Scan 25
Musical Courier 1895-03-20: Vol 30 Iss 784, 1895
149 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 26. See the scan on archive.org.
1enough spirit and dash. The minor numbers were delicately played. We know Mr. Hegner of old with Schubert's Bee. It would be hard to hear it better played. The blond, sentimental Dane sat against a background of roses as big as his 'cello, which had been massed for him by admiring subscribers. Ladies predominated in the rather recherché audience, and displayed infinite enthusiasm over the 'cellist's performance, which, taken all in all, was pure and polished.
3Herr Fischer sang admirably. He forgot he was ever Wotan and gave not one boresome phrase. Graben's Entsagung has a hauntingly pretty accompaniment and was warmly applauded. The big Wanderer song was sonorously sung, yet hung heavy. It did not rouse delight, for the reason probably that a good many had an idea that it might be an excerpt from Siegfried.
5A 'cello recital means much shade. It needs the inter-spersion of a light voice or a brilliant instrument—piano, for example—to give it tonal proportion. Mr. Hegner has sopranos on his list for the successive Wednesday recitals, which is a proper move.
7On Thursday evening last the Beethoven String Quartet gave the third concert of its ninth season in Chamber Music Hall, assisted by Mr. Paul Miersch, 'cellist. The program was interesting, running as follows:
9Quartet in C major, Mozart
10Larghetto and Vivace from quartet, op. 38, in A major…Naprawnik
11Quintet, op. 163, in C major, for two violins, viola and two violoncelli…Schubert
13Although not so announced on the program, the Naprawnik excerpt was, we believe, played in New York for the first time. The Larghetto and Vivace are well contrasted, the slow movement having a weird plaintiveness; it opens by a positive wail for the first violin, the Vivace being melodious, crisp and gay with an effervescent sparkle. The quartet played this with pure, homogeneous tone and abundant sympathy and verve. It was an effective number and met with cordial approval. The Mozart quartet was handled with innate appreciation, and indeed was the best bit of sustained work on the program. The quartet seemed to know it and each other in it particularly well and there was no blur of any significance on the clear, delicate outline.
15The same can hardly be said of the Schubert quintet, which had only a middling performance. The last movement—the one, unfortunately, which sounds least Schubertian of all—was the only one which went with compactness and finish. The tone of the other movements was scattered, there was not the requisite sonority, and in the favorite scherzo, with the inevitable Schubert pom-pom, the instruments pulled cross-wise and appeared further to have left their spirit in the antechamber. It is not improbable that the quartet itself, without the 'cello for the fifth, may have played their parts capably, but with the introduction of Mr. Paul Miersch they seemed on the verge once or twice of a brief chaos. Which does not, by any means, intend to imply anything against Mr. Miersch in his own part separately, but against the probable lack of ensemble rehearsal. It would appear fairly often on Thursday evening that they were trying the work together for the first time.
17Mr. Dannreuther personally seems to gain each season in precision and dignity. He leads the quartet well, and in the quartet numbers there is a good tonal proportion and a technical decision in markedly favorable contrast to the work of a few seasons ago. The audience was large. This quartet has a refined good-tone following, and always performs to an appreciative house.
19There was an obvious lull in the concert world the past week. It is a fact usually noticeable, however, after a brief suspension of activities, that players and singers resume operations with violent vigor. The concerts come at the rate of three or four an evening to make up for preceding vacant dates. One wishes sometimes that concert givers would hold occasional conventions at which an even diffusion of their labors might be decided upon. The present state of things, as if by occult antagonism, makes it either everything together or nothing whatever. One evening the principal concert rooms of the city are all open in working order, the next they are every one closed up. It seems a pity that artists cannot find out what each other is doing, for nine times out of ten the same halls are eligible for less crowded evenings, which would give the artists and their friends a better chance. On various evenings this season, which could readily be cited, Chickering, Madison Square, Mendelssohn Glee Club, Steinway and Chamber Music halls were all open at the same time to concerts given by artists, the principal of whom were resident in New York, and who might just as conveniently have selected another evening. When resident artists decide to give a concert it would be a serviceable idea to make inquiries at the various concert rooms of the city, and find out what performance may be billed theretofore which might conflict with their own interest. Of course, it is not always possible to avoid collision, but it is so in a majority of cases, and it needs to be done.
