Scan 14
Musical Courier 1893-04-12: Vol 26 Iss 684, 1893
222 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. Printed page 15. See the scan on archive.org.
1group of French songs and duets with Mrs. Knox, and the duet from "La Cigale" with Ross David. In the evening she appeared at the Harlem Club reception and sang the aria from "Samson and Delilah" and a group of French songs. Miss Taylor has been engaged to sing the solo parts in Max Bruch's "Frithjof," to be given by the Orpheus Society at the Madison Square Concert Hall on April 20.
3A Columbus Festival.—There will be a festival of church music in Trinity Church, Columbus, Ohio, Mr. Julius G. Bierck, organist and choirmaster, May 26 next. The combined vested choirs of Christ Church, Springfield; Good Shepherd and Trinity, Columbus, will take part, making a chorus of over 100 voices. Mr. Bierck will direct. The following program will be given:
5CHORAL CELEBRATION, 10 A. M.
6Processional, "We march, we march"……………………………Barnby
7Communion Service in D, complete……………………………Rey. H. H. Woodward
8Introit, "Give ear, O Lord"………………………………….T. Mee Pattison
9Offertory, "Praise God in His Holiness"…………………….Berthold Tours one of two readings
10Offertory, "Praise God in His Holiness"…………………..Berthold Tours one of two readings
11Recessional, 116……………………………………………..Hymnal one of two readings
12Recessional, 116…………………………………………………….Hymnal one of two readings
14CHORAL EVEN SONG, 8 P. M.
15Processional, "We march, we march"……………………………Barnby
16Versicles, according to use in Trinity Parish…………………
17Psalter, one of the selections from Cathedral Psalter………
18"Magnificat"………….(in F)……………………………….Chas. Harford Lyon one of two readings
19"Nonn Dimittis"……………………………………………..Anthems one of two readings
20"Magnificat"…………………………………………………….Chas. Harford Lyon one of two readings
21"Nunc Dimittis"……………………………………………….Chas. Harford Lyon one of two readings
22Anthems— one of two readings
23"Lift up your heads, O ye gates"……………………………J. L. Hopkins
24"I will lay me down in peace"……………………………Henry Hiles
25"Save me, O God"…………………………………………..J. L. Hopkins one of two readings
26"Save me, O God"……………………………………………..J. L. Hopkins one of two readings
27Offertory, "The Lord is King"……………………………T. Tallis Trimmell
28"The Bell Amen"…………………………………………….Recessional, 116……………………………………………..Hymnal one of two readings
29"The Bell Amen"……………………………………………….Chas. Harford Lyon one of two readings
30Recessional, 116…………………………………………………….Hymnal one of two readings
32A St. Louis Easter Program.—An interesting Easter program comes from St. Xavier's Church, St. Louis, which was produced under the direction of M. A. Gilisinn, whose name figures largely on the program as a composer of sacred music. At the high mass Cherubini's Coronation mass was given by a chorus of thirty-six voices, and Schumann's orchestra of twenty-five men.
34At Lakewood.—Mrs. Anna Burch, Mrs. Scalchi and Mr. Campanini gave a brilliant concert at the Lakewood Hotel, Lakewood, N. J., last Saturday evening.
36Detroit Items.—Castellanos, the pianist, gave a recital in Detroit on April 4, and Anton Seidl gave a largely attended Wagner concert at the Detroit Opera House on April 5.
38Campanini's Benefit.—Campanini was tendered a benefit concert at the Lenox Lyceum, last Sunday evening, at which many well-known musicians appeared. The affair was very successful.
40Made a Grand Opera Success.—Eau Claire, Wis., April 5.—Dr. E. C. French received a cablegram from Paris to-day that Miss Myrta French made her début at Paris last night and that it was in every sense of the word a success. She is singing in grand opera. Miss French, accompanied by Mrs. French, arrived at Paris from Trieste March 24.
42At the Detroit School of Music.—The ninth evening concert at the Detroit School of Music occurred on the evening of March 30, when this program was given:
43Slavonic Dance, No. 3 (two pianos)……………………………Dvorák
44Miss Sadie Lang, F. A. Apel.
