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Musical Courier 1894-11-21: Vol 29 Iss 767, 1894
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1has had a collection of the carols sung at the Cathedral, mostly traditional melodies harmonized by himself, published in a small volume containing twelve numbers, at the urgent request of several musicians who heard and who very much admired them.
3During Miss Lillian Russell's stay in London arrangements were consummated by which M. Bemberg will compose the music to an opera, the libretto of which she will furnish, on the subject of "Cleopatra." M. Bemberg sails for America so as to arrive November 17, and he will attend to the production and mounting of his opera "Elaine."
5A society has recently been formed calling itself "The Society for the Cultivation of Modern Chamber Music," and will begin operations next month. It will hold meetings in Messrs. Brinsmead's piano rooms every fortnight, when chamber music by modern composers of all nationalities will be performed. The subscription is moderate, and the concerts ought to be very popular.
7It is said that a permanent orchestra is being formed in London, where up to the present no attempt of the kind, with the exception of the Crystal Palace, has proved successful. Probably the success of the new Scottish orchestra has encouraged Mr. Daniel Mayer to take up the idea, for it may be termed "success," as its losses last year were two-thirds less than was anticipated, and there is reason to hope that this season will not only cover the deficit but leave a fair profit. A full announcement of the scheme will probably be given shortly.
9Two French composers of distinction will appear at the first of the Wolff Musical Union concerts November 22. They are M. Thome and M. Faure, and it is confidently hoped that they will each contribute a new work to the program.
11The Musical Guild has been obliged to give up its autumn series of chamber concerts from lack of support, but it is announced it they will give a few performances about Easter, when the future of the society will be decided by the attendance.
13The Guildhall School of Music.
15Last Saturday afternoon an important function took place, when the Lord Mayor, supported by the Music Committee of the Guildhall School of Music, presented the prizes and certificates to the successful scholars of this institution. The ceremony was held in the large hall of the Guildhall proper, but first some of the more successful students and choir gave a select concert, which was thoroughly enjoyed by the large audience. The choir of the school, under the exceptionally inspiring training of Sir Joseph Barnby, has reached a high point, and in its rendition of the motets, Mendelssohn's "Judge me, O God," and Sullivan's "O Gladsome Light," and Benedict's "Hunting Song," it did full justice to its instructor. Other items in the program included Sargeant's "Blow, Blow, Thou Winter Wind," by Mr. Tom Powley, "Tis Love, ah, 'tis Love," by Mr. Francis Lloyd, and "The Worker," from Gounod, by Miss Rose Hicks; "Io Son Titania," from Ambroise Thomas' "Mignon," by Miss Regina Atwater, who gained the Lord Mayor's Prize, and Schubert's "Aufenthalt," by Miss Florence Oliver. A violin solo, "Scene de Ballet," De Beriot, by Master Percy Frostick, a lad of some twelve summers, and "Valse Humoresque," Stojowski, and Presto in D, Carlo Mayer, by Miss Madeline Payne, the Erard scholarship holder, completed the program.
17The Lord Mayor spoke very heartily in praise of the talent displayed on this occasion and the proficiency gained by those who had taken part, and complimented Sir Joseph Barnby upon the work done by the school during the last year. Sir Joseph replied, speaking among other things of certain developments which they had in contemplation. One of these was the increasing of the staff for teaching the organ, and the purchase of more instruments, so that those who wished to study the organ would have largely increased facilities for doing so. Another was the perfecting of arrangements for sight-singing classes, to be held every hour of the school day from half past 8 in the morning till half past 8 at night, at a fee of 5 shillings for the term, which would be within the reach of all, and being held every hour would be available for every student who came into the school to make themselves excellent sight readers. He had been impressed by his large experience with the great need of improvement in this direction, as he frequently had good voices apply to him who through inefficiency in reading could not take their place in the chorus, but had to give way to inferior voices. The new departure would do away with all this and would be of great value to all who could avail themselves of it.