21Mrs. Lillian Blauvelt Smith, Mr. William F. Pendleton and Mr. Charles Chase Macy have cards out conjointly for an at home from 4 to 7 on next Saturday, the 23d, with music at 5 p. m., which is certain to be interesting.
23On Friday evening the New York School of Opera and Oratorio, under the direction of Emilio Agramonte, gave its fourth public operatic performance in the Lexington Avenue Opera House. Mr. Agramonte conducted a good little orchestra of about twenty pieces, which opened with Rossini's Italiani in Algieri overture, nicely played, and which supported the singers intelligently throughout. Following was the program:
25THE SPECTRE KNIGHT—CELLIER.
26(By general request.)
27Viola……………………………………………………Miss May Bennett
28First Lady…………………………………………….Miss Anna Holbrook
29Second Lady…………………………………………Miss Emma P. Spicer
30Otto…………………………………………………….Mr. Joseph Colt
31Chamberlain…………………………………………Mr. George W. Campbell
32Duke…………………………………………………..Mr. Alfred Kunz
34II. TROVATORE—VERDI.
35(First Act, Second Tableau.)
36Leonora……………………………………………..Miss Jeanne Thrall
37Inez……………………………………………………Miss Alice M. Gossner
38Manrico……………………………………………..Mr. Ethan Allen Hunt
39Conte di Luna………………………………………Mr. Emilio de Gogorza
41LA FAVORITA—DONIZETTI.
42(Fourth Act.)
43Leonora di Guzman……………………………….Miss Sara Carr
44Fernando……………………………………………Mr. Ethan Allen Hunt
45Baldassare…………………………………………Mr. A. Stewart Holt
46And Chorus.
48FAUSTO—GOUNOD.
49(Fourth Act complete.)
50Margherita…………………………………………Mrs. Robert Graves
51Siebel…………………………………………………..Miss Maud Bliss
52Fausto………………………………………………..Mr. George W. Campbell
53Valentino……………………………………………Mr. Emilio de Gogorza
54Mefistofele…………………………………………Mr. A. Stewart Holt
55And Chorus.
57These pupils phrase intelligently, their efforts are all refined, their stage deportment is unusually easy for amateurs and their good dramatic intentions are obvious. Miss Jeanne Thrall in the act from Trovatore sang extremely well. She has a rather brilliant and resonant head register—the middle and lower are not so vibrant—but as most of her singing lay above she was distinctly heard and with good effect. Mr. Emilio de Gogorza also sang effectively and acted his two rôles earnestly and gracefully. Miss Sara Carr, who has by nature plenty of voice and evident dramatic talent sang her favorite music with admirable force and pathos. She disclosed strong dramatic capacity and ought to have a future. Mr. Ethan Allen Hunt in the same act with her also did well. The Favorita act had the admirable accompaniment of the piano by Mr. Agramonte, which of course helped the singers to a better hearing than had they been supported by orchestra. In The Spectre Knight the orchestra gobbled down matters with little Miss Bennett a good deal. She is, even at the present moment, a pretty, piquant, little comedienne with plenty of stage talent, but her voice was intended for a small frame. It is not only small, but she seemed a little nervous. Mr. Alfred Kunz and Mr. George W. Campbell in the same operetta sang intelligently and acted, like old habitués of the stage, with spirit and humor. Mrs. Robert Graves is sure to make up in picturesque attraction anything that she may lack vocally, and Miss Maud Bliss is an intelligent singer.
