Scan 24
Musical Courier 1894-06-20: Vol 28 Iss 745, 1894
112 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 25. See the scan on archive.org.
1RUBIN GOLDMARK. The Passionate Shepherd to his Love (Dedicated to Miss Wilson. MS., first time.)
2MISS ANNE WILSON (Soprano), New York.
33. FOOTE. Quartet (Piano and Strings) in C, op. 23.
4(Allegro commodo, C major. Scherzo vivace, G minor. Adagio, non troppo, A flat. Allegro assai, C minor.)
5ARTHUR FOOTE and String Trio.
6The Chickering Piano used.
8Thursday Evening.
9AT THE MUSIC HALL,
108.00 P. M. 1. FOOTE. Overture to "Francesca da Rimini."
11THE ORCHESTRA.
122. LASSON. Part Song, "Night."
13RAFF. " " "Morning Song."
14THE BUFFALO VOCAL SOCIETY, JOSEPH MISCHKA, CONDUCTOR.
153. RIES. Adagio and Allegro vivace from Suite III.
16VIOLIN SOLO, HUBERT ARNOLD, New York, with Orchestra.
174. SAINT-SAENS. Symphonic Poem, "Phaeton."
185. BUCK. Overture to "Marion."
196. SAINT-SAENS. Piano Concerto in G minor, No. 2.
20LEOPOLD GODOWSKY, New York.
217. MENDELSSOHN. Unfinished Opera, "The Loreley."
22(a) Ave Maria. (Female Voices.) (b) Vintage Song. (Male Voices.) (c) Finale to Act I, Soprano Solo and Chorus.
23MISS ANNE WILSON and THE VOCAL SOCIETY.
25Vassar College.
26DEPARTMENT OF MUSIC, PROF. E. M. BOWMAN, A. C. O., F. C. M.—1893-4.
28THIS was the program at the Commencement Concert, Monday evening June 11:
29Sonata, A flat major, op. 26………………………………….Beethoven
30Miss Wiethan.
31"Then shall the eyes of the blind be opened," recitative air
32"The Messiah"……………………………………………..Händel
33"He shall feed His flock," recit. air "The Messiah"………….
34(With organ accompaniment by Professor Bowman.)
35Miss Carol H. Cooke.
36Nocturne, B major, op. 32, No. 1……………………………Chopin
37Miss Beers.
38"Elsa's" "Traum aus Lohengrin"……………………………Wagner-Liszt
39Miss Mary E. Doughty.
40"Oh fair, oh sweet and holy"……………………………Cantor
41"The Robin"…………………………………………………Neidlinger
42Miss Sebring.
43Largo from concerto, C major, op. 15………………………..Beethoven
44(Arranged for solo performance by Carl Reinecke.)
45Miss Ferris.
46"Ah, 'tis a dream"…………………………………………..Hawley
47Miss Mabel I. Jones.
48Nocturne, F sharp major, op. 15, No. 2…………………….Chopin
49Miss Gruening.
50"Ruth's" song, "Entreat me not to leave thee"…………….Gounod
51Miss Hench.
52Waldesrauschen-Gnomenreigen…………………………..Liszt
53Miss Macdonald.
54Polonaise, E flat major, op. 22………………………………Chopin one of two readings
55Polonaise, E flat major, op. 22……………………………….Chopin one of two readings
56Miss Maud L. Sanders.
58This program looks well on paper, having as it does a goodly array of the names which occupy conspicuous places in the Walhalla of art; but your correspondent was impressed with the idea that it was somewhat too serious. Perhaps the "serious" weather of that melting Monday had a depressing influence on her mind.
60At all events the murmurs of the forest and the zephyrs wafted toward us—how refreshing—by Miss Macdonald in Liszt's "Waldesrauschen" and the gambols of the elves in his "Gnomenreigen" were a grateful relief from the less inspiring numbers between 1 and 10. It should be added here that Miss Sanders did not allow the interest to flag, but kept it up to the end.
62One might have expected more inspiration from the songs, for with the average listener singing takes a deeper hold. Even if we are not sufficiently musical to appreciate the music itself, the words are usually competent to float the song into our art reservoirs, and we deceive ourselves into the belief that we are somewhat musical after all. But on this occasion all the songs, with the exception of Neidlinger's brief apostrophe to "The Robin," were of the pathetic order.
64It may have been the weather, which certainly was hot enough to relax even a Bach fugue, or it may have been a natural coincidence of studies; for your correspondent is informed that the programs of the Vassar concerts are not planned for months in advance, as they ought to be if they were intended as models with respect to the sequence of compositions. Recitals are given at Vassar every month or oftener, and the work of the whole college year must be taken into account if one is to grasp fully the progress that is being made in its musical department.
