Scan 28
Musical Courier 1895-02-27: Vol 30 Iss 781, 1895
97 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 29. See the scan on archive.org.
1Music in Philadelphia.
3FEBRUARY 25, 1895.
5IT was my pleasure last week to attend a charming affair at the New Century Drawing Room. It was a musical reception given by Mrs. O. B. Jenkins to her pupils. There was enough about the recital, for that it was, to make it noteworthy, and therefore to command unusual space. No thought of pupils' concert entered the mind of any one of the auditors, and still it was a pupils' concert pure and simple. But Mrs. Jenkins is a woman who knows what the vocal world needs. She has found a mission to perform and she is performing it. Method is her watchword. Every number was sung with all the tone possible. The breathing was always right, the enunciation clear, the intonation perfect, the phrasing definitive, and all this without any necessarily God-given power to the singer. But I will give the program:
7Duet, The Wanderer's Night Song…………………….A. Rubinstein
8Miss Maggie V. Slemmer, Miss Elizabeth McCulken.
10Songs—
11Hedge Roses……………………………………………..Schubert
12Celeste…………………………………………………….E. A. P. Newcomb
13Miss Luella B. Chamberlain.
15Song, Asthore…………………………………………..H. Trotter
16Miss Florence Mae Ritter.
18Duet, I Know a Bank…………………………………….C. E. Horn one of two readings
19Duet, I Know a Bank………………………………….C. E. Horn one of two readings
20Miss Edith Virden, Mrs. J. W. Little.
22Songs—
23'Tis the Last Rose of Summer………………………….Plotow
24With Verde Clad (Creation)……………………………Haydn
25Miss Maggie V. Slemmer.
26Cavatina, Descend Thou, Sleep (Otello)………………Rossini
27Mrs. J. W. Little.
28Recitation aux Italiens………………………………..Bulwer-Lytton
29Miss Maud B. McCall.
31The accompanying airs and chorus from Il Trovatore.
33Songs—
34The Nightingale and the Rose (The Fencing Master)…..DeKoven
35Arietta Valse (Romeo e Giulietta)……………………Gounod
36Miss Edith Virden.
38Songs—
39Ave Maria……………………………………………….Emile Karst
40Magnetic Waltz…………………………………………Luigi Arditi
41Miss Elizabeth McCulken.
43Song, Serenade…………………………………………..Neidlinger
44Miss Elizabeth Gillingham.
46Duets—
47Tuscan Folk Song………………………………………Caracciolo
48Nocturne (first time in Philadelphia)…………………Denza
49Miss Edith Virden, Miss Elizabeth Gillingham.
50Song, Let Thine Hand Help Me………………………..Händel
51Miss Florence Mae Ritter.
53Yes, perhaps I should stop and tell you that Miss Slemmer and Miss Virden and Miss McCulken and Miss Ritter had done exceedingly well, but that would be unfair, for it would take all my space to enumerate the achievements of the others. Look at the programs. There was always true merit. A distinguished teacher of singing lets the world hear her pupils. It is a question of method. And that method is superb. At the conclusion of the program the audience remained seated and applauded, and applauded a request for something from Mrs. Jenkins. Modestly acknowledging the compliment, the gifted musician seated herself at the piano and in that beautiful contralto voice which has won the encomiums of her friend Adelina Patti, and been perfected by the matchless method of Marchesi, sang Ouvres tes Yeux Bleus, Massenet, and, to the enthusiastic encore, "Tis a Dream, Lasser.
55***
57It is my intention to seek and find the pure academical strength of Philadelphia. Our privileges of piano study under Godowsky are in value equalled in singing under Mrs. Jenkins.
59***
61Before her marriage Mrs. Jenkins was Mary Clayton Phillips. Her course of study was ample and exhaustive. She spent six years on the Continent of Europe under Signor Ezzio Ciampi, Madame Anna de Lagrange and finishing with a two years' course with Madame Marchesi.
63WALTER BACON.
65Alice M. Pierce.—Alice M. Pierce, that bright little girl who was engaged to play Hannelle, but was prevented from doing so by the Society for the Prevention of Cruelty to Children, has written the words and music for a song that she will call "Let Me Kiss Thy Tears Away." A pretty song it is, too, with a catchy strain in it that will make it popular.
67Reform in Baltimore.
68BALTIMORE, February 23, 1895.
69Editors The Musical Courier:
70I HEARTILY indorse your article on Reform in Baltimore, and hope you will lose no opportunity to impress the facts so forcibly set forth in your article upon your many readers whenever occasion offers.
71As a constant reader of your paper I know the position you have taken with reference to the needs of the Peabody Institute, as well as the neglect or incapacity of the press of this city in properly showing to this community the shortcomings of the management of this largely overestimated institution, its musical director and board of trustees.
