Scan 32
Musical Courier 1895-02-27: Vol 30 Iss 781, 1895
142 lines. Read by computer on 20 September 2026. 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.
1Mrs. Walter Hall, quails; Miss E. Catherwood and Miss N. Stewart, rattles; Miss Kate McKnight and Miss Clara Greenwood, trumpets; Mrs. J. A. Harper and Mrs. A. L. McKaig, drums, and Mrs. G. W. Darr and Mrs. O. D. Thompson, piano duo, and Mr. Fritz Burckhardt, 'cello.
3The concert given by those famous artists Bernard Stavenhagen, pianist, and Master Jean Gerardy, 'cellist, was a much enjoyed affair. They were greeted with a good sized audience, which greeting was a perfect ovation. If they pass this way again they may be sure of a larger welcome, but only in numbers.
5Mr. Erwin Omohondro, who has so ably edited the music column of the Sunday Leader, has been elevated to the editorial chair of finance. It pays better to deal in hard cash rather than notes, hence I extend to Mr. Omohondro congratulations.
7The position of music editor of the Leader is filled by Mr. Myron R. Stowell, a rising young organist of this city.
9Mr. Stowell has been in this city since 1892, and has made himself known and his ability felt to the extent of his being appointed to one of the most important church positions in this city of good organs.
11Mr. Stowell is a native of Indiana. He studied under Dr. F. H. Gower, the celebrated English organist, who is located in Denver, Col.
13Mr. Alphonso Zinsmeister, who was until recently Geo. Kappe1's right-hand man, has opened a new music house. Mr. Zinsmeister has everything up to date in his new establishment.
15SIMEON BISSELL.
17MONTREAL.
19MONTREAL, P. Q., February 23, 1895.
21HAYDN'S Creation was performed by the Philharmonic Society on Tuesday evening last.
23The soloists were Mrs. Corinne Moore Lawson, soprano, Cincinnati, Ohio; Mr. W. H. Rieger, tenor, New York; Mr. Arthur Beresford, bass, Boston, Mass.
25Every seat in the house was taken. Lord Aberdeen, Governor-General of Canada, and the Countess of Aberdeen and their staff were present. Mrs. Lawson sang her parts most brilliantly. She possesses a rich, clear, flexible soprano voice, her enunciation is clear and her intonation is perfect, and she has a most fascinating stage presence. This is her first appearance in this city, and I hope we may have the pleasure of hearing her again. Mr. Rieger was in splendid form and achieved a triumph. His performance from the beginning to the end was faultless. Mr. Rieger's popularity is somewhat similar to Jean de Reszke's in New York. The oftener he sings before a Montreal audience the greater favorite he becomes. Mr. Beresford likewise met with immense success. He possesses a rich, deep bass voice, full in volume, and sings with dramatic expression. In the duet with Mrs. Lawson his interpretation was well executed and nobly delivered. The chorus and orchestra, which numbered 300 strong, under the baton of Mr. Couture, did excellent work. The performance in all was a most successful one, and Mr. Browning, the secretary of the society, deserves credit.
27The Symphony Orchestra gave their eighth matinée concert on Friday last.
29Mr. E. Lebel, tenor, and Mr. Achille Lejeune, violinist, were the soloists. The program contained Moszkowski's Fantastischer Zug, op. 48, No. 1; Schumann's symphony in B flat, op. 38, in five movements; Broustet's Rêve Après le Bal (scherzo), op. 56; five movements from Bach's suite in B minor, and three ballets from Delibes' Ballet de Coppélia. The band was in good form and gave a smooth performance all through. Mr. Lebel sang Invocation a Vesta, by Gounod, with taste and feeling. Mr. Lejeune played the andante con moto from Souvenir de Bade by Léonard and a mazurka by Wieniawski in a most dignified manner. He received enthusiastic and well deserved applause, and had to bow to the audience over and over again. He has a large, rich tone, pure in breadth, excellent technic and plays with soul and musical conception. Mr. Lejeune is a violinist of high merit; he is a native of Nivelles, Belgium, studied at the Brussels Conservatory under Mr. Collins, and gained the first prize for violin at the latter place. He came over here about three years ago, devotes his time to teaching and stands in rank among our best violinists.
31The next concert by the Symphony will take place on March 8.
33H. B. COHN.
35CLEVELAND.
37CLEVELAND, Ohio, February 20, 1895.
39A RECENT issue of the Cleveland Leader contains a splendidly written article concerning the question of a good and permanent orchestra for Cleveland. Those that read between the lines could easily trace the outlines of a Beethoven countenance, and tremble at the sledge hammer flashes of lightning of our own esteemed musical Jupiter.
41A new scherzo for orchestra is the latest creation of Johann H. Beck. The leading motives were produced in the Sunday edition of the Plain-Dealer, and are a significant index to this magnum opus. Beck does nothing by halves.
43Dr. M. Francisci, a leading physician and superb musician, has composed another opera, the Rape of the Sabines. Mr. Ira Hoffman, of the Plain-Dealer, has examined the score and declares it a remarkable work.
45Space forbade me in my last communication to refer to Mr. I. H. Rogers, who played in a masterly manner the orchestral accompaniment to the Conrath concerto at the Rivé-King recital.
47The Arions, a male quartet, composed of Messrs. Isham, Jaster, Lang and Duckett, celebrated the twenty-fifth anniversary of its existence by a concert at Association Hall. Mr. I. B. Lang is the founder of this justly celebrated club. Lang comes from a very musical family. Charles Lang, of New York, the well-known operatic tenor, is his brother, as is also Augustus J. Lang, the organist, of Canton, Ohio, who as an expert accompanist of plain chant has no superior anywhere. Mr. Isham, another member of the Arion, is the popular piano salesman connected with B. Dreher's Sons. We wish the Arions as prosperous a future as the past has been.
49The Cleveland School of Music tendered Mme. Rivé-King a reception during the Cleveland sojourn. Director Alfred Arthur in most appropriate words welcomed her to the school. Two pupils of the school played at this reception. Miss Eleanor R. Date played a Mozart concerto, accompanied on the organ by Johannes Wolfram. Miss Date was highly complimented by Mme. Rivé-King, who admired Miss Date's beautiful scales and exquisite phrasing. Miss Louise Hart played the latest composition of her tutor, the composer, Mr. Wilson G. Smith, and the Weber-Tausig Invitation to the Dance. She was, too, the recipient of felicitations. Miss Hart is very talented. By the way, this composition of Mr. Smith is to my mind his most fascinating opus.
51Composer-pianist McDowell and the beautiful soprano Mrs. Lawson gave a recital under the auspices of the Fortnightly Club recently. Here is the program: Courant and Prelude, by Bach; Minuet, op. 78, No. 3, by Schubert; Allegro from Second Sonata, op. 22, by Schumann; The Nightingale, by Alabieff-Liszt; Rustic Wedding Procession, by T. Strong; Love Sonnet, op. 59, by Wilson G. Smith; two of Chopin's waltzes, op. 64, No. 3, and op. 60, No. 1; Episode, by Paul Geisler; and from his own compositions, Prelude, op. 10, No. 1, The Eagle, and The Brook, from op. 39; Poem, op. 81, No. 2; Witches' Dance, op. 17, No. 2; Improvisation, op. 46, No. 4; Elfín Dance, op. 46, No. 5; Idyll, op. 28, No. 4, and Concert Study, op. 36.
53Our dailies speak of it as a pronounced success. Your correspondent failed to attend, because of being in the clutches of the grip.
55Miss Anna Black, one of the most efficient pianists, wrote for the "Women" edition of the Plain-Dealer an interesting and instructive article upon "Student Life in Germany."
