Scan 19
Musical Courier 1893-01-04: Vol 26 Iss 670, 1893
248 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 20. See the scan on archive.org.
1years undue prominence has been given to the lower order of instruments, even such an absurdity as the banjo coming persistently forward, and in consequence there has been some drifting away from the more laborious but noble music of the great instruments. I do not wish to take from anyone a simple delight who has really neither the time nor the ability for more serious study. I agree with the teacher who said that "Gumbo French was better than no French at all," but it does seem incredible that those who have learned of Händel and Mozart and Beethoven should spend precious hours in thumping a banjo or guitar.
3It is as necessary in the tone world, as in the world of literature, that the young students should be taught to appreciate high ideals, for we know as "the twig is bent so is the tree inclined." We are not altogether dependent upon the old classical writers for inspiration. Meritorious works by resident American composers have been brought forward in recent years, and in our own associations unusual opportunities for their presentation have been given. Such an incentive may bring to light worthy compositions that otherwise would be lost to the world. In our own State, in the city of Philadelphia, there has been formed this last year a Manuscript Musical Society, for the purpose of encouraging and stimulating composers. A much higher grade of music for the general run of teachers may come to us by such means and gradually replace some of the insufferable trash sent out for selection by our publishers, and teachers in selecting music for their pupils may find it a great help to use works that have received favorable criticism from a society like this. Such appreciation would act as a spur to the composer, and in renewed effort a still higher standard would evolve.
5Experience has shown that our present constitution and by-laws, while most excellent in many features, contain a few not well adapted to our use. I would therefore respectfully suggest some changes. In order to save time I sent a revised copy to each member of the association fully thirty days before this meeting, so that they might become acquainted with the changes proposed and come prepared to express their views, should they be offered for adoption.
7A number of carefully prepared essays on varied subjects of interest to us all will be read, and I commend them to your thoughtful attention. From the time the "morning stars sang together" until now the heaven born influence of music has gone out among men with a refining touch, second only to religion. Many living words have been said of this immortal art, but none sounded a truer note than Auerbach, when he wrote "Music washes away from the soul the dust of everyday life."
9I think you will find an excellent program offered at this meeting, and we have the special honor of being the first State Association to employ a full orchestra. This latter distinguished feature was made possible only by the untiring labors of the executive committee, aided by the generous patronage of the citizens of Reading. Thus the program committee is enabled to accomplish their object of presenting the larger American works with proper accompaniment.
11I now declare the fourth annual meeting of the Pennsylvania State Music Teachers' Association open and ready for business.
13We append a full program of the essays, recitals, concerts, &c., which took place during the three days of the convention, which was one of the most interesting meetings yet held by any body of music teachers. Many of the essays contributed teemed with valuable arguments, and several were replete with high literary merit. The discussions which followed the reading of the essays was always conducted in a dignified manner, some of the speakers declaring themselves in polished phrases worthy of the arena of cultured and practiced debate.
15Program of Proceedings.
17Tuesday, December 27.
181:30 P. M.—OPENING EXERCISES, GRAND OPERA HOUSE.
19Address of welcome, Hon. Thomas P. Merritt, Mayor of the city of Reading.
20Response and address by the president of the association, Mr. Edward A. Berg.
21Secretary's report.
22Reports of specialist committees.
23Reports of vice-presidents.
24Report of the public school music auxiliary.
25Appointment of committees.
26Business.
284 P. M.
29Essay ……………….. Mr. Richard Zeckwer, Philadelphia
30Subject—"The Limits of Hearing."
31(With experiments by instruments used in America for the first time.)
32Essay ……………….. Mr. Charles David Carter, Pittsburgh
33Subject—"Vocal Exercise versus Voice Culture."
34Discussion.
368 P. M.—MISCELLANEOUS CONCERT.
37Piano, ……. Mr. Leopold Godowsky, St. Petersburg, Russia
38Vocalist, ……. Miss Josephine Richardson, Philadelphia
39Beethoven String Quartet, of Philadelphia…….. Messrs. Wm. Stoll, Jr., E. A. Brill, Richard Schmidt and Rud. Hennig.
