Scan 27
Musical Courier 1895-03-20: Vol 30 Iss 784, 1895
147 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 28. 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.
1Foster Quartet sang, as did Mr. Geo. H. Wiseman, baritone. Dr. Van Mater, the first tenor of the Foster Quartet, responded to a demand for stories and personal reminiscences, and after telling nine good stories sat down amid a whirlwind of applause. After that the society had the doctor on his feet a great deal, and he never disappointed the assemblage by telling a pointless story.
3The committee of arrangements consisted of Messrs. M. J. Shevlin, Robert R. McKee and A. A. Moser.
5Harmonic Society's Concert.—The second concert of the second season of the Harmonic Society, of New York, was quite equal to any of its predecessors, both as to the selections chosen and the manner in which they were given. There were seven concerted numbers on the program, and with one exception they were sung with judgment, the marks of expression being carefully observed and the intonation good. The soloists were Miss Charlotte Samuel, violinist; Miss Hilda Clark, soprano; Mr. A. Hobart Smock, tenor, and Miss Leona Robbins, accompanist. Mr. Charles E. Mead conducted with his usual ability.
7The Gilmore Band Spring Tour.—Gilmore's Band will begin its spring tour under the conductorship of Victor Herbert on March 16. The tour will be as follows:
9March—
10Saturday, 16 | Mat. | Grand Opera House, Wilmington, Del.
11Eve. | Music Hall, Baltimore, Md.
12Sunday, 17 | Albaugh's, Washington, D. C.
13Monday, 18 | Mat. | Opera House, Lynchburg, Va.
14Eve. | Academy of Music, Roanoke, Va.
15Tuesday, 19 | Staub's Theatre, Knoxville, Tenn.
16Wednesday, 20 | Eve. | Grand Opera House, Atlanta, Ga.
17Thursday, 21 | Mat. | Eve. | Grand Opera House, Atlanta, Ga.
18Friday, 22 | Exposition Building, Augusta, Ga.
19Saturday, 23 | Savannah Theatre, Savannah, Ga.
20Sunday, 24 | Park Opera House, Jacksonville, Fla.
21Monday, 25 | Academy of Music, Macon, Ga.
22Tuesday, 26 | Mat. | Opera House, Americus, Ga.
23Eve. | Springer Opera House, Columbus, Ga.
24Wednesday, 27 | Montgomery Theatre, Montgomery, Ala.
25Thursday, 28 | O'Brien's Opera House, Birmingham, Ala.
26Friday, 29 | Academy of Music, Selma, Ala.
27Saturday, 30 | Mobile Theatre, Mobile, Ala.
29April—
30Monday, 1 | Grand Opera House, New Orleans, La.
31Tuesday, 2 | Temple Opera House, Natchez, Miss.
32Wednesday, 3 | Opera House, Vicksburg, Miss.
33Thursday, 4 | Hexter's Opera House, Greenville, Miss.
34Friday, 5 | Grand Opera House, Helena, Ark.
35Saturday, 6 | New Lyceum Theatre, Memphis, Tenn.
36Sunday, 7 | Morton's Opera House, Paducah, Ky.
37Monday, 8 | Exposition Music Hall, St. Louis, Mo.
38Tuesday, 9 | Opera House, Jefferson City, Mo.
39Wednesday, 10 | Wood's Opera House, Sedalia, Mo.
40Thursday, 11 | The Auditorium, Kansas City, Mo.
41Friday, 12 | Atchison Theatre, Atchison, Kan.
42Saturday, 13 | Eve. | Tootle's Theatre, St. Joseph, Mo.
43Sunday, 14 | New Funk Opera House, Lincoln, Neb.
44Monday, 15 | Peavey Grand Opera House, Sioux City, Ia.
45Tuesday, 16 | Mankato Theatre, Mankato, Minn.
46Wednesday, 17 | Metropolitan Opera House, St. Paul, Minn.
47Thursday, 18 | The Lyceum, Minneapolis, Minn.
