Scan 26
Musical Courier 1895-02-27: Vol 30 Iss 781, 1895
111 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 27. See the scan on archive.org.
1MR. CHARLES WHITNEY COOMBS gave a recital of his songs on Tuesday evening, the 19th, at Mendelssohn Glee Club Hall. Mrs. Gertrude Luther and Miss Inez Grenelli, sopranos; Mr. J. H. McKinley, tenor; Mr. Frank E. Tunison, baritone; Mr. Carlos Hasselbrink, violinist; the Apollo Sixteen, under the direction of W. K. Chapman; Mr. Clement R. Gale, organist, and Mr. Herman H. Wetzler at the piano interpreted the program.
3Had the female singers of Mr. Coombs' songs been selected by some enemy to cover up any possible beauties the music might possess, the result could not have been better accomplished. Mrs. Luther's colorless, unsympathetic soprano wandered sadly from the pitch, and her lyric idea is at best wooden. Backed by the fine sonorous singing of the Apollo Sixteen and the accompaniment of piano and organ in Mr. Coombs' most ambitious and successful work on the program, The Christ Child. Mrs. Luther did not appear to such disadvantage. Her efforts at ignoring pitch, however, paled beneath those of Miss Grenelli. This lady set in at a respectable distance from the key and went steadily forward. She is addicted to the use of mezzo-voce and holds on lovingly to the last tone of a phrase, flattening as she holds in a way we have never heard rivaled on a public platform. It was announced early in the evening that the composer was obliged to be absent through illness. If he had engaged the lady singers on trust—we must particularize Grenelli—it was well he was. If he did not engage them on trust the case is peculiar for a musician.
5The audience was large. Those who purchased seats did so at the rate of $2. Mr. McKinley unfortunately was not in as good voice as usual. He sang a peculiarly jerky setting, by Mr. Coombs, of Shelley's I Arise from Dreams of Thee, so abundantly besprinkled with double and triple stemmed notes that the text was chopped to pieces. Salaman's smooth, sensuous setting had naturally to be kept in mind. Mr. Tunison sang tunefully Händel's Honor in Arms, a solo too big for him, and Mr. Hasselbrink played with really good taste and spirit Sarasate's Hungarian Dances. The admirable work of the Apollo Sixteen, the work of Hasselbrink and of McKinley—who even in indifferent voice will not be inartistic—relieved the evening. Such an evening planned by a musician is mysterious, and must have been an uncanny revelation for the confiding persons who paid $2, as it proved to the many of musical cultivation who were present with the legitimate expectation of an artistic performance under such prestige.
7It was not without its amusing episodes. The Grenelli sang an encore, Gounod's serenade, to her own piano accompaniment. She evidently believes in her manière de dire. It was most blandishingly funny. Ordinarily a concert of this stamp would be dismissed in a couple of sentences. As the arrangement of a New York musician it has suggested some curious questioning at length.
9The Church Choral Society, Richard Henry Warren, conductor, held its second concert of the season on Wednesday afternoon and Thursday evening of last week at St. Bartholomew's Church, Madison avenue and Forty-fourth street. The program on Thursday evening was given out of order, the Resurrection, a new work by W. Le Grand Howland, being the first number performed instead of the even-song by Shelley. It has a Stabat Mater for soprano and chorus, a Sanctus for soprano, contralto and chorus of women, ambitious but ineffective. The Agnus Dei chorus is the most impressive bit of the work, and there is a fresh, jubilant Alleluia chorus following, both of which are well harmonized.
11Emma Juch was the soprano, Miss Eva Hawkes the contralto. Emma Juch sang also with organ Gounod's There Is a Green Hill Far Away, and with violin, harp and organ the Bach-Gounod Ave Maria. Both were exquisitely delivered, with the beautiful broad purity and sympathy which characterize Juch's style. The Ave Maria is an old standby with her. Few sing it like her, and none have the serene, classic pose with which she attends the performance of the prelude and from which her song following borrows an added dignity and charm. Her voice was in excellent condition, fresh and vibrant.
13An evensong for baritone solo and chorus by Harry Rowe Shelley, composed for the society, was given for the first time. George W. Fergusson was the baritone, and sang also It Is Enough, from Elijah. There were two a capella choruses, Mendelssohn's Judge Me, O God, and Arcadelt's Give Ear Unto My Prayer. The chorale Awake, from the Meistersinger, was given by chorus with organ. Mr. L. Amadeus Von Gaertner, violinist, played an adagio of his own composition and a Bach air for the G string, and the service, as it is called, closed with the finale from Rheinberger's Sonata Pastorale, played on the organ by Mr. Will C. Macfarlane.