19Referring feelingly to the losses during the past year of the secretary, Mr. Charles P. Smith, and three others from the staff, he spoke of how all were working to one end—the upbuilding and increasing usefulness of this institution. In December "The Messiah" was given by the school at St. James' Hall, the noticeable incident about it being that it was given in its entirety for the first time in many years. A performance had been given in the School Hall of "Philemon et Baucis," and "Cavalleria Rusticana," and another at Drury Lane of "Carmen," when the Duchess of Teck honored them by her presence. This year they are progressing, and had chosen a work of greater difficulty, Berlioz's "Faust." The operas selected for this term are "Orfeo" and "Pagliacci," to be given at the school, and "Romeo and Juliet" at Drury Lane. Passing on, Sir Joseph said they were greatly indebted to Sir Augustus Harris in helping them on in every possible way, in giving them the use of Drury Lane, and also, when a testimonial was offered to him, instead of having a memento of silver he preferred to give one worthy scholar in each of the leading schools of London a Steinway piano.
21He also spoke in like terms of Mr. Daniel Mayer, who had contributed a scholarship of 40 guineas for a pianist, and of Miss Madeline Payne, who had won it. Mr. Mayer also gave this young pianist the use of a fine Erard grand piano. He has been equally generous toward a piano pupil in both, the Royal Academy and the Royal College of Music. Continuing, Sir Joseph spoke of his intention to develop and extend as far as possible the facilities for learning orchestral music, and he aimed to keep up with musical progress in every line.
23Several additions have been made to the staff (which now numbers about 130), including Mr. Wilhelmj, Mr. Johanns Wolff, Mr. Beno Schonberger, and an important addition to the executive in Mr. Hilton Carter as secretary.
25After the Lord Mayor had presented the prizes, certificates and medals to those who had earned them, the chairman of the committee of the Guildhall School of Music (which is under the Corporation of London) spoke of how much the officials of the city were interested in the well-being and progress of the school, which was the largest of any in the world, and, he was glad to say, a credit to all connected with it. They were anxious to extend it, as far as lay in their power, and by their system, which brought good instruction in every branch of music within the reach of all, they were glad to find that they were thus able to do a lasting work in helping to carry forward a movement for the popularizing of the culture of music in England. No special branch, he said, was more important than the orchestral music, which probably did more to educate the people than anything else. A man who was willing to put down £3,000 for the establishment of a small permanent orchestra came to them, he said, for the material, but he regretted that they could not furnish the number necessary. They needed £100 a year for three years, which would enable them to cope with this important subject, and he hoped that someone would come forward with this amount, and thus enable them to give full justice to this department. He said that the school was in need of more scholarships, and as its usefulness became more widely known he hoped that people would come forward and give them that support which would enable them to carry the good work to its furthest possible development.
27FRANK V. ATWATER.
29Roeder's American Opera.
31MARTIN ROEDER, the well-known composer, for several years a resident of Boston, has completed a new opera, the book of which is also his. Much interest will follow the presentation of an American opera of a serious nature. The story, as nearly as is consistent with the dramatic development of the plot, is based upon incidents of the civil war, a thrilling climax being reached in the final act where Whittier's heroine, "Barbara Fritchie," stands forth a strong and noble figure in defense of her flag. It has remained for Mr. Roeder to seize upon a theme heretofore neglected by other composers and to present to the American people the first attempt of national opera.
33In order to evolve from the mass of incidents crowded into the annals of the rebellion a fitting subject for the development of great and stirring musical ideas he has spent two years of exhaustive research and has thrown himself with great enthusiasm into his purpose, that of writing such an opera as shall arouse the patriotism that is a part of every man and woman. A few critics assembled a few weeks ago to pass judgment upon some selected portions of this new opera. A hearing under the conditions then existing was a severe test of what the composer had accomplished. Stripped of all the necessary accessories that would have accompanied the barest preliminary rehearsal of solo voices, chorus and orchestra, the work as a musical composition alone produced a great effect upon his hearers.
35Giving free play to his own ardent nature, Mr. Roeder has happily struck a keynote that cannot fail to arouse an American audience. Through the entire work, like a poetical "leit motif," runs the grave question of slavery and freedom taken in a symbolic way—a subject requiring thoughtful care and consideration in its treatment. Patriotic enthusiasm, veneration for the flag; the cheerful hope of peace—each in its turn forms themes for characteristic and powerfully descriptive music, which Roeder has seized upon with excellent effect.
37In contrast to the so-called national operas of the French, German and Italian schools, he has avoided an effort to evoke enthusiasm by a too frequent introduction of popular and patriotic airs.
39By a happy juxtaposition or intermingling of thrilling incidents, stirring descriptive music, rapid dramatic action and strong local coloring, the work can scarcely fail in its purpose, and the originality of the music will help it to success.