48Friday, 19 | The Lyceum, Duluth, Minn.
49Saturday, 20 | Metropolitan Opera House, St. Paul, Minn.
50Sunday, 21 | Opera House, Oshkosh, Wis.
51Monday, 22 | Crescent Opera House, Fond du Lac, Wis.
52Tuesday, 23 | Academy of Music, Milwaukee, Wis.
53Wednesday, 24 | Central Music Hall, Chicago, Ill.
54Thursday, 25 | Opera House, Niles, Mich.
55Friday, 26 | The Lyceum, Detroit, Mich.
56Saturday, 27 | Music Hall, Buffalo, N. Y.
57Sunday, 28 | Music Hall, Buffalo, N. Y.
58Monday, 29 | Massey Music Hall, Toronto, Ont.
59Tuesday, 30 | Eve. | Salem, Mass.
61May—
62Wednesday, 1 | Rochester, N. Y.
63Thursday, 2 | Academy of Music, Northampton, Mass.
64Friday, 3 | Worcester Theatre, Worcester, Mass.
65Saturday, 4 | Boston Theatre, Boston, Mass.
66Sunday, 5 | Odd Fellows Hall, Lynn, Mass.
67Monday, 6 | Odd Fellows Hall, Lynn, Mass.
68Tuesday, 7 | Gloucester, Mass.
69Eve. | Salem, Mass.
71Rochester College of Music.—The first musicale of the Rochester College of Music will take place on the 21st at 4 o'clock in the afternoon. Mr. Felix Heink will play and Mr. J. J. Racer will sing, accompanied by Miss Lichtenstein.
73A Germania Männerchor.—The Germania Männerchor, of Chicago, gave a "Viertes Concert" on March 14 at 8:15 in the evening. The soloists were Minnie Fish-Griffin, soprano, and Messrs. William A. Wegener, tenor, and Franz Wagner, cellist. The director was Henry Schoenefeld. The Chicago Tribune criticises as follows: "Herr W. A. Wegener distinguished himself in four tenor solos, his best selections being Schubert's Der Neugierige and Becker's Frühlingszeit. The soprano solo of Das Sternelein, written by Henry Schoenefeld, the director of the Männerchor, was delightfully sung by Mrs. M. Fish-Griffin, and the 'cello soloist, Franz Wagner, captured the audience by his rendition of Popper's Tarantelle. The Männerchor numbers, including three Volkslieder, or people's songs, were given with intense vigor and in perfect time and tune under the baton of Herr Schoenefeld."
75Recital in Jacksonville.—The Illinois Conservatory of Music, of Jacksonville, Ill., gave a pupils' concert on March 15, under the direction of Prof. J. H. Davis. The program, which consisted of twelve numbers, was very creditably given, and a very pleasant time resulted. The program was:
76Duet, Tarantelle, Nicolas Rubinstein, Miss Hickox, Miss Kirby; Song, Sweet Bird, Ganz, Miss Grace Bailey; concert waltz, Wieniawski, Miss Agnes Waley; recitation, Old Ace, F. E. Brooks, Miss Kate Brown; duet, The Land of Swallows, Masini, Mrs. C. H. Russell, Miss Bailey; nocturne, Leschetizky, Miss Birdie Carriel; Spanish Dance, Moszkowski, Miss Nettie McDougal; Mia Piccirilli (Salvator Rosa), Gomes, Miss Sara Jane Mathews; recitation, The Judgment Day, E. S. Phelps, Miss Faye Best; Gondoliera, Liszt, Miss Stella Duckett; Tarantelle, Liszt, Miss Martha Landreth; trio, Go to the One Whom I Adore, Costa, Miss Farrell, Miss Bailey, Miss Mathews.
