Scan 32
Musical Courier 1895-01-09: Vol 30 Iss 774, 1895
87 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 33. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1neglected; indeed, it should be warmly supported and encouraged. But this cry against engaging outside artists is not only the rankest humbug, but positively wrong. If Toronto were a truly great musical centre which could retain as residents artists of the highest rank, even then there could be no reason in the cry, but, as it is, our opportunities for hearing ideal performers are far too infrequent. We have excellent singers and players, but certainly no De Reske's or Ysayes; how, then, could the public become properly appreciative if they cannot hear such artists?
3I am quite certain that Toronto's best musicians are not in sympathy with any feeling antagonistic to the engagement of outside talent, but there are others with fish of their own to fry who do not care what means they use to serve their end, and who would willingly confine us to musical mediocrity and abortion—their own efforts. I intend to touch on this matter again, but with more point; occasions for so doing are sure to arise.
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7Not for many a day have we heard such a delightful concert as that given December 18 at Horticultural Pavilion by Eugène Ysaye, assisted by Miss Theodora Pfafflin, Mr. Harry M. Field and the Beethoven Trio, comprising Messrs. H. M. Field, pianist; Heinrich Klingenfeld, violinist, and Rudolf Ruth, 'cellist.
9At this date there is no occasion to speak at length of the great central figure, Ysaye. His praises have been so far and so loudly sung that to add my mite would be monotony. But it was satisfactory to see how splendidly he was appreciated by the large audience.
11Miss Pfafflin sang in a manner which proved her worthy of a notable occasion, and I have little doubt her success will win for her other engagements in this city.
13Seldom has local talent shown to such advantage as in this concert. Mr. Field, the pianist, was in his best form and played with brilliant success solos by Beethoven, Chopin and Liszt, for each appearance being recalled.
15The Beethoven Trio made their first bow on this occasion, and may well be congratulated upon the result. Notwithstanding the overwhelming success of the star of the evening they rose to the occasion and seemed stimulated and inspired to do their best. Their first number, Raff's trio in G, op. 112, was not quite as steady as it might have been, but Gade's "Novelletten" was played most artistically and was deservedly encored. There can be no doubt that Toronto's Beethoven Trio presents the most perfect ensemble playing to be found in Canada. Their energetic manager, Mr. H. M. Hirschberg, will probably find many engagements for the club throughout the season.
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19If I were to attempt to give accounts of concerts by our educational institutions your columns would be greatly overtaxed. Besides this, such entertainments have necessarily much sameness, and can only be interesting occasionally as indicating standards aimed at; so I seldom break my rule of omitting reference to them. But an exception may appropriately be made in favor of the initial concert given by the Metropolitan College of Music faculty, which took place in the recital hall of the institution December 3. The program originally set was as follows: Piano, Capriccio Brillante, op. 22. Mendelssohn Miss R. A. Welch. (Orchestral accompaniment, Mr. Peter C. Kennedy, second piano.) Vocal, "My Redeemer and My Lord" ("Golden Legend"). Dudley Buck Mrs. Klingenfeld. Flute, Fantaisie, "Plaisir d'Amour". Tulou Mr. J. Churchill Arlidge. Reading, "Locksley Hall". Tennyson Miss Lauretta A. Bowes. Piano, "Waldesrauchen," Concert Etude No. 1. Liszt Miss Katharine Birnie. Violin, Ballade et Polonaise. Vieuxtemps Mr. Heinrich Klingenfeld. Vocal— "Love's Magic". Lewis Browne "Two Dreams". Mrs. A. B. Jury. Piano, "Campanella". Liszt Miss Minnie E. Topping.
