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Musical Courier 1893-07-01: Vol 27 Iss 695, 1893
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1inane vagaries. When the difficulty and seriousness of a conductor's position are appreciated it becomes difficult to express, adequately, one's admiration for a Seidl or a Nikisch."
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5This week Miss Blanche Taylor left for Boston for "Class Day" at Harvard and Williamstown colleges. A "grand time" is expected. Her cousin, Miss Edith Taylor, gives her a garden party at her home in Cambridge. On her return Miss Blanche spends the summer at the Indian Harbor Hotel, Greenwich, Conn. Mr. Will Taylor is now a "Mus. M.," having had the degree which these letters represent conferred upon him with the position of professor of music by that college.
7FANNIE EDGAR THOMAS.
9Buffalo Briefs.
11BUFFALO, N. Y., June 12, 1893.
13THE Orpheus concert and Vocal Society concert of some time ago practically wound up our musical season. There are also the Olcott Hall song recital and Sousa band concerts to mention; not to go into detail over young Cyril Tyler's concerts, a graduation recital by Miss Mayme Maerz, Syracuse University Glee Club concert, and our season of summer opera by the Murray-David Opera Company, just begun most successfully.
15The Orpheus singers and Mr. John Lund, their conductor, are in dead earnest; there is discipline there—and when a man does not show up at a general rehearsal he is not allowed to sing, that's all. This being the case there is a finish and general familiarity with the work in hand at an Orpheus concert which is quite lacking at other similar affairs.
17This last concert brought forth several novelties: a "Wanderer's Song," by Lund, a "Love Song," by F. W. Kraft, and an arrangement of "The old home ain't what it used to be" (negro melody), by Mr. Lund, the German version by his mother. All of these works are far above the average in merit. Lund's "Wanderer's Song" is an inspired work, and with the negro melody arrangement are sure to win their way when published.
19Miss Maud Powell is an annual guest; she sometimes comes two or three times a season, and is (figuratively) received with open arms; some of us, no doubt, would prefer that the "open arms" should not be figurative. But, hist! I'm married, so this is a stage whisper only. She was hampered on this occasion by a sudden change in her program numbers, which was utter nonsense, for of the numbers she had originally chosen, only one, the Vieuxtemps Polonaise, had been played here by Marteau. However, the obliging Maud changed them to please somebody or other—probably or other—and played the Rust introduction and allegro, and a brace of short pieces, to the limitless satisfaction of audience and the "or other." Mr. Riesberg was the accompanist.
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23The Vocal Society's concert suffered from several contretemps: first, Mrs. Jones could not sing, Miss Clark and Miss Welch taking her place, and the Vocalion organ caught a cold, or was balky and would not work; quickly remedied, however, by Mr. Daniels, who appeared on the scene, or rather behind the same, and with coat off persuaded the instrument to behave properly. The part songs, women's chorus and short cantata, "The Pilgrims," by Chadwick, were all sung exceedingly well under Mr. Mischka, so I was told by competent authority. In the successful endeavor to be in two places at once that evening I could hardly be expected to make extended mention of either.
25Young Henri Marteau appeared here for the third time within as many months in this concert, and again pleased his hearers mightily, by reason of his beautiful, heartfelt tone and warm-blooded, intense violin playing. In connection with this I "rise to a personal explanation."
27At a previous (Sengerbund) concert his accompanist, a thoroughly capable man, but who has a way of "losing his head" at critical times—ask Maud Powell—had so bothered Marteau that he wrote asking that your correspondent, who had played his accompaniments on the occasion of his first appearance in this city, should be engaged. Right willing was I, and everything passed off perfectly. Next day and some time after the Buffalo "Courier" made several flings at me, for why? Because, forsooth, I was preferred by Marteau to the "other fellow," who acts as accompanist for the Buffalo "Courier's" critic. I have Marteau's note, asking Mr. Mischka to engage me to accompany him. Shall I say, "I am sorry I was preferred to you," or "I am sorry you didn't satisfy Marteau at the Sengerbund?" which would be nearer the truth. Now, of course, the public does not know this "inside history," and they never would have known it if Mr. "Head-loser" had shut up. He steps on me, and here's the only kick I make. I'm sorry, for I never want to hit anybody!
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31The Chauncey-Olcott-Marguerite Hall song recital catered to two entirely distinct folk; the one the musically educated and refined, the other the ballad, love song loving miscellaneous public hall representing the first named of course. Olcott has a lovely, low tenor voice, a delightfully distinct enunciation, and an equally delightful stage presence, but he sings trash—trash—trash—nothing but trash, and sings "love-ah," "yes-ah," "oys" for "eyes," "tender-lee," and commits other vocal sins too numerous to mention. Once when he sang a fortissimo A I thought he would burst, sure! However, he didn't, and is still among us.
