Scan 42
Musical Courier 1895-12-25: Vol 31 Iss 825, 1895
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1had dwindled down to something like 170 members, and the festival for 1892 had been officially declared off. Mr. Blumenschein assumed the almost hopeless appearing task of building up the chorus and preparing it for the festival of 1892.
3Wherever Mr. Blumenschein has assumed direction of an organization, or in any other way musical responsibility, he has invariably achieved a notable success. Competent, reliable, energetic, he finds no reason for qualified results, and has therefore been associated only with matters of complete success. He is regarded throughout Ohio as a choral mainstay, and in every musical department with which he identifies himself is greeted with confidence and esteem. In composition he has been prolific, as the list appended will testify:
5PIANO SOLOS.
6Wood Nymph Mazurka…………………………………………..Op. 9
7Impromptu………………………………………………………..Op. 22
8Valse Brillante…………………………………………………….Op. 23
9Scherzo………………………………………………………..Op. 30
10Barcarolle………………………………………………………..Op. 31
11Coquette Gavot………………………………………………….Op. 41
12The Brooklet (study No. 1)………………………………….Op. 48
13Toccata (study No. 2.)………………………………………..Op. 48
15SONGS FOR SOPRANO VOICE.
16The Sunshine of the Heart…………………………………….Op. 43
17Ich liebe dich allein…………………………………………….Op. 44
18Dorothy, Waltz Song…………………………………………..Op. 52
20CHURCH MUSIC.
21The Blessings…………………………………………………….Op. 21
22(Short pieces for S. A. T. B. and quartets for offer-
23tories, &c.)
24Grace for Grace (two books)…………………………………Op. 35
25(Thirty-one short solos for S. A. T. B., duets and
26solos and quartets.)
27Wake, O My Soul……………………………………………..Op. 35
28(Christmas Anthem.)
29Jesus, Saviour………………………………………………….Op. 45
30(Soprano solo, with violin obligato.)
31Christ the Lord………………………………………………….Op. 46
32(Easter Hymn Anthem, S. A. T. B. solos and chorus.)
33Jesus Liveth…………………………………………………….Op. 47
34(Easter Anthem, S. and A. solos, quartet and chorus.)
35Arise, Shine…………………………………………………….Op. 51
36(Christmas Anthem, B. and S. solos and chorus.)
38MALE VOICES.
39Would You Know Who Has My Vow?………………………..Op. 49
40A Song of the Sea……………………………………………..Op. 50
42MIXED VOICES.
43Hail to the Land!……………………………………………….(Short chorus for patriotic occasions).
45The above compositions have met with critical commen-
46dation in every instance, and as a composer Mr. Blu-
47menschein occupies a position of certain accomplishment
48and yet greater promise. Mr. Blumenschein has made himself
49an indispensable feature in Cincinnati's musical life, the
50great musical festivals of each year centring round the
51work accomplished by the chorus which he drills to such
52admirable results. He is, however, in all respects artistic
53and personally held in high esteem and appreciated in full
54proportion to his worth.
56Michael Brand.
58MICHAEL BRAND, violinist, was born in New
59York on January 11, 1849, and began the study of
60music at the age of four. At eight years of age he was
61able to play first violin at some orchestral concerts. After
62a performance for several years in Pike's Opera House,
63Cincinnati, he was offered a position in the orchestra of
64Theodore Thomas. Seeing the advantages to be gained
65in an organization led by so competent a master he ac-
66cepted, and continued in his position with the Thomas
67Orchestra for about ten years. During this period he pur-
68sued study and became the favorite pupil of the celebrated
69Carl Auschutz, with whom he resided and to whom he re-
70mained a close companion until Herr Auschutz's death.
71Under this distinguished musician he took a thorough
72course of theoretic training and developed his musical
73facilities to a high standard of sound cultivated knowl-
74edge.
76In 1878 he was induced to accept the conductorship of the
77Cincinnati Orchestra, then newly organized, a position but
78recently resigned, and to him must be given the credit of
79raising the organization to its present standard of efficiency.
80His whole nature is enlisted in the cause of music and its
81intelligent and artistic development, and few men in this
82country or in Europe have achieved a more honorable repu-
83tation as a faithful, intellectual musical influence than
84Michael Brand.
86He plays with facility and taste on nearly every orches-
87tral instrument, with a power of giving every shade of ex-
88pression, which shows him the possessor of a true genius
89for his art. The violoncello is the instrument of his choice,
90and his performances are mainly with the 'cello; but there
91are few men whose skill embraces so wide an instrumental
92range with so artistic a success.
94Dresden.—The three choral societies of Dresden gave
95on November 20 a performance of Rubinstein's Tower of
96Babel. The same work was given on the same day, the an-
97niversary of Rubinstein's death, at Peterhof.
99The Cincinnati College of Music.
101THE Cincinnati College of Music as it stands to-
102day is a monument of noble conception and results
103which may well point a moral to other American cities. It
104most able artists, vocal and instrumental, who have chal-
105lenged public attention within a decade.
107It is impossible to touch on the prosperity of this valu-
108able institution without introducing primarily its president,
109Mr. Peter Rudolph Neff. Unfortunately this gentleman's
111INTERIOR VIEW OF THE ODEON, COLLEGE OF MUSIC.
113The Odeon is a part of the spacious buildings which belong to and are occupied by the College of Music of Cincinnati
114for educational purposes. The Odeon has been constructed for concerts, lectures, recitals and for dramatic
115and operatic performances. In every respect the building has been constructed with regard to safety and
116comfort. The acoustic properties of the house are admirable. Like its noble neighbor, Music Hall, the Odeon
117is lined with wood. The Auditorium consists of a parquette and dress circles. Near the stage are twelve
118private boxes. In the house there are some 1,100 seats. The stage is thoroughly equipped with scenery, furni-
119ture and machinery for operatic and dramatic performances. To the rear of the stage is a large two manual pipe
120organ, which may be used for concerts and oratorios.
122INTERIOR VIEW OF THE LYCEUM, COLLEGE OF MUSIC.
124The Lyceum is also a part of the college buildings, especially constructed for lectures, recitals, and rehearsal purposes.
125Its interior is constructed entirely of wood, and the acoustic properties are excellent. There are 400 portable
126seats in the Lyceum and a spacious platform upon which stands a large Roosevelt organ. The hall may be
127entered either from Grant street or from the Elm street entrance to the Odeon.
129was endowed by Mr. Reuben R. Springer and a num-
130ber of benevolent citizens of Cincinnati. Cincinnati has
131resolved itself into a musical centre, the fostering and de-
132veloping ground of musical talent of every character, and
133has established itself nobly in the public eye the world
134over as the training school from first to last of some of the
135ably conceived and stimulating services are to be with-
136drawn from the college by January 1, 1896. For ten years
137he has given his skilled and energetic labors to the cause
138which has prospered so remarkably under his direction.
139Once before his resignation was sent in, but so sternly re-
140sisted that the president was induced to retract it, but this
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