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Musical Courier 1892-05-25: Vol 24 Iss 640, 1892
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1THE MUSICAL COURIER.
3to listen to grand arias attempted by insufficient voices, even with the artistic rendering given by the Henschels.
5Hampden County is to be congratulated upon having such a splendid association, and in connection with its work we shall look forward to a large development in the music of this community.
7Minneapolis Music.
9MINNEAPOLIS, May 5.
11THERE have been so many good things since I last wrote that I scarcely know how to begin with my record of them—some rich, rare musical treats, which are a tonic to the musical artist in Minneapolis, and therefore much appreciated. First came the veteran violinist Remenyi and his company, who gave us a most enjoyable concert about the middle of April. The program was made up of what is commonly known as popular music, and as an artist will render the simplest composition with such musicianly effect that it becomes "a thing of beauty and a joy forever," this program gave entire satisfaction. Remenyi, of course, is beyond criticism. It is sufficient to say that Minneapolis adds her meed of commendation to the judgment of the world's musical centres, and enjoys to the full the beautiful and finished playing of the veteran artist. His mannerisms (not ungraceful by any means) are essentially his own. He knows how to please, and does not spare himself in his efforts in this direction. Remenyi has not lost his skill with his favorite instrument. It still does his bidding, is responsive to his moods and shades of feeling. It wails, entreats, laughs, cries, and sobs in turn just as he directs, while the audience sit spellbound under the wonderful execution of the whole.
13The rest of the company found the same favor here that they have elsewhere, their portion of the program being delightfully rendered and thoroughly enjoyed.
15PROGRAM.
17Duet, "Oh That We Two Were Maying" ……… A. F. Smith
18Mrs. Rice and Mr. Fessenden.
20Song, "The Rhine Maiden" ……… Smart
21Mr. Fessenden.
23Violin solo, fantaisie on "The Huguenots" ……… Remenyi
24Mr. Remenyi.
26Recitation and aria, "O, luce di quest'anima" ……… Donizetti
27Mrs. Rice.
29Piano solo, Polacca brillante ……… Weber
30Miss Berry.
32Song, selected ……… Mrs. Fessenden.
34Violin solos—
35Romance in E ……… Chopin
36Barcarolle ……… Schubert
37Mazurka ……… Chopin
38Mr. Remenyi.
40Ballad, "Love's Old Sweet Song" ……… Malloy
41Mrs. Rice.
43Violin solo, "Hungarian Melodies" ……… Remenyi
44Mr. Remenyi.
46Duet, "Addio" ……… Donizetti
47Mrs. Rice and Mr. Fessenden.
49AN ART RECITAL.
51Following close upon the Remenyi concert was an art recital given by the directors of the Northwestern Conservatory of Music to introduce Mrs. W. C. Foster, elocutionist and expounder of Delsarte, to Minneapolis. Dyer's Music Hall was crowded to the doors with a representative audience, who accorded the charming reader a most enthusiastic reception. Mrs. Foster is a lady of splendid physique and fine stage presence. A beautiful face and winning, gracious manners chain the attention and interest of the audience at once. She is a highly gifted woman, and nature certainly endowed her with the talents of an actress in the dramatic line. Descended from a long line of Irish orators, her inherited genius early displayed itself, and from very young girlhood she has been an earnest, indefatigable student, winning the personal esteem of Booth and McCullough, both of whom took an active interest in her studies and career. On the evening mentioned she gave "The Shadow Song," "The Calling of Matthew," "Revenge" and the sleep walking scene from "Macbeth," in each of which her wonderful oratorical powers, true conception and magnetic interpretation were a fit setting to her magnificent stage presence.
53The gem of her readings, however, was "The Calling of Matthew"—a beautiful poem in itself. Mrs. Foster gave it that soulful rendition which satisfies the heart as well as the intellect of her listeners. In the "Sleep Walking Scene" she was a veritable "Lady Macbeth," and although she had to contend with limited platform space her impersonation was excellent. In her Delsarte attitudes she looked a lovely Greek in Greek robes, and most effectively portrayed the poetry there is in the graceful curves and bends of a perfectly trained human body. The remainder of the program was carried out by Professor Marshall, director of the Northwestern Conservatory, and Miss Heegaard and Mr. Shibley, members of the faculty, who fully sustained the favorable opinion in which they are held. The addition of Mrs. Foster to the conservatory faculty is considered by Minneapolis educators as a most valuable acquisition.
55PROGRAM.
57"Shadow Song" ……… Campbell Rae-Brown
58Mrs. Foster.
60Piano, "Kamennoi Ostrow" ……… Rubinstein
61Miss Heegaard.