59These pupils are evidently in an admirable school for répertoire and style. They know their music thoroughly and show a training according to the correct Italian opera tradition. With good material Mr. Agramonte could obviously do a great deal, knowing as he does the operatic répertoire by heart, and with his strong musical temperament and talent to impart he makes an invaluable teacher and spur to aspirants for the operatic stage. He has a fair amount of good material at present, and with it he has certainly worked wonders, as there were many moments on Thursday evening when the listener might readily forget that he was listening to amateurs. There is need in New York for this form of training, for while many good vocal teachers pass pupils in operatic rôles, they learn nothing beyond the singing side, while these incidental performances with costuming, due stage setting and action are invaluable to pupils, whether or not they ever purpose to make the stage their profession. If they do so decide they are practiced in advance, while even if they remain amateurs the grace and freedom acquired are of incomparable value.
61On the score of an intelligent conception of the music, good phrasing and accent, with in cases a surprisingly strong grasp of the possibilities of a rôle, we can only find words of praise for these pupils. In bringing about these exceptionally good results with youthful amateurs Mr. Agramonte has accomplished much. In Mr. Henry Lincoln Winter, the stage manager, he has a valuable aid, and under Mr. Winter's direction things went without a hitch.
63The scenery was quite pretty and the costuming correct. The good-sized house was packed and waxed enthusiastic many times, particularly over the singing of Miss Carr in Favorita, the effect of which was well aided by Mr. Hunt.
65The favorite tenor J. H. McKinley is, we understand, about to take charge of a newly forming choral class of colored people attached to the New York Colored Mission on Thirtieth street, West Side. This will be unique, and should mean hard work for Mr. McKinley. He has been selected for the post of chorus-master through members of the church in which he is tenor, who are also members of the Colored Mission Committee. By and by an ebony vocal procession will be wending its way to pay its respects to Dr. Dvorák and sing for him some delightful part songs in return for the musical discoveries he made about them. Mayhap if their musical imagination can be aroused and fired they will supply some original themes.
67On Thursday evening last Mr. Wm. E. Courtney, with his pupils, gave a very charming concert in the music room of the Hotel St. Cloud. Many of the pupils who took part are already successfully known in the professional world. Miss Feilding Roselle being ill, her place was taken capably in the Rigoletto quartet by Miss Marion Sims. The part songs were beautiful in tone and phrasing, as they were sung by the soloists of the class. Following was the program:
69Part song, The Woods………………………………….Mendelssohn
70Baritone solo, She Alone Charmeth My Sadness (La Reine de Saba)………………………………….Gounod
71Mr. A. E. Holmes.
72Waltz song, Wouldn't You Like to Know……………………..Gans
73Miss Blanche Derr.
74Tenor solo, Ave Maria………………………………….Luzzie
75Mr. C. H. Hampton.
76Bolero, I Vespri Siciliani……………………………….Verdi
77Miss Marie Stori.
78Song, I Love and the World Is Mine……………………..Clayton Johns
79Mrs. Joseph Wood.
80Recitative and aria, Sound an Alarm……………………..Händel
81Mr. Thos. Evans Greene.
82Song, L'été…………………………………………..Chaminade
83Miss Harriet G. McLean.
84Song, A Violet in Her Lovely Hair……………………..Campbell
85Mr. Charles Thomas.
86Quartet, Un di si Ben (Rigoletto)……………………..Rossini
87Miss Hallenbeck, Miss Roselle, Mr. Courtney and Mr. Holmes.
88Recited aria, Liete Signior…………………………….Meyerbeer
89Miss Belle Manley.
90Songs, If I but Knew…………………………………Smith
91It Was Not so to Be…………………………………Nessler
92Mr. N. M. Halfpenny.
93Duet, Qui est Homo (Stabat Mater)…………………….Rossini
94Miss Hallenbeck and Miss Roselle.
95Aria, He Is kind (Herodiade)…………………………..Massenet
96Miss Bertha Harmon.