72Some ten years ago your paper contained an interesting letter from a Baltimore correspondent on "Musical Criticisms" in this city. This letter then placed the responsibility, as you now do, upon the press of this city for the poor showing that our Conservatory of Music has made, is making and will continue to make until a thorough reorganization is accomplished. Mr. Hamerik is all that you concede—a thoroughly accomplished musician but an inefficient conductor. He does not interest himself sufficiently in the work he is called upon to do. Why leave so important a work as that of directing the Goldmark concerto to his assistant, Mr. Itzel, when the concerto is played by such an artist as César Thomson? Observe what one of our critics has to say on this performance: "The only thing to mar the performance was the unevenness of the orchestral accompaniment. No fault could be found with the manner in which Prof. John Itzel directed, but the performers failed to pay the proper attention to his baton, and as a result the soloist was frequently compelled to follow the accompaniment, instead of the accompaniment following the soloist." This is a sample of intelligent criticism: "No fault to be found with the directing of a man who cannot control his performers sufficiently to have them follow his baton!" What constitutes good directing? Will this critic inform us?
73Apropos of the "New Musical Era" that the press has been dwelling upon so much of late comes the notices of our morning papers of the performances of the opera at the Academy of Music this week. Two columns were devoted to these articles, and possibly thirty lines would cover the actual comments upon the general performance and the work of the individual performers. The remainder of the articles was devoted to the lighting of the large chandelier, the gowns that were worn by the fashionable world and the names of those that attended. A competent writer had enough opportunity at the performance of Otello in the work of Maurel, Tamagno and Eames to have given the public an account of the most artistic operatic performance ever heard in Baltimore. Performances like these are sometimes criticised; but I have yet to read an article criticising the work of Mr. Hamerik. As no one seems to find fault, Mr. Hamerik feels justified in making up his programs as he does and in remaining at the head of the orchestra. Certainly none of the three gentlemen of the "music committee" of the Peabody is competent to advise Mr. Hamerik, and so long as the press remains quiet it is doubtful when the much needed change will be made.
74That the Peabody Orchestra can play better under one man's direction than another has been amply demonstrated when Mr. Burmeister has directed his own compositions. There was a noticeable improvement in attack, shading, expression—in fact, everything that goes to make up a good orchestral performance. And all due to the musical interpretation of the conductor. Why not call a musician of Mr. Burmeister's ability to fill this position? Mr. Hamerik is needed in his other departments. He does not direct but one-half of the numbers, and could be very easily spared that duty with advantage to the orchestra, the institution and the public taste.
75The press can do much to bring about the needed change. To do this let the manager of each paper put competent musical writers to work and not place such responsibility upon men who will write up an account of a horse race during the day and a concert at night, and for the latter information rely upon some one of the performers for that which is given the public next morning.
76The managers of our daily papers are alone responsible for this poor showing. The people they employ are competent in certain branches, but, when they approach musical people for certain information, candidly admit that they do the best they can, but other work is their specialty. There is no excuse for this, and until it is remedied we will continue to have incompetent musical criticisms.
77CONSTANT READER.
79Editors The Musical Courier:
80Baltimore musicians are rejoiced to hear of this "New Musical Era" from The Musical Courier, which is supposed to be invested with a magic wand sufficiently potent to open the blindly infatuated eyes of Peabody devotees to the bare and hideous truth that this noble institution of George Peabody has not proven the temple but the tomb of the Muses.
81And who is to wave this magic wand? The Baltimore press? Anyone knowing how conservative our Baltimore papers are, and that the slightest disparaging remark on any local institution is mercilessly cut from the criticism, will wonder how this may be achieved. The glowing accounts in this morning's papers of last night's symphony concert would lead one to imagine that it was nothing short of perfection, while in reality the orchestral numbers may have afforded amusement to some, disappointment to others, but enjoyment to none except, of course, those who wander to the Peabody Mecca with the awe of a Mohammediain pilgrim.
