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Musical Courier 1895-12-25: Vol 31 Iss 825, 1895
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1that completely carried away his audience. Mr. Sieveking is nothing if not robust. As to his finer qualities he did not give us a very good opportunity of judging, for the group of his own compositions that he played did not create a very profound impression.
3Mme. Zeisler's concert I was unable to attend, but I hear the most glowing reports of the enthusiasm she aroused.
5The Detroit Operatic Ensemble Concert Company gave a concert on the 15th with a program that was fearful and wonderful to contemplate—fearful as to the selection of compositions, that transcended the abilities of the performers, and wonderful as to its length. Trovatore and its ilk were much drawn upon. The participants were Mrs. Fred. Robinson, Mrs. Angelina Dunbar, Miss Nina Eastman, Messrs. Hans Thelan, Robert Luderer, Arthur Russel, Ludwig Kaltwasser, and a chorus consisting of two parts women and one part men, that is, eighteen women and nine men. The whole concert was more chemical than aesthetic in its effect, although Miss Eastman in a song well adapted to her capabilities, captivated the audience with her fresh and charming voice.
7The Detroit Society of Professional Musicians has given two concerts. The first by Miss Katherine Ruth Heyman, pianist, and Charles B. Stevens, tenor. The second was given by J. V. Seyler, pianist, Mr. Wm. Leggett, violinist, and Mrs. J. S. Dexter, vocalist.
9Mrs. Dexter, in company with Mrs. Lucia Gale Barber, reader, gave an extremely enjoyable recital in Schwankovsky's Hall on the 16th. Mrs. Dexter displayed abilities that would warrant a more frequent appearance upon the concert stage.
11Mr. Fred. Alexander is giving a series of organ recitals in the Woodward Avenue Baptist Church. His programs are well chosen and his performances show a young man of talent and a willing worker, which promises well for his future.
13The Yunck String Quartet gave its first recital last evening, December 2. This is at present the only concert giving organization existing in Detroit. The Philharmonic Club, which was becoming so favorably known, after passing through a couple of disastrous seasons with bad managers was finally forced to disband. The new Yunck Quartet is of too recent formation to have as yet achieved a noteworthy ensemble, but its personnel leads one to look for good results when the members have rehearsed longer together. In Mr. Wm. Yunck, violin, and Mr. Hermann Heberlein, cello, the club has two excellent artists. Mr. Ludwig Kaltwasser, second violin, who wields a facile bow and produces a smooth tone, and Mr. J. Hoffmann, viola, form the remainder of the quartet.
15N. J. COREY.
17EL PASO.
19EL PASO, Tex., December 4, 1895.
21"SIX hundred miles from nowhere" is the description that some Eastern people like to apply to El Paso, because so much desert has to be covered in reaching this point. But we are not beyond the confines of civilization by any manner of means, and the dispatches that go out occasionally about "the usual El Paso killing" ought to show that such killings as do occur here, which are few, by the way, occur in saloons where the stuff that turns men into murderers is sold. El Paso has churches, schools and a sizable musical community—quite a goodly sized musical community for a frontier city of 10,000 inhabitants.
23We have a military concert band of thirty-four performers, a permanent orchestra of twenty-eight, several stringed quartets, a Männerchor and a number of excellent pianists and singers. Then a couse music hall seating 430 people has been completed and attractively fitted up, and will be frequently used for concert as well as terpsichorean purposes. Some excellent work has been accomplished in the way of church choir singing, but the churches here are generally too poor to make anything of a display in the organ loft; and but two churches—St. Clement's Episcopal and the Presbyterian—have attempted, much of anything in this line, and that by voluntary talent.
