Scan 22
Musical Courier 1896-12-02: Vol 33 Iss 874, 1896
69 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 17. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1Sousa.—The first concert of Sousa's Band this season takes place January 1 at the Academy of Music, Philadelphia. The trip extends from the Gulf of St. Lawrence to the Gulf of Mexico and from ocean to ocean.
3J. Eldon Hole's Pupils' Successes.—Mr. Guy Latta, a pupil of Mr. J. Eldon Hole, has been engaged as the solo tenor of Trinity Chapel at Twenty-fifth street and Broadway, under Dr. W. B. Gilbert.
5Mr. Albert Colliscloun, another of Mr. Hole's pupils, has been selected by Mr. Viehle to be the tenor soloist at Grace Chapel.
7Conrad Behrens' Concert.—That intelligent artist and vocal teacher Mr. Conrad Behrens gave an Inaugural Evening concert in the new ball room of the Waldorf on Monday evening, November 23. The Fidicina Orchestra, conducted by Louis Melcher, and several prominent vocal and instrumental artists contributed to the program.
9Single Seats for Metropolitan Opera Musicales.—Owing to the great demand for seats for separate performances of the Metropolitan Opera musicales at the Waldorf Messrs. Ruben & Andrews have decided to place on sale a limited number of tickets for each of the matinées, in order to accommodate those who do not wish to purchase seats for the entire series.
11Two Tucker Concerts.—Two concerts were given on the dates of November 5 and 17 at Worcester, Mass., by Miss Mary F. Tucker, pianist, assisted by Mr. Leo Schulz, 'cello; Mr. I. Schnitzler, violin; Mrs. Edith H. Perkins, soprano, and Miss Clara G. Woodward, soprano. Sonatas of Beethoven and César Franck for piano and violin and of Mendelssohn and Grieg for piano and 'cello were the instrumental numbers included at both concerts. The programs were just the proper length, the two sonatas played at each concert being divided by a group of soprano songs.
13Middleton Ladies' Schubert Club.—The Ladies' Schubert Club, of Middleton, N. Y., inaugurated its fourth season with a very successful concert in the First Congregational Church on the evening of the 24th inst. The chorus sang in a manner that reflected credit on their leader, Mrs. C. H. Sweezy, while the soloists were all that could be desired. They were Mrs. Harvey Wickham, soprano; Mr. Grant Odell, baritone, and Mr. Orton Bradley, piano. The house was crowded.
15A Compliment to Women Artists.—At the last meeting of the Ladies' Tuesday Musicals of Minneapolis two women musicians of the East, Mrs. H. H. A. Beach and Miss Maud Powell, were elected honorary members. The club is one of the most prominent in the West and has given much attention to American works, among others the compositions of Mrs. Beach. The usual series of artists' recitals was inaugurated during the season of '94-'95, Miss Powell, a favorite in Minneapolis, being the artist chosen to give the initial concert.
17Mary H. Mansfield.—Miss Mary H. Mansfield, the talented soprano of the First Presbyterian Church, is actively busy with concert work. On December 3 Miss Mansfield sings at the Tableau performance given by the Sisterhood of Temple Emanu-El in Madison Square Garden on December 11. She sings at a concert in St. Augustine's, Bridgeport, Conn., and on December 17 she will be the soloist at the concert given in New Haven by the New Haven Orchestral Club.
19Wanted.—Position as accompanist and to coach singers in the studio of a vocal teacher. Applicant is a young lady who has had experience. Address Miss A. B. X., care THE MUSICAL COURIER, New York.
21H. G. Tucker.—In regard to Mr. H. G. Tucker's recent concert in Louisville the Boston Transcript says:
23A concert was given by Mr. H. G. Tucker last Tuesday evening in Louisville, Ky., the audience being principally composed of local musicians. The program was varied and interesting, the first section containing Chopin's ballade in G minor and the largo in F major of Bach and Saint-Saëns. The second portion of the program was a musical climax, and an achievement of results that proved Mr. Tucker a master. The Spinning Song of Wagner-Liszt was given an entirely different interpretation from that of most other pianists. The phrasing was a revelation; instead of the sustained runs that we have been used to, even from no less an artist than Paderewski, the effect of the emphasis in broken arpeggios seemed to realize more nearly the composer's idea of the spinning wheel, which does not spin in a steady rotary motion. Liszt's Liebestraum in A flat major, in contrast to the dazzling brilliance of the former number, showed sympathy and rare poetic insight. If there had been no other number on the program the Rigoletto Fantasie, Verdi-Liszt, would have compensated the most exacting musician, as its scope and brilliancy were so marked that the hearers could not suppress the signs of appreciation, but applauded before the concluding strains. Mr. Tucker was a stranger heretofore, but if hearty appreciation count to an artist he will certainly have to return to satisfy those who made his acquaintance as a pianist last night.