45"Neath the Stars"…………………………………………..Goring Thomas one of two readings
46"Neath the Stars"……………………………………………..Goring Thomas one of two readings
47Miss Annette André, Mr. A. A. Langlois.
48Impromptu, op. 90, No. 3………………………………….Schubert one of two readings
49Impromptu, op. 90, No. 3………………………………………Schubert one of two readings
50Etude, op. 10, No. 5…………………………………………Chopin one of two readings
51Etude, op. 10, No. 5……………………………………………..Chopin one of two readings
52Miss Lang.
53"Dreams of Gladness"………………………………………Moir one of two readings
54"Dreams of Gladness"…………………………………………..Moir one of two readings
55Mr. and Mrs. H. J. Booth.
56"At Eve," op. 12…………………………………………….Schumann one of two readings
57"At Eve," op. 12……………………………………………….Schumann one of two readings
58Etude, D flat…………………………………………………Liszt one of two readings
59Etude, D flat…………………………………………………….Liszt one of two readings
60Miss Lang.
61Song………………………………………………………..Rubinstein
62Miss André.
63Slavonic Dance, No. 6 (two pianos)……………………………Dvorák
64Miss Lang, Mr. Apel.
65"The Rival Lovers"…………………………………………..Novaro one of two readings
66"The Rival Lovers"……………………………………………..Novaro one of two readings
67Miss Ida and Messrs. John and Harry Booth.
69This afternoon Mr. Franz Apel, the director, will give his ninth piano recital, when the following compositions will be played:
70Andante and var., op. 46, two pianos………………………..Schumann one of two readings
71Andante and var., op. 46, two pianos………………………….Schumann one of two readings
72Mrs. Marie Puhl, F. A. Apel.
73Prelude and fugue, G minor………………………………..Bach-Liszt one of two readings
74Prelude and fugue, G minor………………………………….Bach-Liszt one of two readings
75"Song without words," No. 1……………………………….Mendelssohn one of two readings
76"Song without words," No. 1………………………………..Mendelssohn one of two readings
77Bourée Antique……………………………………………..Seeböck one of two readings
78Bourée Antique…………………………………………………Seeböck one of two readings
79"Cradle Song"……………………………………………..Kroeger one of two readings
80"Cradle Song"…………………………………………………..Kroeger one of two readings
81Aveu, op. 30……………………………………………….Schütt one of two readings
82Aveu, op. 30…………………………………………………….Schütt one of two readings
83Rêverie Interrompue, op. 40……………………………….Tschaikowsky one of two readings
84Rêverie Interrompue, op. 40………………………………….Tchaikowsky one of two readings
85Nocturne, op. 25……………………………………………Tempest one of two readings
86Nocturne, op. 25……………………………………………….Tempest one of two readings
87Au bord d'une Source………………………………………Liszt one of two readings
88Au bord d'une Source…………………………………………..Liszt one of two readings
90Dates of New York Philharmonic Club.—Following are the dates of the New York Philharmonic Club in April:
91April 15, New York, "University Club."
92"18, Jersey City.
93"20, Paterson, N. J.
94"22, Philadelphia.
95"25, Brooklyn (with Apollo Club, Academy of Music).
96"26, Troy, N. Y.
97"27, Elmira, N. Y.
98"28, Utica, N. Y.
100The Springfield Festival.—The annual festival occurs May 3, 4, 5. The works to be given are Verdi's mass, the "Elijah," a Beethoven and a Mozart symphony and other important but shorter numbers. The artists are Miss Juch, Mrs. Nordica, Elizabeth Webb Carey, Mrs. Poole-King, Miss Gertrude Edmands, Messrs. Rieger, Ricketson, Max Heinrich and Ludwig. G. W. Chadwick, of Boston, musical director.
102New York Symphony Society Program.—Next Friday afternoon and Saturday evening the Symphony Orchestra, Walter Damrosch conductor, will give the last concerts of the season at Music Hall. Mr. Plunket Greene will be the soloist, and will sing an air of "Friar Laurence" ("Romeo and Juliet") by Gounod; a new Hungarian melody arranged by Francis Korbay and two Irish songs. The orchestra will play Beethoven's "Pastoral Symphony," Berlioz' overture, "Benvenuto Cellini," and Liszt's symphonic poem, "Festklange."
