Scan 28
Musical Courier 1895-12-11: Vol 31 Iss 823, 1895
85 lines. Read by computer on 27 September 2026. Printed page 29. 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.
1Chadwick's dramatic poem (first time) the Lily Nymph. Paderewski was the luminary soloist, who appeared to play his Polish Fantaisie. The vocal soloists were Clementine de Vere-Sapió, Mrs. Frederic Dean, Wm. H. Rieger, H. Evan Williams and Archie Crawford. Mr. Williams is a new tenor of satisfactory qualifications, who sang the little that fell to him with good average intelligence, and Mr. Crawford is a new bass—that is, new to the New York concert stage—who is also satisfactory, honest in delivery and true and deep enough in tone without any unusual claims to consideration.
3The chorus found the Saint-Saëns work too much for them. The fugal places were indecisive, the attack was never firm, and the body of tone, particularly with the sopranos and altos, was poor and infirm. But as the soloists were none too sure of the work either, it will not do to emphasize too strongly the defects of the chorus. The soloists crept along insecurely, and in their ensembles looked to and for each other in a way which every moment threatened collapse.
5But De Vere sang brilliantly. Her voice was in admirable order, even if she could not always let it forth freely to phrase the music. Mrs. Dean sang conscientiously, but her tone is muffled and her diction muffled rather too much for true artistic effect. Mr. Rieger was almost sure he knew what he knew, and he was as lavish in volume and easy in style as usual.
7In Chadwick's work, simpler in its choral part, the chorus did itself some credit. Less timid of difficulty, it gathered precision, and with it volume, and sang with freshness, feeling and force. The body is large, obviously brought together principally of singers not musically educated, and Mr. Dossert must be credited with excellent and laudable work in having brought it to its present condition. It is still crude, but time and rehearsal will accomplish much and this society may then be looked to for interesting and artistic performances. The orchestra was not at home with the music nor with Mr. Dossert's baton. Mr. Richard Arnold, however, deserves a warm word of praise for his smooth, broad playing of the lovely solo melody in the prelude to the Deluge.
9Paderewski was excited, in a manner impossible to conceal; afraid of the orchestra, as he had some need to be, although Mr. Dossert tried to guide them with so much sympathy and discretion that at the close the pianist shook him by the hand. But the tension of anticipation of evil told on Paderewski's performance. It was tempestuous and uncolored, except for the bold scarlet of a reckless daring. For encore he played the Liszt F minor étude alone. He was himself again, and played with delicious calmness, limpidity and grace. For second encore he played a Liszt rhapsodie, in which the glissandi were remarkable.
11He was popular as ever. The sole enthusiasm of the night was for him, and furious and intense as ever was it while he remained on the scene. The audience was not as large as the occasion warranted, but orchestra seats sold at $3, which made a difference. Apathy reigned during the evening except for Paderewski.
13Mascagni.—On the personal invitation of Possart, intendant of the Court Theatre, Munich, Mascagni went to that city to conduct Cavalleria and several of his orchestral works.
15Tausch.—Julius Tausch, for many years director of the City Musical Society at Düsseldorf, where he succeeded Schumann, died November 11, aged sixty-nine. His choral work and Lieder were once very popular, the best being music for Shakespeare's Winter's Tale.
17Vienna.—Boieldieu's Le Chaperon rouge, produced at Vienna after an interval of thirty years, had only moderate success. Two years ago it had a triumph at Gotha in spite of its antiquity, for it is seventy-seven years old. Marie Renard played the title rôle, and Th. Reichmann Baron Rudolph, while the Wolf was badly represented.
19ANNA LANKOW,
20Vocal Instruction,
21825 Park Avenue, New York.
23SCHARWENKA
24Conservatory of Music,
25Under the management of EMIL GRAMM,
26No. 37 EAST 68th STREET, NEW YORK.
27Prof. XAVER SCHARWENKA, Musical Director.
28Fall Term begins Monday, September 9.
29Examinations begin Monday, September 2.
30WRITE FOR CATALOGUE AND PARTICULARS.
32ONDRICEK
33THE
34World-Renowned
35Violinist
36IN AMERICA,
37SEASON 1895-96,
38under the sole direction of the
39WOLFSON'S
40MUSICAL BUREAU,
41131 E. 17th St.,
42NEW YORK.
