Scan 12
Musical Courier 1895-11-06: Vol 31 Iss 818, 1895
162 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 13. 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.
1all schools, she has the standard oratorios at her fingers' ends.
3In The Messiah, Elijah, Rossini's Stabat Mater, The Creation, The Seasons and many others she has sung with emphatic success in various musical centres. Aside from being an accomplished artist on the platform she is also a well grounded musician, a quick study, and a singer who is always ready to fill an emergency, being frequently known to fill a breach at the very last moment, and always with success.
5A busy season awaits Miss Hilke, for which she has never been in better voice or spirit.
7New York Philharmonic Club.
9THIS finished organization, a feature of New York musical life, as it has become throughout the provinces, enters upon its eighteenth season with a superior artistic personnel. Each member is a soloist of high merit, while the combined efforts of the club are proved as usual to be precise, sympathetic and polished in a way with which few organizations can compare.
11Eugene Weiner, the flute virtuoso and director of the club, is an artist too well known to need much comment. As soloist with the Thomas Orchestra, the Boston Philharmonic Club and during the Damrosch Musical Festival, when he played the obligatos to Etelka Gerster's songs, he distinguished himself as an artist of the first rank. In the present club, with which he has now permanently identified himself, his spirit and talents are valuably diffused and the solo work which constantly falls to his share is always an artistic delight to hear.
13Mr. Louis G. Kapp, the first violin, a first prize pupil of the Paris Conservatoire, is another virtuoso of first rank, and an admirable ensemble as well as solo artist. Adolph Studer, violinist, is another high-class artist. The viola soloist, Paul Mende, occupied the position as first violin in the Patti concerts under Abbey's management, and Carl Krill, the 'cellist, is admitted by leading authorities to be one of the first 'cellists living. Among sixteen candidates for the post he was chosen by Hans von Bülow as first and solo 'cellist for the Bülow Orchestra, an honor which speaks for itself. Mr. Henry Lehman, the double bass soloist, has at times been called the Paganini of his heavy instrument, because of his rarely facile execution, and this member completes the sextet of the New York Philharmonic Club—a sextet of individual artists, whose ensemble forces could not possibly result otherwise than in exceptionally artistic performances.
15Miss Inez Grenelli, a soprano soloist, who has won many successes abroad, and who is the bearer of valuable endorsements from her famous teacher, Mme. Desirée Artot, from the great German critic, Richard Pohl, and from August Manns, director of the Crystal Palace concerts, London, England, has been engaged by the club this season, and will appear at all their concerts.
17The programs of the New York Philharmonic Club are always well selected and arranged, and owing to the sterling merit of the organization new works are constantly being added to its repertoire, which have been written expressly for and dedicated to the club by prominent composers, foreign and American. Contrary to the experience of many organizations, however high their merit, the New York Philharmonic Club seldom seems to strike an adverse criticism, and the testimony of the New York press, together with that of leading American cities, is unqualifiedly favorable, and even enthusiastic, toward their work.
19MAURICE STRAKOSCH'S
20TEN COMMANDMENTS OF MUSIC
21FOR THE
22Perfection, Development and Preservation of the Voice.
23Compiled and Edited by M. LE ROY.
24PRICE, POSTPAID, – ONE DOLLAR.
26Mme. Patti's sister writes:
27"PARIS, March 8, 1888.
28"I hereby certify that the Exercises and Explanations contained in this book are the ones used by my husband, Mr. Maurice Strakosch, and by his artist pupils, from Adelina Patti to Nikita."
29AMALIA STRAKOSCH, née PATTI.
31Certificate from LOUISA LAUW, authoress of
32"Fourteen Years with Adelina Patti":
33"I am pleased to testify that the Ten Commandments of Music are recognized by me as being the indispensable which I was accustomed daily to hear Madame Adelina Patti recite."
35MINNIE HAUK writes: "Mr. Maurice Strakosch has been my instructor and to him owe I have so greatly the success I achieved. I can, therefore, most warmly recommend his 'Ten Commandments of Music.'" one of two readings
36MINNIE HAUK writes: "Mr. Maurice Strakosch has been my instructor and to him I owe the fact that I owe greatly the success I achieved. I can, therefore, most warmly recommend his 'Ten Commandments of Music.'" one of two readings
38THEODOR WACHTEL, the famous tenor, writes: "I heartily recommend to amateurs and artists alike the system of my master, Maurice Strakosch, 'The Ten Commandments of Music,' which I have studied for all the success I have had."
40EMMA THURSBY also testifies to the "invaluable value of my dear master's system, 'The Ten Commandments of Music.'"
42CHRISTINE NILSSON acknowledges the priceless worth of her impresario's (Maurice Strakosch) system.
