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Musical Courier 1892-12-21: Vol 25 Iss 668, 1892
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1Paris, where he completed his piano studies under the great Sigismund Thalberg, of whom he was a favorite pupil.
3On his return to his native country Mr. Serrano was appointed director of the "Orfeón Popular" (male chorus) of the Conservatory of Mexico, then composed of 500 voices. His success was so great that he was named professor of the "Sociedad Filarmónica Mexicana," and later was appointed leader of the choruses for the grand opera in the Gran Teatro Nacional in the city of Mexico, of which the great artists E. Tamberlik and A. Peralta were the leading artists.
5In 1873, when Mr. Serrano was just nineteen years of age, he was appointed leader of the orchestra of the Italian Opera Company, of which the famous artists Maria Palmieri and Egisto Petrelli were the principals. After the close of the season he decided to revisit Europe, where he was employed successfully as orchestra leader, pianist and choral director, three departments of his art in which he is equally able. He appeared in several concerts at the Salon Erard in Paris, where he achieved unqualified success as a solo pianist. From France Mr. Serrano went to Italy, in the cities of which he everywhere met with success, being honored with nominations as honorary member of different musical societies, among which was the Saint Cecilia of Rome. He also visited Spain and from thence sailed to Cuba, where after having given concerts at the Tacon Theatre he was pronounced to be the only pianist who, after Gottschalk, had created such enthusiasm in Havana. From Cuba Mr. Serrano went to the republic of San Domingo, where he was received with equal enthusiasm. There he composed a march which he called "Salud República Dominicana," which was produced at the concert given under his direction in the great salon of the Palacio Nacional. It created such genuine enthusiasm that it was adopted as the national air of the republic.
7Nearly all the republics of South and Central America were visited by Mr. Serrano, in each of which he received flattering notices from the critics and dilettante, which cannot be referred to in detail. Mr. Serrano, since he became a resident of the United States some years ago, has been musical director of the Milan Italian Opera Company, the Musin Grand Concert Company and others, in all of which he has acquitted himself with great satisfaction to the public and honor to himself. Both Ovide Musin and Constantin Sternberg have dedicated original compositions to Mr. Serrano, the latter a "Historiette Musicale," op. 50, No. 2, and the former a berceuse for violin and piano inscribed "A mon cher Carlos Serrano à bon souvenir de bonne amitié."
9Mr. Serrano, during his tour of the Western States as operatic director, concluded that the United States was a good place in which to purchase real estate, and made an investment in some valuable lots in the new and growing city of Kearney, Neb.
11Among the many pupils of Mr. and Mrs. Serrano, who have achieved an American reputation may be mentioned the name of Ida Klein.
13Their scrap book is a curiosity, containing as it does numberless commendatory press notices in Spanish, French, Italian, German and English. Every appearance of Mrs. Serrano has inevitably called forth warm praise from the best critical sources on both continents.
15Of Mr. Serrano's many excellences as a composer, conductor, pianist and teacher it is superfluous to dwell upon. The Serrano studio is at 333 East Fourteenth street.
17Murio-Celli.
19Mrs. Murio-Celli, once a popular prima donna, whose portrait appears in the group of the prominent teachers of New York, is one of the best known and successful vocal instructors of this city, and as such is recognized by the élite musical element of the metropolis. She counts among her successful pupils such well-known artists as Misses Emma Juch, Marie Engle, Amanda Fabris, Ida Klein, Charlotte Walker, Minnie Dilthey, Anna Russell, Marie Groebli, Jenny Dickerson, and scores of others who have obtained concert and operatic reputations.
21Besides her talent as an instructress, she also bears the reputation of being a composer of merit, which is amply sustained by the steady demand for her many works, among which is a beautiful song, "He Will Return," and the latest, "The Messenger Bird," a perfect gem, just published.
23We learn that Mrs. Murio-Celli intends shortly to produce several of her advanced pupils in scenes of opera, in which we hope she will meet with the successes of her previous annual public entertainments.
25William Courtney.
