Scan 13
Musical Courier 1896-07-01: Vol 33 Iss 852, 1896
66 lines. Read by computer on 20 September 2026. Printed page 14. See the scan on archive.org.
1columns, was finely played by M. Alvarez, and the remainder of the cast was also the same. The chorus exhibited some vivacity in the second act, but the doings in the abode of Venus showed no improvement. Her dependents evinced scarcely any sense of rhythm, several times standing still in the most exciting portion of the music, and the purpose of the tableaux vivants would seem to be to give an explanation of why Tannhäuser was so anxious to get away. No man could endure them for long.
3We are promised Tristan and Isolde for Tuesday night, with Jean de Reszke and Mme. Albani, in German.
5FRANK V. ATWATER.
7Odell Organs.
9FOR half a century the Odell organ has occupied a unique position among the instruments of this country, due to a combination of unsurpassed skill, unbounded energy and determination and ample capital.
11Many, indeed, are the organ builders, and their work, ranging from the most expensive to the cheap and valueless instruments, has reached every part of the land. Yet among all the Odell organ stands pre-eminent in a field created and maintained by no other instrument. Not depreciating the merits of other organs, it may be said that the Odell organ has no superior. It has established a dignified and lasting reputation and received the indorsement of the most exclusive and influential patrons of music in this country.
13In the metropolis of the Union the Odell organ is now quartered in each leading church of the representative denominations now worshipping on Manhattan Island, a fact that testifies to the unusual partiality accorded these instruments by all sects.
15The stamp of approval thus placed on these favorite instruments by the clergy, laity and musical fraternity of New York's foremost churches has carried the Odell organ into every section, and they are now used in churches, halls, institutions and homes throughout the entire land.
17The Vegara Conservatory.—In the Indiana Conservatory of Music at Indianapolis, recently transferred to Leonard Vegara, the latter has under training a chorus of 125 selected voices, which he intends for operatic and oratorio work during the coming season.
19Two Hours too Early.—A recent trouble caused in a New York uptown apartment house by the constant playing of a piano by one tenant over another tenant's head caused an appeal to be made to the board of health. A policeman sent to investigate matters gave the decision that so long as the piano was not played after 10 o'clock at night a complaint was not justifiable. This ringing of the curfew for musical silence at 10 p.m. will hardly be observed by a majority to whom music sounds best the closer the smaller hours.
21Plays Wrong Side Up.—Here's a girl who makes a living playing a violin while standing on her head. The standing on the head, professors of physiology will tell you, is not good for the health. Nor is it easy. But pretty little Clotilde Antonio, a Russian variety performer, has upset all the theories, and the Sunday Journal presents a picture of the little lady playing the violin in the unconventional attitude.
23With her head resting on a table and her feet in the air, she tucks the violin under her chin, and, smiling sweetly through it all, plays a number of compositions.
25Her peculiar position does not trouble her in the least as she draws the bow across the strings. It is one of the oddest specialties known to the variety world, and no one thus far has duplicated it. Not a note does she skip, and she plays as tunefully and correctly as any virtuoso right side up.
27Nor are her accomplishments confined to one specialty. She is a veritable marvel in upside down acts. She goes through all sorts of contortions to prove that her body is as good as boneless, and all the while her feet are in the air and her hands on the table. Then she takes an iron rod with a padded end. This she grinds in her teeth and raises her body above her head, swaying gracefully to and fro.
29The orchestra strikes up the opening bars of a polka. The diminutive mademoiselle smiles at the audience, and presto, she is off in the whirling mazes of the dance. Round and round she whirls, ever smiling, always in time with the music, and it is all done on her hands. Her feet are aimed at the roof, and she is dancing on her palms.
31Now the music plays softly a pretty waltz. She instantly changes both time and step and glides around the stage, the very embodiment of grace and agility. A pleasing smile seems to say that she is enjoying it as much as the audience. Round and round she goes, and it would certainly seem that every drop of blood would be forced down into her brain. At its end she does a somersault and lands on her feet, smiling and apparently not a bit exhausted.
33Mademoiselle Antonio has higher things in view than her present specialty, which she says is too easy. She longs to return to aerial work with her father, and become a queen of the trapeze.—Journal.