25Ffrangcon-Davies.—One of the recent criticisms obtained by the eminent singer Ffrangcon-Davies for his work in Elijah at the jubilee performance, Birmingham Town Hall, Festival Choral Society, is here appended:
27The other conspicuous success of the performance was the Elijah of Mr. Ffrangcon-Davies, which amounted to a veritable revelation. Never has the portion of the work which deals with the raising of the widow's son been better rendered than by these two superb artists. Mr. Ffrangcon-Davies combines all the qualities necessary to a great oratorio singer—a pure and even voice, a keen sense of artistic fitness and a wonderful power of musical insight, which last is a rare gift indeed. I have heard Santley and others give a sound, classical rendering of the part, and Henschel invest it with tremendous dramatic power, but for a combination of their methods with real artistic restraint Mr. Ffrangcon-Davies excels them all. I have never before heard an exponent of the character of the Prophet excel equally in three such strongly contrasted solos as Is Not His Word, Lord God of Abraham, and It Is Enough—"Edric" in the Birmingham Edgbastonia, October 9, 1890.
29Clementino de Macchi.—Clementino de Macchi, the pianist, has returned to New York after a most successful tour through the South. The following are some recent press notices:
31The first number was Liszt's Second Rhapsodie, by Sig. Macchi, the pianist. His interpretation of this difficult selection showed his thorough mastery of his chosen instrument. It is hard to say in what particular feature Sig. Macchi excels. His technic has never been surpassed before a Knoxville audience. He touches the keys lightly and caressingly, and again firmly and powerfully. His accompaniments are gems. A singer should feel inspired with his artistic playing to guide one. He seems to anticipate every change in movement and power adopted by the singer. Sig. Macchi gets into the spirit of the music, and is then able to instill that spirit into his audience. Herein lies his chief success.—Morning Tribune, Knoxville, Tenn.
33The concert was opened by Sig. Macchi with the performance of Liszt's second rhapsodie and the melody which he drew from the piano held the audience spellbound. It was indeed a sweet and appropriate opening for the occasion. The volume of melody would gradually die away in a distant land of dreams only to be revived again with a thrill of pleasure to the heavens. Having ended the piece he was accorded a round of applause from the appreciative audience which continued until he responded with an encore. This was, however, only a commencement to the calls for encores from the audience, which became almost frantic with enthusiasm near the close of the performance.—Journal, Knoxville, Tenn.
35The first number on the program was the second rhapsodie of Liszt, performed by Sig. De Macchi. The low and gentle tones that he elicited from the grand piano were thrilling in their sweetness, and were now and again lost in a volume of melody that seemed to echo with the soul of passion. It was the commencement of the concert, and the liberal and appreciative applause accorded the player was like the note of an approaching storm that found its climax in the perfect whirlwind of enthusiastic acclamations that toward the close of the entertainment seemed to shake the building to its very foundation.—Lynchburg News, November 13.
37Mr. De Macchi, pianist and accompanist, is very youthful looking, but nevertheless astounded his audience with his masterful performance of Liszt's Second Rhapsodie, Godard's Valse Chromatique, and Chopin's Polonaise. He is possessed of physical power, and he makes the most involved passages perfectly clear.—New Orleans Picayune, November 20.
39Corinne Moore Lawson.—The following criticisms were obtained by Mrs. Corinne Moore Lawson from the New York press on her recent recital:
41Mrs. Corinne Moore Lawson's recital in Carnegie Music Hall last Monday afternoon was a pleasant affair which left an agreeable impression of romance and sentiment upon the mind of a listener, for the songs were selected with skill, they were all of the most refined, if not of classic style, and they were chosen with excellent fitness to display many admirable qualities in the singer. Besides, Mrs. Lawson's voice has much that charms the ear in mere tone quality, her especial gift being an extraordinary resonance in the higher register, which gives to the upper notes unusual power and brilliancy. Her voice has improved since last year in smoothness of quality and in evenness of strength throughout its compass.