15The chorus sang excellently with plenty of tone and intelligently modulated effects. The soloists, taken all round, were an improvement on those at the last concert. The absence of an orchestra, which relieves the severely churchly impression always conveyed by an organ, no matter how buoyant the strains, was felt. The compulsory stillness of an audience in this church atmosphere is depressing. No matter how fine the performance, the effect is lugubrious and one leaves with the idea that a program given in face of such deathly impassiveness can never have been a success. This society sings well, gives interesting programs and has an enormous following. It would be an interesting experiment to transplant its efforts for one evening to a secular environment and give a repressed public the opportunity to let loose its painfully pent up approval. It must take courage or, better, a wealth of religious ardor, for a soloist to lift up his or her voice with any heart in the effort after a brother artist has resumed his seat in the deadly hush of the sacred edifice. Ah, some of these church concerts are sad, while if elsewhere given they might be positively glad.
17It was a relief to drop into the brighter atmosphere of the Madison Square Garden Concert Hall, where the Rubinstein Club was holding also on Thursday evening its second private concert of the season, under its director W. K. Chapman. A bevy of prettily gowned women on the stage like a huge nosegay, and a gay, smiling, crowded, clapping audience, made things cheery. The program was mainly composed of works of Rubinstein performed in memory of the great musician after whom the club was named. Dr. Carl E. Dufft, baritone, and Mr. Louis Blumenberg, 'cellist, were the soloists, and Emil Levy accompanied.
19The Rubinstein numbers sung by the chorus were The Angel, Sweetly Sang the Bird, The Water Nymph and The Song of the Birds. Other choral numbers were Brahms' Song From Ossian's Fingal, Weinzierl's Dance Song, C. L. Osgood's Found and Old German Shepherd's Song, by W. Kienzl. Mrs. Sara Baron Anderson sang the contralto solo in The Water Nymph intelligently, as she always sings, and the incidental solos in Weinzierl's Dance Song were done by Miss Marguerite Lemon, soprano, and Miss Winifred Williams, contralto.
21Very interesting was the Allegro Risoluto for piano and 'cello, played by Mr. Emil Levy and Mr. Louis Blumenberg, a movement from one of the three compositions written by Rubinstein for piano and 'cello, and a novelty here. Mr. Blumenberg also played Popper's Spanish dance, Vito, with great verve and brilliancy, and with such pleasure to the audience that he was compelled to give an encore. The other encore of the evening was for the club in the Old German Shepherd's Song, and the buoyant song was repeated.
23Dr. Carl E. Dufft sang Rubinstein's Yearnings and The Azra and Schubert's Erl King with his usual taste and sonority. The tone quality of the club is so firmly and satisfactorily established in the musical mind that it calls for no dilated comment. They sang as well as usual, and if addicted occasionally under Mr. Chapman to violent tonal contrast, it is but an occasional exaggeration of a really wonderful power over light and shade. It was an excellent concert, and Mr. Chapman directed with earnest emphasis and vigor. Everything showed the effect of good rehearsal, and the Rubinstein numbers were tastefully selected.
25The Thursday evening of each week is becoming the central period of activity. On Thursday evening, also, Mme. Zippora Monteith gave her second concert at the Y. W. C. Association Hall, 7 East Fifteenth street, assisted by Mr. Conrad Behrens, bass; Mme. Flavie Van Den Hende, 'cello; the Elmore trio, composed of Misses Alice, Anna and Ella Elmore, Mr. Wm. Courtney, tenor, who replaced at a few moments' notice Mr. N. M. Halfpenny, and Master Arthur Hochmann, pianist. Miss Etta Hull accompanied.
27This concert was on a par with its predecessor in the performance. No one disappointed expectation, and it was altogether enjoyable. Following is the program:
29Trio, Tell Her I Love her So……………………………P. De Faye
30Miss Alice Elmore, Miss Anna Elmore, Miss Ella Elmore.
31Ballad, The Shadow and the Song (new)………….Keall-Parkhouse one of two readings
32Ballad, The Shadow and the Song (new)………………Keall-Parkhouse one of two readings
33Dedicated to Mme. Monteith.
34Mme. Zippora Monteith.
35Cello, tarantelle…………………………………………..Popper
36Mme. Flavie Van Den Hende.
38Songs—
39Aufenthalt…………………………………………………Schubert
40Torn der Reimer, ballad……………………………….Loewe one of two readings
41Torn der Reimer, ballad…………………………………Loewe one of two readings
42Mr. Conrad Behrens.
43Trio, In Spring…………………………………………..Borgiel one of two readings
44Trio, In Spring…………………………………………….Borgiel one of two readings
45Elmore Trio.
47Piano—
48Spanish Serenade………………………………………X. Scharwenka
49Rondo Brilliant…………………………………………..Von Weber
50Master Arthur Hochmann.
51Aria, With Verdure Clad (Creation)…………………Haydn one of two readings
52Aria, With Verdure Clad (Creation)…………………..Haydn one of two readings
53Mme. Monteith.
55'Cello—
56Melodie…………………………………………………….Saint-Saëns
57La Fileuse…………………………………………………Dunckler
58Mme. Flavie Van Den Hende.
