Scan 39
Musical Courier 1895-12-25: Vol 31 Iss 825, 1895
32 lines. Read by computer on 26 September 2026. Printed page 40. See the scan on archive.org.
1Covington, where he has abundant opportunity to exercise his rare gift of improvisation. Mr. Phillips has published several compositions, his latest a romanza for soprano, Night Winds Are Sighing, with violin obligato, showing consistency of thought as well as technical knowledge.
3Mr. Phillips as a pianist was heard last year in a variety of compositions, among them La Campanella and Gondoliera, Liszt; the E flat Octave Etude of Theo. Kullak; Caprice, Schubert-Liszt; selections of X. Scharwenka and Wilhelm Berger. For the last nine years Mr. Phillips has been a member of the College of Music faculty, giving no less than sixty lessons each week.
5As a teacher he is regarded as strict and uncompromising, but at the same time sympathetic, and is looked up to with confidence and respect. Socially Mr. Phillips is a man of refinement and cultivation who enjoys the friendship of a large artistic circle. His enduring popularity is based upon sterling qualities of personal as well as artistic character.
7Colonel Mapleson, the famous London impresario, writes: "I have heard a number of students of the Cincinnati Conservatory, and am happy to realize that it is not necessary for Americans to go abroad. I shall send scholars who ask my advice as to the best musical advantages to Miss Clara Baur's institution."
9The conservatory, under her discreet management, was always blessed with a distinct, consistent method in all departments, a large and varied faculty of musicians endowed with natural gifts and prepared by high culture to represent their specialties—two requisites most necessary for the perfect efficiency of a music school. Herself trained in the famous Stuttgart Conservatory, with the special view of becoming thoroughly imbued with all the elements of knowledge required for the direction of a music school, Miss Baur was from the start eminently fitted for the responsibilities which she assumed and carried out subsequently with such indomitable energy and persevering success.
11The vocal department has always been under the immediate supervision of Miss Clara Baur herself. Of her method of dealing with the human voice it can be said with truth that she is, in the best sense of the words, artistic, original and consistent. Certain effects which are habitual with her students rank among the very highest known in the vocal art, and are too rare in these chaotic and spuriously dramatic days; such, for example, as steadiness of the breath current, approximating the tone to that of the organ; distinctness of consonants, by which the stamp of definite meaning is placed upon the phrases, and equality of scale from the lowest to the highest tone, may be mentioned.
13Her method is that of the old Italian masters who brought about the golden age of vocal art, modified, as it must necessarily be, to cope with the wider demands of modern composition and the changes of style which have been made from epoch to epoch.
15In the well appointed piano department of the conservatory she has always associated herself with artists of conspicuous talent, and the present faculty includes such eminent pianists and teachers as Mr. Frederic Shailer Evans, Mr. Theodor Bohlmann and Mr. Georg Krüger.
17In addition to Mr. Jacob Bloom, who has been a most successful teacher at the conservatory for many years, Miss Baur has recently secured the violin virtuoso Mr. José Marien, who, in addition to filling the position in the conservatory as teacher of the violin and ensemble, is also concertmeister of the Symphony Orchestra, under the direction of Frank Van der Stucken.
19Mr. Marien has also formed a first-class string quartet, which will give a series of chamber concerts under the auspices of the conservatory. The associate teachers in all departments are most competent and experienced, and in every way maintain the high standard of the school. All the adjuncts, such as theory classes, elocution, languages and lectures on history and aesthetics, which are implied in the name conservatory, are thoroughly developed.
21In addition to maintaining a standard of highest artistic excellence the Cincinnati Conservatory has one feature of unique character which it is difficult to overestimate as to its importance: this is the elegance and completeness of the home accommodations given to the young ladies. Miss Baur's influence has reached thousands in the past, and will widen its circle with each added year.
23Theodor Heinrich Frederic Bohlmann.
25THEODOR HEINRICH FREDERIC BOHLMANN was born on June 23, 1865, in Osterwieck, near Halberstadt, in the Hartz Mountains, Germany. When he was two years of age his parents removed to Berlin, where his father obtained a position as lawyer at the Ober Tribunal. Young Bohlmann early showed an excellent ear, and began lessons at the age of seven.
27His first teacher was Fraulein Elsie Schmidt, who at once recognized his pronounced talent, but music as a profession was strenuously objected to by his parents. Consequently his father entered him at the age of ten years in the gymnasium, with the view of making him a man of letters. The labors of a student at the German gymnasium are so heavy and demand so much time that his music was inevitably crowded into an inferior place and, the requisite time lacking, his progress became unsatisfactory.
29At the age of twelve he changed from the piano to the violin. His teacher was a thoroughly conscientious musician—Martin Thornecker, a viola player in the Royal Orchestra of Berlin, and Koeniglicher Kammermusiker. At fourteen Bohlmann left Berlin for Leipsic. There he was a regular attendant at the Saturday evening concerts in the Gewandhaus, where his new Leipsic violin teacher, Bolland (still a member of the Gewandhaus Orchestra and professor in the Conservatory), played the second violin; Henry Schradick and Roentgen, first violins; Carl Schroeder, violoncello, and Carl Reinecke, piano.
31He composed many songs at this time, and Bolland advised his parents to make a musician of him. But his father, though he allowed him to take harmony lessons
The computer misreads some letters and numbers. Where a name matters to you, read the scan.