Scan 17
Musical Courier 1893-06-21: Vol 26 Iss 694, 1893
91 lines. Read by computer on 29 September 2026, twice; the two readings disagreed in places. Printed page 18. See the scan on archive.org.
1ing failing in her singing can be said to be a lack of warmth, her voice having frequently a hard and somewhat unsympathetic quality, not suited to this particular work. Her lower tones are also as yet somewhat rough. In general she pleased the public, and as she is a hard working and ambitious young vocalist she may be expected to improve and develop as experience is gained. It was a very severe test to appear beside such an artist as Lloyd, and it naturally placed her at a disadvantage. Mr. Lloyd was not in his best voice, probably owing to the fatigue of the long journey, and in "Every valley" there occurred another of those wonderful Tomlins muddles, nearly spoiling the most effective part of the number. Mrs. Christine Nielsen-Dreier, the contralto, was also not in the best of voice, as a disturbing roughness was apparent throughout. Lloyd scored the only encore with "Thou shalt dash them," which was the only number in which he reached his old-time form. Mr. Ericsson F. Bushnell was the bass, and he proved to be a thorough artist in this instance and did some of the best work of the day. "Why do the nations rage?" was very well sung indeed. The chorus did, on the whole, better than the soloists, as they have this particular work at their tongues' ends. We hope that they will be heard again in equally good work.
3Next Monday we are to have a hearing of a peculiar "electric" piano. I shall attend and report results. It will be remembered by my readers that an instrument somewhat of this nature was invented by De La Borde, of Paris, early in the century.
5A Good Chance that Has Been Missed by the Musical Bureau.
7The grand old cathedral music of England is entirely unrepresented in the musical scheme of work, in as far as we know. If the leading surpliced choirs of America had been invited to give, with the magnificent organ, some programs of the greatest English cathedral composers, from Purcell and Gibbon down, they would have attracted thousands of people now not actively interested or even sympathetic. Again, where is the "Palestrina" choir. Are we to have none of the sublime a cappella works of Praenestinus, Orlandus Lassus or Allegri? Opera is again sadly missed from the program, and it would have brought in ample receipts. The Fair has already squandered thousands on fireworks, but the singers from all over America do not seem to have been willing to come to the festivals unless something were guaranteed them; e.g., the Toronto Philharmonic Society or the Händel and Haydn, both of which bodies could have taught the Apollos something about singing. In consequence, the choral forces, while good—what there is of them—are not at all up to the figure of a world event.
9By consent of Louis Ballenberg, the veteran manager of Cincinnati, Hermann Ballstedt, the well-known cornetist, appeared at the "Trocadero" on Thursday evening.
11Further Important Art Works with Musical Subjects in the Art Exhibit.
13Austria—A fine bronze relief of Richard Wagner—Anton Brenek.
14"The Duet" (evidently in Mozart's day)—E. Simm (fine old clavichord).
15"The Duo"—Two cavaliers singing to guitars—Vaclav Brazik.
16United States—Lucas, A. P. (now in Paris) "Music;" remarkable nude figure with a fine harp.
17Italy—M. Marani, Rome, a positively divine "Angel of Music" playing on violin.
18Some very fine replicas of Pompeian bronzes—Orpheus, Pan, et al.
19Denmark—Fine bust of violinist Anton Svendsen by P. S. Kroyer.
20Italy—A strange fisherman's "Ave Maria," by H. Corrodi, of Rome.
21No. 100 I beg all to notice, as it is a noble conception: "Pergolese rehearsing his Stabat Mater," by D. Battaglia, of Naples.
22There is also an exquisite little gem in "A Guitar Solo" (small bronze).
23"The Angelus" on St. Peter's Day represents in a colossal size the harvesting Contadini on the Campagna; is a most impressive study by A. Corelli, of Rome.
24Norway—Fine portrait of Edvard Grieg, by E. Werendkioldof, Christiania.
25No. 130 is by the same artist—portrait of Erica Nissen at a modern grand.
26P. N. Arbo exhibits a fine "Walkyrie."
27Belgium—Jan Van Beers' "Summer Evening" has the strange fancy of a headless statue playing on the flute to a very modern "dame fashionable."
28"Come Again, Sweet Bird," by the same, is a pretty bit of color.
29Germany—Fritz Steinmetz has a fine small work, "A Solo" (cavalier carelessly playing the lute).