63"Calling of Matthew" ……… Doane Robinson
64"Revenge" ……… Mark Twain
65Mrs. Foster.
67"Song of the Toreador" ……… d'Adhemar
68Mr. Marshall.
70Attitudes ……… Delsarte
71Mrs. Foster, Miss Bintliffe.
73Zither ……… Selected
74Mr. Shibley.
76"Sleep Walking Scene" ("Macbeth") ……… Shakespeare
77Mrs. Foster.
79The last week in April was marked with a red letter, and will long be remembered in Minneapolis, as it records the appearance of the United States Marine Band and Miss Marie Decca, also the grand concert given by the Minneapolis Choral Association in closing this season's work. These two great events were sandwiched with an interesting recital by Miss Alma Westin, a pupil of Prof. Gustavus Johnson, and the concert given for the relief of the suffering Finns. On the evening of Monday, April 25, John Philip Sousa made his bow to an immense audience gathered at the Lyceum Theatre, and right royally did Minneapolis receive him. Miss Decca also was enthusiastically received, and has added Minneapolis' musical public to her unnumbered admirers. The concert opened with Wagner's "Rienzi" overture by the band, whose effective rendition won an encore. Next came "Scène Pittoresque," by Massenet, which was followed by "Sheridan's Ride." This historical scene is brilliant of stirring military action.
81Owing to slight changes in program the vast audience were not quite prepared for the significance of the low, muffled tones with which the prelude began; but when at last the strains grew more familiar a ringing cheer, mingled with vigorous hand clapping, almost overpowered the glorious sound triumph of brasses and drums. The memorable scene was faithfully portrayed, and its superb rendition scored a perfect triumph for the Marine Band. The rest of the program won unstinted applause.
83Miss Decca's first number was an aria from "La Sonnambula," which elicited an impromptu encore, to which she responded with "Robin Adair." Her second number was Donizetti's cavatina ("Linda di Chamounix"), with flute obligato. In this her superb voice showed to splendid advantage, her pure tones so replete with flute-like clearness, was ofttimes a marvel. Miss Decca's voice—a beautiful soprano—is of great power and volume, clear and sweet, possessing wonderful staying qualities. It is perfectly cultivated and she uses it with remarkable ease. Her singing is full of dramatic fire and marvelous brilliancy. Ah, how that magnificent voice rose and fell and trill'd, now loud, now soft, now high, then low, penetrating her enraptured audience with the very ecstasy of enjoyment. The two concerts given here by the band were the success of the season.
85PROGRAM FOR MONDAY NIGHT.
87Overture, "Rienzi" ……… Wagner
88"Scène Pittoresque" ……… Massenet
89"Invitation à la Valse" ……… Weber
90Rhapsodie Hongroise, No. 6 ……… Liszt
91Aria, "La Sonnambula" ……… Bellini
92Andante. Com e per me sereno. Allegro. Sovra il sen.
93Miss Marie Decca.
94Intermezzo Sinfonico, "Cavalleria Rusticana" ……… Mascagni
95Caprice, "Flirtation" ……… Steck
96Scène historique, "Sheridan's Ride" ……… Sousa
97Humoresque, "Good-bye" ……… Sousa
98Cavatina "O, luce di quest'anima" ("Linda di Chamounix") ……… Donizetti
99Miss Marie Decca.
100Patriotic song, "The Star Spangled Banner" ……… Arnold
102PROGRAM FOR TUESDAY MATINÉE.
104Overture, "William Tell" ……… Rossini
105Suite, "Peer Gynt" ……… Grieg
106"Morning."
107"Asa's Death."
108"Peer Gynt Chased by the King of the Mountains."
109Excerpts from "Damnation of Faust" ……… Berlioz
110"The Reveille."
111"Easter Hymn."
112Ballet of the Sylphs.
113Hungarian March.
114Pantomime, "The Romance of a Harlequin" ……… Massenet
115Entrance of Harlequin.
116Reverie de Columbine.
117Serenade of Harlequin to Columbine.
118The Pas Deux.
119Idyl, "Gypsy Life" ……… Le Thiers
120"Morning."
121"In the Woods."
122"The Bolero."
123"The Serenade."
124"The Tarantella."
125"Dance of the Wooden Shoes."
126Aria, "La Mysoli" ("Pearl of Brazil") ……… David
127Miss Marie Decca.
128Flute obligato, Mr. Henry Jaeger.
129Prelude, "The Last Sleep of the Virgin" ……… Massenet
130Caprice, "Loin du Bal" ……… Gillet
131Symphonic poem, "The Chariot Race" ……… Sousa
132Humoresque, "The Contest" ……… Godfrey
133Patriotic air, "Hail Columbia" ……… Fyles
135MISS WESTIN'S RECITAL.
