Scan 28
Musical Courier 1894-11-21: Vol 29 Iss 767, 1894
165 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 29. See the scan on archive.org.
1THE MUSICAL COURIER.
3CHICAGO OFFICE OF THE MUSICAL COURIER,
4226 Wabash avenue, November 17, 1894.
6THE first grand opera season of this year in Chicago closed last Saturday night with the performance of "Il Trovatore." This company, which is headed by Marie Tavary, contains but three members who are in the true sense of the word artists. The rest of them are far below mediocrity. "Carmen," "I Pagliacci" and "Cavalleria Rusticana" were the only works given with anything near an artistic success. These operas were well done only as pertains to the three artists before mentioned.
8The performance of "Tannhäuser" was one which will long be remembered by those who heard it. It was so bad that it was really funny. Payne Clark was cast in the title rôle, and demonstrated beyond a doubt that he had not the least idea of the past either vocally or dramatically. It was painful to hear him and it was shocking to see him. His singing of the magnificent music was like the work of an ambitious schoolboy, and he did not in the least resemble the figure of Tannhäuser in appearance, while his impersonation showed that he had not the slightest conception of the man torn by love and remorse and driven to despair.
10"Tannhäuser" as a beardless youth is certainly an anomaly. Why Mr. Clark presented him in such a guise is past understanding, unless he recognized the fact that the performance would be a close shave for himself and the other members of the company as well.
12There was but one redeeming feature in the performance. William Martens sang the music of the part of "Wolfram" most artistically. His representation of the character was noble and dignified throughout and he put much into it. The chorus was something to get away from. The lords, ladies and guests came in the Wartburg scene like Mme. Toussand's wax work automaton, and their singing was even worse than their looks. The orchestra played like a country circus band, and the performance as a whole was so bad as to be really comical. "Traviata" was a little better done, and the season closed with "Il Trovatore." The Tavary Company should never attempt "Tannhäuser" again.
14This week's program of the Chicago Orchestra's concerts was one of Mr. Thomas' popular programs. It contained a suite, "Wandering," by B. Scholz, Saint-Saëns' Fantasia for harp, Wagner's "Tannhäuser" overture, Dvorák's "Schurzo Capriccioso," Beethoven's Theme and variations for opus 18, for string orchestra, the waltz from Tchaikowsky's ballet "Dornroschen," and the overture, Moorish rhapsody and march from Massenet's "Le Cid."
16Scholz' suite was heard here for the first time. It consists of five movements—"Greeting to the Mountains," "Dragon Fly and Water Fairy," "Reverie and Dreams," "Dance and Evening Peace" and "Longing for Home." It is a graceful, charming work, scored in attractive style, and contains much melodic beauty. Edmund Schnecker is one of the greatest living harpists, and Saint-Saëns' brilliant "Fantasie" gives the performer every opportunity for the display of virtuosity, and at the same time is full of intrinsic beauty. It is a fantasia in the true sense of the term, and is full of the characteristic harmonic treatment that is always found in the works of the French composer.
18Mr. Schuecker played it magnificently and was given the heartiest possible evidences of approval and appreciation by the audience, which was one of the largest at any of the regular concerts given by the orchestra without the addition of foreign artists. The orchestra played finely throughout, and is steadily improving in unity and evenness of shading. Mr. Thomas is doing good work in the rehearsals and has probably produced as good results as he is capable of doing. So far as mechanical precision is concerned, the orchestra is about perfect.
20I was walking along Thirty-first street a few days ago. It was raining, and I was hurrying to catch a car for downtown. It was quite early in the morning, and as I was crossing the street I was almost run down by a man on a bicycle who was to all appearances engaged in a desperate attempt to beat the world's record. Something familiar in his appearance made me take a second look at him. That he was a musician was also evident. As he vanished into the mist I recognized both the man and the tune. He was Wm. H. Sherwood, and as he worked the pedals of his machine to their utmost capacity, he tried to keep up his spirits by singing the appropriate song, "Swim out, O'Grady."
22* * *
24The first faculty concert of the McHenry School of Music was given at the warerooms of the Chicago Cottage Organ Company Wednesday night. This school is the latest organization of the kind in the city. It is beginning in a quiet way and is striving for results. The members of the faculty seem to be united in their efforts to make the motto adopted by Mr. MacHenry a success. The program was: Fantasie, op. 15, for two pianos. Schubert-Liszt Mme. Anna Weiss and Mr. Earl L. Sykes.
