Scan 12
Musical Courier 1896-12-16: Vol 33 Iss 876, 1896
71 lines. Read by computer on 26 September 2026. Printed page 13. See the scan on archive.org.
1Letter from Lankow.
2Editors The Musical Courier:
3I SEE in your last number, of December 8, that a Mr. Oscar Saenger advertises a pupil of his "who made a decided hit" (in Steinway Hall last Friday, in the Scheudel concert), and who "has a beautiful dramatic soprano and sings with great expression." This same pupil studied with me from November 5, 1894, till May 22, 1896, and sang in my studio only in the last days of September. I want to say that I feel highly flattered to find this teacher so willing to figure as a representative of my work! Yours sincerely,
4ANNA LANKOW.
5DECEMBER 10, 1896.
7An Open Letter.
8Editor Godey's Magazine:
9I HAVE been asked to write a series of articles answering those appearing in your periodical on the subject of American Musicians. I lack the time necessary for the purpose, but on glancing over the December number it is surprising to discover so many inaccuracies. Mr. Hughes states that a composition is written "in six flats and five sharps." No well informed critic would make such a comment, as almost the first thing taught a pupil in music is the names of the major and minor keys. Six flats may be the signature of G flat or E flat minor, five sharps of B or G sharp minor, and it is impossible from the context to tell which is meant.
11The writer alludes to a similarity between the Prelude and Chopin's Funeral March. Chopin's Marche Funèbre is a posthumous work and has only the key of C minor in common with Mr. Bartlett's work. I take it for granted that Mr. Hughes has fallen into the error of calling the third movement of the second sonata, op. 35, by the name of Chopin's Funeral March. If you will place this opus and the prelude side by side you will be struck by their entire dissimilarity; and anyone who could confuse the prelude and march movement shows that he has no conception of either.
13Again the gentleman refers to "out-Heroding Chopin in bravura." The Encyclopedia Britannica, page 686, Vol. 5, last two lines first column, calls Chopin the "negation of bravura." It is well for a critic to be accurate and well informed in his subject—and these mistakes made in your magazine create much adverse comment among readers and cause derision among musicians. There seems to be a general impression of a thinly veiled animus produced by the whole article. Would it not be wise to have Mr. Hughes's brochures revised by a musician and thus eliminate mortifying errors? The criticism as a whole is very vulnerable, and the comparisons and comments are not tenable.
15I have only pointed out the mistakes which have evidently arisen from a lack of ordinary reading—the many errors from a musical standpoint having been glossed over for lack of space.
17There is nothing finer than a good criticism, but you can understand how disappointing such frivolous work is to a serious reader. Yours very truly,
18December 8, 1896.
19DOUGLAS H. STEWART, M. D.
21YOUNG Canadian lady, an accomplished pianist, graduate of Toronto Conservatory of Music, desires position as companion and accompanist to a singer or violinist. Highest recommendations. Musician, Box 326, De Land, Florida.
23Eliot Hubbard.
24MR. ELIOT HUBBARD is a native of New Hampshire, but has lived in Boston for the greater part of his life. In pursuing his musical studies he spent four years abroad in Berlin, Paris and London with Schultze, Sbriglia and Henschel.
26While in London Mr. Hubbard sang in a large number of concerts, and just before sailing for home appeared in one of Mr. Henschel's concerts in St. James' Hall, also in the Royal Albert Hall, where he sang a duet with Mr. Henschel.
28Mr. Hubbard has a robust tenor voice that has been carefully trained. His voice is especially suited for dramatic effects and in the higher register is strong, powerful and voice of exceeding freshness, power and true musical quality. He sang with much fervor and pathos, and the purity and sympathy of his delivery evoked loud applause and caused a vigorous demand for encore. His voice is manly and resonant, with a pristine fullness and bloom which are refreshing.—THE MUSICAL COURIER.
30Mr. Hubbard has seldom sung better than he did last evening; he was in capital voice, and sang the three wonderful songs by Franz very beautifully indeed.—Boston Evening Transcript.