104Rudolf Gott.—Rudolf Gott will give a piano recital at Madison Square Hall this evening.
106The Boonton Vocal School.—The Boonton (N. J.) School for Vocal Culture, which has had a very successful season, will begin its regular summer season next Monday. The eighth recital was given February 6 under the direction of Edward M. Young, the director of the school.
108At Norwich, Conn.—A free organ recital was given by Mr. Geo. A. Kies at Park Church, Norwich, last Saturday evening. He was assisted by Mrs. Kies, soprano, in the following program:
109Fugue in E minor, Book II, No. 9, Peter's Ed. ("Wedge" theme).Bach
110"Meditation," op. 30, No. 1……………………………….Guilmant one of two readings
111"Meditation," op. 30, No. 1…………………………………….Guilmant one of two readings
112Air, "Jerusalem, thou that killest," from "St. Paul"……Mendelssohn
113Mrs. Kies.
114Variations on an American air…………………………….Plagier one of two readings
115Variations on an American air………………………………….Plagier one of two readings
116"Fear not ye, O Israel"…………………………………..Buck one of two readings
117"Fear not ye, O Israel"………………………………………Buck one of two readings
118Scottish Eclogue, op. 48, No. 4…………………………..Salome one of two readings
119Scottish Eclogue, op. 48, No. 4……………………………….Salome one of two readings
120Overture, "Euryanthe"…………………………………..Von Weber one of two readings
121Overture, "Euryanthe"………………………………………Von Weber one of two readings
123Damrosch's Last Sunday Concert.—The last Sunday night concert of the New York Symphony Orchestra under Mr. Walter Damrosch. This was the program:
124March of the Toreadors………………………………….from "Carmen," Suite No. 1…Bizet one of two readings
125March of the Toreadors………………………………………from "Carmen," Suite No. 1…Bizet one of two readings
126Danse Boheme……………………………………………..from "Carmen," Suite No. 1…Bizet one of two readings
127Danse Boheme……………………………………………….from "Carmen," Suite No. 1…Bizet one of two readings
128Air, Stances……………………………………………….Flegier one of two readings
129Air, Stances…………………………………………………….Flegier one of two readings
130Mr. A. L. Guille.
131Valse………………………………………………………..Bemberg
132Miss Lillian Blauvelt.
133Prelude, "Lohengrin"………………………………………Wagner one of two readings
134Prelude, "Lohengrin"……………………………………….Wagner one of two readings
135Air………………………………………………………..Mrs. Sofia Scalchi.
136Selections from "Le Prophète"…………………………….Meyerbeer one of two readings
137Selections from "Le Prophète"……………………………….Meyerbeer one of two readings
138Bertha………………………………………………………Miss Lillian Blauvelt one of two readings
139Bertha………………………………………………………..Miss Lillian Blauvelt one of two readings
140Fides………………………………………………………Mrs. Sofia Scalchi one of two readings
141Fides………………………………………………………..Mrs. Sofia Scalchi one of two readings
142The Prophet……………………………………………..Mr. A. L. Guille one of two readings
143The Prophet……………………………………………….Mr. A. L. Guille one of two readings
144March.
145Air, "Ah mon fils"………………………………………Fides one of two readings
146Air, "Ah mon fils"…………………………………………..Fides one of two readings
147Battle hymn……………………………………………..The Prophet one of two readings
148Battle hymn…………………………………………………The Prophet one of two readings
149Duet………………………………………………………Bertha and Fides one of two readings
150Duet………………………………………………………..Bertha and Fides one of two readings
151Finale from symphony No. 4……………………………..Tschaikowsky one of two readings
152Finale from symphony No. 4………………………………..Tchaikowsky one of two readings
153Polonaise from serenade…………………………………Beethoven one of two readings
154Polonaise from serenade……………………………………Beethoven one of two readings
155Andante cantabile………………………………………Tschaikowsky one of two readings
156Andante cantabile…………………………………………..Tchaikowsky one of two readings
157String orchestra.