43The program of this recital included songs by Grieg, MacDowell, Paderewski, Amy Horrocks and many other composers. Her interpretations were guided and most ably supported by the judicious, discriminating, and most tasteful accompaniments played by Victor Harris, whose work is constantly becoming more valuable and more necessary to artists and to the entire musical world of our city. With his assistance an artist is not only safe, but her efforts are certain to be adorned.—New York Sun, November 25, 1890.
45Mrs. Corinne Moore Lawson, a singer who possesses a most engaging personality and a number of other qualifications which make for the good in art, gave the first of two song recitals in Chamber Music Hall yesterday afternoon. Mrs. Lawson comes from Cincinnati, and has recently taken up a residence in New York, where she has been heard a few times in the course of the half dozen years which compass her professional career. Her singing yesterday of an extremely interesting list of songs indicated a decided growth in intelligence and feeling.—New York Tribune, November 24.
47At one of her vocal recitals in Carnegie Hall last winter Mrs. Corinne Moore Lawson sang a series of Franz songs which were so well received that it was a disappointment not to find the same composer's name on her programs for this season. However, she made partial amends for this omission yesterday afternoon by singing groups of songs by Grieg and MacDowell, two composers who are at their best in their Lieder, and by no means as well known to the general public as they ought to be. They used to say in England: "Who ever reads an American book?" and they say now: "Who ever sings or plays American music?" Well, MacDowell's music is played abroad, and if his songs were well known they would be sung as often as those of any European master. They are romantic, modern, foreign and American at the same time, and they will become classics in time.
49Mrs. Lawson also sang some old English songs, in which she is usually at her best. In an old Norwegian Shepherd Song of the sixteenth century her voice rang out superbly, as also in Händel's Oh, had I Jubal's Lyre, and Goring Thomas' Song of Sunshine. She sings quick songs less perfectly than the more cantabile ones, and if she could equalize her voice she would have few rivals on the concert stage. As is proper, she sings every song in the language it was written in, and the program contains a translation.—New York Evening Post, November 24.
51Regarding Ratcliffe-Caperton.
53PHILADELPHIA, November 16, 1896.
55Editors The Musical Courier:
57In reading THE MUSICAL COURIER I find that its columns are ever open for encouragement and praise of that which is good in the study of music. Possibly my experience may be one of many, but would it not be well to add my testimony to the well-merited reputation of Mrs. Ratcliffe Caperton as a cultivator of the voice? I came to study voice culture with Mrs. Caperton after ten years of study with several other instructors of good repute, with a voice badly wrecked and a diseased throat.
59A specialist on throat diseases said when he examined my throat, "Your teaching and study of vocal music for the past seven years has been ruinous to your throat. Nature now calls a halt."
61A noted vocalist of New York city seeing my condition advised me to go to Mrs. Caperton and I would find relief. It was the best advice ever given me. Mrs. Caperton, after carefully trying my voice in several lessons, assured me that my voice could be restored, and my throat cured by properly placing my tones. She did not prescribe perfect rest, as the physician had done, but taught me the proper management and control of the breath, that being the fundamental condition of good singing. Then came the correct use of the conversational voice, the proper placing of the tone, where it would resonate in all the acoustic cavities, or, as the French say, to sing "dans la masque," the control and use of the lips, and lastly the perfect enunciation of the words, while the throat was relieved from all pressure, and then it was easy to sing "with the spirit and the understanding also." Now at the beginning of my third year of study with Mrs. Caperton I have my voice restored to me more beautiful than ever, a pure high soprano, flexible and resonant, a sound throat, and good health. In my thankfulness I would like to give "honor where honor is due," and to Mrs. Caperton belongs the praise.
63Now my teaching is a pleasure, as I have the assurance that I can train any voice in the most natural yet most artistic manner. Mrs. Caperton is a great student of music, and her resources are wide and varied; her success is as equally marked in all class of music, the Italian and German operas, the oratorios or in concert songs.
65Cora Prince Howe.
66Studio, 402 Baker Building, 1520 Chestnut street, Philadelphia. one of two readings
67Studio, 402 Baker Building, 1520 Chestnut street, one of two readings
68Philadelphia. one of two readings
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