21"Veni la mia Vendetta ("Lucrezia Borgia"). Donizetti "My Queen". Brahms Mr. H. W. Webster. Trio No. 1. E. Silas Mr. J. Lewis Browne (piano), Mr. Klingenfeld (violin), Mr. Paul Hahn (cello). Miss Henrietta Shipe, accompanist. one of two readings
22"Vieni la mia Vendetta ("Lucrezia Borgia"). Donizetti "My Queen". Brahms Mr. H. W. Webster. Trio No. 1. E. Silas Mr. J. Lewis Browne (piano), Mr. Klingenfeld (violin), Mr. Paul Hahn (cello). Miss Henrietta Shipe, accompanist. one of two readings
24Through a misunderstanding as to the date of the concert Miss Bowes was not present, so in substitution, at a fitting place, Mr. J. Lewis Browne, musical director of the college, played a group of his own charming piano compositions in a truly masterly manner.
26The opening number by Miss Welch and Mr. Kennedy was a little shaky and uneven through want of sufficient rehearsing, but the performers proved themselves to possess good technical equipment.
28Mrs. Klingenfeld is a genuine musician, and phrases and articulates beautifully; but the intolerable heat of the hall affected her considerably, so that she was not heard to the best advantage.
30Mr. Arlidge's flute playing was better than good, it was exquisite, and showed him to be a highly finished performer.
32Miss Birnie gave a very spirited interpretation of her piano number.
34Mr. Heinrich Klingenfeld exhibited his skill as a violinist and true musical temperament with fine effect.
36Mrs. A. B. Jury I had not heard before, and I was agreeably surprised to find that she has a very superior soprano voice, musical, powerful, true, which she uses admirably.
38Miss Topping is one of Toronto's foremost pianists, and in this concert amply asserted her right to be considered such. Refinement and fire she has in abundance and her technic is very finished.
40In Mr. Webster the Metropolitan College has a baritone singer and teacher of wide experience and notable accomplishments. His numbers were very effective.
42The College Trio—Messrs. J. Lewis Browne piano; H. Klingenfeld, violin, and Paul Hahn, 'cello—gave a thoroughly musically performance, and won immediate recognition for their excellence.
44The accompanist for the soloists, Miss Shipe, performed her duties with the utmost credit.
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48On the 18th inst. the Clef Choral Club, under the direction of Mr. H. W. Webster, made its début in Association Hall. The fifty-eight members, I am reliably informed, gave a very good account of themselves in F. H. Cowen's cantata, "The Rose Maiden," the soloists being Miss Marie Kimberly, Miss C. Cawsey, Mr. G. S. Forsyth and Mr. R. C. Donald. The first part of the program consisted of:
50Organ solo, "March Nuptiale"………….F. de la Tombelle W. H. Hewlett.
52Vocal—
53"Sperate O Figli" ("Nabucco")………….Verdi
54Organ obligato, Mr. Hewlett.
55"Bedouin Love Song"…………………Pinsuti
56Mr. H. W. Webster.
57"Piano solo, "La Campanella"…………….Liszt
58Miss Minnie E. Topping.
60At the Christmas concert of the Queen's Own Rifles Mrs. Isidor Klein made her début. She had but recently returned from pursuing her studies with Mr. W. Elliott Haslam, in New York, and quite fulfilled the great things that were expected of her. In fact, it is doubtful whether a more successful first appearance of a local singer has occurred in recent years. Mrs. Klein's voice is a decidedly dramatic soprano, very pure in quality, and, judging from the artistic spirit displayed at the concert under mention, it is perfectly safe to predict a future for her in the front rank of Canadian vocalists. EDMOND L. ROBERTS.
62CINCINNATI.
64CINCINNATI, Ohio, January 1, 1896.