44LOUISE NIKIT writes: "To the simple, common sense system employed by my late teacher, Maurice Strakosch and his successor, M. Le Roy, I shall ever be grateful for whatever success I have obtained in the many countries I have visited."
46Review by the late Dr. HEUFFER, Musical Critic of the "Times," London:
47"brief, singularly clear and absolutely free from padding, physiological or otherwise, the book is for voice culture and the system of the 'Ten Commandments of Music' must be regarded as the concentrated extract of the teachings of a phenomenally successful teacher. The result of many years' careful observation, they are designed not only for derelicts but also for keeping the vocal organs in the highest state of efficiency possible to them." one of two readings
48"brief, singularly clear and absolutely free from padding, physiological or otherwise, the book is for voice culture and the system of the 'Ten Commandments of Music' must be regarded as the concentrated extract of the teachings of a phenomenally successful teacher. 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." one of two readings
50Send Money or Draft in Registered Letter.
51ADDRESS: M. LE ROY,
5235 AVE. MAC-MAHON, PARIS, FRANCE.
54To hear this miniature orchestra in one of its delightfully culled programs is a rare educational pleasure. Each man himself an accomplished artist, the combination attains the absolute perfection of finish. They play in complete sympathy and with an identity of spirit and purpose which admits no flaws, weak spots or uncertain places. Modern and classic literature is fully embraced in their repertoire, which is enormous. An interesting feature with the club is that, unless prescribed otherwise, it accompanies all soli. A singer has the background of this dainty little orchestra, and a flute solo by Mr. Weiner, accompanied by the quintet of strings, makes a number of excellent musical effect.
56The auspices of the club have never been better. Its position is established, its art stature liberally recognized and its permanent prosperity assured.
58First Carl Recital.
60MR. WILLIAM C. CARL gave his first organ recital of this season on Thursday afternoon last, in the First Presbyterian Church, Fifth avenue and Twelfth street, New York, assisted by Miss Bertha S. Bucklin, violinist, and Mr. Franklyn Eyre Hunt, baritone.
62The organist opened with a new and scholarly work of John E. West, of London, a sonata in D minor, of which the last two movements, an andante religioso and allegro pomposo, are well conceived and contrasted. Mr. Carl showed early that he has all his forces well in hand, and played with dignity, authority and abundant energy and feeling. A cantabile of Rousseau in A flat he played with delicious smoothness, and in the E minor prelude and fugue of Bach he was clean, firm and accurately at home. The program was interestingly chosen with a view to variety, and was performed with spirit from beginning to end.
64The soloists were satisfactory, but the organ was really the big soloist of the occasion and a very satisfying one. Despite a downpour of rain the church was well filled. The second recital will take place to-morrow (Thursday) afternoon 4 at o'clock.
66Coquard.—It is probable that an opera by M. Coquard, entitled Les fils de Jahel, will be produced at the Paris Opéra, MM. Bertrand and Gailhard having given a half promise to that effect.
68CARLOTTA DESVIGNES,
69Prima Donna
70CONTRALTO.
71Concerts, Oratorio,
72Recitals, Opera.
73Address, 49 West 33d Street,
74New York.
76New and Successful Music.
77PUBLISHED BY
78E. ASCHERBERG & CO., London.
79E. SCHUBERTH & CO., New York.
80SPECIALY SELECTED SONGS.
81Where Shadows Are Not (in four keys), F. H. Cowen
82Say, Yes! Mignon, and Amalia (each in two keys), Guir d'Hardelet one of two readings
83Say, Yes! Mignon, and Amalia (each in two keys), Guer d'Hardelet one of two readings
84Spring Is Here, She Loves Me (each in three keys), Edith A. Dick
85SPARKLING DANCE MUSIC.
86Bridesmaids' Barn Dance (Milton Wellings); Gipsies' Barn Dance (Cellian Kottaus); Al Fresco Barn Dance (Clifford), etc., etc.
87COMIC OPERAS AND BURLESQUES.
88Cavalleria Rusticana, Pagliacci, L'Amico Fritz, I Rantzau, Djamilieh Philemon et Baucis, Signa, Lady of Longford and Quentin Durward
89LONDON: E. ASCHERBERG & CO.
90NEW YORK: E. SCHUBERTH & CO.
92First Chickering Recital.
94(no line here) one of two readings
95MESSRS. CHICKERING & SONS resumed their annual series of afternoon concerts on Tuesday, October 29, when the New York Philharmonic Club, assisted by Mr. Wm. H. Barber, pianist, and Miss Inez Grenelli, soprano, furnished the following program:
96Sextet, Serenade, op. 72………………………………………Th. Gouvy
97Pastorale.
98Rondo.
99(Composed for and dedicated to the New York Philharmonic Club.)
