Scan 19
Musical Courier 1895-10-16: Vol 31 Iss 815, 1895
152 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 20. 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.
1Study of Music at Yale.
2The School of Music of Yale University has just begun its second year. There is a largely increased attendance, the courses offered are larger than before, and the corps of instructors has been augmented by the addition of Harry B. Jepson of this city, of the class of '88, in the academic department, as instructor in organ playing. The other instructors are retained.
4Prof. Samuel S. Sanford, of Bridgeport, continues with the work of applied music, Horatio W. Parker is the Battell professor of the theory of music, and Herr Isador Troostwyk the instructor in violin playing. The number of pupils in the department of Professor Parker has increased from twenty-five to sixty in the last year. The increased attendance has created such a demand upon Professor Parker's time that he is compelled to turn away applicants frequently and to receive only the best talent which applies for admission to the department. Professor Parker offers six courses, including work in harmony, counterpoint, free and strict composition, orchestration and history of music.
6Any student who now completes four years' study with distinction will be recommended for the degree of bachelor of music. Continued study and proficiency in music will result in the acquisition of the degree of doctor of music.
8The symphony orchestra organized last winter will be reorganized this year. Rehearsals have already begun. The directors of the music department have decided to give four concerts this winter. The usual course of chamber concerts will be given, and they will be greatly enlarged in scope. They will number six, and the Knieje Quartet will form the basis of the concerts. They will take place Tuesday nights in North Sheffield Hall, beginning about the middle of next month.
10The membership of the department of applied music was twenty-two last year; this year there are already over forty students registered in it. All of the pupils of Professor Sanford have to work with Professor Parker.
12The faculty of the university has expressed itself as delighted with the result shown in the department of music, and a movement is on foot to allow a certificate of proficiency in music to the graduates of the course. The certificate, while not exactly a diploma, will bear the stamp of the university in case the faculty decides to issue it.
14The pupils of Herr Troostwyk have also increased in number during the present year, and his department of instruction on the violin, which is thought to be the first of its kind in this country, is successful.—Times.
16Mrs. Katharine Fisk.
17The readers of this paper, both English and American, will be glad to hear of the success of Mrs. Katharine Fisk at the Gloucester Festival, England, last month. Her magnificent contralto voice and the intelligence displayed in her singing at once won for her the highest esteem of the large gathering of musical amateurs, and from now on she is bound to be a great festival favorite.
19Since her success at Gloucester Mrs. Fisk has already booked a large number of important engagements. Among these might be mentioned The Messiah and Stabat Mater in London, Saint-Saëns' Samson in Manchester and a number of other important works. Following are quoted several current notices in the press regarding her work at the Three Choirs Festival.
21The festival début of Mrs. Katharine Fisk was another noteworthy event. Mrs. Fisk sang in Gloucester last spring, and made the favorable impression inseparable from her fine contralto voice and cultivated style. Last evening an early appearance compelled her to face the disadvantage entailed by fuss and commotion due to late arrivals. But those who could hear without distraction recognized an artist of no common order, one richly endowed with natural advantages and the results of patient culture. Her songs were Beethoven's Creation's Hymn and Goring Thomas' A Summer Night—widely contrasted pieces, but each lying easily within the singer's means.—Daily Telegraph.
23This was followed by the same composer's Creation's Hymn and Goring Thomas' favored A Summer Night, two songs differing as widely in character as well could be, but both serving to advantageously display the exceptionally fine and highly cultivated voice of Mrs. Katharine Fisk.—Morning Post.
25The vocalists included Mrs. Katharine Fisk, whose fine voice and finished style made not a few among the large audience regret that it was her only appearance during the festival.—Queen.
27Mrs. Katharine Fisk, an American songstress, sang Creation's Hymn in such good voice and style that it is certain she will gain, like her fellow countryman, Mr. Bispham, a high reputation on this side of the Atlantic.—Cheltenham Examiner.
29Mrs. Katharine Fisk, the American contralto, had insured for herself a favorable reception by her singing at the last concert of the Gloucester Choral Society. She is a lady of great personal attractions, enhanced on this occasion by a superb costume of white satin and gold. Her rich, full voice, under perfect command, was heard to great advantage in Beethoven's devotional hymn and in the sweet languorous melody of Goring Thomas' passionate love song, A Summer Night. She simply charmed the audience, and proved herself an accomplished vocalist of varied and most attractive powers.—Gloucester Journal.
31First Aeolian Recital.
32Season 1895-6.