158Ride of the Valkyries…………………………………….Wagner one of two readings
159Ride of the Valkyries……………………………………….Wagner one of two readings
161A special extra concert by the Symphony Orchestra in conjunction with Sousa's Band has been arranged for next Sunday evening.
163The Sweetser Concert.—The following was the program at the complimentary concert tendered to Catherine Linyard Sweetser at Association Hall, Brooklyn, last night, by Miss Alice Mandelick, Mr. Jos. Atkinson, tenor (his first appearance in America), Mr. Raphael Diaz Albertini, violinist, and orchestra of fifty-five pieces; C. Mortimer Wiske, conductor:
164Overture, "Merry Wives of Windsor"……………………..Nicolai Orchestra. one of two readings
165Overture, "Merry Wives of Windsor"………………………..Nicolai Orchestra. one of two readings
166Tenor solo……………………………………………….Selected one of two readings
167Tenor solo……………………………………………………Selected one of two readings
168Mr. Joseph Atkinson.
169Violin solo, "Airs Russes"……………………………….Wieniaski one of two readings
170Violin solo, "Airs Russes"………………………………….Wieniaski one of two readings
171Raphael Diaz Albertini.
172Aria, "Romeo e Giulietta"……………………………….Verdi one of two readings
173Aria, "Romeo e Giulietta"………………………………….Verdi one of two readings
174Miss Alice Mandelick.
175"Echoes from the Ball"…………………………………Gillet one of two readings
176"Echoes from the Ball"………………………………………Gillet one of two readings
177Grand valse……………………………………………..Luigi Venzano one of two readings
178Grand valse…………………………………………………Luigi Venzano one of two readings
179Catherine Linyard Sweetser.
180"Pizzicati"……………………………………………….Thome one of two readings
181"Pizzicati"……………………………………………………Thome one of two readings
182Orchestra.
183Tenor solo, "The Last Watch"……………………………Pinsuti one of two readings
184Tenor solo, "The Last Watch"……………………………….Pinsuti one of two readings
185Mr. Atkinson.
186Introduction et Rondo Capriccioso………………………..Saint-Saëns one of two readings
187Introduction et Rondo Capriccioso………………………….Saint-Saëns one of two readings
188Mr. Albertini.
189Miss Mandelick.
190Song, "Elaine"…………………………………………Van de Water one of two readings
191Song, "Elaine"……………………………………………..Van de Water one of two readings
192Catherine Linyard Sweetser.
193"Schatz Waltz"…………………………………………Strauss one of two readings
194"Schatz Waltz"……………………………………………..Strauss one of two readings
195Orchestra.
197Clarence Eddy on Organists' Memorizing.—Chicago, March 29.—Your issue of to-day contains a report of an organ concert which took place in this city last evening. After mentioning some of the selections contained in the program your correspondent makes the following assertion:
198"All of these were played from memory, and the freedom in expression and increased animation revealed in the player's work by reason of his being unhampered by notes lent unusual worth to the performance, and demonstrated that organists, like pianists, are heard at their best only when they have memorized the compositions they play."
199As an organist of considerable experience and a personal friend of many distinguished players of the organ whose views on this subject coincide with mine, I take exceptions to the import of the above statement. In only one particular is the organ like the piano, namely: That the keyboards are similar. The structure of the organ is vastly more complicated than that of the piano, while its scope and tonal resources are incomparable. In order to completely master a large organ one must not only have a perfect command of the manual keyboards, but of the pedals and the vast array of mechanical accessories. He must not only comprehend the instrument as a whole, but thoroughly understand the workings of every detail. It is often necessary to prepare certain combinations of stops long before they are brought into action, and the mind is constantly forced to act far in advance of the fingers and feet.
200Now, to burden the mind with memorizing the notes, in addition to these requirements, is as harmful as it is useless, and I maintain that organists are heard at their best when they are unhampered by the mental strain attendant upon committing to memory the compositions they play. The "increased animation" which your reporter discovered last evening I observed to be rather a frequent hurrying and unsteadiness of the tempo, caused by nervousness, which rendered the work of the player indistinct and inaccurate.