27This has been the best teaching year on record so far for Mr. Courtney. He gave 364 lessons in November. Mr. Courtney created the tenor rôles in several operas in England, including "Donna Constanza" and the "Heir of Lynne," by Gollmick, and "Nell Gwynne," by Cellier and Yarnil. Mr. Courtney also sang in nearly all the opera, as well as in five standard different productions of "La Fille de Madame Angot;" also in the "Rose of Auvergne," Trombalcazer, and the "Blind Beggar," by Offenbach; "Tom Tags" in Dibdin's "Waterman," "Americus" in "As You Like It;" "Captain Mackheath" in the "Beggars' Opera," "Francis Osbaldiston" in "Rob Roy," "Henry Bertram" in "Guy Mannering," and originally played the "Defendant" in "Trial by Jury" during a run of ten months in London and the provinces. Mr. Courtney appeared in this country mostly in concert and oratorio. He sang the three oratorios in one year with the Händel and Haydn society, of Boston, viz: "The Messiah," "The St. Mathew's Passion," by Bach, and "Judas Maccabeus." He has also sung with the same society at other times, "Solomon" "The Last Judgment," Beethoven's Mount of Olives," "The Messiah" and other works. Among the works he gave with the New York Oratorio Society are "Alexander's Feast" and "The Messiah" at Dr. Damrosch's great festival, the other soloists being Gerster, Cary and Whitney. Mr. Courtney has devoted the last four years almost entirely to teaching, wherein his great experience and genial personality have stood him in good stead. Some of the Courtney pupils have distinguished themselves at home and abroad.
29Emma Roderick.
31Mrs. Roderick is one of the most successful and best known of our lady teachers. She has some beautiful voices among her large class of pupils this year, Missouri, Kentucky, Virginia, North Carolina, Connecticut and New York furnishing the candidates who are striving for lyric honors.
33Mrs. Roderick will give a series of musical receptions during the winter, at which several of her prominent pupils will be presented.
35C. B. Hawley.
37Mr. C. B. Hawley is one of the best known and best liked men in the musical profession in this city to-day. The reasons are not far to seek, He is a gentleman who respects his art and himself. That he has won hosts of friends goes without saying. Mr. Hawley, one of the most successful vocal teachers in this city, is a native of Connecticut. He has devoted many years to the study of voice, piano, organ and harmony, under the best masters in this country. At the age of seventeen Mr. Hawley was organist and director of a large boy choir in Connecticut. Two years later he took the position of solo bass at Calvary Episcopal Church in this city, under Joseph Mosenthal, which position he held for six years; and for the past ten years has been solo bass and director of music at the Broadway Tabernacle Church. Also at the Chapel of St. James' Elberon. He is one of the founders and the musical director of the Metropolitan College of Music, also a prominent member of Mendelssohn Glee Club and the Mendelssohn Quartet Club. Mr. Hawley is becoming widely known as a composer and is greatly interested in the advancement of musical composition in America. He was one of the original members of the Manuscript Society, and is at present one of the directors, for two years president of the American Composers' Choral Club, and is now conductor of the Summit Choral Club. His success as a teacher, director and composer is
39Edmund J. Myer.
41Edmund J. Myer is well known to the vocal world, not only by his writings and lectures on vocal science, but especially by his successful work as a teacher. He was born near Gettysburg, Pa., on January 21, 1846, consequently was forty-six years old on his last birthday. Mr. Myer has always been interested in music and has sung from childhood. The last fifteen or sixteen years of his life, however, he has devoted constantly to a study of the science of voice production, and it is of this period we wish especially to speak, as a writer has said of him that he has come nearer formulating a school of singing for the English speaking voice than anyone in America.
43Mr. Myer has written four works on the voice, besides a set of voice training exercises, which are used by many teachers, and numerous articles for papers, magazines and music journals. The principal of his works are "Truths of Importance to Vocalists," "The Voice from a Practical Standpoint," and "Vocal Reinforcement." The latter he considers his best and most successful work, and claims that it sets forth the true principles of production and control. While it differs in many ways from most of the old theories, upon careful study it will be found to appeal to the common sense of the student; and surely no American work on the voice has ever received more flattering notices at the hands of the English press. It is Mr. Myer's intention to formulate at no distant day, and at the request of many who are teaching his theories, the principles set forth in his published works into a practical school or method for the English speaking singer.
45We give in this connection a few criticisms on Mr. Myer's work as writer, lecturer, singer and teacher:
46By his lecture recitals, his essays read before musical associations and his contributions to this magazine, Mr. Myer has been conspicuous in the vocal world.—"Werner's Voice Magazine."
47It is essentially a work both for teachers and students, and the clear, common sense, practical mind of the American places it far above our imperfect works on the same subject.—"Musical Opinion," London.
48Mr. Myer went into an elaborate analysis of the vowel and consonant sounds and illustrated vocally their proper production.—"Commercial Advertiser."