57The Cleveland Vocal Society, under the direction of Mr. Alfred Arthur, is preparing Berlioz's Requiem. The Boston Symphony Orchestra is engaged to assist.
59VON ESCHENBACH.
61MILWAUKEE.
63FEBRUARY, 20, 1895.
65OH, to be noted for something besides beer! With us it is always beer. Go where we will—Europe, Asia or Africa—when they discover where we journey from this beverage comes up and confronts us. Now, why on earth cannot it be music—something more elevating? Of course, as long as the beer is made here we are glad it ranks high, and that people all over the world enjoy it so much. Yet it is tough on the musicians or pretended musicians (whichever you like) that hail from here. Naturally they feel the slight.
67Our musical season so far has been quite prolific. Only a few important events, however, are worthy to be mentioned. There is always a superabundance of pupils' recitals, teachers' recitals and concerts by home talent, but if I should attempt to give each a write-up I should need the entire space of your excellent paper.
69***
71The Musical Society was quite ambitious in the selection of its music for its first concert. Beethoven's ninth symphony was given, and with fair (?) success, if noise is any criterion to go by. The soloists did their best, no doubt—have forgotten just who they were—but think in this instance they would prefer to be forgotten. Of course every musician and music loving person feel within them that Wagner's vocal parts in this great work is anything but a grateful task for the soloist, and indeed not at all soothing. The chorus, no doubt, had this idea and did their best to infuse it into their audience, for they shouted and yelled with an immense idea that quantity and not quality was wanted.
73However, it pleased me, and no doubt many others, to hear Beethoven's sublime symphony, to become better acquainted with it, even if strained ear drums and throats aching out of sympathy were the result.
75***
77The Woman's Club have taken a decided interest in music this season. They have introduced some very fine artists here. The Max Bendix Quartet (Chicago Orchestra) appeared November 5. Mme. Blauvelt gave a very charming song recital December 4, and was enthusiastically received. She was obliged to respond to double and triple encores. Her voice is so round and full and under such perfect control that it was a real treat to listen to her.
79***
81There is a newly organized club here that deserves mention and encouragement, namely, the Monday Musical Club.
83It in reality takes the place of the old amateur club, which flourished some time ago, then died for want of financial support. We're rich in the history of these "Died for the want of financial aid."
85Well, the Monday Club was started two seasons ago by a number of young society girls musically inclined, who met in each others' houses and gave a short musical program. A name and a few resolutions were adopted, and soon the best talent in the city were among the club's regular members.
87Although they still meet at private houses, they are the envy of the outside musical public.
89Of late months the sterner sex have been allowed to come in as honorary members, and they will of course add to the enjoyment very much.
91The first evening meeting was in November at the palatial residence of Mr. Chas. Ray, on Prospect avenue. The program was enriched by a number of piano artists from Chicago.
93The Arion Club, of this city, is quite fortunate in possessing so many enthusiastic members. This season the club has undertaken a new enterprise, that of the organization of a large children's class.
95This is just what is needed here, as the music work in our public schools amounts to nothing. No care is taken of the voice, and only a few indifferent years of note reading are given. I believe scores of fine voices are completely ruined by children being allowed to yell as they will in day and Sunday schools.
97Mr. Tomlins absolutely refused to take hold of this work of training children's voices unless a class of 200 or more could be secured. The zealous efforts of the leaders in the club are apparent, for not only 200 but 800 children greet Mr. Tomlins every Tuesday afternoon.
99Miss Lillie Welch, a young girl who possesses an exceptionally fine soprano voice, was home on a week's vacation from her studies with Agramonte, of New York.
101She is very enthusiastic over her work, and has nothing but high words of praise for her teacher.
103***
105Miss Legar, a contralto, has returned from New York, where she studied a couple of months under Agramonte. She holds one of the best church positions in Milwaukee.