32Mr. Hubbard sang with all his usual refinement and taste and was en rapport with the character of each song when it really had any. He added to such as were of warmer nature the earnestness and enthusiasm which have sometimes been lacking in the past.—Boston Courier.
34He has decided musical instinct, and there are artistic taste and a very pleasing freshness in his singing. His enunciation is admirable. He entered thoroughly into the spirit of the songs he sang and as an interpreter he left little, if anything, to be desired. He was cordially and deservedly applauded, the intelligence that characterized his singing fairly earning the appreciation it elicited.—Saturday Evening Gazette.
36Mr. Hubbard is a singer, which is more than being a mere vocalist. He is gifted with musical intelligence and an ability to understand what the composer desires to say. His singing of Brahms' Mai Nacht alone would have stamped him as an artist.—Boston Advertiser.
38Kaltenborn-Bever-Hané Quartet.
39MESSRS. KALTENBORN and Beyer-Hané can record with gratification the success of their concert in Carnegie Chamber Music Hall on the evening of December 8, this being the first public appearance of the new string quartet. It is natural that with the slight embarrassment incident to a first appearance of any new organization there should have been at times a noticeable want of freedom and dash, and no doubt the tempo in several instances might have been taken somewhat more spiritedly, but these slight shortcomings were readily covered by the many excellent qualities possessed by the quartet, and no doubt will have disappeared entirely by the time the second concert is given. The hearer was at once impressed that he was listening to a well balanced quartet, and it is particularly refreshing to note the middle parts so well represented, as was the case with Mr. Windrath, second violin, and Mr. Bauer, viola. In most quartets and orchestras these parts are found wanting—that is, weak.
41As for the leaders, they can mutually "pat themselves on the back," for Mr. Beyer-Hané has a capital first violin in Mr. Kaltenborn, who in turn has secured a capital cellist in Mr. Beyer. Each of these artists possesses a rich tone, and what is more, considerable ability to modify it as the various emotions may require. Furthermore, they are both thoroughly musicianly players, which, with other facts already mentioned, insures a good ensemble for the quartet.
43The sonata for 'cello and piano by Grieg was played with much spirit, though the piano part was rather predominating at times at the hands of Mr. Ross Jungnickel, who, however, gave it with keen rhythm and proved himself the good musician that he is. Possibly the 'cello part would have come out to better advantage in the places referred to had Mr. Beyer placed his chair in a more diagonal position, so that the music rack would not have been directly in front of his instrument and between himself and the audience.
45The 'cellist's beautiful tone was especially noticeable, though, in this work, and he was aided by a good instrument, although the timbre of some of the high tones on the A string seemed somewhat muddy.
47Mary Louise Clary, America's Greatest Contralto.
48F. H. McKinley, Tenor.
49Carl E. Dufft, Bass-Baritone.
50Kathrin Hilke, Dramatic Soprano.
51And Other Leading Artists.
52Remington Squire, Manager.
53113 West 96th Street, New York. F. H. McKinley.
55Carl E. Dufft.
57RICHARD W. CROWE,
58Mus. Doc. (Cantab.),
59CONCERT ORGANIST.
60(Organist and Choir Director of St. Agnes' Church, Brooklyn.)
61Compositions edited, revised and scored for Piano, Voice, Organ or Orchestra. Advanced pupils received in the study of harmony, counterpoint, composition, the organ and orchestration. Clubs and societies conducted. Correspondence solicited as to terms.
62C. H. DITSON & CO., 867 Broadway, New York; or
63F. H. CHANDLER, 300 Fulton Street, Brooklyn.
65THE SCHOOL OF VOCAL SCIENCE (Organized 1896-7).
66Training the voice for singing from a scientific standpoint; also for speaking, more especially public (clergymen, lawyers, actors, &c.).
67Eradicating defects like lisping, stammering and stuttering. Diseased conditions of the throat and nose treated by a well-known specialist.
68The Swedish system of physical culture (employed by great singers, actors and public men).
69Instruction in the anatomy and physiology of the voice, musical theory, interpretation, accompanying, languages, acting, fencing, stage deportment, &c.
70Department for training teachers. For particulars and circular address or call at 241 W. 44th St., New York City.
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