34The first Aeolian recital of the season will be given in the Exhibition Hall in the Aeolian Building, 18 West Twenty-third street, Saturday, October 19, 1895, at 8 p.m., the following artists participating: Soprano, Miss Mary Bingham; violinist, Señor Rafael Diaz Albertini; pianist, Prof. Fermin Toledo; Aeolian conductor and accompanist, Mr. Vincento Toledo.
36The program explains certain features of the performance which must necessarily be of great interest to musicians. A Farrand & Votey pipe organ, a vocalion, a Steinway grand piano and a Merrill upright piano are to be used at these recitals.
38Program.
39Overture, Tannhäuser………………………………………Wagner
40Aeolian Pij e Organ. one of two readings
41Aeolian Pipe Organ. one of two readings
43In playing the Aeolian pipe organ the performer is seated a short distance from the instrument itself, at a small cabinet called a consol. The consol is connected with the organ by means of small electric wires inclosed in a cable about an inch in diameter. In the consol are stops controlling the different sets of pipes, the organ swells and a stop controlling the tempo. It is possible to have the organ at any desired distance from the player.
45Romance étude……………………………………………..Ketterer
46Duet for two pianos.
48The performer in playing this selection is seated away from both instruments at the consol. The two pianos are connected electrically with the consol in the same manner as the pipe organ. The pianos are played separately and together; and the tempo, the crescendo and diminuendo effects, together with the pedals of the pianos, are controlled by the player from his seat at the consol. It is possible to play any number of pianos simultaneously by this system, and the pianos can be at any distance from the performer. The action is electrical and practically instantaneous. All the electricity required for operating the pianos can be obtained from a small battery similar to that employed for ordinary electric bells.
50Concerto Militaire, op. 42………………………………….A. Bazzini
51Señor Albertini.
52Violin solo accompanied by Aeolian grand.
53Marche Religieuse, op. 15, No. 2……………………………A. Guilmant
54This selection is played from one of the Aeolians with vocalion tones. These instruments are entirely new.
55Cavatina, Queen of Sheba………………………………….Gounod
56Miss Bingham.
57Soprano solo accompanied by Aeolian grand.
58Concerto, E minor, op. 11………………………………….Chopin
59Allegro Maestoso.
60Pipe organ and pianos.
62Three instruments—the pipe organ and two pianos—are used in playing this number. They are all connected with and played from the consol, as explained above.
63Loure from third violoncello suite………………………….J. S. Bach
64Grand and piano.
65Studie Valse de Chopin, op. 64, No. 1……………………..M. Rosenthal
66Duet for two pianos.
68The first part of this number is played upon the Aeolian grand and the upright piano. These instruments are connected electrically. The Aeolian can be played alone or with the piano, and the piano can be played alone from the Aeolian. The piano can also be played from the keyboard of the Aeolian.
70Preghiera…………………………………………………….P. Mascagni
71Soprano solo and violin obligato with Aeolian and piano accompaniment.
72Miss Bingham, Señor Albertini and Señor F. Toledo.
73This is the first time this work has been performed in this country.
74Rob Roy selections………………………………………….De Koven
75Pipe organ and pianos.
76Arranged with special orchestral effects.
78He May.—It would not be surprised to see Marsick, the violinist, conducting the second symphony concert at Carnegie Music Hall.
80Harris Sails Sorrowfully.—Sir Gus Harris sailed for England last Saturday a sadder, and, it is to be hoped, a wiser man.
82Kuehl-Cobb.—Mr. John Kuehl, well known to the musical world by reason of his connection with Steinway & Sons, was married last Wednesday at Morristown to Miss Louise De Grassi Cobb, an excellent pianist and most estimable young lady. Congratulations are in order.
84Mr. Ducey Thanks Organist H. B. Taylor.—The Sun has received this card of thanks to somebody else from the Rev. Thomas J. Ducey:
85ST. LEO'S RECTORY, 18 EAST TWENTY-NINTH STREET.
86The story reported in the press on Saturday morning is false in many particulars and misleading. St. Leo's organ will not be silent. St. Leo's Church has had an organist, a professional musician, for the past four weeks. Mr. Taylor is not the organist of St. Leo's. Mr. Taylor is not and never has been a professional musician. He is an amateur, to whom Father Ducey has been very kind. Father Ducey thanks Mr. Taylor for the appreciation he has shown for the many kindnesses extended, and greatly regrets that Mr. Taylor has given such strange evidence of gratitude.
87THOMAS J. DUCEY.
88OCTOBER 12, 1895.
