Scan 24
Musical Courier 1896-12-23: Vol 33 Iss 877, 1896
65 lines. Read by computer on 25 September 2026. Printed page 25. See the scan on archive.org.
1mirably poised in cantilena, her bowing easy, and her left hand most agile. Her intonation was exact, and so was her double stopping. She made a run in octaves that showed that her virtuosity and style is admirable, her conception musical. The young lady played a work, two movements from a 'cello concerto by Paffe (so the program read, but it was evidently meant for Popper), the andante in A flat and very Gounod-like, the rondo in E minor. She delivered her measures authoritatively, and made a most favorable début. Mr. Seidl closed the musical part of the evening with Liszt's E major polonaise. The company from Phillip & Von Raven's Germania Theatre finished with a one-act comedy, Sachsen in Preussen, in which August Walter, Clara Bonne and Eugen Kuhbach appeared.
3* * *
5Here is something Mr. Finck had in the Evening Post:
7"Hallé tells a good story of Rossini. When Brod, the oboist, played F sharp, Rossini asked him for a pinch of snuff, and placidly remarked that the right note was F, but 'in regard to the F sharp, do not worry yourself; we shall find means to put it somewhere else.' There is another good story about Donizetti, who, being told that Rossini wrote Il Barbière in a fortnight, replied: 'I can quite believe it; he always was a lazy fellow.'"
9A Roberts Musicale.—An interesting musicale by the pupils of Miss Alice Jane Roberts was given at Elmira, N. