Scan 23
Musical Courier 1896-12-16: Vol 33 Iss 876, 1896
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1next Monday. Ludwig Becker, the violinist, also plays at the same concert.
3Mrs. N. C. Safford, pupil of Clement B. Shaw, will sing at the dedication of the First Baptist Church, Kenosha, Wis., December 17.
5* * *
7I have frequently told you of the fadisms to which a part of those who possess the laudable desire to be cultivated adopt, but the extreme has at last been reached. At a lecture on Beethoven this week the exhortationist prayed her hearers to feel imbued with the great master's spirit. She exclaimed with passionate and religious fervor: "Lay your naked soul next to his naked soul, and your naked heart next to his naked heart," &c. The day was chilly and I overheard one prominent woman say to another: "That's an awful nice invitation, but I don't care for dust."
9* * *
11Brooke is going to New York with his famous Chicago Marine Band early in March to show his manner of playing popular music, which has made him such a success in Chicago and various parts of the country. His manager, Howard Pew, is laying out quite an extended tour, which will include all of the principal Eastern cities. Miss Sibyl Sammis, the unusually attractive young vocalist, has been engaged for the entire season to sing with the band at all appearances excepting those in the open air. As a sample of the varied and popular sort of music Brooke provides, and in an extraordinary manner, too, the following may be quoted from his next Sunday's concert at the Columbia here: The William Tell overture; Russian mazurka, La Czarine; My Old Kentucky Home, with variations; bridal music from Lohengrin; a new two-step, Hotfoot Sue, billed as a darky spasm, and a new descriptive piece by Brooke himself, the Corn Husking Party. This indicates variety enough, but Brooke has only one way of playing everything, and that is superbly.
13Mr. Frederick W. Carberry, the tenor, is booked for The Messiah at Racine, December 17; for the Amateur Musical Club, Chicago, December 28; in Minneapolis, in a new oratorio by Willard Patten, called Isaiah, January 27; in Dayton, Ohio; in St. Paul in February, and The Creation, in Ypsilanti, Mich., April 6.
15Mr. Carberry was the soloist for the A Capella Chor, Milwaukee, December 1, and sang in the Creation in Elgin, December 3.
17Mr. Charles W. Clark, the baritone, sings The Messiah in Peoria December 14, and in Evanston on the 15th. Mr. Clark returns to England in January.
19Mr. George Hamlin, the tenor, has just returned from the East, where he achieved great success in Samson and Delilah, with the Arion Club, Providence, R. I., November 20, and in Verdi's Requiem, with the Oratorio Society, New York, under Walter Damrosch's baton, December 1 and 2. He sings The Messiah in Ann Arbor, December 16, and St. Louis the 26th, and for the Arion and Apollo clubs in February.
21Miss Lucile Stevenson, soprano; Mr. Frederick W. Carberry, tenor, and Mr. Louis Francis Brown, basso, sing the oratorio of St. Paul in Dayton, in February.
23Mr. George W. Fergusson, the baritone, sang with the Apollo Club, Cincinnati, on the 10th, and gave a recital in the same city on the 12th. He sings in Minneapolis December 18, and in Milwaukee in a recital with Miss Gertrude May Stein and Mr. W. C. E. Seebock; before the Woman's Club of Wisconsin, December 21, and for the Fortnightly Club, Cleveland, assisted by Mrs. Hess-Burr, January 14, after which he sails for London to fill a number of engagements.
25Nellie Bangs Skelton was pianist at the Illinois Club concert Thursday. She has been quite prominently before the Chicago public lately. Charles A. Dew, Herman Diesel and Mrs. Genevieve Clark Wilson also assisted. George de Moulin's class gave a concert in Steinway Hall. Emil Liebling gave a concert before his class in Kimball Hall, Mr. Sidney Biden assisting.
27The North Side Turner Hall orchestral concerts are becoming very popular. Last Sunday Mrs. Paula Biederman, mezzo soprano, assisted the orchestra and with much success.
29The Rubinstein Club, of Oak Park, gave its inaugural concert Thursday. The program was interpreted by Mrs. P. S. Hurlbert, G. Roy Hall, bassoon; Franz Wagner, cellist.
31* * *
33Thursday the Chicago Manuscript Society, of which William Armstrong was the originator, gave the inaugural concert. Summy's Hall was filled with appreciative musicians and friends, who were delighted at native talent. The following was presented:
35Polonaise Brillante, piano. …………………….Adolf Koelling
36Arne Oldberg
38Songs—
39If I Knew ………………………………………Mrs. Jessie L. Gaynor
40The Night Has a Thousand Eyes …………………Burton J. Bloom.
41Canzonetta, piano ……………………………….P. C. Lutkin
42Gavot from Otho Visconti, translated by W. H. Sherwood ……………………………………………..Frederic G. Gleason
43Staccato étude …………………………………….Mrs. Elisa Mazzucato Young
44Revery, piano and violin ………………………..W. H. Sherwood.
45Serenade …………………………………………..Henry Schoenfeld
46From Poems of Melody, No. I …………………..Joseph Chapek.
47Mexican Dances (original) ………………………..Robert Goldbeck
48No. I. Interlude, No. II ………………………….Robert Goldbeck.
49Psalm cxxx ……………………………………….Mrs. Eliza M. Young
50Idylle op. 5, No. 1 ……………………………….Mr. Bicknell Young.
51Gypsy Dance, op. 10 ……………………………..W. H. Sherwood
52Medea, op. 13 …………………………………….W. H. Sherwood.
53Children's Songs, I and II ………………………..Mrs. Jessie L. Gaynor
54Mrs. Jessie L. Gaynor
56I was sorry to observe that Arne Oldberg's name did not figure in the list of composers, although he acted as executant for a fellow composer. Mr. Oldberg is, without doubt whatever, our most original composer here, and one who leans toward the classics of the great masters. Some of his work is remarkable and that he will take a high place in the field of composition is a foregone conclusion. Of the work done by Mrs. Gaynor, Robert Goldbeck, Frederic Grant Gleason and W. H. Sherwood I have frequently spoken, and it is needless to say that their works were successful. Mrs. Mazzucato Young was worthily represented by her staccato étude and her setting of Psalm cxxx, sung by Bicknell Young.
58Frank T. Baird gave a recital at his studio Thursday, when some of his most promising pupils sang.
60Mr. Baird is one of the most esteemed teachers here; understands the art of singing, and can develop a voice without forcing, which is so very common. The students with him from whom he expects the best results are Mr. James C. Walker, Miss Addie Solfisburg and Mr. Frederick O. Lanphear.
62The following was given:
63Duet, Repeat Again ………………………………Badia
64Miss Solfisburg and Mr. Walker.
65Piano, Tannhäuser March ………………………..Wagner-Liszt
66Mr. La Forge.
67Sunset …………………………………………….Dudley Buck
68Miss Virgie M. Bishopp.
69proposal …………………………………………..Brackett
70The Broken Tryst …………………………………Zay
71Mr. B. H. Atwood.
72Recit., Giunse Al Fin ……………………………..Mozart
73Aria, Deh Vieni (Marriage of Figaro) ……………Mozart
74Mrs. Frances Lewis Hush.
75Stars ……………………………………………..Leoni
76I Love, and the World is Mine …………………..Johns
77Mr. James C. Walker.
78Irish Folk Song …………………………………..Foote
79La Zingarella …………………………………….Campana
80Miss Addie Solfisburg.
82She Alone Charmeth My Sadness …………………Gounod
83Mr. Frederick O. Lanphear.
84Piano—
85Etude, E major …………………………………..Chopin
86La Campanella …………………………………..Paganini-Liszt
87Mr. La Forge.
88Élégie ……………………………………………..Massenet
89Damon …………………………………………….Stange
90Miss Natalie French.
91Prologue, Pagliacci ……………………………….Leoncavallo
92Mr. Arthur M. Burton.
93Mia Picciarella …………………………………..Gomez
94Mrs. W. C. Mills.
95The Alpine Rose ………………………………….Sieber
96Mr. Walter Balfour.
97Duet, Gondoliera …………………………………Henshel
98Miss French and Mr. Burton.
100Mrs. Helen Lester Jordan, at one time with Minnie Hauk, has taken a studio in Steinway Hall, and every success is wished to her. She is an earnest, painstaking little woman, with a method, and a good one, having studied with Mme. Cappiani and various other good teachers.
102* * *
104At no concert of the present season, and at very few in previous seasons, has such an audience assembled to do homage to an artist as that gathered in the Auditorium tonight to hear the incomparable Nordica. Never in better voice, she sang magnificently Erszabeth, by Erkel, and was recalled time and time again, but resisted all entreaties for an encore. Her second number, aria from Tannhäuser, was gloriously interpreted and thunderously applauded. She sang for encore Foester's Ich Liebe Dich, but more of this next week.
106FLORENCE FRENCH.
108Klein's Concert.
110As already announced, a grand orchestral concert is to take place in Carnegie Hall next Saturday evening, December 19, under the direction of Herr Otto Lohse and Miss Montefiore, soprano; Mr. Charles Kaiser, tenor, and Max Treumann, baritone, at which compositions of Bruno Oscar Klein are to be heard, chiefly excerpts of his successful opera Kenilworth. Mr. Alexander Lambert is to play a Concertstück of Klein's.
112Here in this country Mr. Klein is known as a musician of great gifts, endowed with originality representing a strong progressive tendency in the direction of modern musical thought and yet constantly influenced by the traditions of classicism. His Kenilworth has never been produced here chiefly because he is one of us—an American by adoption. If he were Signor Petito, of Galimbertino Italiano, or Herr Potschamaklovski, of DeWretchkivillksi, Poland, or M. de Grandpetit, of Paris, he would have great influence here as the composer of the grand opera Kenilworth, and most excellent music besides. But he is, alas, only Mr. Bruno Oscar Klein, of New York, and his merit, although already thoroughly recognized in Europe, does not enter into the calculation here.
114Let us see what is said of him in Europe:
116We are glad to recognize in Klein a dramatic composer who has availed himself of Wagner's reforms without becoming one of his thoughtless imitators. Klein thoroughly retains his individuality. That he can meet all requirements of modern technic is proven beyond a doubt by his opera Kenilworth. Some compositions recently performed in Blüthner Hall convinced us of the ease and mastery with which Klein handles musical form.—Leipziger Tageblatt und Anzeiger, December 26, 1894.
118It was a complete and—unless we are thoroughly mistaken—lasting success which Klein's musical drama Kenilworth scored last night before a crowded house—a success that must be attributed no less to the melodious and intensely dramatic music than to the admirable libretto and superb representation.
120Our thanks are due Herr Hofrat Pollini for the fact that he was the first to bring before the public the magnificent work of a really gifted composer.—Carl Armbrust, Hamburger Fremdenblatt, February 15, 1895.
122It must have been a gratification to Mr. Bruno Oscar Klein, the composer of Kenilworth, that the repetition of his work was received with increased enthusiasm. As the success of this opera was an unusually emphatic one we may reasonably expect to find it
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