Scan 38
Musical Courier 1892-12-21: Vol 25 Iss 668, 1892
142 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 31. See the scan on archive.org.
1THE MUSICAL COURIER.
3Ford, Arthur L. Knight, Chas. R. Hutchings, Harry Gannon; bassos, Messrs. Frederic Reddall (solo), Clifford W. Powell, Arthur L. Ruland, Gilbert Mathewson, William H. Wright, Arthur T. Stewart, S. H. Barrett, Ezra Baldwin, Walter C. Pitman. one of two readings
5(no line here) one of two readings
6Westminster Presbyterian Church, Brooklyn.
8(no line here) one of two readings
9MORNING.
10It came upon the midnight clear………………Shelley one of two readings
11It came upon the midnight clear,………………Shelley one of two readings
12When all things were in quiet silence…………….Macarren
13In the evening, prelude, serenade, organ and piano………………Widor
14Calm on the liturgic ear of night, by quartet………………Gilchrist
15The manger cradle, by quartet………………Weidlinger
16It came upon the midnight clear, quintet………………Gilchrist
17Holy Christmas night by ladies' trio………………Loeser
18Hark! what mean those holy voice? soprano solo………………Henry Smart
19Postlude, Marche Nuptiale, piano and organ………………Widor
20Organist and choirmaster, G. Waring Stebbins; quartet, soprano, Miss Phelps; alto, Mrs. Hand; tenor, Mr. Kemball; bass, Mr. Webster; soprano soloist, evening, Miss Holmes; piano accompanist, Miss Kupprecht.
22St. Ann's P. E. Church, Brooklyn Heights.
23ORDER OF SERVICE—MORNING.
24Te Deum in B flat………………Stanford
25Anthem, Blessed be the Lord God of Israel………………Barnby
26Communion Service in F………………Stainer
28(no line here) one of two readings
29EVENING.
30Psalms, chanted………………Turle one of two readings
31Psalms, chanted. one of two readings
32Magnificat in D………………Turle
33Nunc Dimittis in D………………Turle
34Anthem, The Star that now is shining………………Oliver King
36(no line here) one of two readings
37VESTED CHOIR, MEN AND BOYS—11 A. M.; 7:30 P. M.
38Organist and choirmaster, R. W. Crowe, Mus Doc. Cantab.
40St. Martin's Church, Brooklyn.
41SOLEMN HIGH MASS 11 A. M.
42Prelude, Andante………………Händel
43Solemn procession, Of the father's love begotten………………Plain Song
44Introit, Amen, Adessi Pictus………………Proper Melody one of two readings
45Introit, Amen, Adessi Pictae………………Proper Melody one of two readings
46Mass in B flat, in honor of St. Theresa………………La Hache
47Sequence Hymn, Hark, the herald angels sing………………Mendelssohn
48Offertory Hymn, Christians awake………………Wainwright
49At the ablutions, While shepherds watched their flocks by night………………Este
50Processional, returning, Once in Royal David's city………………Gauntlett
51Postlude, Marche Pontificale………………J. Lemmens
53SOLEMN VESPERS 8 P. M.
54Prelude, Introduction voluntary………………Henry Smart
55Solemn procession, Of the father's love………………Plain Song
56Psalms 110 and 132, VII. VIII………………Plain Song one of two readings
57Psalms 110 and 132, VII. VIII. one of two readings
58Magnificat and Nunc Dimittis in B flat………………Plain Song one of two readings
59Magnificat and Nunc Dimittis in B flat………………Plain Brother one of two readings
60Office Hymn, O Christ, Redeemer of our race………………Ancient Melody
61Christmas Carol………………S. S. C. one of two readings
62Christmas Carol. one of two readings
63Semperid the winter's show. one of two readings
64Semper in the winter's show. one of two readings
65A virgin most pure.
66Good King Wenceslas.
67During the collection, Hark, the herald angels sing………………Mendelssohn
68Processional, returning, Once in royal David's city………………Gauntlett
69Postlude, Allegro from second sonata………………Mendelssohn
70Organist and choirmaster, Arthur Lawrence Brown; choristers—sopranos, Misses Berrall, Lanning, Doerfing, Hathaway, Maney; Boys—Masters Musson, C. Hallidin, H. Jarvis, H. Hallidin, Meister, Coecke, Kennes, Pethen, S. Thompson, J. Thompson and Young; tenors, Stokes, Gude, Hunting and Smith; basses, Ball, Hotchkiss, Wood, Elliott, Clarke, Reed and Munroe. Soloists—soprano, Miss Isabell Berrall; alto, Miss Nina Thompson; tenor, Mr. H. O. Hunting; bass, Mr. H. R. Elliott. one of two readings
71Organist and choirmaster, Arthur Lawrence Brown; choristers—sopranos, Misses Berrall, Lanning, Doerfing, Hathaway, Maney; Boys—Masters Musson, C. Hallidin, H. Jarvis, H. Hallidin, Meister, Coe, Kenner, Pethen, H. Jarvis, H. Jarvis, Thompson and Young; tenors, Stokes, Gude, Hunting and Smith; basses, Ball, Hotchkiss, Wood, Elliott, Clarke, Reed and Munroe. Soloists—soprano, Miss Isabell Berrall; alto, Miss Nina Thompson; tenor, Mr. H. O. Hunting; bass, Mr. H. R. Elliott. one of two readings
73Grace Church—Episcopal—Brooklyn Heights.