40PROGRAM.
41Spring Quartet—Op. 18, No. 4, C minor……….. Beethoven
42Beethoven Quartet.
43Piano Solo. { Andante con Variazione, F minor….Haydn
44{ Sonata, B flat minor,………….Chopin
45Mr. Leopold Godowsky.
46Songs. { "Love's Bliss"………….Max Spicker
47{ "One Spring Morning"………..E. Nevin
48(With violin and cello obligati)
49Miss Josephine Richardson.
50{ Two concert studies, D flat—F minor, { Liszt
51{ "Waldesrauschen"………….Schubert-Tausig
52Mr. Leopold Godowsky.
53Spring Quartet—Posth.—D minor—Andante con moto………….Schubert
54Beethoven Quartet.
55Piano Solo. { "Elfenspiel"………….Carl Heyman
56{ "Invitation à la Danse"……..Weber-Tausig
57(Gildemeester & Kroeger piano used.)
5810 P. M.
59Social reception at Library Hall, corner of Fifth and Franklin streets, for all visiting members and resident active members of the association.
61Wednesday, December 28.
629 A. M.
63Meeting of the Committee on Nomination of Officers in the parlors of the American House.
64Meeting of the Board of Vice-Presidents in the parlors of the Central House.
6510 A. M.—MORNING SESSION, GRAND OPERA HOUSE.
66General business.
67Essay ………………..Mr. E. E. Southworth, Scranton
68Subject—"Thoroughness."
69Discussion.
70Essay ………………..Mr. W. J. Baltzell, Reading
71Subject—"The Analytical and Psychological in Teaching."
72Discussion.
742 P. M.
75Business.
76Report of Committee on Nomination of Officers.
77Report of the Board of Vice-Presidents.
78Essay ………………..Rev. W. B. Morrow, Bristol
79Subject—"Episcopal Church Music."
80Essay ………………..Mr. Homer Moore, Pittsburg
81Subject—"Tone Color in Singing" (with illustrations).
83(no line here) one of two readings
844 P. M.
85Piano recital by Miss Clara Krause, Berlin, Germany.
86Vocalists, { Miss M. Virginia Peck, mezzo soprano, Philadelphia.
87{ Mr. Peter Marzen, tenor, Philadelphia.
88Accompanist…….Mr. Frederick Maxson, Philadelphia
89PROGRAM.
90Prelude et Toccata in A minor, op. 57…. ……V. Lachner
91Sonate, A major, op. 101…………………Beethoven
92Miss Clara Krause.
93Soprano solo, "Miriam's Song of Triumph"……Reinecke
94Miss M. Virginia Peck.
95Nocturne, B major, op. 32…. ……Chopin
96Berceuse, D flat major, op. 57…. ……Chopin
97Fantasie, F minor, op. 49…. ……Chopin
98Miss Clara Krause.
99Tenor solo—
100" Lohengrin's Declaration," from opera "Lohengrin"……Wagner
101"Heart's Delight"………….W. W. Gilchrist
102Mr. Peter Marzen.
103Valse caprice, op. 31………….Xaver Scharwenka
104Melodie, op. 16, No.2………….J. Paderewski
105Polonaise, B major, op. 9…. ……J. Paderewski
106Miss Clara Krause.
107(The Knabe piano used.)
108Orchestral and choral concert. American compositions (Nos. 4 and 6 excepted). Each choral work will be conducted by the composer. Reading Choral Society. Philadelphia Orchestra.
109Solo violinist, …….Mr. Gustav Hille …. ……Philadelphia
110Solo pianist, …….Mr. Maurits Leefson……..
111Solo harpist, …….Mr. G. Setaro……..
112Songs. { Miss Sara A. Shearer………….Reading
113{ Miss Josephine Richardson……Philadelphia
114Female quartet. { Miss Addie Reed Fleming……
115{ Miss Rose M. Brady………….Reading
116Tenors. { Mr. Peter Marzen………….Philadelphia
117{ Mr. Allen C. Mellert………….Reading
118Baritone. { Mr. Edward Pengelly………….Reading
119Accompanist…….Mr. Albert W. Borst……Philadelphia
120PROGRAM.