78Dr. Pearce's Recital.—Mr. Lewis Williams has been appointed solo baritone at the First Presbyterian Church, Jersey City Heights, where Dr. S. Austen Pearce presides at the organ. Dr. Pearce played last Sunday the following program:
79Siegfried's Death (Götterdämmerung)…………………Wagner one of two readings
80Siegfried's Death (Götterdämmerung)………………..Wagner one of two readings
81Etude in A flat, op. 25………………………………….Chopin
82Prelude and fugue in G, op. 37………………………..Mendelssohn
83Spanish Sonata in A………………………………………Lefebvre-Wely
84Soirées de Vienne in D flat, No. 4……………………….Schubert-Liszt
85Larghetto, Second Symphony…………………………..Beethoven
87From Allentown, Pa.—Mr. Thos. E. Gehringer, trombone player of the Allentown, Pa., Pioneer Band, has received a flattering offer to join one of New York's leading military bands. Mr. Gehringer is a talented young man and has a bright future before him.
89WANTED—Experienced vocal teacher with good voice. Splendid position. Address, with full particulars, College, THE MUSICAL COURIER, New York city.
91Joseffy, Tausig's Greatest Pupil.
93Editors The Musical Courier:
94CHICAGO, March 15, 1895.
96In your editorial Joseffy Redivivus of this week's issue you call him the solitary pupil of a solitary colossus. If you mean to convey by this that Tausig had but one pupil, and that one Joseffy, you are mistaken. While Tausig had few pupils, being averse to teaching, there are several distinguished ones yet living in Europe: Sophie Menter, Vera Timanoff, Robert Freund and Oscar Raif. Tausig had only four pupils who made America their home. Joseffy, Pinner, Trenkel and myself, and of these four Pinner and Trenkel have long since joined the silent majority.
98Sincerely yours,
99REGINA WATSON.
101[Joseffy is the greatest pupil of Karl Tausig, and the only one that represents Tausig's marvellous style of playing.—Editors THE MUSICAL COURIER.]
103Shaving Set to Music.—The latest thing in barber shops is a musical box which the boss of the establishment regulates to suit the times. On Monday, for instance, he keeps the machine up to light opera airs, just fast enough to keep his assistants shaving customers at a nice, steady gait. Tuesday, being a quiet day in the barber business, Home, Sweet Home and You'll Remember Me are good enough. Wednesday, Thursday, and Friday the barber confines the musical box to popular selections of a rather lively nature. On Saturdays he puts the reels and jigs on top, and every barber in the house is on the run.—Philadelphia Call.
105Not in the Libretto.—It was at a critical dramatic moment long ago that the prima donna heard the tenor warbling in Italian:
106"Oh, my dear friend, what on earth shall I do? My coating is ripping up the back, and I dare not embrace you!"
107Quick as lightning she warbled back: "Stand still, keep your face to the audience, and I will come and throw my arms around you."
108'Tis told that she did so, and with a pin puckered the coat's wound together, and revived the tenor's courage to finish the scene.—Boston Transcript.
110Walter J. Hall's Success.—Mr. Walter J. Hall, whose studio is located in Carnegie Hall, and who has in the past filled the position of organist and choirmaster in the First Baptist Church, has been engaged for the same position in the Brick Church, Fifth avenue and Thirty-seventh street. His several engagements as a teacher, in conjunction with his office as organist, have been the means of keeping Mr. Hall's time wholly occupied. So busy has he become that he has found it necessary to dispose of his summer school of music at Martha's Vineyard, the interest having been purchased by Mr. Tom Karl and Mr. Dewey, both of the Bostonians' Company. Mr. Hall will sail for Europe about June 1 for a long needed rest.
112WALTER J. HALL,
113Pianist,
114STUDIO: Nos. 705-6 CARNEGIE HALL,
115NEW YORK.
117MUSIC SENT FOR CRITICISM.
119J. Hamelle, Paris.
121PAUL WACHS, . . . . . . . Pastorale for Organ.