201In my opinion greater "freedom of expression" might have been attained if the player had referred occasionally to his notes, while the value of his performance from an artistic standpoint would not have suffered in the least. Among the most noted organists of my time whom I have known personally, and with whose playing I am quite familiar, are: August Haupt, Gustav Merkel, A. G. Ritter, W. T. Best, Alexandre Guilmant, Theodore Dubois, Eugene Gigout, Charles M. Widor, Dudley Buck, Samuel P. Warren, John K. Paine, Eugene Thayer, Frederic Archer, George E. Whiting and George W. Morgan.
202As a rule, all of these artists have been in the habit of playing from notes in public, and even their own compositions. Who can say they were at such times not "heard at their best"?
203It would be better for critics to confine themselves to a plain statement of facts than to express an opinion at variance with sound judgment, based upon a practical knowledge of the subjects they write upon.—Yours very truly, CLARENCE EDDY.—Chicago "Tribune."
205A Man of Many Names.—In yesterday's review of the last presentation of the "Creation" you take notice of the former performance of that work in this city some years ago, under the direction of Professor Willisiky, which I presume means the undersigned, who at that time directed the "Creation." Having lived and labored in music in these United States for forty-five years, six of which were spent in this city, and all that under my true name, and having borne it for over half a century unsullied, I feel a kind of pride in its extreme oddity, but not enough to lose sight of the many and often ludicrous ways in which it is spelled—or rather misspelled.
206For many years I am the recipient of a monthly journal, which comes addressed to A. Wilbilt. I have corrected the publisher several times, and for the fun of the thing I will give the different corrections made until the parties arrived at the above address at which I left it, my endeavor to rectify the errors being all in vain: Wihlart, Willbart, Willkartsi, Witthartz, Willkatz, Wileharliz and Wilbilt. A music publisher very lately addressed a package of music in care of Belmont Hall to W. Hortes; letters were sent to me as William Hartez, Bill Harts, Veal Hearts, Willharts, Wilhatsi, Will Horrids and many other names, and finally I turn up in the "Herald" of yesterday as Willisiky. one of two readings
207For many years I am the recipient of a monthly journal, which comes addressed to A. Wilbilt. I have corrected the publisher several times, and for the fun of the thing I will give the different corrections made until the parties arrived at the above address at which I left it, my endeavor to rectify the errors being all in vain : Wihlart, Willbart, Willkartsi, Witthartz, Willkatz, Wileharliz and Wilbilt. A music publisher very lately addressed a package of music in care of Belmont Hall to W. Hortes; letters were sent to me as William Hartez, Bill Harts, Veal Hearts, Willharts, Wilhatsi, Will Horrids and many other names, and finally I turn up in the "Herald" of yesterday as Willisiky. one of two readings
208This much becomes plain to everybody, and may be constituted into a warning for humanity, i.e., a child should be very careful in the selection of a family name at birth, especially if he be a he, for she could easily, I think, change hers at a certain stage of life.
209While I am sorry to herewith rob your proof reader of the pride of having done something original in misspelling my name, and with the suggestion that he depend less on the euphony, with a special emphasis, than on the oddity of spelling Slavic names, I remain, without any feeling of bitterness or resentment, yours respectfully,
210A. WILLHARTITZ.
211—Los Angeles "Herald."
213WILLIAM ROHLFING & SONS,
214Music Publishers and Importers,
215MILWAUKEE, – WISCONSIN.
216Depot for Germany: FRITZ SCHUBERTH, JR., Leipsic. one of two readings
217Depot for Germany : FRITZ SCHUBERTH, JR., Leipsic. one of two readings
218Depot for England: STANLEY, LUCAS, WEBER & CO., London. one of two readings
219Depot for England : STANLEY, LUCAS, WEBER & CO., London. one of two readings
220Publishers of "EDITION ROHLFING."
221The most complete stock of all the standard cheap editions found out West. Catalogues free on application. Most liberal and inducing terms granted to the trade and the musical profession in general. American and foreign musical novelties added to their fine assorted stock as soon as issued. Apply and be assured of prompt and quick attention.
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