121Chorus, "Im Tempel der Muse"………….Herm. Mohr
122Conductor, Mr. Herm. Mohr.
123Concerto, for violin and orchestra, D major, op. 60…………………Gustav Hille
124Allegro moderato—Andante—Allegro.
125Mr. Gustav Hille.
126Conductor, Mr. Maurits Leefson.
127Festival Te Deum in C—For soli, quartet, chorus and orchestra…………………Carl Retter
128Soprano, Miss Sara A. Shearer.
129Alto, Miss Rose M. Brady.
130Tenor, Mr. Peter Marzen.
131Bass, Mr. Edward Pengelly.
132Conductor, Mr. Carl Retter.
133Harp Solo—"La Bella Giardiniera"………….Albani
134Mr. G. Setaro.
135Songs—
136"Break Not Her Sleep"………….A. W. Borst
137"Sleeping Tide"………….Kellie
138Mrs. Addie Reed Fleming.
139Concerto, for piano and orchestra, two movements..J. Raff
140Andante con moto—Allegro.
141Mr. Maurits Leefson
142Conductor, Mr. Gustav Hille.
143Cantata, "Prayer and Praise" for solo, quartets, chorus and orchestra………….W. W. Gilchrist
144{ Miss Sara A. Shearer………….Reading
145{ Miss Josephine Richardson……Phil.
146Mrs. Addie Reed Fleming……Phil.
147Miss Rose M. Brady………….Reading
148Tenor………….Mr. Allen C. Mellert………….Reading
149Baritone………….Mr. Edward Pengelly……Reading
150Conductor, Mr. W. W. Gilchrist.
151(The Knabe piano used.)
153Thursday, December 29.
1549:30 A. M.
155Business.
156Election of Officers.
157Essay ………………..Mrs. C. C. Bangs, Carlisle
158Subject—"Music and its Methods in the Schools."
159Discussion.
160Essay ………………..Miss M. Virginia Peck, Philadelphia
161Subject—"The Nasal Tone in Song and Speech."
162Discussion.
16411 A. M.
165Piano Recital by Miss Cornelia Dyas.
166PROGRAM.
167Fifth French Suite…………………J. S. Bach
168Allegro—Courante—Sarabande—Gavotte—Gigue—Gigue.
169Melodie, { …………………Edmund Neupert
170Étude, { …………………Grieg
171Narcissus…………………Nevin
172Allegro…………………Händel
173Pastorale, { …………………Scarlatti-Tausig
174Capriccio, { …………………Chopin
175Prelude, G major, { …………………Chopin
176Prelude, B minor, { …………………Chopin
177Étincelles…………………Moszkowski
178Polonaise, E major…………………Liszt
179(The A. B. Chase piano used.)
1802 P. M.
181Essay………….Hugh A. Clarke, Mus. Doc., Philadelphia,
182Subject—"Harmony."
183Discussion.
184Unfinished Business.
1854:00 P. M.
186Piano and song recital by Mr. Eugene C. Heffley and Miss Lois Belle Cory, Grove City.
187PROGRAM.
188Piano solo, "Rhapsodie Hongroise" No. 4………….Liszt
189Songs—
190"Song of a Summer Night"……C. Whitney-Coombs
191"He Loves Me"…………………Ad. M. Foerster
192"The Curl" (Scotch dialect)…………………Neidlinger
193Piano solo, Theme and Variations, op. 34……..Beethoven
194Songs—
195"Vortrei Morir"…………………Tosti
196"Frühlingszeit"…………………R. Becker
197Romance, "No"…………………A. Sembach
198Piano solo—
199"March of the Dwarfs," op. 54…………………Grieg
200Barcarolle, op. 13, No. 3………….Nicodé
201Tarantelle, op. 13, No. 3………….Nicodé
202Recit. and aria, "Freischütz"…………………C. M. von Weber
203Piano solo, Marche from Suite, op. 91…………………Raff
204(The Knabe piano used.)