44J. H. McKINLEY,
45TENOR.
46Concert and Oratorio—Vocal Instruction.
47STUDIO:
48126 WEST 66th STREET, NEW YORK.
49SEASON – – – 1895-96.
50Premier Military Band for a Quarter of a Century!
51Gilmore's Famous Band
52(of the 22d Regiment), directed by the distinguished
53Virtuoso, Composer and Conductor,
54VICTOR HERBERT.
55The Greatest Concert Band of America. Fifty Artists.
56Opened Western Pennsylvania Exposition, Pittsburgh, 10 days.
57Opened Cotton States and International Exposition, Atlanta, 5 weeks.
58Will open St. Louis Exposition, St. Louis, September 9, 1896.
59Plays Western Pennsylvania Exposition, Pittsburgh, 1896.
60Plays Tennessee Centennial, Nashville, 1896. On Tour, &c.
61JOHN MAHNKEN, Manager.
62GEO. N. LOOMIS, Bus. Mgr., Steinway Hall, 109 E. 14th St., New York
64the direction of the Chicago leader, but the other numbers conducted by him gave evident pleasure. Taken altogether the whole affair was flat, the uncomfortable atmosphere of the platform communicated itself to the audience, and although Scalchi, Campanari and d'Aubigné exerted themselves nobly it was impossible to arouse much enthusiasm.
66The concert was brought to a close by the mad scene from Lucia, stated in the program "by request." Only a few weeks since people were wildly enthusiastic over this identical selection given by the same company. On Monday night there was not a single call at the fall of the curtain.
68Last week the combined elements formed a pool and cornered Wagner cum Damrosch, therefore the receipts were not by any means so great as would have obtained if the weather had been favorable, and considering all the disadvantages German opera was well patronized. It should be profitable to the promoters and agents if all artists are as liberally remunerated as Herr Gruening, who is acknowledged to be marvelously gifted both vocally and dramatically.
70This great artist is under contract to an agent for a term of five years, of which three are still unexpired, to give his entire and exclusive services for his expenses only. The exorbitant salaries paid artists are frequently the subject of remark, but here is a lyric star whose earnings are absolutely nil, and all the expenditure of time, labor and years of study go unrewarded. Herr Gruening is a great admirer of Americans, and pathetically remarked when telling the terms of his engagement, "You would not find any American giving himself away."
72There has been music enough and to spare this week. In addition to numerous professional concerts many private entertainments have proved formidable counter attraction. Nevertheless it cannot be said that the former lacked patronage, large audiences, varying only in degrees of enthusiasm, being the rule.
74The most notable event of the week was of course the Chicago Orchestra concert, Ondricek's recital, under the direction of F. Wight Newman, coming very close in point of interest. Associated with the Bohemian violinist were Mme. Vanderveer-Green and Mr. W. Waugh Lauder.
76Ondricek fully sustained his great reputation, and his playing was received with unbounded applause. Mme. Vanderveer-Green created a most favorable impression and quite justified expectation by her artistic singing; possibly owing to the fact that she is unacquainted with the temperament of American audiences the selections chosen were not best calculated to inspire interest. Either an error of judgment or economy led the management to put forward Mr. Waugh Lauder as pianist. His playing was chiefly remarkable for entire lack of musical knowledge, the Liszt number especially tending to display his utter incompetency.
78When Clayton Summy inaugurated a series of chamber concerts he gave an excellent service to the musical community. The fifth concert on Tuesday was the best one given as yet, and all have been excellent, and far in advance of ordinary concert programs. The Spiering String Quartet, assisted by Mme. Lillian Blauvelt and Leopold Godowsky, contributed interestingly classical numbers. Many musicians were present and testified to their warm appreciation. The entertainments being given by artists in the best sense of the word, there is always a feeling that time has been well employed by attending.
80FLORENCE FRENCH.
82Naples.—The San Carlo Theatre at Naples will be under the impresario Pasquale Mario Museila for the next five years. He receives from the city 90,000 frs. subvention.
84A Debut.—Therese Ganne, who gained the first prize at the Paris Conservatory this year, made her début at the Opera in Reyer's Sigurd. She has a beautiful dramatic voice and is pretty.
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