100Piano solo—
101Liebestrom………………………………………………………..Liszt
102Scherzo in E minor……………………………………………..Mendelssohn
103Wieneglied………………………………………………………Grieg
104Siegessmund's Liebesgesang………………………………..Wagner-Bendel one of two readings
105Siegessmund's Liebesgesang………………………………….Wagner-Bendel one of two readings
106Aria, Casta Diva (Norma)………………………………….V. Bellini one of two readings
107Aria, Casta Diva (Norma)…………………………………….V. Bellini one of two readings
108Flute solo—
109Aria, Happy Spirits in Elysium, d'Orphée………………..Ch. v. Gluck one of two readings
110Aria, Happy Spirits in Elysium, d'Orphée…………………Ch. v. Gluck one of two readings
111L'Espagnole…………………………………………………….F. Corven
112Piano solo—
113Prelude in D flat major………………………………………Chopin
114Widmung………………………………………………………Schumann-Liszt
115Caprice, op. 2, No. 3……………………………………….Stavenhagen
116Gavot, from Suite, op. 1…………………………………….d'Albert
117Der Hidalgo…………………………………………………….R. Schumann
118He Loves Me—Loves Me Not………………………………P. Mascagni one of two readings
119He Loves Me—Loves Me Not……………………………….P. Mascagni one of two readings
120Quartet, Variations, D minor……………………………….Fr. Schubert
121Two violins, viola and violoncello.
123The work of the Philharmonic Club was, as usual, crisp, sympathetic and finished, and in its accompaniments to the vocal and flute soli the effect produced by this small body of artistic players was admirable. Mr. Eugene Weiner played the Gluck aria with great beauty of tone and smooth sustenance of phrase, and how dainty was the characteristic little morceau, L'Espagnole, of Corven, with its string background! This organization is in excellent form this season and always an artistic pleasure to enjoy.
125Mr. Wm. H. Barber, who has proved himself a pianist of refinement and taste, did not play with his usual grace or sympathy on this occasion. To those who know him it would occur that he did not do himself justice, although the Stavenhagen and d'Albert numbers were played neatly enough and with spirit. Elsewhere, however, sympathy was absent in a large degree.
127The Casta Diva from Norma was delivered by Miss Grenelli in a manner vocally pure, if without dramatic authority, and with correct phrasing and intelligent color. In Schumann's Hidalgo—rarely sung and a welcome number—Miss Grenelli threw more spirit and won much applause. That her singing pleased the audience was unmistakable, and she had many times to answer recalls as well as encores.
129The usual large and fashionable gathering attracted by these musicales was present in full force, and as an initiative for the season the Chickering afternoon was a pronounced success.
131Lilli Lehmann.—Frau Lehmann-Kalisch will appear at Vienna—Fidelio, Don Juan and various Wagner rôles.
133Bremen.—Rubinstein's Bal Costumé, instrumented by Erdmannsdorfer, will be given at the Bremen City Theatre as a ballet pantomime.
135New Russian Operas.—The new opera, Tanejew's Oristeia, was produced at the Marien Theatre, St. Petersburg, on October 13. At the same theatre will be given this month Arenski's one act opera Raphael, the chief parts being assigned to Mmes. Mrawina and Dolina and M. Sserebrjakow. A new work by Rimsky-Korsakoff, Der Heilige Abend, will be produced at the same house at Christmas.
137H. M. HIRSCHBERG, 156 Fifth Avenue, NEW YORK.
138Musical Agency.
139LIST OF ARTISTS.
140MYRTA FRENCH, Dr. CARL MARTIN,
141ZIPPORA MONTEITH, EMIL SENGIER,
142CARLOTTA DESVIGNES, DORA VALESCA BECKER,
143ROSA LUCIA, Violin Virtuoso,
144MRS. J. WILLIAMS MACY, FLAVIE VAN DEN HENDE,
145A. GERARD-THIES, Cello Virtuoso,
146E. C. TOWNE, VALESCA FRANCK,
147EARL HARLAN, Piano Virtuoso.
148THE NEW YORK LADIES' TRIO.
149DORA V. BECKER, Violin. FLAVIE VAN DEN HENDE, Cello.
150CARRIE HIRSCHMAN, Piano.
151EN TOUR.
152ALBERTINI, Violinist. LINDE, Contralto. DE MACCHI, Pianist.
153For Terms, Dates and all information of all Artists Available, address H. M. HIRSCHBERG, Musical Agency, 156 Fifth Avenue, New York.
155MARIE VANDERVEER-GREEN,
156England's Eminent Contralto,
157The past two years has sung for the principal societies and musical events in England, Wales, Scotland and Ireland.
158In America, 1895-96.
159CONCERTS, ORATORIO, FESTIVALS.
160WOLFSONN'S MUSICAL BUREAU, 131 E. 17th St., NEW YORK. one of two readings
161WOLFSON'S MUSICAL BUREAU, 131 E. 17th St., NEW YORK. one of two readings
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