25The band, orchestra, Männerchor and a stringed quartet are part and parcel of a musical club with a singular title, the McGinty Club. McGinty as a patron saint of the divine art has heretofore confined his operations to the restricted limits of the variety stage, and to a peculiar style of melody, but in this instance he has become the presiding genius of a very respectable musical organization that has come to aim quite high in musical attainment—for this part of the country anyhow. The concert band is the farthest advanced, and one practice night in every four is set apart for the highest grade of music within reach, especially the compositions of Richard Wagner. It has been and will be for some time hard work to get the public interested in Wagner. But they are coming to it, just as Northern and Eastern people have come to enjoy the compositions of the great master, and ere many moons wax and wane Southwest Texas and Southern New Mexico will be strictly in the swim as regards classical music. The McGinty band has not exactly tackled Bach's Fugue in G minor or Beethoven's No. 33 Sonata yet, neither are Texas cowboys or Mexican vaqueros diverting themselves by singing the Romanza from Tannhäuser, or whistling Palestina's Miserere to any alarming extent, but we are getting along up the excelsior ascent. So just give us a little time away down here and we'll "git that" presently, and we won't have to roast any more coons to do it either.
27But, El Señor Editor, there is one notable factor that enters largely into musical improvement in all American communities, and that factor is, doing something because "somebody else does it." Eastern people approve of certain styles or forms of musical composition because European critics approve of them, and then Western people "catch up the refrain" because the East has set the seal of its approval upon the same; and it is therefore the eminently correct thing. So we folks away down on the Mexican frontier, are picking up on Wagner and the music drama largely because "it is all the go" "down East." However, it is hardly fair to say that the incentive is due mostly to an imitative spirit, because education is a marked factor in our musical development, and ere many years El Paso will be priding herself on her musical attainments.
29The new Chopin Music Hall recently built here has an almost acoustically perfect auditorium, something the architect "happened to hit on" happily, so that it seems as though no one seat is better than another in the hall. The inside dimensions are 35×90 feet, with a seventeen-foot stage very nicely furnished, the equipments including a Mason & Hamlin concert grand and a silk plush folding curtain.
31The main mover in this improvement was Professor Ferdinand Dewey, of Boston, who came here a year ago for asthmatic difficulties, and found permanent relief in this lovely climate. As the money to build the hall, the professor and the piano all came from Boston, Boston is in a fair way to become interested in El Paso, Tex. It is proposed to have Paderewski play in this hall in February, when he comes this way. It is believed that 500 people can be found within the radius of 25 miles who will be willing to pay $5 each for a ticket, so that the great artist can have his $3,500 if he will stop over.
33Texas has sent one fine singer to the concert and operatic stage, and is liable to send out another one of these days, in Miss Henrietta Small, of this city, who is at present teaching at Las Cruces, New Mexico. This bright young woman of twenty has what is commonly known as a royal voice of over two and a half octaves, with a magnificent physique to back it. Miss Small has a charming personality and graceful stage presence, and isn't scared one bit when facing an audience. An effort has been made to secure for her the professorship of music in the Agricultural College at Las Cruces, and the hope and expectation are that she will get there. Miss Small is a brave girl who is fighting her own way through this world with a courageous independence that commands respect and appreciation.
35ROBERT J. JESUP.
37TORONTO.
39TORONTO, December 2, 1895.
41FOR some considerable time people have been asking me why no Toronto letters have been appearing in your columns. The explanation is simple, if not very satisfactory. The fault appears to have been a postal miscarriage, as several weeks ago I sent an extensive budget which failed to reach your office. To hark back now in detail to the Melba concert in October and half a dozen closely following events would be a prescription of ancient history altogether too stale to be palatable.
43There is a somewhat paradoxical suggestion in the fact that while people here complain generally about money moving slowly, our concerts and theatres are being well patronized this season.
45Massey Music Hall, which, as you have often been informed, is very large, has been busy and promises to so continue. No doubt much of its success is due to the manager, Mr. I. E. Suckling, who contrives to get hold of strong attractions and thoroughly understands how to arouse public interest in them. Indeed Toronto is largely indebted to Mr. Suckling for his enterprise as an impresario.