49Mr. Myer is easily one of the first and most advanced thinkers on the science of voice in this country.—Rochester "Post and Express."
50Mr. Myer handled his subject with the skill of a master, giving vocal illustrations of the proper production of tone. He has a tenor voice of clear, ringing timbre and an artistic method.—"American Musician."
51Mr. Myer is not only one of the ablest vocal teachers in New York, but he is also a writer who has enriched the musical literature of the age by three books, all of which should be in the possession of every student of the voice.—"Library and Studio, San Francisco."
52If this work be a reflection of American teaching, we may see in the near future Englishmen going to America to get their voices trained.—"Musical Standard," London.
54As a teacher Mr. Myer's specialty is the development and training of the voice. He has the reputation of developing rich, musical, powerful tone and unusual control. His system of control places all effort in singing upon the strong muscles of the body, not one muscle or one set of muscles only, but all the muscles of the body are brought into action, and thus the throat is relieved of all effort or strain, and strength and vigor are developed.
56Mr. Meyer has been very successful not only in training singers, many of whom are filling prominent positions, but also in training teachers. He has now pupils or representatives teaching his theories or method in many schools, colleges and cities throughout the land. He is a hard and constant worker. Besides his church work, his lectures, his writing &c., he gives private instruction every year to considerably over 100 pupils. Last year the names on his list of private pupils numbered exactly 130.
58Emilio Agramonte.
60Emilio Agramonte was born in Puerto Principe (Cuba) in 1844, graduated as Doctor of Laws in Madrid at twenty-one; simultaneously with law he studied music with the best masters in Europe. In 1869 he came to this country, and a few months after his arrival was appointed director of the Eight O'clock Musical Club, a flourishing organization at the time, conducted by Mr. Pietro Abella, husband of Mrs. D'Angri. Since then his career has been very successful, having shown his ability as a thorough musician in every capacity as master of the voice, as chorus conductor and as interpreter and accompanist. His numerous pupils occupy important positions in church choirs, academies and theatres.
62Mr. Agramonte has always been a believer and champion of the good American composer and organized the American Composers' Choral Association, which has voted him a large amount of money, as he has paid the deficit the two years it existed, amounting to nearly $10,000. He is catholic in music, being an extreme Wagnerian and at the same time an admirer of the good representatives of Italy, France, Russia, England and all other countries. In this way he can teach all ancient and modern musical literature, having ability as a pianist and being a first-class sight reader. He is at present conductor of the Gounod Society, of New Haven, with a membership of 250, having given "Elijah" last April with De Vere, Wamstadt, Rieger and Heinrich as soloists and Seidl's Orchestra.
64Harry Pepper.
66The English ballad, ancient or modern, is in my opinion the inner core and substance of all music. It is melody pure and simple, and treated contrapuntally develops into canon, fugue, glee or part song at will, for true four part harmony is but the interweaving of four distinct subjects—in other words, four melodies.
68Holding such opinions and starved for want of hearing my favorite kind of music, I chanced upon an announcement that "An Evening with the Ballad" would be given by Mr. Harry Pepper at Hardman Hall on a certain evening.
70I went, heard and was delighted; a choice list of my old favorites delivered in a pure, simple manner by a pure, well placed melodious voice, the words plainly spoken and the music fitly sung, "came o'er me, as the sweet South," and gave me an evening of unmixed pleasure.
72Following the instinct of the journalist, who is nothing if not curious, I made bold to interview Mr. Pepper after the entertainment was over, with the following results, which I fancy will be of interest to all who love the simple music of our race and honor its faithful rendering.
74Mr. Harry Pepper is an Englishman born and bred—but a citizen of the United States since his twenty-first year—in the prime of manhood, and a resident of the United States since 1868, although he has made many visits to his land.
76His first teacher was the celebrated Mr. Webbe, the composer of many standard glees and songs which will last while the English language endures on both sides of the Atlantic ferry.
78As a lad Mr. Pepper sang in the choirs of the grand old cathedrals of England, which as schools of true music are second to none in the world for a broad and solid style and purity of method.
80St. Paul's and Westminster Abbey, Exeter Hall, St. Bernabas, St. Mark's College and Holy Trinity Church were the cradles of his infant song, and after these St. James' Hall, Lyric Hall and Albert Hall gave the vocalist a hearty welcome.
82Mr. Webbe was one of the favorite pupils of Mr. Manuel Garcia, the brother and tutor of the great Malibran and Jenny Lind, who was the last of the professors of bel
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