66With this hot weather growl off her mind your correspondent wishes now to speak more in detail of the Commencement concert.
68Miss Wiethan's task in the Beethoven sonata, op. 26, beginning with the lovely theme and variations, was by no means an easy one. To sound its deep musical meaning requires a long lead and line, and its technical mountains are not at all easy to climb. Miss Wiethan seems to possess a really musical temperament, and her interpretation of the different variations and of the funeral march was excellent. In the scherzo and finale she was less successful, but she claimed and held the attention of her hearers throughout, except some thoughtless visitors, who, coming too late to secure seats, but early enough to block the vestibule, stood there and mumbled in a very disturbing manner to all sitting near by. Professor Bowman should have ordered the doors closed on them, even at the risk of more heat. Vassar girls know how to behave in chapel and at concerts, and these outside disturbers, who are really the invited guests of the college, ought to observe the decorum of the students, or stay outside in the grounds and chat with the trees or the man in the moon.
70The second number was sung by Miss Carol Cooke, a queinely young woman, with a suggestion of Christmas music in her name. This was said to be Miss Cooke's first appearance as soloist. Her voice is not balanced and blended yet, but she gave unmistakable signs of real love for her art and a determination to overcome its obstacles.
72Professor Bowman's accompaniment on the organ was very sympathetic, full of support to the singer and of contrast to her voice. This remark will apply to all the other vocal numbers, the piano accompaniments to which Professor Bowman himself played. How much depends on an accompaniment, and how few pianists or organists are able to practice the self abnegation that a good accompaniment requires! Professor Bowman has invariably played the accompaniments for the vocal students at the larger concerts and a larger measure of their success is due doubtless to his skill in averting catastrophe as well as in emphasizing and emblazoning every good point scored by the young singers.
74The two numbers by Miss Beers and Miss Doughty were well played and revealed a fairly good conception of the musical import of the compositions. Miss Sebring's two songs put in evidence a pleasant voice though not very large, nor on this occasion quite free from cold. Neidlinger's "Robin" was the most successful. It is a dainty inspiration, a veritable glimpse into an orchard in full bloom.
76The largo from Beethoven's concerto in C major, arranged for solo performance by Carl Reinecke, received an excellent interpretation at the hands of Miss Ferris. Her touch in the chord passages was full and earnest, and throughout the piece she displayed a good degree of musical fantasie.
78The deep, full tones of Miss Jones' genuine contralto showed to good advantage in Hawley's pretty song, "Ah! 'tis a dream."
80Miss Jones is a tower of strength to the College Glee Club, especially when a last low tone is wanted.
82Miss Gruening's delicate touch found full opportunity for display in the Chopin nocturne in F sharp. The tone was musical, and those airy passages which adorn the reiteration of the theme were played with a high degree of refinement.
84The best singing of the evening was done by Miss Hench in the Gounod song. Miss Hench is the director of the Glee Club, is a good reader and has the self-poise necessary with other things to success. Her voice has perceptibly improved under the tutelage of the college vocal instructor, and her success on this occasion was genuine.
86Reference has already been made to the playing of the Misses Sanders and McDonald. Both played from memory, in fact nearly all the others played so too, and with a certainty of attack that would have done credit to older performers.
88The true spirit of the compositions seemed to have been fully appreciated. There were variety of touch, fine gradations of light and shade, animation and a commendable freedom from self-consciousness. On second thought, it is the opinion of the writer that all the participants in this program deserve a share in the last clause of that compliment. She wonders if that is not a characteristic of the average Vassar girl. There is so much concentration in the college life, such utter abnegation of selfhood and such devotion to the pursuit of high ideals in art and in knowledge that there is no time or opportunity left for self-consciousness.
90The concert as a whole made a highly creditable showing of the work which is being done in the Department of Music at Vassar, under the direction of Professor Bowman. The students feel that he is earnestly consecrated to his art and as a consequence they try with equal devotion to meet his every wish as to their advancement. The college officials feel that the musical standard has never been so high at Vassar as it is now. That the advance is due to Professor Bowman's administration goes without saying. The history and advanced classes in theory come under his personal instruction. He has able assistants in the piano, voice and violin departments in Miss Chapin, Miss Bliss, Miss Whitney, Mr. Sauvage and Mr. Grube. Miss Whitney and Miss Chapin have been connected with Vassar many years and number their pupils by the score in every part of the country.
92Miss Bliss has taught the piano until recently, but during the last year has presided at the organ and trained the choir. When Professor Bowman came to Vassar he found no singing department at all. He organized a chorus which has given several cantatas and Pergolesi's "Stabat Mater." He secured Mr. J. Sauvage as instructor in solo singing. There is now a good department in this branch. The violin department at Vassar needs reorganizing.