2058 P. M.
206Organ Recital in Grace Lutheran Church, South Eleventh Street.
207( Mr. J. Fred. Wolle………….Bethlehem
208Organists………….Mr. Charles Davis Carter……Pittsburg
209Mr. Stanley Addicks……Philadelphia
210Miss A. Homan…………."
211Vocalists………….Mr. Fred. Davis…………."
212Hugh A. Clarke, Mus. "
213Accompanists……Doc. "
214Mr. Albert W. Borst……"
215PROGRAM.
216Pastorale in A…………………Rheinberger
217Fugue in D…………………Bach
218"Siegfried's Death March," from "Die Götterdämmerung"…………………Wagner
219(Transcribed by Mr. J. F. Wolle.)
220Mr. J. Fred. Wolle.
221Soprano solo, "Hear My Prayer"…………………Mendelssohn
222Miss A. Homan.
223Bass solo, "The Golden Land"…………………T. Mattei
224Mr. Fred. Davis.
225Sonate in F minor…………………Mendelssohn
226Adagio. Andante. Recit. Allegro.
227Andante and finale, from sonate in G, op. 27. Rheinberger
228Fanfare…………………Lemmens
229Mr. Charles Davis Carter.
230Soprano solo, "Salve Regina"…………………Bordogni
231Miss A. Homan.
232Bass solo, "Honor and Arms," "Samson"…………………Händel
233Mr. Fred. Davis.
234Allegretto in B minor…………………Guilmant
235Theme with variations and final fugato…………………H. Smart
236Mr. Stanley Addicks.
237(Farrand & Votey organ used.)
239Much interest was manifested regarding the musical features of the convention and the unquestionable success of the three days was the piano recital of Mr. Leopold Godowsky, of St. Petersburg, Russia. The opera house was crowded to hear this artist, who immediately impressed his audience with his gentle and agreeable appearance, entirely without any of the affectations which sully the platform behavior of many prominent players. With his first touch upon the superb Gildemeester & Kroeger grand the hand of a master was recognized and perfect silence reigned during his performance.
241Before criticising his recital it may be remarked that his success was doubly marked by having an instrument of such volume, sonority and brilliancy of tone that it afforded him the most satisfying aid. The sensitive touch of this concert grand piano (one of an entirely new and original scale), gave Mr. Godowsky a confidence that he had before him an instrument upon which he could depend, not only for heavy chordal work but also for the more subtle and delicate passage work which he commands so remarkably. The artist himself was warm in praise of the piano, which fully deserved his encomium. Mr. Godowsky is a pianist par excellence of the romantic school. To a perfect technic, velvety touch and poetic style he contributes a personality all the more potent because of its unobtrusiveness and delicacy of nature. He plays Chopin and Liszt wonderfully well, and the great Pachmann said of his interpretation of Liszt's F minor étude, that it was as if he listened to himself, and this is praise indeed, as all must admit. He is a most satisfying young artist.
243The Beethoven String Quartet, of Philadelphia, rendered the selections in the program with unerring accuracy of tone and reading, and were warmly applauded by the appreciative audience present, the 'cello playing being especially attractive, broad and full of tone color.
245Miss Josephine Richardson, also of Philadelphia, was the soloist engaged for the first evening, and pleased her audience greatly by her artistic singing. Her voice is a full contralto, which she used with marked effect in the several songs allotted to her.
247After the recital at the theatre the piano was removed to the parlors of the Mansion House, and a general invitation was extended for the next evening to an informal reception given by Mr. Godowsky, who, with great good nature, entertained his numerous admirers with selections until the wee sma' hours of the night. So great was his popularity that the listeners would have remained until daylight had not the piano been closed, as it was supposed, for the night. After the hearers had departed Mr. Godowsky, who is nothing if not enthusiastic, slyly opened the Gildemeester & Kroeger grand, and "refreshed" himself, as he called it, with Liszt's arrangement of the "Tannhäuser" overture
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