26Songs—
27"What the Chimney Sang"…………………….Griswold (Words by Bret Harte.)
28"Still Wie die Nacht"……………………………Bohm
29Mr. MacHenry.
30Trio, op. 49, for piano, violin and 'cello………………Mendelssohn
31Andante con moto tranquillo.
32Molto allegro ed agitato.
33Mme. Anna Weiss, Messrs. Richard Seidel and Franz Wagner.
34"Heaven Hath Shed a Tear"……………………..Kücken
35Mrs. Margaret Eaton.
36'Cello Obligato by Mr. Franz Wagner.
37Nocturne in F sharp…………………………..Chopin
38Fantasie impromptu C sharp minor………………Chopin
39Concert Waltz…………………………………….Palumbo
40Mme. Anna Weiss.
41Invocation……………………………………….Gounod
42Mr. Frank F. Winter.
43Recitative and aria, "Credo" (from "Otello")………….Verdi
44Mr. MacHenry.
45Andante…………………………………………..Gotterman
46"Am Spring Brunnen"……………………………Davidoff
47Mr. Franz Wagner.
48"To-morrow at Ten"……………………………..Nora Perry
49Miss Josephine Gilman.
50Sonata in F, op. 24………………………………Beethoven
51Allegro.
52Adagio molto espressivo.
53Scherzo.
54Rondo.
56Misses Jenny MacIntosh and Sadie Lovedale are starting out in a new undertaking in the musical field. They make duet singing their special work, and have placed themselves under the charge of the Slayton Lyceum Bureau. Both young ladies have charming voices, they sing with much feeling, and as each is an accomplished solo singer they can give a good recital by themselves.
58* * *
60Genevra Johnstone-Bishop sang in Battle Creek and Detroit, Mich., and at Cornell College last week. She has every date filled for the present month.
62* * *
64"The Liebling Amateurs" is the name of a social and musical society. It is composed of pupils of Emil Liebling, who meet each other socially and also devote their meetings to musical programs. It is an endeavor in the right direction and deserves every encouragement. Young musicians can find many opportunities for mutual improvement and enjoyment in such societies. When this association was first formed the meetings were held at the houses of the members. The society has outgrown the capacity of a drawing room now, and the recitals are given in the Kimball Recital Hall.
66The character of the music studied and performed at these recitals may be seen by a glance at the program of the 114th recital of this club, which was given this afternoon. It was:
67Fantasie and fugue……………………………….Bach-Liszt
68Miss Fisher.
69Impromptu, op. 36……………………………….Chopin
70Scherzo…………………………………………..Mendelssohn
71Mr. Brune.
72Fugue, E minor………………………………….Bach
73Tarantelle…………………………………………Chopin
74Miss Bent.
75Vocal, "Call Me Back"………………………….Denza
76Mr. George J. S. Collins.
77Theme and Variations, op. 26…………………..Beethoven
78Miss Heilbronn.
79Gigue…………………………………………….Goddard
80Valse Aragonaise……………………………….Thome one of two readings
81Valse Aragonaise………………………………..Thome one of two readings
82Miss Hartman.
83Tarantelle…………………………………………S. B. Whitney
84Miss Munn.
86While these are all amateurs, some of them play excellently and show true devotion to the art of music.
88* * *
90The faculty concert of the Chicago Conservatory Wednesday night was one of the most successful yet given by that well-known institution. The Recital Hall of the Auditorium was crowded with an appreciative and critical audience. The program was:
91Sonata, for piano and violoncello, op. 36………………Grieg
92Mr. Hermann Diestel and Mr. Wm. H. Sherwood.
93Vocal, Serenade, "Carmen"……………………….Giulio Ricordi (Burgmein) (Dedicated to Signor Carpi.) one of two readings
94Vocal, Serenade, "Carmen"………………………..Giulio Ricordi (Burgmein) (Dedicated to Signor Carpi.) one of two readings
95Signor Vittorio Carpi.
96Piano, Polonaise, A flat, op. 53……………………Chopin
97Mrs. Gertrude Foster-Brown.