137The piano recital given by Miss Alma Josephin Westin was in every way a very successful concert. A large audience assembled at Century Music Hall on the evening of April 27, whose unanimous verdict was that in the last year the pianist had made wonderful progress in both reading and execution. She plays from memory alone and each of her numbers was marked by a deep thoughtfulness and a clear and in most instances a brilliant execution. She was ably assisted by Heinrich Hoevel, violinist, and her instructor, Prof. Gustavus Johnson. Mr. Hoevel, whose playing is always well received, gave with his usual brilliancy two solo numbers and an obligato. His first number—Fantaisie Suedoise, by Leonard—won an impromptu encore, to which he responded with a "cradle song," by Hauser. A "romance" by Saint-Saëns was his second number. It was an entirely different subject, but was played in his own inimitable style, precision and brilliancy of execution. The concluding numbers, Danse Macabre, Saint-Saëns, was played by Miss Westin and Professor Johnson, with violin obligato, which was a fitting conclusion to a very enjoyable recital.
139Miss Westin was the recipient of some exquisite floral gifts, and in her bodice sparkled a beautiful diamond, the gift of her gratified father. The fair pianist may ere long pursue her musical studies in Germany by advice of her instructor, Professor Johnson. Below we give the program in full:
141PROGRAM.
143Toccata and fugue in D minor ……… J. S. Bach
144Impromptu, op. 90, No. 4 ……… Schubert
145Nocturne, op. 9, No. 2 ……… Chopin
146Rondo Brillante ……… Weber
147Miss Westin.
148Fantaisie Suedoise ……… Leonard
149Mr. Hoevel.
150Carnival Scenes, op. 9 ……… Schumann
151Miss Westin.
152Romance ……… Saint-Saëns
153Mr. Hoevel.
154"Souvenir d'Amérique," valse ……… Josephy
155"Venezia e Napoli (Gondoliera and Tarantelle)" ……… Liszt
156Miss Westin.
157Danse Macabre (two pianos) ……… Saint-Saëns
158Miss Westin and Mr. Johnson.
159Violin obligato by Mr. Hoevel.
161RELIEF CONCERT.
163The concert for the relief fund of the famine sufferers in Finland did not meet with the success it merited. The audience was very small and much of the really fine program was omitted. The principal features, however, were the organ solos by Prof. J. Warren Andrews and the contralto solo by Miss Mamie Helm. Mr. Andrews is master of the organ and his playing is always a revelation of some new beauties in this most difficult instrument. His pedal playing reminds one of the eminent John Zundel, who in his day was considered the finest pedal organist on this continent. Mr. Andrews' organ playing is characterized by a profound scholarly reading and great delicacy and refinement in interpretation. He understands thoroughly the separate mechanism of this splendid instrument and the perfect blending into one harmonious whole.
165As an educator of public taste in organ renditions of musical classics he has already made a strong impression in our city, and it is sufficient that he is upon the program to attract a goodly crowd. Miss Helm, contralto, sang with good effect a double number by Schubert. As a vocalist she is bound to make her mark in the future if her studies are not interrupted.
167The rest of the musical program was carried out with credit to the performers. Professor Johnson, however, did not appear in the number for which he was down, to the great disappointment of his many admirers.
169At the close of the entertainment specimens of the bread used by the Finns in times of famine were distributed as souvenirs to the audience. The starvation mixture of ground bark and rye brought back in a most forcible manner the history of the Thirty Years' War, with its attendant horrors, the almost unequaled bravery of the dauntless Finns and the hero worship and pathetic veneration in which they held the superb character of Gustav Adolph.
171PROGRAM.
173Toccata Dorica ……… J. Seb. Bach
174"Ave Maria," for the organ ……… Fr. Liszt
175This is a well-known melody of the fourteenth century composed by Arcadell. In the present arrangement by Liszt the theme is clearly presented, accompanied by a fair representation of distant chimes.
176Prof. J. Warren Andrews.
178Opening Speech ……… By City Mayor Hon. P. B. Winston.
179Baritone solo, "Einen Kuss, dann gute Nacht" ……… Ernst Simon
180Mr. G. A. Sandberg.
181Rhapsodie Hongroise, No. 14 ……… Liszt
182Prof. Gustavus Johnson.
183Speech ……… By Rev. Rabbi G. Marx.
184Song, "Connais tu le Pays," op. "Mignon" ……… A. Thomas
185Miss Celestine Saucier.
186Cornet solo ……… Miss Carrie Millward.