94Laura Sandford.—Laura Sandford, the child pianist, and Mr. Leon Marx, violinist, were tendered a benefit concert at Cleveland, Ohio, Last evening. The affair was under distinguished social patronage.
96CRITICISMS OF NEW MUSIC.
97E. Ravin D'Eipeux, New York.
98MRS. ADELINA MURIO CELLI, . . . . Mignonette.
99Soprano singers who are fond of light, bright and gay melodies, and specially wish to avoid sickly, sentimental and lachrymose words, would do well to look at this vocal waltz. It begins with a short recitative and introductory phrase in A flat, then suddenly modulates into the key of the piece and announces the chief melodic idea, marked "Tempo di Valse." The rhythmic shape here chosen is one which appeals at once to all persons fascinated by the waltz form and who will say that he or she is not spellbound by it? Does anyone regard this art product with apathy, indifference or a mere passing approval? It has had two principal phases.
101In the days that are passed when the waltz a deux temps was in vogue, in which two steps were taken by the dancers to every three pulsations of the musical accompaniment, the peculiar anti-rhythmic strife had a teasing, pleasing effect only to be compared with that of love passion itself.
103Chopin's waltz in A flat, op. 42, well illustrates this phase.
105The theme of the above song illustrates the other and will find a ready welcome from the fact that in its construction, as regards rhythm, there is no percussion on some of the principal accents, but only on about one-half of them. Practically therefore, although the time signature is three-four, the effect is that of six-four; and the persistent ignoring of so many accents causes the free melody to have the desired unrestrained, bounding progression which leads us to conjure up ideas respecting saltatory actions and gestures until we almost see them, and creates within us an almost irresistible desire to dance, sway the head or make muscular contractions generally. It is at once evident that a march having a strong accent for the left foot and a somewhat weaker note for the right foot is of the earth earthy, however strong and irresistible the onward motion may be. The force of the ictus and its continuous recurrence here stand in marked contrast to the weakness of it, and its less frequent use, as in this waltz, where the melody falls on a down beat but once in every six beats. It is evident that the waltz melody must appear to float freely in space, as if superior to gravitation, rather than seeming to feel the necessity or even desire of touching solid ground. It is seen to have the same relation to the march as the long, sweeping curve of the Brooklyn Bridge does to the small arches of an ordinary aqueduct.
107The mysterious charm of some dance melodies may be accounted for very frequently by a close analysis of the rhythmic form, or the contrasting rhythmic forms when two or more markedly different motions are used simultaneously. This being accomplished, it becomes possible for composers, even young composers, to act in accordance with this acquired knowledge, and thus put forth new products of value in other departments of our art. The ability to invent a melody which shall be of a certainty fluent, depends upon clear sightedness in this matter; and of course the creation of one which shall not only flow easily, but soar, sustain its flight and attain considerable altitude, depends upon the due consideration and development of all such devices of construction. The musician can learn nothing of this from the poet or even the coryphée; and if he trusts to vague feeling or blind chance, or waits for inspiration with hands folded, will rarely do more than others and produce a melody, which when once begun, will seem to acquire dynamic force, rather than stand in need of the stimulus of a "drum and cymbal beat" to help onward progression, and thus simulate the advance of invincibles, as in good marches; still less while he learns the secret of this soaring melody, which, like the flight of certain birds, is so much like an apparently effortless progression, as to call forth neither ideas of tiredness nor anticipations of subsequent rest: that moves on in its appointed path like a planet, and requires no pushing.
109Although the melodies in Strauss' waltzes are "finite" most certainly, and not in the Wagnerian or any other sense "infinite," yet it may be asserted that there is more real melody in the best of these than in many acres of well written piano studies, because they suggest this motion, which once initiated continues. The melodic idea is fundamentally one of motion, as the harmonic idea is of rest or a centre of gravity. Liszt most evidently saw all this, and in his (Lenau's) "Faust" waltz takes for second subject (given to 'cellos) a similar rhythmic formation and idealizes it. If we turn to Gounod's "Faust" waltz, to Ardit's "Il Bacio," to Tito Mattei's grand waltz for piano solo in A flat, and many other dance-like compositions in three-four time which have found popular favor of late, it will be immediately perceived that they also have this one peculiarity—the avoidance of accents on alternate bars, whether this be managed by the use of syncopation or the hiatus.
111It is here sufficient to note that the "Mignonette Waltz Song" has most markedly the true dance feeling herein referred to, and is so far sure of a welcome; it is not so difficult to sing as to be beyond the powers of amateurs, and its harmonies and accompaniments are so simple and natural that they may be played, as in social music, by the singer.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.