98Vocal—
99"Nameless Pain"………………………………..Roy Lamont Smith
100"Absent, Yet Present"………………………….Maud Valerie White one of two readings
101"Absent, Yet Present"……………………………Maud Valerie White one of two readings
102Mr. B. Bicknell Young.
103Violin, Ballade et Polonaise……………………..Vieuxtemps
104Mr. Joseph T. Ohlheiser.
105Vocal, Romance, "Non e ver"……………………..Mattei
106Signor Vittorio Carpi.
108Piano—
109"Combatimento,"………………………………..Sgambati
110Prelude in E minor, op. 28, No. 4…………………Chopin
111La Polka de la Reine…………………………….Raff
112Mr. Wm. H. Sherwood.
113Vocal, "La Chanson des Gas d'Ireland"…………..Augusta Holmés
114Mr. B. Bicknell Young.
115Mrs. Johanna Hess-Burr, accompanist.
117The artists exerted themselves to give as fine a performance of this program as possible. The Grieg sonata has seldom been so well given. Signor Carpi sang with fine expression. Mr. Sherwood played with absolute exactness of technic, and his interpretations were full of fire and fine expression. Mrs. Gertrude Foster-Brown is a pianist who ought to be heard more frequently. Her playing is that of a painstaking artist. Mr. Young sang finely and with excellent declamatory effect. Mr. Ohlheiser gave a musically and spirited performance, and the concert as a whole was a pronounced success.
119WALTON PERKINS.
121The Thomson Recital.
123THE first recital given by César Thomson, the great Belgian violin virtuoso, took place last Wednesday afternoon at Carnegie Hall. This was the program offered:
124Concerto, No. 2………………………………….Wieniawski
125Allegro moderato.
126Romanze…………………………………………..M. César Thomson.
127Finale à la Zingara………………………………Lenepveu
128"La Jeune Captive"……………………………..Mrs. Julie L. Wyman.
129Sonata, "Trillo del Diavolo"……………………..Tartini
130M. César Thomson.
132Songs—
133"Ideal"…………………………………………..Chaminade
134"Malgre Nous"………………………………….Chaminade
135"Trahison"……………………………………….Chaminade
136Mrs. Julie L. Wyman.
137Romance…………………………………………..Rubinstein
138Tarantelle…………………………………………Wieniawski
139M. César Thomson.
141Three songs—
142"Au qui betali d'amour"………………………..Tchaikowsky
143"Toujours à Toi"………………………………..Tchaikowsky
144"Pimpinella"……………………………………..Mrs. Julie L. Wyman.
145Adagio…………………………………………….Ries
146"Passacaglia," theme de Händel…………………..Thomson
147M. César Thomson.
148Isidore Luckstone, accompanist.
150Mr. Thomson, while not in his most brilliant mood, more than satisfied his audience with his superb, pure, classic playing. His style is far removed from the all vulgar appeal, and reveals Thomson as a profound artist. His delivery of the romance in the concerto was so admirable in tonal equipoise, so pure and free from false sentiment, as to create that feeling which comes only during an ideal performance.
152The Tartini sonata with its archaic flavor was supremely well done. Its great decorative spirals of tone do not cause the heart to vibrate, but it was wonderfully given. Thomson's playing is never theatric. He never plays to the gallery. But he has exquisite feeling, and his art is impeccable. The balance of brain and heart is admirable. He is not a mere technician, although technically he is the superior of all living violinists, but he has other qualities besides. He sinks himself in his work. He is ever objective. The composition stands boldly in the foreground and not the man. He is free from all the virtuoso tricks and the cant and humbug of fiddle playing.
154But nature has not bestowed upon this otherwise richly dowered man the gift of an imposing personality. He suggests the recluse, the man who lives for his art alone. In the smaller group of pieces he further displayed his versatility. For encore we got a transcription of a Norwegian folk song.
156He stands to-day for all that is pure, unaffected and dignified in violin playing. Mrs. Wyman was best in the Chaminade songs, the "Malgre nous" being sung with finish. It was a very agreeable concert.
158Marcella Sembrich.—The management of the Paris Grand Opéra has invited Marcella Sembrich to sing there next spring.
160First American Tour of JUANITO MANEN, The Famous Boy Violinist.
162FOR ENGAGEMENTS ADDRESS Leon Margulies' Concert Bureau, Carnegie Hall, New York.
164C. L. GRAFF, Business Manager.
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