122This work was executed by the author on the grand organ at the Trocadéro in 1887, and is now offered to organ students. It is a pretty little pastoral movement, in six-eight time, which may be well rendered on any small church organ, being planned principally for the use of the soft stops. It is very easy to play. For about four pages in this piece of six plates the only pedal note used is the keynote G. In the middle movement one-bar phrases are played on one manual and then repeated on another, to obtain variety and contrast of tone, and as it were an echo or response that is effective and free from difficulty. All the melodies are graceful and fluent and particularly well adapted to display the various kinds of flutes, oboes, clarinets, &c., and in other particulars this pastorale is distinguished among recent works of the French school, which too frequently show little thought or specially good features or worthiness to make them suitable for this noble instrument.
124Bote & Bock, Berlin.
126SEBASTIAN S. SCHLESINGER, . . . . Three Songs.
127The Ballad Singer is a song well suited to a mezzo soprano or contralto voice, carefully written and made more than usually interesting by an accompaniment that does not stagnate as regards harmonic progression and supplies subsidiary melodies that leave the vocalist free to declaim or deliver untrammeled the song.
129The Lily is a very pretty little lyric (with English and German words), which consists mostly of short phrases, and will therefore suit young singers with weak lungs who cannot long hold the breath. The only parts that will require special study are those where brilliant modulations from flat to sharp keys occur. The opening motivio most forcibly reminds one of the beginning of a very popular organ solo, by Tours, entitled Allegretto Grazioso in D. Break, Break, by Tennyson, is equally well set, but requires a soprano voice.
131Breitkopf & Haertel, Leipzig, Brussels, London, New York.
133PIERRE DOUILLET, . . . . . . . Four Songs.
134Of these lyrics the second, To a Swallow, is the best and pleasantest to sing and play without any doubts and questionings as to the author's intentions, and it will atone for unexplained strangenesses in the others. Had I But Known begins and ends calmly, but in the middle portion the accompaniment has chords more rapidly reiterated than elsewhere and without internal necessity, for the words are. In earth's kind breast to calmly lie, and on the word lie also occurs a most startling transition, that might easily be made more acceptable. An Oriental Song has harsh progressions for the piano; A Winter Song opens and closes with crude and uncouth accompaniments. The chords are ungrammatically written and the proof reading is faulty, and the language being treated curiously adds to the feeling of uneasiness. The word prayer has stress and length on the second syllable on every occasion of its use. Image is treated antirhythmically, and the line Can wake the dead to life again has the strongest accent on can, thee, to, and on the same page (14) C sharp is omitted in the vocal part. In subsequent editions it would be well to have all carefully edited, that these four songs, in four well contrasted styles, may prove more welcome and worthy of the recognition that may be accorded them.
136Novello, Ewer & Co., London, New York.
137C. LOCKNANE, . . . . . . . The Elfin Queen.
138This cantata for ladies' voices seems specially well adapted for use in boarding schools, for performance at social gatherings and at commencement time. It consists of eleven numbers (recitatives, songs, duets and choruses), and covers fifty-five octavo plates, which are so finely engraved as to make a very pleasant copy.
139A young girl is tempted by elves to accept rarest jewels, but is restrained and preserved by her sister, and thus the spell of the elfin queen is broken.
140In the choruses but two soprano parts are to be sustained, although there are occasionally exclamations in four parts. Hence when the choral body is not large it will not be so greatly weakened as it would have to be were it subdivided
142ELSA KUTSCHERRA,
143Prima Donna Soprano of the German Opera Co.,
144(by kind permission of Mr. Walter Damrosch) will now accept engagements for concerts and musicales, and after April 27 for festivals. Miss Kutscherra is a handsome young lady and has been most successful as a concert singer, she having appeared at Abbey & Grau Sunday concerts at the Metropolitan Opera House, scoring an instantaneous hit; at the Damrosch New York Symphony Society, New York Liederkranz and Arion concerts; at three concerts with the Boston Symphony Society, and also at various concerts at Baltimore, Washington, Buffalo, Columbus, Cincinnati, Chicago and St. Louis. She sings in German, French, Italian and English. Managers please apply to
145D. DE DEVIVO,
146437 West Twenty-second St., New York.
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