82There certainly was fun, and lots of it, for those who have a sense of humor, in watching an orchestra of about seventy-five members dragging their poor helpless conductor through the intricate mazes of a Tchaikowsky symphony, some few gallantly persevering unto the end, the others dropping off helplessly in utter despair long before the last page was turned. The program and papers stated that this was its first performance; there was not a moment's doubt as to that; facts speak plainer than words; but let us hope that this was also the last performance of a Tchaikowsky symphony. Music had evidently become synonymous with noise, for the only variation in the brilliant fortissimo was an occasional clash of the only two instruments in proper pitch, cymbals and drum, and then there was a little more noise, that is all. How very fortunate it is for Mr. Hamerik's nerves that nothing less than the discrepancy of half a tone can effect his equanimity. one of two readings
83There certainly was fun, and lots of it, for those who have a sense of humor, in watching an orchestra of about seventy-five members dragging their poor helpless conductor through the intricate mazes of a Tschaikowsky symphony, some few gallantly persevering unto the end, the others dropping off helplessly in utter despair long before the last page was turned. The program and papers stated that this was its first performance; there was not a moment's doubt as to that; facts speak plainer than words; but let us hope that this was also the last performance of a Tschaikowsky symphony. Music had evidently become synonymous with noise, for the only variation in the brilliant fortissimo was an occasional clash of the only two instruments in proper pitch, cymbals and drum, and then there was a little more noise, that is all. How very fortunate it is for Mr. Hamerik's nerves that nothing less than the discrepancy of half a tone can effect his equanimity. one of two readings
84How César Thomson ever managed to play the solo accompaniment to the orchestra solo without being tempted to fling something more substantial than black looks at the malefactors, can only be evidence that a truly great artist can also be truly a gentleman who will not publicly resent the insult of having his concerto conducted by a second-rate violinist, who is not even concertmaster, and whose knowledge of conducting is the quintessence of nihil. Instead of feeling honored by being able to accompany an artist like Thomson, Mr. Hamerik coolly surrenders the baton to an inferior, and if a catastrophe should result he at least is safely out of it.
85The Peabody trustees, who seem mightily interested in Peabody affairs this year, ought to insist upon the contractor wielding the baton throughout the entire concert, and if he does not feel equal to the emergency they should engage a conductor who does. Moreover, let the trustees choose the program judiciously, and not tax the musicians beyond their abilities. Why must there be so many members in the orchestra? Is the Peabody maxim "The more the merrier?" There are musicians, alias saloon keepers, alias provision dealers, in the orchestra who can barely read notes, who do not know the meaning of the word "practice," who follow their aesthetic vocation throughout the week and after two rehearsals are supposed to regale the audience with a Tchaikowsky suite. Verily, from the ridiculous to the sublime, and vice versa. one of two readings
86The Peabody trustees, who seem mightily interested in Peabody affairs this year, ought to insist upon the contractor wielding the baton throughout the entire concert, and if he does not feel equal to the emergency they should engage a conductor who does. Moreover, let the trustees choose the program judiciously, and not tax the musicians beyond their abilities. Why must there be so many members in the orchestra? Is the Peabody maxim "The more the merrier?" There are musicians, alias saloon keepers, alias provision dealers, in the orchestra who can barely read notes, who do not know the meaning of the word "practice," who follow their aesthetic vocation throughout the week and after two rehearsals are supposed to regale the audience with a Tschaikowsky suite. Verily, from the ridiculous to the sublime, and vice versa. one of two readings
87Were there half as many—say forty—who are willing to try, and who make music a profession, and were they to play compositions within their compass, the Peabody Orchestra might have a future; but as long as there is question of quantity, not quality, it will go from bad to worse. Mozart and Haydn and even Beethoven have apparently been obliterated from the list of composers, yet a Haydn symphony, correctly and tastefully played, would afford ten times the pleasure obtained from the Minnesota blizzard that swept over the hall last night, and a few more such blizzards will effectually crush all the germs of musical appreciation that may lie latent within some of the Peabody students, while the bright sunshine and intrinsic vigor of our classical composers would bid them spread and open and bear worthy fruit.
88If the new musical era is to dawn the press must be the fearless Aurora who will herald its advent by scattering the seeds of truth.
90Mr. Louis Blumenberg.—Mr. Louis Blumenberg, the solo 'cellist, played the solos on the occasion of the initial concert given by the new Philomel Society at the Hotel Endicott Monday night. His selections, which included the Vito of Popper, were received with the honest appreciation that invariably results from the fine work of this artist. Mrs. McKinley directed the entertainment and Mr. McKinley sang the tenor solos.
92RARE CHANCE—For Sale—A Joseph Guarnerius and one Bergonze violin. The LARGEST musical library for military band, used by Bergmann, Downing, Arbuckle, &c.; worth, $5,000. Address A., 159 East Sixty-second street, New York.
94R. SCHMELZ, director of vocal and instrumental music, is open for an engagement as leader of vocal and orchestral societies. Teaches also singing, violin, piano, theory and composition. Address No. 159 East Sixty-second street, New York.
96WANTED to dispose of some classical music works for string instruments, consisting of Mozart, Bocherini, Reissiger, Haydn, Krommer and other quartets and quintets. Write for information to 316 West Fifty-eighth street, New York city.
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