30Alfons Siber has a most boldly conceived cartoon in sepia, "Ride of the Walküre."
31Prof. Gotth Kuehl, of Munich, sends his famous "Ein feste Burg," being a girl singing in the old village choir loft to the still more antique organ of eight stops, played by a companion charity girl scholar.
32F. Heyser, of Wurzburg, has a portrait of the violinist Joachim (of marked excellence).
33Paul Meyer—Heinz's "A Matinée," a player at an old clavichord; is a right natural scene in the time of Haydn.
34Max Schuler, of Frankfort-on-the-Main, has an admirable portrait of Pablo di Sarasate (taken evidently about ten years ago).
35Professor Leitz, of Munich, shows an allegorical figure of Music.
36I have herewith merely chosen a few out of many to show in what degree our art of music inspires our brother artists in color.
38Friday, June 16—Festival Hall Series—No. 7, Bach's "Saint Matthew Passion."
40On the platform were barely 300 singers in lieu of the 600 advertised. The whole performance was indeed a curiousum, inasmuch as it certainly was the most inadequate rendition of the monumental work of the polyphonic cantor I have ever listened to. The chorus did its work as indifferently as it is possible for it to be done, marring every passage of beauty by absolute incompetency. When I say that even Lloyd made several errors of an unpardonable nature I have said my worst. Mrs. Agnes Thomson and Miss Bella Tomlins were utterly unsuited to the work assigned them, and the giving of such responsible parts to singers evidently totally inexperienced in Bach is not to be sufficiently reprehended. It requires old and experienced singers to do justice in any way to this music. Holmes, Bushnell and Maish did their subordinate parts fairly well, but in no instance more than fairly. In several instances the chorus well nigh went to pieces entirely; e.g., in the duo for the witnesses, sung by tutti. The handful of boys, who were supposed to have sung the "Soprano Ripieno" in the great opening chorus, were not at all audible. In the "Zion" tenor solo, with chorus, Lloyd made a lamentable miscount, and once even he failed to enter, after the introductory chord, before the recitative "And from the sixth hour." I have heard the work rendered twenty times, but never in such a miserable manner as on this occasion. If this be the best work of the Apollos, then deliver us from it. The veteran Lloyd must have bethought him with longing of the admirable performance of this work at the last Cincinnati May Festival. I truly regret to be obliged to be thus severe, but I cannot find one justifiable word of praise for this afternoon's work. The audience was large, half filling the great hall, but they seemed to be bored, and the opinion must again be hazarded that the "Passion" is not adapted to performance for the great public in America.
42W. Waugh Lauder.
44A Morning Musicale.
46THE approach of the hot June days usually calls a halt in literary, art and musical circles, and though the delightful entertainments of the winter season are missed, energy is on the wane and we drift as we may till the heated term is over. The ladies of the pretty little village of New Rochelle were not content thus to subside into quietude so early in the season, and provided a rare treat for their musical friends last Thursday morning.
48They had heard repeatedly of the practice clavier and its wonderful uses in the study of the piano, and with characteristic energy determined to see the instrument, learn its merits and judge for themselves. Thus it came about that Mr. A. K. Virgil, Miss Geyer, Miss Williams and the writer boarded the New Haven train last Thursday morning bound for New Rochelle. The ride even though so short was exceedingly pleasant, for the woods and hills were clad in brilliant green and the little white daisies everywhere gaily nodded their heads in greeting as we sped by.
50We were cordially received on our arrival and soon found our way to the gymnasium, a large building splendidly equipped for its purpose, and lending itself readily to the necessities of this occasion, since its acoustic properties are very fine. The stage was most beautifully and lavishly decorated with the blossoms of the season, and added greatly to the charm of the entertainment. A magnificent Steinway piano awaited the touch of the magic fingers, and left nothing to be desired in depth and purity of tone. A large and intelligent audience, with curiosity and deep interest written on every face, was soon assembled, and promptly at eleven o'clock the program was opened.
52It was the practice clavier that had awakened such curiosity and interest, and not to keep the audience in suspense Miss Geyer at once seated herself at the wonderful instrument and played Bach's prelude and fugue No. 5. It was fascinating to watch the changing expressions in the various faces in the audience; first curiosity; then a ripple of amusement as the little clicks came tumbling forth one upon another, now loud, now soft, in response to the player's will; but amusement soon changed to absorbing interest, which burst forth in hearty applause at the close. This number was repeated at the piano and followed by a Beethoven sonata, which was most exquisitely interpreted and showed both a wonderful technic and great purity of style.