97Song, Sunset…………………………………………Buck
98Miss Elise Buford.
99Romanza, Nymphs et Sylvains………………………….Bemberg
100Miss Jessamine Hallenbeck.
101Songs, Alla, Nocturne……………………………….Chadwick one of two readings
102Songs, Alla, Nocturne………………………………..Chadwick one of two readings
103Miss Feilding Roselle.
104Aria, Adelaida……………………………………….Beethoven
105Mr. William Courtney.
106Violin solo, Legend…………………………………Wieniawski
107Miss Marie Stori.
108Baritone solo, Still as the Night………………………Bohm
109Mr. W. Howard.
110Part song, Only Thou………………………………..Lassen
112The pupils all did exceptionally well and displayed the true artistic instinct. Mr. Halfpenny, a new tenor with a light, pure voice, made a positive success. So also did Miss Marie Stori, with her dual vocal and violin talent. She is a promising young artist. Miss Hallenbeck and Miss Harmon, both with soprano voices of the light, penetrant type, used them with refined taste and judgment. It was altogether a superior performance for a so-called pupils' concert, and gave great pleasure to the fashionable audience present.
114The last of the series of monthly soirée musicales given by Mr. Francis Fischer Powers and Mr. Tom Karl occurred on Wednesday last in Chamber Music Hall. In point of attendance, as well as artistically, it was the most successful one of the series, the hall being crowded to its utmost capacity with representative people. Mr. Powers was, of course, the lion of the occasion, and scored a success both for himself and Mr. Victor Harris, a bunch of whose charming songs he sung in a most artistic manner. Miss Marguerite Melville created something of a furore by the skill she displayed in her playing, and Miss Camille d'Arville, whom the hosts were fortunate enough to secure, was very warmly received, though her forte is undoubtedly operatic. Miss Lucille Saunders sang in her usual good style and Mr. Tom Karl's Irish songs were rendered acceptably. Below is given the program.
116In the Valley…………………………………………Oslet
117My Snowy Breasted Pearl…………………………….Robinson
118To Mary………………………………………………..M. V. White
119The Devout Lover………………………………….T. P. Thorne one of two readings
120The Devout Lover…………………………………….T. P. Thorne one of two readings
121Under the Rose………………………………………Mr. Francis Fischer Powers. one of two readings
122Under the Rose……………………………………….Mr. Francis Fischer Powers. one of two readings
123Noël…………………………………………………….Francis Thomé
124An Autumn Story……………………………………Lawrence Kellie one of two readings
125An Autumn Story…………………………………….Lawrence Kellie one of two readings
126Autumn……………………………………………..Mary K. Wood one of two readings
127Autumn………………………………………………Mary K. Wood one of two readings
128A Wild Rose…………………………………………Franz
129Devotion……………………………………………..Julian Edwards one of two readings
130Devotion………………………………………………Julian Edwards one of two readings
131Heart, Foolish Heart (Madelaine)……………………..Mr. Tom Karl.
132Tendresse……………………………………………Bartlett one of two readings
133Tendresse…………………………………………….Bartlett one of two readings
134Harlequin……………………………………………Chopin one of two readings
135Harlequin…………………………………………….Chopin one of two readings
136On the Wild Rose Tree……………………………….Miss Marguerite Melville.
137A Disappointment……………………………………Victor Harris one of two readings
138A Disappointment…………………………………….Victor Harris one of two readings
139I Know Not if Moonlight…………………………….Mr. Powers.
140Toujours Amour…………………………………….Georgie Boyden-St. John one of two readings
141Toujours Amour………………………………………Georgie Boyden-St. John one of two readings
142In Dreamland……………………………………….Miss Saunders.
143Mona…………………………………………………..Thomé
144My Heart and Lute…………………………………..Kjerulf
145One Sunday After Mass………………………………Old Irish
146Asthore……………………………………………..Trotiere
147Mr. Karl.
148Miss Isabel McCall, accompanist.
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