60Songs—
61Up to Her Chamber Window………………………….Schlessinger
62Ninon………………………………………………………..Tosti
63Mr. N. M. Halfpenny.
65Songs—
66The Sea Hath Its Pearls……………………………Maude Valerie White
67Thou Art Like Unto a Flower………………………..Rubinstein
68Mme. Monteith.
70Mme. Monteith is certainly a valuable addition not only in the oratorio but the lyric field. Her style is flexible; her large, brilliant organ is under admirable control, and after a broad dramatic aria she can adapt her methods to a sympathetic little ballad with delicate art and finesse. She sang the With Verdure Clad excellently, and her smaller songs had infinite charm and refinement, notably the Du bist wie eine Blume, which we do not remember to have heard sung with more sentiment and finish.
72Mr. Courtney sang Come into the Garden, Maud and Sally in Our Alley and gave his usual example of the art of singing a ballad and the perfect use of a mezza-voce. The little boy Arthur Hochmann is a wonder and will probably grow up to fulfill his promise. Everybody else did well. There was a good audience and it was a notably good concert.
74On Thursday afternoon and Friday evening Mr. Charles A. Arter and Mrs. Ida Gray Scott again received a large number of guests in Mr. Arter's studio on Twenty-third street, overlooking Madison square. On Thursday afternoon Perry Averill sang, little Frieda Simonson played Chopin's Fantaisie Impromptu, Miss Grace Hodgkins sang extremely well and Mr. Miller, the tenor of Dr. Kittridge's church, also sang pleasantly. Perry Averill sang a regular Maurel répertoire, including Tosti's Ninon and the Evening Star from Tannhäuser. It was no dull but a very intelligent and sympathetic echo, however, of the grand opera baritone. Perry Averill has plenty of voice, plenty of dignity and feeling and dramatic temperament. He played his own accompaniments tastefully. This young baritone does a great many things well—plays, sings and paints. His up-town studio is pretty well lined with dainty finished little sketches and a few clever impressionistic bits from his own brush. But he is at his best as a singer.
76On Friday evening the reception was a Martha Washington one; the men wore conventional clothes, but the women who did not wear white wigs and brocade gowns displayed at least powdered heads and patches. It was a pretty effective gathering, and the floors were cleared for the Georges and Marthas to dance. There was some good music interspersed. Mme. Anna Lankow in her large, broad style sang some German songs, and a young girl pupil of hers, who has been engaged for opera at Frankfort-on-the-Main, sang also some German Lieder and some music from the Fledermaus. Archie Gunn gave some clever comic recitations to an under piano accompaniment, and his inimitable squint and confiding manner of imparting suggestive things were immensely chic. There's a world of expressive meaning in Archie Gunn's squint.
78These two affairs were very enjoyable, largely attended and musically good.
80The following program was given on Saturday evening last at the residence of Mrs. John Calvin Lavine, where many interesting people from the artistic world were present:
82Sonata, op. 57 (Appassionata)……………………………Beethoven one of two readings
83Sonata, op. 57 (Appassionata)………………………….Beethoven one of two readings
84Herr Xaver Scharwenka.
85Ballad, The Promise of Life……………………………F. H. Cowen
86Mme. Zippora Monteith.
87Largo………………………………………………………..Händel one of two readings
88Largo………………………………………………………Händel one of two readings
89Señor Diaz Albertini.
91Songs—
92Flow Gently, Sweet Afton…………………………….Spilman
93Adelaide…………………………………………………….Beethoven one of two readings
94Adelaide……………………………………………………Beethoven one of two readings
95Mr. William Courtney.
96Poem, With under song of Mendelssohn…………….De Courpon one of two readings
97Poem, With under song of Mendelssohn………………De Courpon one of two readings
98Mr. George F. Duysters.
100Songs—
101The Sea Hath its Pearls……………………………M. V. White
102Du bist wie ein Blume……………………………….Rubinstein one of two readings
103Du bist wie ein Blume…………………………………Rubinstein one of two readings
104Mme. Monteith.
105Serenade, violin and piano………………………….X. Scharwenka
106Señor Albertini and the composer.
107Miss Hella Seydell, accompanist.
108Lines by the Princess May……………………………Miss Ella Powell.
110Of course Scharwenka played, as usual, superbly, and Sig. Albertini played with the composer the new serenade with charming grace and finish. It is a delightful little work. Mme. Monteith and Mr. Courtney sang artistically, as is their wont, and Miss Hella Seydell, who is a good solo pianist, always plays excellent accompaniments. The French poem Printemps, recited by Mr. George F. Duysters to the Spring Song of Mendelssohn, made a delightful number. It was beautifully delivered, and the pure diction and polished accent made it a breath from Paris. Mr. Duysters, we believe, is at home in half a dozen languages; is not a student devoted to any particular art, but a professional man. He speaks his lines like a trained actor, however, and is artistically clever. This was a very delightful evening, and everyone enjoyed the musicale and the
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