74HOLY COMMUNION, 7:30 A. M.
75MORNING PRAYER, HOLY COMMUNION, 11.
76Processional Hymn 24.
77Psalms 19, 45, 88.
78Te Deum, E flat………………E. R. Barrett
79Benedictus………………Chant
80Introit—St. Luke 2—15, 16, 20………………J. T. Field
81Kyrie………………Chas. Gounod
82Sanctus………………Chas. Gounod
83Hymn 25.
84Offertorium, Titus, 2, 11; Psalms, 98, 4; St. Matthew, 21, 9; St. John, 1, 4………………Joseph Barnby
85Recessional Hymn 17………………4 P. M.
86Processional Hymn 24.
87Psalms 89, 110, 132.
88Magnificat and Nunc Dimittis in D………………E. Prout
89Hymn 26.
90Anthem, St. Luke 2, 8, 14………………Max Vogrich
91There, were shepherds abiding in the field, keeping watch over their flocks by night.
92Recessional Hymn 22.
93Organist and choirmaster, Henry E. Duncan.
95Bergen Reformed Church, Jersey City.
96MORNING SERVICE.
97Anthem, O thou that tellest glad tidings………………Buck
98Kyrie………………B flat………………Schubert
99Gloria Tibi………………Buck
100Festival Te Deum in D………………Buck
101Athens, Rehearse………………Coombs
102Hymn anthem, Angels from the realms of glory………………P. A. Schuckert
103Offertory, Birthday of a king………………Neidlinger
105EVENING SERVICE.
106Opening anthem, Angelic voices………………Gounod
107Christmas service of Sunday School carols, &c.
108Organist and director, Louis R. Dressler. Soprano, Miss L. Kompf; alto, Mrs. F. H. Molten; tenor, Fred. A. Parker; basso, Wm. F. Brown.
110International Bureau of Music, 114 Fifth Avenue.
111MR. LOUIS BLUMENBERG, the energetic manager of this extensive bureau, has the sole management of many of the best known artists on both sides of the Atlantic. His bureau is supplying artists everywhere. Among some of his artists we mention Mrs. Corrinne Moore-Lawson, Miss Maud Powell, Mr. Raimund Von Zur Mühlen, Mr. F. Novara, with the Patti Company, Miss Myrta French, of the opera at Trieste; Miss Marie Maurer. Mr. Blumenberg is also the sole representative of the Wagner Museum, of Vienna, which will probably be brought to this country.
113Budapest.—A new trio society has been formed at Pesth, comprising Mr. Adler Goldstein, pianist; Mr. B. von Herzfeld, violinist and concertmeister; Grützmacher, violinist.
115Garibaldi's Hymn.—It is proposed to name an open square in Genoa after Alessio Olivieri, the old military musician who composed the Italian patriotic air named "Garibaldi's Hymn."
117Vocal Specialists of New York.
118IN this unique issue of THE MUSICAL COURIER we present our readers with three supplements, in two of which will be found, artistically engraved, twenty-four portraits of the leading vocal specialists of New York. The essays and biographical sketches that follow will give every one at least a glimpse of the personalities of the devoted masters of this department of musical art. On their unselfish toil, ceaseless labor of love, sometimes not even awarded the recognition of gratitude from pupils, we will not dwell at length. Suffice to say, no more earnest body of art workers exists than the vocal specialists of New York, and by their works you can judge them.
120Romualdo Sapio.
121Romualdo Sapio, with whom we begin our series of brief sketches of vocal specialists in this issue, is well known to music lovers throughout the country as an accomplished conductor, a vocal maestro of wide experience and a sterling musician and composer. Mr. Sapio, was born in Palermo, Italy, of a well-known literary family, his father being one of the best known Italian writers of the day.
123At the age of thirteen he entered the Royal Conservatory of Music in Palermo and studied there for eight years, graduating with the first prize for composition. He then composed an opera, which was given with great success at the theatre of the conservatory. His teacher was the famous contrapuntalist, Pietro Platania, now director of the Conservatory at Naples. In 1881 Mr. Sapio followed his teacher to Milan, in which city he sojourned two years.