90Season 1895-1896.
91All inquiries regarding dates and terms for
92PIANO RECITALS
93By Mr. E. A. MacDOWELL
94SHOULD BE ADDRESSED TO
95BREITKOPF & HÄRTEL, Music Publishers, NEW YORK.
96Complete assortment of his own compositions and revised editions of selected Piano compositions of modern composers. Catalogues free of charge on application. Selections sent to Teachers and Music Schools of good standing. Correspondence solicited.
98MR. FFRANGCON-DAVIES,
99England's Eminent Baritone,
100IN AMERICA, SPRING, '96.
101Principal Baritone of English Festivals, Oratorio and Ballad Concerts; Royal Italian Opera (Covent Garden) and National Theatre (Drury Lane).
102Festivals, Concerts, Song Recitals.
103FOR TERMS, DATES, ETC., APPLY TO
104WOLFSON'S MUSICAL BUREAU,
105131 East Seventeenth St., New York.
107MAURICE STRAKOSCH'S
108TEN COMMANDMENTS OF MUSIC
109FOR THE
110Perfection, Development and Preservation of the Voice.
111Compiled and Edited by M. LE ROY.
112PRICE, POSTPAID, ONE DOLLAR.
113Mme. Patti's sister writes: "PARIS, March 8, 1888.
114"I hereby certify that the Exercises and Explanations contained in this book are the ones used by my husband, Mr. Maurice Strakosch, in teaching all of his artist pupils, from Adelina Patti to NIKITA STRAKOSCH, née PATTI.
115Certificate from LOUISI LAURENT, author of one of two readings
116Certificate from LOUISA LAURENCE of one of two readings
117"Fourteen Years with Adelina Patti":
118"I am pleased to testify that 'The Ten Commandments of Music' are recognized by me as being identical exercises which I was accustomed daily to hear Madame Adelina Patti practice."
119MINNIE HAUK writes: "Mr. Maurice Strakosch has been my instructor and to his excellent method I owe greatly the success I achieved. I can, therefore, most warmly recommend the 'Ten Commandments of Music.'"
120THEODOR WACHTEL, the famous tenor, writes: "I heartily recommend amateurs and artists alike the system of my master, Maurice Strakosch, 'The Ten Commandments of Music,' to which I am indebted for all the success I have had."
121EMMA THURSTON also testifies to the 'inestimable value of my dear master's system of Ten Commandments of Music.'"
122CHRISTINE NILSSON acknowledges the priceless worth of her impresario's (Maurice Strakosch) system.
123LOUISE NIKITA writes: "To the simple, common sense system employed by my late husband, Mr. Maurice Strakosch, M. Le Roy, I shall ever be grateful for whatever success I have obtained in the music industry. I have ever been grateful for whatever success I have obtained in the music industry. I have ever been grateful for whatever success I have obtained in the music industry. I have ever been grateful for whatever success I have obtained in the music industry." one of two readings
124LOUISE NIKITA writes: "To the simple, common sense system employed by my late teacher, Mr. Maurice Strakosch, and his successor, M. Le Roy, I shall ever be grateful for whatever success I have obtained in the singing industry. I have ever one of two readings
125Review by the late DR. HEUFFER, Musical Critic of the "Times," London:
126"Brief, singularly clear and absolutely free from padding, physiological or otherwise, the results for voice cultivation and the system of daily practice comprising the 'Ten Commandments of Music' must be regarded as the concentrated essence of the teachings of a phenomenally successful master. The result of many years' careful observation, they are designed not only for developing, but also for keeping the vocal organs in the highest state of efficiency possible to them."
127Send Money or Draft in Registered Letter.
128ADDRESS: M. LE ROY,
12935 AVE. MAC-MAHON, PARIS, FRANCE.
131MARSICK.
132SOLE MANAGER:
133N. HERLOFSEN,
134Steinway Hall,
135NEW YORK.
136First appearance at Carnegie Hall
137November 1 and 2,
138With the Symphony Society of New York.
140BY—SEBASTIAN B. SCHLESINGER. one of two readings
141BY— one of two readings
142SEBASTIAN B. SCHLESINGER. one of two readings
143Love Haunted.
144Little Boy Blue.
145Phil's Secret.
146There, Little Girl, Don't Cry.
147Love, I Shall Know It All.
148Hark to My Lute.
149Published by J. H. SCHROEDER, one of two readings
150Published by J. H. SCHROEDER. one of two readings
15112 EAST 16TH STREET, NEW YORK.
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