33Miss Hall sang graceful, serious, thoroughly good music in a style that actually won over Olcott's admirers; she was the oasis in a musical desert.
35Sousa's Band gave two well attended concerts at Music Hall, which demonstrated that Gilmore's successor has been found.
37Mr. F. W. Riesberg's pupils, some thirty-five in number, held forth in two students' recitals last week.
39Miss Mayme Maerz played a piano program (her graduation recital, Buffalo School of Music) intelligently.
41Miss C. M. Woods' class gave a musicale at a private residence this week.
43F. W. RIESBERG.
45HARRY W. LINDSLEY, organist of the Second Presbyterian Church, Newark, and corresponding secretary of the Manuscript Society, christened a new organ in the Pearl Street Baptist Church, Bridgeton, N. J., on June 19, by giving an excellent organ recital. The organ was built by M. P. Moller, of Hagerstown, Md., and has twenty-two stops and 847 pipes. Mr. Lindsley was ably assisted by the soprano of his Newark choir, Miss Amy Ward Murray, and by local talent. He played compositions by Clark, Jonas, Thayer, Welch, Tours, Buck and Batiste. The Bridgeton "Evening News" said of the recital: "Mr. Lindsley was at once the master of his great instrument, and the unerring touch and freedom of manipulation captured his auditors from the beginning." The "Daily Pioneer" commented as follows: "Those who went expecting a treat of the finest organ music were not disappointed. The pleasing program was made up of gems of the finest musical character, the selections arranged by Mr. Lindsley being exceedingly fine and rendered with captivating skill. Perhaps the sweetest of the vocal solos was that always sweet anthem, 'I know that my Redeemer liveth,' which was sung by Miss Murray, and in which her full, round and sweet soprano voice had fine effect. The program had been so arranged as to bring out the excellent combinations of tone of which the instrument is capable, and their character must have been highly gratifying to the musical critics who had gone there to listen."
47Raymond Wheeler Smith, solo tenor of the Second Presbyterian Church, Newark, and a member of the Mendelssohn Glee Club of New York, and Miss Olive May Hopping, of Newark, were married on June 14 at the Clinton Avenue Reformed Church, Newark. Mr. Smith's associates in choir work sent an exquisite Japanese screen as a wedding gift.
49Alfred Hallam, of Stamford, Conn., and Mrs. Hallam will sail for England next Saturday on the City of Rome, to remain until September 1. They will spend most of the time in London. Mrs. Hallam is an American, and this will be her first trip to Europe.
51R. Huntington Woodman, of Brooklyn, will spend July at Bailey Island, in Casco Bay, Me., and will play at the World's Fair the first week in August. His address during the first half of August will be 5106 Cornell avenue, Chicago. He speaks in high terms of the new baritone of his church choir, Royal S. Smith, the husband of Mrs. Lillian Blauvelt.
53Mrs. Mary Knight Wood, the composer, is summering at "Witchwood," Onteora, Catskill Mountains.
55Miss Nellie Sabin Hyde, solo contralto of the Madison Avenue Presbyterian Church, who is at her old home in Poultny, Vt., in attendance upon her invalid father, was the bright particular star at the commencement concert of the Troy Conference Academy in Poultny on the evening of June 14. Her selections were, "My heart at thy sweet voice," Saint Saëns, and "Still as the Night," Bohm; both with orchestral accompaniment. One newspaper said of her performance: "It was the first appearance of Miss Hyde since her return from New York, where she has been singing and studying for about three years. Miss Hyde's rich contralto voice, good as it was before, is very much improved. There is a fullness, a finish in it which takes her out of the amateur class and places her among the artists. It is beyond our ken to criticise her singing, every tone of which is pure and smooth. To say that the audience was pleased and delighted does not express it." Others who participated were George F. Doring's orchestra, of Troy; Miss Mabel Roberts and Harvey E. Bruce, vocalists; the Trojan Glee Club and Miss Genevieve Cleveland and Charles T. Murdock, readers.
57Miss Fannie M. Speucer, the talented composer and organist, will summer on Croton avenue, Sing Sing, N. Y.
59Charles T. Howell, of New Brunswick, N. J., will substitute for Dr. Gerrit Smith this summer on the organ bench of the South Reformed Church.
61Charles B. Rutenber, having lately enjoyed a few moments of leisure, spent the time pleasantly and profitably in composing three delightful songs, entitled "Desire," "Night Song" and "Good Morrow," which he has dedicated to Perry Averill. They will soon be published.