47Some weeks ago this city sustained a distinct loss in the removal of Mr. Francesco d'Auria to Winnipeg, whither he went to take charge of the vocal department of the Winnipeg Conservatory of Music. Mr. d'Auria had been in indifferent health for a long time. A desire for a change of climate, together with strong financial guaranty, proved irresistible, and so we lost him. Mr. d'Auria, without being of an aggressive temperament, was a distinct force for good in Toronto's musical culture, and did much to bring about a realizing sense of the necessity of change, refinement and progress among our musicians and the public. I understand that he is well pleased with Winnipeg and has already greatly benefited by its dry, bracing climate.
49The début of a promising newcomer is usually interesting, so when Miss Ada E. S. Hart first appeared a few weeks ago as a pianist in Nordheimer's Recital Hall I made a point of attending. Miss Hart has just returned from a three years' course of study under Leschetizky, a fact which generally doubled interest in the occasion, and I noticed a large number of musicians in the audience.
51Space will not admit of detailed comment, but it may be said that with each succeeding number Miss Hart improved, and soon won the unequivocal approval of her hearers. Her technic is large, facile and splendidly finished; her tone masterly—I was fairly surprised by its vigor and masculinity, which, however, never became coarse; and indeed there can be no doubt that in Miss Hart we have a pianist of sterling artistic qualifications.
53On November 28, in Massey Hall, Miss Augusta Beverly Robinson, daughter of ex-Lieutenant-Governor Robinson, of this province, made her rentrée in Toronto as a public singer, after several years of study abroad. A very fair audience was present, consisting largely of society people. Miss Robinson has gained greatly by her foreign experience, and as she has a very pleasing, well cultivated, if not large, voice, she made a most favorable impression. Her selections were a cantilena, by Gounod; Schumann's Widmung, Chaminade's Madrigal, Otray's God Be with You, and Albert Nordheimer's setting to The Song of the Southern Maiden, the words of which were by the late Mr. Wakelem. Miss Robinson's assistants in the concert were Marsick, violinist, and Howard Brockway, pianist, both of whom of course gave great pleasure, but upon whose performance I need not dilate in a New York paper.
55On November 14 a largely attended concert was given in Massey Hall by Lillian Blauvelt, Dr. Carl E. Dufft, Mrs. Isidor Klein and Mr. H. M. Field. Of the first two it is unnecessary to say anything except that, as usual, they gave unqualified satisfaction. Mrs. Klein, a local soprano, made an excellent impression and was the recipient of floral tributes and recalls. Mr. Field, a Toronto pianist, was in better vein than usual, but had a wearisome proportion of the program.
57On November 28 West Association Hall was well filled by an appreciative audience in attendance at a concert, given entirely by local musicians, for the benefit of the Y. M. C. A. The program was opened by Mr. W. O. Forsyth with Liszt's Valse Impromptu and Saint-Saëns' Swan Song, both of which were done full justice to. Mr. Forsyth's playing exhibited great technical facility and varied and expressive touch, and deep musical feeling, as well as artistic intelligence and repose. He should be heard more frequently in public.
59A fine exposition of the art of singing was that of Mr. Walter H. Robinson, the well-known tenor and teacher, in Adam's By the Fountain, Once Again, by Sullivan, and in a recall number, My Love is Like the Red, Red Rose. In all respects these were admirable—in voice, management, phrasing and general treatment. His success was very pronounced. One of the most interesting features of the occasion was the playing of the newly organized Klingenfeld String Quartet, comprising Messrs. H. Klingenfeld, first violin; Charles Wagner, second violin; H. Telgmann, viola, and Paul Hahn, 'cello. This is a well balanced and effective combination; one which should prove of inestimable benefit in developing Toronto's taste for chamber music. The numbers played by the quartet were Haydn's Variations, Raff's Tarantella, G major, and (recall) a gavot from Thomas' Mignon, all of which were given with a high degree of finish and melodious spontaneity. Speaking of the quartet reminds me particularly of the solo playing of one of its members, Mr. Paul Hahn, the 'cellist. This young musician is destined to make a name for himself; his playing of Goltermann's capriccio, for which he was most deservedly encored, amply indicated this. Histone is clear and musical, technic excellent, bowing decided, and his general execution is stamped with artistic conception.