66THE curse of barrenness which oftentimes settles down upon the musical life of Cincinnati seems temporarily to have been taken away. Since the beginning of November there has been a good deal of activity, and we have had many excellent concerts both by our resident artists and by visitors of note. The next four or five months also promise to be more than ordinarily rich. To glance briefly at a few of the more important events, I may begin with the Orpheus Club. There is a distinction which we have always to make here between the German Orpheus Society, a mixed chorus, singing in the German language, and the Orpheus Club, a body of gentlemen only, who sing strictly in English. This latter society made a brilliant début a year and a half ago, and has kept up and even enhanced its reputation since. The director, Charles Graninger, one of the professors of the College of Music, deserves great credit for the excellence of the concerts. The singing of the club has wonderful virility, and yet it has gained in softness, roundness and refinement. Their shadings are usually judicious, their phrasings intelligent, and their pronunciation as near perfect as any I have ever heard from a body of concerted singers. They do not, of course, come up to the absolute perfection of the New York Liederkranz and Arion, but they press pretty close upon those societies. At the first concert this year they brought to us the world-renowned violinist Ysaye, and he created a positive furore in this city. Since that time I have heard César Thomson in his début at the Auditorium in Chicago, and I am completely lost in wonder and amazement, and all my pot of rainbow-colored adjectives of the laudatory sort seems quite inadequate to the occasion. I am reminded of the clever remarks which I find in last week's issue, apropos of four great pianists in Berlin. How wonderful it is that the same instrument can be played by two men from the same country in a way so different and yet so unspeakably beautiful in each case! When I contemplate the performances of these two great men I am cast into what Carlyle calls "a delirium of admiration." Ysaye played the third concerto of Saint-Saëns in a manner so marvelous that we utterly forgot all about technic and were conscious only of music. This was something like what I have read of Joachim and something like my experience when listening to Rubinstein. As César Thomson is to make his appearance in this city in February in connection with the Apollo Club it will then be my pleasant task to comment upon him.
68After the Orpheus concert a delightful dinner party was given in honor of Mr. Ysaye at the house of one of our richest and most intelligent citizens, Mr. A. Howard Hinkle, who has been, is and we hope will continue to be active and influential in the most important art matters of our city. There was a company of eighteen gentlemen from the prominent musical circles of the city, including artists, newspaper men and capitalists, and an ideal symposium was enjoyed.
70There has been a long series of piano recitals and concerts given by our various schools and artists, which I may briefly summarize as follows: Mr. Kupferschmidt, violinist; Philip Werthner, pianist, and Mr. Mattioli, 'cellist, played an interesting program, of which the most important number was Beethoven's great E flat major trio, op. 97. These gentlemen are among our most highly respected and valued professionals. Mrs. Guckenberger, wife of one of the professors of the College of Music, gave with some of her advanced students a delightful recital a few weeks ago, singing also several numbers herself. She has an excellent method and a good voice, and her pronunciation especially is most admirable.
72The first concert of the Apollo Club showed that society in its usual and well-known colors. Its greatest excellence is in exquisite refinement. The depletion which has resulted from the secession of the Orpheus weakened the male portion of the chorus very lamentably, but the ladies sing admirably, and much of the work done is above faultfinding. The soloist on this occasion was Mr. Max Heinrichs, who perfectly amazed us by the finish and unspeakable perfection of his ballad style. His accompaniments are absolute poems, and his enunciation is, I believe, the finest I have ever heard from any human being. His wife also created a delightful impression.
74Mr. George Kroeger, the new pianist at the Cincinnati Conservatory, gave an excellent piano recital on December 10. Unfortunately I had a business engagement in Chicago which prevented me from being present, but from what I know of his talents I am quite sure that his audience enjoyed a treat. Miss Baur's Conservatory now has three fine artist-pianists, Frederic Shailer Evans, Theodore Bohlmann and Mr. George Kroeger.
76I mention them in the chronological order of their engagement. Mr. Evans was a pupil of Weidenbach in Leipzig, Mr. Bohlmann of Klindworth and Moszkowski in Berlin, and Mr. Kroeger of Barth in Berlin and of Leschetizky in Vienna; so you see she is extremely cosmopolitan in the selection of her piano professors.
78The Sunday afternoon "Pops," under the management of an incorporated society of five members, began early in November and the concerts have been carried on with varying success. The artistic merit is high, though of course it would be foolishness to claim that our organization can be fairly compared with the great orchestras of New York, Boston and Chicago. Cincinnati is a rich city, but for some unaccountable reason is indisposed to spend its money lavishly for the support of home institutions. Let any distinguished visitor come here and he will be amazed at the way the thousands of dollars pour into his coffers; but let the most meritorious local musician advertise a serious concert and he will probably have to give away all his tickets and present a chromo and a box of candy with each one if he expects to secure an audience. The "Pops" have been for the last three or four seasons an exception to this rule, and have drawn enormous audiences, varying from 2,000 to 6,000 people.