125In 1888 he began his career as a conductor of opera in Milan; he then visited Central America, South America and the United States. His connection with important operatic ventures is well known to the American public. one of two readings
126In 1883 he began his career as a conductor of opera in Milan; he then visited Central America, South America and the United States. His connection with important operatic ventures is well known to the American public. one of two readings
128Under the management of Messrs. Abbey and Grau he conducted Patti's last operatic season in the United States and her previous two tours in South America. He conducted also at the inauguration of the Chicago Auditorium three years ago, and a subsequent season at the Metropolitan Opera House. From his experience in collaborating with the best artists of the past decade he obtained an enormous experience in artistic singing, in its causes and effects, and was engaged by the direction of the National Conservatory of America to take control of the vocal department in that celebrated institution. As a composer Mr. Sapio has written a number of songs well known here and in Europe, and several orchestral works, some of which we shall probably hear played in New York during this season. He is a musician of the modern school, who recognizes the weaker side as well as the strong possibilities of Italian music. He is also a keen admirer of the classics and Wagner's music dramas. In a word, Mr. Sapio represents the modern Italian school in his tendencies; his culture is many sided and his success as a vocal teacher great. He married recently the now famous soprano, Clementine De Vere, whose brilliant career is well known. As a man Mr. Sapio is universally respected and admired.
130Mr. and Mrs. Serrano.
131Emelia Benic Serrano is a native of Vienna, where she received an education befitting her sex and station. Her father died when she was scarcely seven years old, but her mother, recognizing her decided vocation for music, placed her under the direction of Professor Simm (professor of singing at the Conservatory of Prague), and when she had completed her course of instruction under that excellent teacher she perfected her studies as a pupil with Lewey Richard, the best teacher in Vienna. In order to acquire a thorough knowledge of the Italian school the young girl then proceeded to Italy, where she had the benefit of the advice and superintendence of the great maestro Bora.
133Her first public appearance was in concert with Prof. Lewey Richard, and her talents won speedy recognition and led to a proposition from the German impresario Berger. Under his management she made her début at Kiew, singing in Russian the part of "Marguerite" in Gounod's "Faust," and the soprano part in Glinka's "Life for the Czar," and numerous others, with such success that it may be said that she was the support of the company for the six months during which the season lasted. Her début in Moscow was made as "Marguerite" in "Faust," and the contract was renewed for two years longer, during which she sang in St. Petersburg, Moscow, Kiew, and Odessa, in all the principal parts of her répertoire.
135After this absence from her native land she returned to Vienna, and became the prima donna of the German Opera Company, at the Ring Theatre, where she had great success. From Vienna she went to Milan and made her Italian début in Brescia as "Marta," singing thereafter at Turin, Lecce, Florence, Genoa, Venice, Cagliari, Catania, Bergamo, &c. Her next engagement was for Lima, in Peru, and here she won the first of her brilliant series of South American triumphs. Her Peruvian season being finished satisfactorily she returned to Italy, where she was not permitted to take much repose, as she was called upon to appear at the festival season at Bergamo, where she sang the rôle of "Catherine" in Meyerbeer's "Star of the North." The next voyage of this enterprising and accomplished lady was to Central America, and at Bogota, the capital of Colombia, she became her own manager, and in this capacity she displayed admirable judgment and courage in producing the "Florinda" of the Colombian maestro José M. Ponce de Leon with splendid success. Not content with the honor and glory of thus founding national operas, she founded the Conservatory of St. Cecilia in that city, and had more than sixty pupils of both sexes. About this time there was much talk of the grand festivals which were to be celebrated at Caracas in honor of the centenary of the liberator Simon Bolivar, and thither she went with a view of assisting at the ceremonies as a mere spectator and listener. But her reputation had preceded her, and she could not refuse to comply with the urgent appeals made to her by the public of Caracas and her own friends. She therefore organized a series of concerts with the co-operation of Mr. Carlos A. Serrano, the pianist, and the violin virtuoso Mr. Ramon Osario.
137The performances were highly successful and the press was unanimous in its eulogies. Invitations to other cities were extended and accepted and concerts given in Valencia, Puerto Cabello, Maracaibo and Curaçoa. In all these cities the result was extraordinarily successful, both artistically and financially. She went from triumph to triumph, greeted everywhere with the enthusiasm which the Latin races always display in the cause or in the honor of art. Among other tokens of the high appreciation in which Emelia Benic Serrano is held, among the musical circles of South America we may mention the waltz song, "La Benic," written in her honor and dedicated to her by the Colombian composer, José M. Ponce de Leon.
139The climate of the Spanish Main, however, is trying and did not agree with her health. She, therefore, decided to come to the United States with her husband, for she married the companion of her concert tour, Mr. C. A. Serrano, in Caracas, and arrived in this city on May 3, 1884.
141Mr. Serrano was born in the city of Mexico. He received his first lessons from his cousin, Miss E. Serrano, and afterward studied under the well-known maestro Mr. Morales, then director of the National Conservatory of Music, and Mr. D. Antoniotto Foschini. Later he visited
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