107***
109Poor Philharmonic Society! To be born and have such ambitions, such a warm, genial outlook; to do uncommonly good work, and then to die, just for the want of "financial aid!" Another event added to the history of "Died for the want of financial aid."
111This instance is a good example of how really musical (?) Milwaukee people are. I tell you it is all bosh and talk; for had we been truly musical this society never would have been so long in creeping into existence, and surely never would have been obliged to give up after the hardest kind of fighting for life. Why, they even advertised their season's work, gave the dates of five concerts, had some of the best names possible on their board of directors, and after all were obliged to acknowledge their defeat. Don't you think it a shame and disgrace that out of 300,000 people we cannot keep up a first-class orchestra? Now, if they had only been wise and given us "After the Ball" and such kind of high-class music they would not only be alive but be making the almighty dollars.
113Of course we're musical. Don't we encourage our home talent? Do you think we were ever mean enough to go on a strike just because the Arion Club engaged the Boston Symphony Orchestra to play here two seasons running? Of course not! Do you think we allowed the Philharmonics to earn a cent by all the hours and hours put in for preparation for concerts last season? I guess not! True artists have no business to care for money. Oh, yes, indeed, we are musical. Shall we stand by and see them pay $1,000 for the deficiencies of last year after they gave their services for the uplifting of music in our Beer City? Most assuredly we shall; we're musical, and money does not enter the same door with art. Ah, let a Democratic procession, Labor Day picnic, or circus be in want of cash and it pours in!
115The fact of it is, we are a great big village, in spite of our numbers, and have the small jealousies that you find in such small places.
117But don't mistake my meaning—we are musical—every inch of us!
119Mr. Thomas H. Fillmore, a son of John C. Fillmore, director of Milwaukee School of Music, recently gave an organ recital at St. Paul's Church. It was one of the regular fortnightly meetings of the Society of Alumni of the school.
121The young man played with a sure and fluent technic, phrased intelligently, the pedal phrasing coming out clearly and all the melodic structure being clean cut. His registration was tasteful and effective, the climax being quite strong. He played with considerable warmth and feeling, showing a genuine musical perception.
123The arrival in our midst of Prof. Daniel Protheroe, Mus. Bac., is calculated to add to Milwaukee's reputation as a musical centre. He bids fair to fill the vacancy created by Mr. Ernest Catenhusen's departure, although only twenty-six years of age.
125Beginning his musical career at five years old, his progress has been unimpeded. He has been conductor of many choral societies, always with prominent success, culminating in an effort at the World's Fair which won him the highest prize in that greatest of musical contests.
127Mr. Protheroe is a singer of good ability, and his musical compositions range from ballads and quartets to that most difficult form of composition, the mass.
129HATTIE VON BERGEN.
131Original Negro Music.
133IN hearing negro songs the trained European or American ear is positive that, save with a single exception, not one of them has the true savage stamp. If there are modifications in phrasing or in tone coloring these strike only the non-experts as original.
135Owing to personal idiosyncracies the vocal apparatus of the negro differs from that of the white man. The arch of the roof of the mouth, the nasal sounding board of the colored man, have another formation. If a true colored man were to paint his face like a white man's and sing an English, Italian or German aria it is his voice which would at once give him away.
137The imitative faculty is, however, very strong in the negro, so he cannot help himself in following the white man's music and the white man's words. The true, pure African song is probably the Juba. It is hardly a song, but a chant, abounding in spoken words.
139As to rhythm, the native negro, or the one born in the United States, has that to a marked degree. If now and then there has been an occasional negro vocalist of merit since their period of freedom, why has not there been an instrumentalist?
141The reason is plain. To have a fine voice is an accident of nature. To play an instrument well, so as to gain a reputation as a violinist or pianist, means, in addition to natural talent, to devote to the violin or piano many years of study. The race instinct in the negro does not incline toward persistency of purpose. With rhythm alone, as Wallaschek shows, primitive music began.—New York Times.
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