80The trouble with our local orchestra is now, as it was in the days of Thomas, and has been for twenty-five years (but let us hope will not always remain), that we cannot afford to have a complete outfit of good players. The principal men all round are excellent, and oftentimes have played in Thomas' festival orchestra, but the effect is made muddy and impure by the poor material that has to be filled in. For this of course neither Mr. Brand nor the management is in the least to blame, but the conservative—shall I call it the conservative spirit of the city—there is a shorter word, perhaps a truer one, but I will only print it in parentheses (stingy). When people read that we pour out $50,000, $60,000 and at one time $78,000 for a single series of seven concerts, they think, Merciful heavens! what an Eldorado that Cincinnati is—for the artist! but our public gulps down music wholesale, and then goes to sleep for a year or two to reinstate its digestive powers.
82The "Pops" give employment to our local society, and are backed by the generous and liberal minded support of Mr. Tuchfarber, a prominent business man of our city, who is an ardent and disinterested lover of music and of the refining and elevating education which it brings to a community… The director is Mr. Michael Brand, one of the cleverest and most practical musicians in America. Mr. Brand has spent all his life in our city, with the exception of two or three short sojourns in New York and Chicago. He is a typical orchestral musician, and plays almost every instrument, though his favorite is the 'cello, upon which he is a consummate artist, being especially conspicuous for the nobility of his tone. He has read apparently the whole literature of music, and directs with the utmost ease and quietness. In fact, in this respect he resembles Mr. Thomas, and indeed he has always been on the most friendly artistic terms with that famous master. Mr. Brand's programs are admirably well put together, being never frivolous, and yet never heavy. The range is usually from a suite by Delibes, a waltz of Strauss' or something from Waldteufel or Millöcker up to a symphony movement of Haydn or Beethoven, and sometimes a selection from Wagner.
84Through all the many changes and vicissitudes in musical politics Mr. Brand has held his own, and has kept on the even tenor of his way undisturbed. He is a man with high ideals, but not impractical enthusiasms. He knows our public. Last season he composed a dirge, which was played here and much admired. The last concert under Mr. Brand's direction brought us a notable event, namely the love duet of "Sigmund and Siglinde," from Wagner's "Walküre," sung by Anton Schott and Mrs. Guthrie-Moyer, a new comer in our city. Mr. Schott has been here a number of times before and has always created a strong impression; this time he created a positive furore. Mrs. Guthrie-Moyer absolutely captured our public in one concert. The public and critics alike were charmed with her lovely voice, her exquisite method and her fine artistic personality. It was astonishing to hear the "Venezano Waltz" and the great love duet from Wagner's "Nibelungen" in the same concert by the same singer. You could hardly believe that it was the same voice; and again, are we not reminded of that indisputable doctrine that only the Italians know how to sing. This marvelous purity of tone production, sought out and taught by the best Italians, constitutes the best possible foundation even for the singing of Wagner's music. Mr. Theodore Thomas once said to me, apropos of Campanini, that if we could only get these well trained Italian singers to take an interest in earnest German music we should have the highest results. Mrs. Guthrie-Moyer, by the loveliness of her voice, the finish of her art and the fervor of her interpretation placed herself at once in the very summit of our esteem. She is to appear again next Sunday.
86The May Festival Association has just given a series of three concerts—a performance of "The Messiah," a popular matinée and a Symphony concert by the Chicago Orchestra. "The Messiah" was superbly given, the soloists being Mrs. Lawson, of our city; Mrs. Alves, of New York; Mr. Rieger and Mr. Watkin Mills. The chorus was in fine form, and created the conviction of its growth. The most notable feature of the two concerts undoubtedly was the fifth symphony, E minor, by Dr. Dvorák.
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