Scan 20
Musical Courier 1893-07-01: Vol 27 Iss 695, 1893
133 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 21. See the scan on archive.org.
1his daughter, Miss Zoe Hlavac, in Recital Hall on Monday, at 1.30. This gentleman is Professor of the Science of Music in the University of St. Petersburg, and an original investigator, as well as a performer of no mean ability.
3It was an invitation affair, and about 150 deeply interested musicians attended. I give the whole program, as it is the only musico-scientific event that we have as yet had at the Fair:
5Air, with variations………………………………………J. Mich. Bach (Harmonium.) (1648-1694)
6"Elsa's Dream," from "Lohengrin"…………………Wagner-Liszt
7Prelude…………………………………………………Chopin
8"Danse des Sylphes"………………………………….Berlioz-Liszt (Armonipiano.)
9Air, "Biedni Konj" (from "Life for the Czar")……..Glinka (Song.)
10Overture, "William Tell"……………………………….Rossini (Harmonium.)
11"The Murdered One"………………………………….Hlavac
12"David's Harp" (Byron's Hebrew Melodies)………….Hlavac (Song.)
13Etude, C sharp minor………………………………….Chopin
14"Perce Neige"…………………………………………Tchaikowsky
15Improvisation of motifs assigned by the audience. (Harmonium.)
16March, "Tchernomora" (from "Ruslan and Ludmilla").Glinka-Liszt (Armonipiano.)
18NOTE.—This program will be given upon the "Armonipiano Caldera," with tone-sustaining attachment, perfected and applied by Mr. Hlavac to the grand piano of the house of Schroeder, of St. Petersburg; and upon a great concert harmonium, of two claviers, eight and one-half sets of reeds, thirty-one registers, four knee stops, percussion tone-sustaining attachment, constructed after designs of Mr. Hlavac, by the house of Schiedmayer, piano-fabrik.
20The appliance for the sustaining of tone in a tremolando style on the piano is in reality a revival or rather an improvement of an old Italian patent, hence the name. An extra and amply acting pedal keeps a wheel in motion when worked by the right foot. This wheel causes a series of little hammers attached to one solid bar to be in continual vibration under the strings. When the keys are touched the relative hammers act on the strings, producing a very closely connected vibration; so much so that a tone much resembling an organ, and when varied by speed or intensity an oboe or vox humana like tone, is the result. This need not interfere in any way with the ordinary manipulation of the instrument, but is rather intended as an auxiliary or accompaniment to a melody. It can furthermore be used with very effective gradations of forte or piano, and at greater or lesser speed of vibration. It simply aims to provide the instrument with a quality up to this time lacking in it. It can be applied to any piano, and when the unisons are in perfect accord must be of considerable benefit. It seemed to be the general opinion of those present that it was a good effect when in the hands of a player not inclined to abuse the use of it. Mr. Hlavac most certainly made highly novel and unheard-of effects with it. Particularly in "Elsa's Dream" were the effects of great beauty, as they also proved to be in accompanying the voice.
22One critic went so far as to say that "it made a musical instrument out of the piano." It remains to be seen whether it will be practicable under all circumstances. As yet the inventor is the only person capable of manipulating it with effect. It has generally been taken for granted that all mechanical devices for improving the singing faculties of the piano were useless, and they have generally been abandoned after a short-lived trial. But, again, it must be acknowledged that no particular one has been productive of such genuinely musical results as has this particular one. If to the present qualities of the piano a better singing or prolonged tone can be added, then will we have an instrument of much wider capabilities; and to tell the truth, I do not see why that shall not become a reality. One thing is certain, and that is, that Mr. Hlavac has reopened a very wide field for interesting speculative investigation. He assuredly produced effects that I never before heard made on a piano.
24Miss Zoe Hlavac is a young lady of rare beauty, who captivated her audience by the charm of her manner and the peculiar originality of the music sung by her. The Glinka aria was a strange and peculiar treat, but the methods employed in her singing must be questioned. She has a very ultra way of managing her facial expression, also does she overforce her tones with a persistency to be deplored. The talented father proved that the well nigh lost art of the improvisatore is not perdu, in as far as he is concerned, by a very clever treatment of a motif given by one of the audience. The virtuoso of to-day does but seldom, if ever, trust himself in impromptu flights of fancy. In order to refresh the memories of my readers. Let us hope that this is at last a move in the direction toward turning the keyboard, hammer and string into an instrument of a distinctly songful nature, and causing it to be no longer a percussion instrument.
26It will be remembered that on January 31, 1893, a circular was sent out by the Bureau of Music calling upon the younger, native born, professional musicians to come and be examined by a local jury in Chicago, and thus secure an opportunity of appearing in Recital Hall in recital. The result of this circular was the inauguration on Monday, June 19, of an American artists' series at 3:30 o'clock, with recital No. 1, given by Mrs. Kate Ockleston-Lippa, assisted by Miss Electa Gifford, soprano:
28"Faschingschwank"………………………………………Schumann
29Fantaisie…………………………………………………Beethoven
30Song, "The Trout,"………………………………………Schubert
32Miss Gifford.