63John Towers, director of the Towers School of Vocal Music, New York, and chief of the vocal department of the Utica Conservatory of Music, will pass the summer months in Utica.
65C. C. Müller will bring out next month a useful little book of thirty-two pages, supplementary to his two tables of progressive harmony which have met with such a wide sale. The new book will be especially devoted to chord succession and harmonization.
67J. F. Kitchen, organist of the First Presbyterian Church, Newark, will spend a portion of the summer at his old home near Toronto, Canada. Later he expects to visit Detroit and Chicago.
69Sumner Salter returned last Friday from Iowa. Mention of his great affliction was made in the last number of THE MUSICAL COURIER. He attended his mother's funeral. His father is now out of danger and will recover.
71Charles B. Hawley's new song, "I Long for You," with violin obligato, is just out. It is published by the Metropolitan College of Music. Ditson will soon publish Mr. Hawley's beautiful setting of Mrs. Amelie Rives Chanlers' poem, "O Lady Mine." The song originally appeared in "Once a Week."
73Miss Elysabeth Putnam Moore, violinist; Miss Sara Humbert, contralto, and Russell King Miller, pianist, have combined forces for teaching purposes next season. They hope "by the association of pupils and teachers in different branches of music to develop artistic taste and lay the foundation for broad musical culture." Such combinations are highly sensible, and ought to be extremely profitable to those interested. Mr. Miller will teach both piano and harmony.
75A new concert company has just been formed for next season, comprising Miss Augusti Yendik, contralto; Miss May Lyle Smith, flutist; E. A. Hunt, tenor; William H. Kennedy, baritone, and George Sumner Kittredge, pianist.
77George Riddle, the ever popular reader, will make his fourth tour to the Pacific Coast from August 15 to September 17. On September 22 he is booked for the Chicago Exposition, to do "Oedipus" with Prof. John K. Paine, of Boston, who will conduct his own music.
79ADDISON F. ANDREWS.
81Music in Boston.
83BOSTON, Mass., June 25, 1893.
85IT was proposed the other day by Colonel Eliot, of London, that the English public should subscribe for a memorial to Jenny Lind in Westminster Abbey, and the Dean promised to find space. The "Pall Mall Gazette" vigorously fought the project, and gave these reasons in objection: "Jenny Lind was a Swede, and we cannot have an alien immigration where there is scarcely room enough for Britons. If she be admitted it will one day be found impossible to exclude Dr. Ibsen or Leoncavallo, besides inducing a further complication in the miserable relations between Sweden and Norway. Then, again, she had a marvelous voice, but no better than Adelina Patti's, or Grisi's, or many another singer's."
87These arguments are by no means unanswerable. Händel was a German, and Clementi was an Italian; yet the two enjoy snug lying in the Abbey. That the voice itself of Lind was marvelous was disputed during her operatic and triumphant years, and disputed by men of authority. Grisi died near Cremona, and Adelina Patti still sings "Home, Sweet Home," so that the comparison seems lugged in by the heels, as far as any application to the matter in hand is concerned.
89But one paragraph of the "Pall Mall Gazette" deserves republication in full, and, when you consider the temper of the English public, the bravery of the writer is as conspicuous as his hard sense in this instance:
91"The truth is that the estimable persons who back this appeal are ridden by the absurd fallacy which vitiates the national judgment in matters of art. She sang for charity, we are told. She was the pride and glory of her sister women, her gifts were exercised as a trust from God. She was to thousands a revelation, and her noble motives were felt vibrating in her song and became an impulse to a higher life. So that, coming to the quick, the public is asked to set up a medallion of a pious Swede in the home of the great dead of England. The truth is that Jenny Lind vocalized the Great National Blush that bloomed on the country's damask cheek through the early Victorian period. England blushed self-conscious at its own respectability. But that is no reason why we should make monuments to a professional singer because she happens to be generous and respectable. It would not be 'a fitting tribute to Genius and to Worth,' so much as a complacent tribute to our own preference of Worth before Genius."
93This habit of the English, this judging an artist chiefly by the morality of private life, is seen in Dr. Mackenzie's lecture on "Falstaff," in which he "concluded by some references to the admirable private life of Verdi." The "Pall Mall Gazette" is moved to cry out against "the more or less paltry credentials of a charitable private life." It closes its protest with these words: "If Jenny Lind had cheated her husband, and gone off to Paris with a leading tenor, we should not have heard a word of this medallion."
95And what, pray, will Holland, the canon and precentor of St. Paul's, and Rockstro, the man Friday of Sir George
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