54Little Miss Williams readily won the hearts of the ladies, and they were more than delighted with her playing of a solfeggietti and Jensen's "Will-o-the-wisp." The graceful movements of the flying fingers might well bring to the imagination the vision of the Will-o-the-wisp.
56One of the leading ladies then in a few well chosen words introduced Mr. Virgil, who was to fully explain the merits and uses of his famous instrument. All who have had the pleasure of hearing Mr. Virgil's lectures in Brooklyn or New York the past winter will readily understand how fully he fulfilled his promises.
58He quickly reviewed the difficulties most familiar to the struggling piano student, referring to the vast number of such students who fail to reach the goal, and plainly showing the reasons why. He explained the mechanism of the piano and perfectly defined the term legato; then demonstrated the action of the fingers necessary to produce the pure legato. He then spoke of the causes which led to the invention of the practice clavier, thoroughly explained its mechanism with the principles involved, and then claimed that by its use the piano student could accomplish more in one year than in three by the old method.
60He then delicately complimented his faithful assistants by saying he thought the ladies would need no further proof of the value of the instrument than the playing of the morning, and truly the musician must indeed be a severe critic who would not agree with him on this score. THE MUSICAL COURIER of a recent issue published a full synopsis of this lecture, therefore its readers will understand something of the pleasure of those who listened to Mr. Virgil's half hour discourse.
62Miss Geyer then played Schumann's romance in F sharp and Henselt's "If I were a Bird." Her delicacy of touch won every heart and she was most heartily encored, and responded cheerfully in her own pretty manner.
64The Columbine Minuet of Delahaye was a good test for Miss Williams' little fingers, but so well did they do their work that she too was encored, and gave us Heller's "Curious Story" in response. An etude of Scarlatti and Morceau Wallenhaupt were also beautifully rendered by her. Her perfect ease at the piano is marvelous in one so young, and many were the predictions of fame made for her future.
66Miss Geyer then played the closing number, Chopin's ever beautiful Berceuse, which charmed each and every one with its dreamy movement and the wonderful C sharp minor scherzo. Perhaps in this, more than in any other number, Miss Geyer shows her well nigh perfect command of not only the keyboard but her own "brain, nerve and muscle," the three essentials claimed by Mr. Virgil as necessary to artistic playing. Her wondrous power and strength seem almost impossible in one so young, and even as we wonder at her fullness of tone we are equally charmed with some dainty little run, and again carried away in a flood of melody and lost in admiration and delight.
68Though perilously near the luncheon hour when the program closed no one stirred from their seats until Mr. Virgil and the young ladies were most cordially thanked for the morning's entertainment. Then ensued some eager questions which with their answers excited much comment. One asked, "What is the average out of ten pupils using the clavier method who would accomplish even half as much as Miss Geyer and Miss Williams in the same length of time?" Mr. Virgil promptly answered, "Probably nine out of ten would accomplish half as much and most of them a great deal more than half." The ladies, not content with questioning in public, crowded about the clavier and plied its inventor with numberless inquiries. And thus we left him completely surrounded by the eager seekers after knowledge as we hastily took our departure for New York.
70We hope he has succeeded in extricating himself from his embarrassing position long ere this.
72M. J. S.
74London Cablegrams.—Mascagni is in London superintending the production of "I Rantzau."
76(no line here) one of two readings
77Sir Augustus Harris also meditates a stage version of Berlioz' "Faust" for the De Reszke brothers.
79FREE!
80One year's full course of training at the Utica, N. Y., Conservatory of Music
81(amounting to $136.00) in the piano, violin, organ or theoretical departments, to the energetic student who secures the largest number of paid subscribers to
82THE MUSICAL COURIER
83between now and November 1. The student who secures but ten will win the prize should no more than nine be sent by others.
85PLAN OF ACTION.
86Ascertain names of musicians and amateurs, and show them a copy of our splendid publication—the greatest musical journal ever published, now in its fourteenth year.
87Ask your friends and relatives to help you secure a musical education free by getting you subscribers.
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89THE MUSICAL COURIER,
9019 UNION SQUARE, NEW YORK.
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