35of musical talks Mrs. C. B. Carpenter, with her description of woman in music, was possibly the most interesting from a general point of view, while for instruction in the lives of the different composers several readings were given, notably by Mrs. Theodore Thomas, Miss Josephine Large and Mrs. Henry Frank. The club also had the pleasure of hearing Mrs. Regina Watson's paper on folk song. Unique in its refined thought, powerfully descriptive style and wonderful originality the lecture by Mrs. Watson will long be remembered. This clever lady is one of the four celebrated Tausig pupils, and has acquired great fame as a teacher. Her knowledge of music is profound, and it is delightful to be privileged to her friendship. Great success has not spoiled her, neither has it made her rude, brusque, arrogant and discourteous, which unfortunately is so often attendant characteristics upon greatness. The Amateur Musical Club can well be proud of its clever members, as well as boast of other very exceptional talent, many of the best singers and instrumentalists in the city being on the roll of membership.
37***
39Steinway Hall is to be remodeled and enlarged to a seating capacity of 1,000 instead of 750, as at present, and generally refitted, which will make this charming concert hall probably the most attractive place for entertainers here. Steinway Hall having set the example, Central Music Hall is to have its gloomy interior rejuvenated, the boxes are to be more up to date in appearance, and a general overhauling take place.
41Mrs. M. E. Bigelow MacDougal has joined the faculty of the Metropolitan Conservatory, of which Georgea Kelsey is principal. She will be a valuable and conscientious addition to this institution. Richard Buhlig, who is studying with Miss Margaret Cameron, gained the Kimball grand piano at the Gottschalk Lyric School competition. Miss Cameron also deserves a word of congratulation for her untiring industry in keeping all her pupils so well up to the standard.
43I spoke of the scarcity of Chicago singers appearing with the orchestra. What about the pianists? Is there any other city in which such an artist as Leopold Godowsky would be unheard of?
45With the exception of two or three appearances at minor concerts this superb artist has not been heard—yes, once he played at a Summy chamber concert. With his brilliant, flawless technic and his exquisite refinement and finish he would be infinitely attractive. Then, again, where is William H. Sherwood? Why does he not play under Theodore Thomas' direction? Two great artists and neither heard from. Chicagoans are loyal musically indeed when they will not support their own talent! Another singer who might be heard here with advantage to the orchestra is Miss Eva Emmet Wycoff, a pupil of Mme. de la Grange with a glorious dramatic soprano, and who can really sing. But what chance does any of them get?
47All the local composers are exceedingly enthusiastic over the MS. Society, which will soon be incorporated. The meeting of the committee—Henry Schoenefeld, Robert Goldbeck and Frederic Grant Gleason—was most satisfactory. The list of members now has thirty names. The New York by-laws, with some few changes, will be adopted. Altogether this scheme of Mr. Armstrong's seems likely to be one of the best presented here.
49The general meeting held in Mr. Gleason's studio in the Auditorium building was well attended. Composers and musicians have united in sympathy with the project, which has the indorsement of Theodore Thomas, Mme. Zeisler and other great artists. Mrs. Ullmann, of the Amateur Musical Club, was the first to suggest practical application and has already arranged a Chicago composers' day at an early date in the next season.
51Officers are to be elected next Thursday.
53***
55Harrison M. Wild, the distinguished organist, has severed his connection with the American Conservatory, and will devote his entire time to private tuition. He leaves for a tour in the East on June 28, visiting Boston and New York, remaining for two weeks in Maine and returning the first of August.
57The Chicago Conservatory held its annual concert in Central Music Hall on Thursday of last week, which was largely attended.
59***
61Mary Angell, a Sherwood pupil, played magnificently in Central Music Hall on Thursday night. In her interpretation of Liszt's G minor concerto her extraordinary power was shown, and musicians agree that in the future we may have a second Teresa Carreño. Mr. William H. Sherwood is very enthusiastic about her promise; she certainly is gifted and it will be interesting to watch her progress.
63***
65Grafton G. Baker, a Chicago tenor, late a student at the Chicago Musical College, wrote to young Mr. William Ziegfeld, who, by the way, is one of the best business men in the musical profession: "I am paying $6.25 for every lesson, and take four lessons a week. Mr. Randegger is delighted with my voice, and said it is the best placed tenor he ever had from America. He says the Chicago Musical College must be a fine school to turn out a pupil with a voice like mine in
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