61Miss Minnie F. Hessian, in Nevin's Good Night, Beloved, and Dolores' The Fairies, displayed a very good contralto voice, which she uses with intelligence. Miss A. M. Helmer and Miss Ruby E. Preston, Mus. Bac., pianists, gave respectively Liszt's Love's Dream, No. 3, and the Schubert-Tausig Marche Militaire, the last named winning for Miss Preston an undeniable recall, to which she responded with a fine interpretation of Chopin's C minor valse. Two numbers given by Mr. A. B. Jury were The King's Champion, Watson, and Dreams, by Strelezki. In these a well trained, evenly modulated, telling baritone voice won much honor for its possessor. The Grave on the Heath, by Heiser, was sung by Mrs. Klingenfeld, with string quartet accompaniment. Her vocalization and methods in general proved the excellence of her schooling and natural gifts to their full extent.
63A recitation by Miss A. Lea, Tennyson's Lady of Shallott, and, as a recall, Cupid Caught, were well received.
65Mrs. A. B. Jury's rich, pure and powerful soprano was one of the treats of the evening as heard in Mascagni's Ave Maria and J. Louis Brown's Love's Magic.
67It will be seen from the foregoing that those who attended the concert were well supplied with variety, and that the entertainment was worthy of the liberal patronage accorded.
69NOTES.
71Comparatively recent additions to Toronto's musical forces are Mr. Rechab Tandy, tenor, who takes Mr. d'Auria's position as vocal teacher in the Conservatory of Music, and Mr. H. Telgmann, viola player and teacher, and who is now in the Klingenfeld String Quartet. Rumor has it that Mr. Rudolph Ruth, a very excellent 'cellist, has received flattering offers which if accepted will take him to New York.
73A handsome pamphlet, Hints on Voice Culture, from the pen of Mr. Walter H. Robinson, a resident vocal teacher, is an excellent work and demonstrates how deeply its author has investigated his subject. Void of pedantry and excessive technicalities, it is easily "understood of the people."
75The Mendelssohn Choir, Mr. A. S. Vogt conductor, is to give just one concert this season, but according to all accounts it will be the local musical event of the season.
77Mr. F. H. Torrington has resigned the conductorship of the Toronto Philharmonic Society on the plea of pressure of other work and by the advice of his physician. His successor is Mr. J. Humfrey Anger, Mus. Bac., who came here from England about two years ago, where he had conducted several vocal societies. Mr. Anger is known here chiefly as a theorist, composer and organist. A typical Englishman, with apparently any amount of determination and pertinacity, it will be interesting to discover what headway he will make in an endeavor to restore to the Philharmonic the degree of prestige which years ago it enjoyed. It will be a laudable effort and Mr. Anger should receive all possible encouragement.
79The hope of a permanent local professional orchestra seems to have been abandoned, no one having confidence in such a scheme after the many repeated failures that have been experienced.
81EDMOND L. ROBERTS.
83NEWARK.
85NEWARK, N. J., December 29, 1895.
87THE Schubert Vocal Society gave its annual Christmastide oratorio December 13, interpreting Mendelssohn's Saint Paul. The cast of artists included Madame Zipporah Monteith, soprano; Madame Helene von Doenhoff, contralto; Mr. Leonard E. Auty, tenor, and Mr. Gwilym Miles, baritone. The solo honors fell to the soprano, tenor and baritone, whose vocalism and interpretations throughout were beautiful and artistic. Madame Monteith has been heard in Newark before this season in oratorio, and her re-engagement by the same society is an evidence of her charm and popularity here as an oratorio singer.
89Mr. Miles' singing was a revelation. He is a pupil of Mr. James Sauvage and is as similar in his voice and style as is possible for a pupil to compare with his teacher. After his various solos he was recalled many times. He had the sympathy and hearty approbation of a critical audience. Mr. Miles has a future before him as an oratorio exponent. Mr. Auty was as usual the artistic and cultured artist we have always found him to be. The work of the contralto was beneath criticism.
91Mr. Russell, who conducts the Schubert, was fully up to the requirements of detail and ensemble, although he was handicapped by an inefficient orchestra, if it did contain members
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