments in first position. II.—Exercises in the higher positions. III.—Exercises for different kinds of bowing. IV.—General development of arm and left hand.
105DAVID—Violin School, Part I., net, $1.50; Part II., net, 2.00
106RUHL—School of Velocity, Book I., $1.50; Book II., 2.00
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