Scan 23
Musical Courier 1896-03-04: Vol 32 Iss 835, 1896
51 lines. Read by computer on 20 September 2026. Printed page 24. See the scan on archive.org.
1CINCINNATI, February 29, 1896.
3THE "Pops" season closed last Sunday with a tremendously large audience and a "merely nominal deficit," according to the president and backer of the orchestra. Mr. Michael Brand's programs have been fresher than formerly, and the list of soloists contained some notable names. But it cannot be said that anything was actually accomplished at these concerts. With a single rehearsal, a good orchestra and an able conductor can do nothing adequately. The "Pops" entertain some two thousand persons each Sunday, but they do little or nothing for the cultivation of popular taste.
5At the last concert Rivarde made his first appearance here. I could barely squeeze my way into the theatre, but from where I stood the violinist seemed to have an unusually small tone, nor was his technic above reproach. Rivarde excels in harmonies. His Wieniawski number was an improvement on the Mendelssohn concerto performance.
7Mr. Brand's last program was given over largely to Cincinnati composers, including Andrew Nembach (Spring overture), Theo. Meyer (Orpheus waltz), Lino Mattioli (Renaissance gavot), Michael Brand (Aphorisms for strings), Alois Buschle (Maybell's intermezzo).
9Apropos of the "Pops," the Symphony Orchestra Association is thinking seriously of giving twelve Sunday popular concerts next winter with Mr. Van der Stucken as conductor, and of giving twelve symphony concerts instead of twenty as originally intended. The Sunday concerts would be given on weeks alternately with symphony concerts. The association will probably ask the co-operation of the backers of the present "Pops," and should this be refused the concerts might possibly be given independently, though it is to be hoped there will be no conflict between those who are trying to do something for the cause. As a large part of the money that goes to maintain the present "Pops" comes from two gentlemen who are also deeply interested in the Symphony Orchestra, the new plan stands a good chance of being adopted.
11The plan to enlarge the Odeon at the College of Music has been definitely abandoned. The architect found that it would be impossible to lower the floor without great expense. It was a matter of great regret to President Neff, who had set his heart upon enlarging the Odeon by some fifty seats, so that the Symphony Orchestra, Apollo Club and other musical societies could make the college their headquarters once more.
13Mr. Van der Stucken is still at work examining the different departments of the college. He has made up his mind upon one important point. There will be no "assistants" next year. The best of the present assistants will be made regular instructors, the others will leave. A large number will be dropped from the list of teachers, and if any new appointments are made they will be men of reputation.
15This and the appointment of a new board of examination will strike at the very root of the abuses that have crept into the college methods.
17The appointment of a successor to Mr. Leandro Campanari, head of the violin department, is one of the chief topics in musical circles. Mr. Van der Stucken naturally wants to have his concertmeister, M. José Marien, at the college. The latter, however, is subject to another year's contract at Miss Baur's Conservatory of Music. Mr. Van der Stucken explained the situation to Miss Baur the other day, and it is possible that Marien may be released. Mr. Van der Stucken has left the whole matter in Miss Baur's hands.
19I understand that Mr. Richard Schliewen, first viola of the Symphony Orchestra, will be at the college next year.
21Mme. Albani produced a doctor's certificate as to the state of her larynx, and there was no Albani concert at the Pike Opera House last Tuesday night.
23The second Apollo Club concert last Thursday night was an improvement over the first, both in the arrangement of the program and the work of the chorus. The male choir had evidently been strengthened. The Glee Club element in the program was reduced to a minimum. The principal choral numbers were Goring Thomas' Sun Worshippers, Schumann's Gypsy Life, Bruch's chorus of Romans from Armenius, and Hamerik's Harvest Dance. The latter is a severe test of a chorus of women's voices, and a bit beyond the Apollo's choir. The second alto part is unusually low and demands what few choruses can ever hope to attain—the true contralto quality.
25In some of the male choruses the old fault of letting a single tenor voice overtop everything was once more apparent. In Gruppe's What the Birds Say, however, where Mr. Lemmon had an actual solo, and in Mendelssohn's Vintage song, the balance was admirable, and the chorus showed something of the finish that has been characteristic of Mr. Foley's training. Schumann's Gypsy song was sung with spirit and precision, and the Sun Worshippers, more than any other number, perhaps, showed the improvement in elasticity and in the blending of the voices.
27Mr. W. H. Rieger, the stand-by of so many concert programs in Cincinnati, sang the solos in the Goring Thomas number befittingly. In the Schumann songs his voice had not its usual quality. Miss Ethel Chamberlin has a pretty voice musical and pure. It is, however, scarcely mature enough for concert work.
29The Marien String Quartet and Frederic Shailer Evans, pianist, of the Conservatory of Music, gave the following program in the Pike Opera House last evening: Quintet, op. 44 (E flat major), Schumann; sonata (piano and violin) A major, César Franck; quartet, op. 27 (G minor), Grieg. The program announced the performance of the Franck sonata as the first in America. It is hardly possible to form a clear idea of this work at a single hearing. It left an impression of vagueness and of Brahmsism.
31The playing of Mr. Evans was a bit woodeny, though his relative values were exact. The string quartet did some good. After the first movement of the quintet there was clearness of purpose, precision and well contrasted expression. Mr. Marien subordinated his instrument more to the others than at the quartet's first concert. The best work was in the romanze and intermezzo of the Grieg quartet. There was breadth and musical feeling. The whole concert showed the results of persistent and sympathetic study.
33The May festival magnates, who are among Mr. Theodore Thomas' most intimate friends, say that Mr. Thomas has accepted the Brighton Beach offer.
35ROBT. I. CARTER.
37Leon Margulies
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