34Nocturne in D flat major……………………………Chopin
35Etude in F minor………………………………………Chopin
36Etude in G flat major……………………………Chopin
37Concert waltz in E major……………………………Moszkowski
38Song, "When Love was Young"…………………Kate Ockleston-Lippa
39"Dance of the Elves"………………………………….Kroeger
40"Rueckblick"…………………………………………Kate Ockleston-Lippa
41"Novelette"…………………………………………Kate Ockleston-Lippa
42"Turkish March"………………………………………Beethoven-Rubinstein
43Rhapsodie, "Hongroise," No. 14……………………Liszt
45Miss Ockleston was a fellow student with your scribe at Leipsic, and marrying, settled in Pittsburg, and as the following will prove was quite a success there:
47THE PITTSBURG ART SOCIETY'S FIRST ANNUAL MUSICAL COMPETITION.
49The Judges, Messrs. E. A. MacDowell, George W. Chadwick and Arthur Foote, of Boston, after examining the twenty-two songs and piano pieces submitted, have certified the following awards:
50Silver medals to Mrs. Kate Ockleston-Lippa, Allegheny, for the song "When Love was Young," and Mr. Charles Davis Carter, Pittsburgh, for the song, "Beauty and Peace."
51Honorable mention to Mr. Leo Oehmiller, Pittsburg, for the piano piece, "Song of the reapers;" Mr. Mario Salvatore Rocereto, Allegheny, for the song, "Come," and Mrs. Kate Ockleston-Lippa, Allegheny, for the piano piece, "Rueckblick."
53NOTE.—Being required under the rules to judge the manuscripts, not merely by their relative merits, but independently and from a high artistic standpoint, the judges found it inadvisable to award either of the gold medals offered by the society.
55The lady is, however, an English woman, and therefore not native born. I presume therefore that the circular was not intended to be taken literally.
57Her playing is correct and scholarly, but not original in that it adheres entirely to conventional tradition. She has improved greatly in conception, while her technic has retrograded, as is indeed the case with many who are occupied with teaching rather than with concert work. Miss Gifford is one of our staunchest choir singers, and sang the numbers assigned to her with good taste and method.
59These recitals will occur frequently from this time forth.
61Tuesday, June 30—Music Hall Series No. 23—St. Paul and Minneapolis Choral Associations' Concert.
63Program:
64Overture, "The Land of the Mountain and the Flood"……McCunn
65Part songs—
66"The Lullaby of Life"………………………………….Leslie
67"Matona, Lovely Maiden"…………………………..Orlando Lassus
68The St. Paul Choral Association.
69"Bridal Song"…………………………………………from Symphony, "Country Wedding"…Goldmark
70Serenade………..from Symphony, "Country Wedding"…Goldmark
71Part songs—
72"Cradle Song"…………………………………………Smart
73"The Sands of Dee"…………………………………….Macfarren
74The Minneapolis Choral Association.
75"Siegfried's Rhine Journey," from "Die Götterdämmerung"…Wagner
76Third Mass……………………………………………..Gounod
77Kyrie Eleison."
78"Gloria in Excelsis."
79"Sanctus et Benedictus."
80"Agnus Dei."
81The St. Paul and Minneapolis Choral Associations—Conductor, Samuel A. Baldwin.
83These bodies showed excellent training, careful, exacting and conscientious preparation. The part songs were perfectly done, and it would be difficult to say which of the two bodies did the best work. Their shading and nuancing were by far the most satisfactory yet heard at the grounds, and all are unanimous in their praise. The Mass was sung with a fine tone and infallible attack, and in short their work was more careful and polished than any we have of late been favored with. Mr. S. A. Baldwin, who is a power in the Northwest, is to be complimented upon the success of this concert.
85Wednesday, June 31, Festival Hall Series, No 8. Choral Festival.
86First section, representative choral societies of the Western States.
87Cincinnati Festival Association, conductor, Theodore Thomas; associate conductor, W. L. Blumenchein.
88Milwaukee Arion Club, conductor, Arthur Weld.
89Minneapolis Choral Association, conductor, Samuel A. Baldwin.
90St. Louis Choral Society, conductor, Joseph Otten.
91St. Paul Choral Association, conductor, Samuel A. Baldwin.
93SOLOISTS FOR THE FESTIVAL.
94Miss Emma Juch………………………………………Soprano
95Miss Lena Little………………………………………Contralto
96Mr. Edward Lloyd…………………………………….Tenor
97Mr. Emil Fischer………………………………………Bass
98Mr. Ellsworth Holmes.