187Aria, "Timor de me," from "Il Trovatore" ……… Verdi
188Miss Emma Nison.
189Speech ……… By Rev. K. Janson.
190"Der Doppelgänger" ……… Schubert
191"Ungeduld" ……… Miss Mamie Helm.
192Speech ……… By Rev. S. W. Sample.
193Swedish Quartet Club.
194"Ave Sanctissima," for the organ ……… Eugen Thayer
195Finale to the "Star Spangled Banner," variations ……… J. K. Paine
196Prof. J. Warren Andrews.
198THE MINNEAPOLIS CHORAL ASSOCIATION.
200The closing concert for this season of this fine organization occurred on the evening of Friday, April 29, at which time Massenet's "Eve" was presented for the first time in this city, and the first presentation of "The Triumph of Love" completed the delightful program. Dang's orchestra furnished the instrumental portion, and the Choral Association of St. Paul assisted in the presentation of "The Triumph of Love." The soloists were Mrs. Geneva Johnston-Bishop, soprano; William Ludwig, baritone, and Charles A. Knorr, tenor. The great interest of the occasion centred in the musical composition of "The Triumph of Love," which was the work of the director, Samuel A. Baldwin. The composition has for its subject Schiller's grand hymn of that name, and the motive carried out in the whole production is the supreme blessedness of the pure, noble sentiment of love, the contrast of its entire absence, and the ecstasy of ultimate fruition. The exquisite imagery in which the celebrated German poet clothes his ideal conceptions is most noble, and Mr. Baldwin has portrayed it with a dignity and refinement of musical composition which could scarcely be excelled.
202It has for a long time been the all engrossing topic in musical circles of both cities, and its successful presentation is a matter of congratulation to its composer. The large audience assembled at "The Swedish Tabernacle" on this occasion enthusiastically accorded their appreciative recognition of its merits, and Mr. Baldwin was showered with a perfect storm of applause. The principal characteristics of the composition lie in the beautiful tonal coloring, the delicate shades of expression, the bold portraiture of ideal imagery and the superb massing and blending of the whole. Solo, chorus and orchestra, each apart and all together produced a grand effect which was a feast for the gods. The orchestral introduction is jubilant in character, leading to a splendid chorus, "By love are blest the gods on high," both beautifully rendered. The chorus opening with male voices is repeated with female voices, commencing with the words, "Tis love that makes the heavens shine." This is followed by a baritone solo and chorus, in the motive of desolation, and the rippling sweet melody which plays a prominent part in all the work advances quickly to the front. The soprano solos are particularly beautiful, and their interlacing with the full volume of choral sound was almost enchanting. The grand finale of the work is heard in the brilliant figure brought out by the violins, introducing the ecstasy of triumphant love, and with an outburst of exultant music ends "The Hymn of the Triumph of Love."
204Mrs. Bishop was in splendid voice and scored another triumph to those she has already achieved in our city, for she is a great favorite in Minneapolis. Mr. Ludwig sang with his usual effectiveness but (it may be a faulty taste in me)—I cannot enthuse over his voice or singing. His rendition of "The Palms" gave me the fidgets, he seemed so entirely out of all sympathy with the sentiment of either music or words. That he is a thoroughly cultivated artist is conceded, but whether he did not care to do any better or whether it was not his style of music I cannot say, but I have heard an amateur sing it with better finish and more soul. I was out of patience with Ludwig's rendition and wished heartily that he would conclude with the first verse.
206Mrs. Bishop gave, "With verdure clad," from Haydn's "Creation," and sang it superbly. Mr. Knorr sang "An Rhein beim Wein," by Reis. His voice is of beautiful quality, resonant and full, and in all his work he evinced himself the musician. Massenet's "Eve" received a good interpretation from the association, "Adam" (Mr. Ludwig), "Eve" (Mrs. Bishop) and the narrator (Mr. Knorr) giving the leading parts the requisite finishing touches. The rich, powerful soprano of Mrs. Bishop was equal to the demands made upon it, and in oratorio and chorus singing she certainly could not be excelled. She uses her vocal organ skillfully and with ease, and her charming personality engages the interest and approbation of the audience from the first. The music of "Eve," although not heavy, is at times very sombre.
208It is, however, throughout a perfect exponent of the subject. As a composition, one enjoys the various representations of that primeval history, and the descriptions are full of realistic conceits. Their vocal portrayal was admirably executed, even to the almost appalling effect of the fourth part, representing the curse. It was with relief that I heard the last clash of the orchestral denunciation, and the solos which filled up the intermission between "Eve" and "The Triumph of Love" was thankfully enjoyed. On the whole this last work of the Choral Association was
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