41The opera may possibly be heard this season.
43Although, as already stated, Roeder is not a native of this country, still for the past few years he has made his home here, and during that time has done much in advancing the cause of music. He is a man of strong and unique personality, and his compositions bear the stamp of originality.
45Miss Yaw's Musical Throat.
47MISS YAW was prevailed upon to submit her throat to the examination of a physician and the following is the diagnosis, which is given as a remarkable case:
49Since Manuel Garcia, of London, by the aid of the laryngoscope, first made a study of the vocal organs during phonation down to the present time there has been no instance in medical literature that presented such a wide range of voice production as we find in the case of Miss Yaw. And she is of surpassing interest, not only to lovers of music, but to the entire scientific world and especially to laryngologists. In explaining the causes of her ability to sound notes differing so widely from each other and yet without injury to their melody several elements must be considered: Her true vocal bands are absolutely perfect, and by the aid of the cartilages of Seiler, found only in woman, and by means of an unusual development of the intrinsic muscles of the larynx she is enabled to throw into vibration and with different degrees of rapidity the entire length of the vocal chords or only a part thereof. But of greatest interest is her remarkable control over the muscles which regulate the division and modification of the resonant cavities, the laryngeal, pharyngeal, oral and nasal, and upon this depends the quality of her voice. The uvula is bifurcated and the two divisions sometimes act independently. The epiglottis during the production of her highest notes rises upward and backward against the posterior pharyngeal wall in such a way as to almost entirely separate the laryngeal and pharyngeal cavities at the same time that it gives an unusual conformation to these resonant chambers.—John O. M'Reynolds, B. S., M. D.
51The Yaw Concert Company, now singing in Texas, had, according to the local papers, immense houses. The Houston papers cannot find words enough to eulogize Miss Yaw's singing, Miss Lay's piano playing, and Mr. Dick's violin virtuosity. No company that has visited that section of the country has made so much stir and given so much satisfaction. At the Cotton Exposition in Waco she had an audience of 5,000 people, and by her presence of mind prevented a panic which might have occasioned a great loss of life. This is the account taken from a Waco paper:
53An audience of 5,000 people filled the auditorium of the Cotton Palace last night.
55The concert began with selections on the piano and violin by Miss Lay and Mr. Dick.
57During an intermission, a startling scene occurred.
59A lady in the rear of the audience, from some cause fainted, which resulted in some confusion and little excitement, in the midst of which some fool said "Fire!" and the immense audience was in consternation, and the subdued fear that always precedes a panic took possession of thousands. Hundreds of men jumped up and called to everybody to keep their seats. Several began to make for the door and others were about to follow, not heeding the admonition of the cooler ones, when suddenly a clear, sweet voice was heard trilling in the entrance room to the stage, and a moment after Miss Yaw—for it was she—stepped on the stage and thrilled several times. The attention of the audience was attracted to her, all took their seats and a storm of applause followed.
61The presence of mind which was exhibited by this young lady was the subject of much comment, and she the object of admiration, for in all probability but for her a panic resulting in the loss of life would undoubtedly have occurred.
63Nina Bertini Humphrys.—Nina Bertini Humphrys has been engaged to sing at two concerts in Baltimore and Washington on the 19th and 20th insts., after which Miss Humphrys will join the Tavary Company to sing leading prima donna rôles.
65Albert G. Thies.—Stamford (Conn.) papers give glowing accounts of Albert G. Thies' singing at a concert given last week by Miss Aiken. Mr. Thies' services at concerts are much in demand this season.
67Florence Stidham.—Miss Florence Stidham, a promising contralto, was recently heard with the Washington Choral Society in "St. Paul." The Washington "Post," the authority on musical matters, says:
69Miss Stidham had but one chance to distinguish herself, owing to the liberal cutting of the contralto rôle, but she improved this to the utmost. Her recitative was good, but in the following arioso she fairly excelled herself and won rounds of applause.
71Providence Singers.—The prospectus of the Arion Club, of Providence, R. I., has made its appearance. On December 21 the club will sing in "The Messiah," with Lillian Blauvelt, Gertrude Stein, D. G. Henderson and D. M. Babcock, soloists. The first regular concert takes place January 29, the second March 26 and the third on May 14 or 21.
73As usual Mr. Jules Jordan will be the director and can be relied upon to provide excellent entertainment.
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