100In the "Utrecht" Jubilate some miserably ragged work was indulged in; not the fault of the choral forces, for they were splendidly trained, and in fact on several occasions during the afternoon they had to take the law into their own hands and thereby avoid a complete fiasco. In all three of the great and difficult choruses there were many dangerous approaches to a break down. Mr. Tomlins conducted, and on two different occasions he became so confused that he actually ceased beating time and it was sauvé qui peut. This the chorus accomplished with coolness and creditable sang froid. The trio, "For the Lord is gracious," was also a lamentable failure, and I regret to have to say that Lloyd actually failed to enter at the words "For the Lord is gracious" on the third page of the score (piano). There is nothing to praise in connection with the performance of the Jubilate and it is to be regretted that such botch work should be suffered on such an occasion.
102In "St. Paul" the work was more satisfactory, as the choral director seemed to be more conversant with the score. I know from past experience that this has ever been one of the strong works of the Cincinnati chorus, and all entered into the spirit of the oratorio with rare intelligence and even fire. Fischer rushed the "Consume them all" to a dangerous degree, and Tomlins was powerless to control matters, consequently it was a serious number.
104At the words "I am Jesus of Nazareth" the chorus missed its cue, or, more properly, they looked for a sign, and there was no sign given them.
106All other work of the soloists was eminently satisfactory, and the choruses of the first part of the work, which alone was given, reflected credit upon themselves and their conductors. The audience did not quite half fill the Festival Hall.
108Thursday, Second Day of the Festival.
109"A Stronghold Sure"………………………………….Bach
110"Lohengrin"…………………………………………….Wagner one of two readings
111"Lohengrin"…………………………………………Wagner one of two readings
112Vorspiel.
113Scenes from Act I., including Prayer and Finale.
114Act II.—Bridal Procession.
115Act III.—Introduction. Nuptial chorus and duo, Elsa and Lohengrin.
116March.
117Conductor, Theodore Thomas.
118Exposition Orchestra of 150. Chorus of 1,000.
119SOLOISTS:
120Miss Emma Juch………………………………………Soprano
121Miss Lena Little………………………………………Contralto
122Mr. Edward Lloyd…………………………………….Tenor
123Mr. George Ellsworth Holmes…………………………..Baritone
124Mr. Emil Fischer………………………………………Bass
126In spite of the fact that Thomas was the conductor, the cantata "A Stronghold Sure" turned out to be a very weak defense indeed. The two principal choral numbers were demanded in allegro maestoso tempo by Bach, but they were taken at such a rapid rate that the Choral No. 5 in particular degenerated into a regular heiter-skelter and lost all coherency. The less said of the solo and ensemble the better. Suffice it to announce that all was far below the grade of work to be expected at a great festival. There seemed indeed to be little or no care bestowed on the cantata, and it had better have remained unsung and unplayed. "Lohengrin," on the contrary, was a glowing triumph, and a better concert performance of the parts of the opera sung I have never heard and shall as like as not never hear again. I have never heard Miss Emma Juch do such magnificent work as on that particular occasion, and in the great duo she and Lloyd wrought the audience up to a pitch of enthusiasm but too rarely witnessed in Chicago. Emil Fischer instead of getting on the wrong key and remaining on the same for about a dozen measures, as he did in the recitative "Consider, then, child of God," in the cantata, did his very noblest and best. The chorus was glorious, and there seemed to be electricity in the very instruments. The audience again but half filled the hall, but what can we expect with the price of admission placed at one dollar. Even "Lohengrin" with Lloyd will not draw a large house, so methinks it is high time to do something to replenish the treasury and the empty benches. It is positively refreshing to be able to take pen in hand and wax enthusiastic anent a performance at the Exposition.
128The Four Days' Convention of the Women's Amateur Musical Clubs in Recital Hall.
130This has been one of the unqualified successes of the musical functions and will do an immense amount of good, in bringing earnest workers from every part of the Union together to compete with each other in friendly rivalry, to compare notes as to methods of work, to learn from each other and to spur on those who are behind in the race, as well as encourage the formation of innumerable new societies. A diploma of honor is to be bestowed upon the club making the most creditable record, and a jury has been appointed composed of Messrs. Lloyd, Thomas, Mees, Eddy, Hyllested, Root and Holmes, assisted by Mesdames Eddy, Thomas and Zeisler, to be present at the sessions and hand in written reports as to the relative merits of the clubs, so that this meeting is to do good in more ways than one. The work presented by the thirty-eight clubs has, as a rule, been very enjoyable, and reflects credit upon our American women and their noble propaganda for music and refinement. A good idea has been the reading of a report or paper by the president of each club, giving a history of the body and of the work accomplished. They form an attractive and valuable chapter in our musical history, and will be often quoted in the future as records of what women did in the past to make America one of the great musical nations of the world.
132The hall was constantly filled with audiences of musical devotees, and the stimulus that will spread from these meetings to every corner of the continent will be like to a tidal wave of music. In very many sections musical life is fed entirely by amateur bodies, and without them many of the most important art movements of the past golden decade would never have been conceived or carried to a successful issue. Consequently I consider this peculiarly
The computer misreads some letters and numbers. Where a name matters to you, read the scan.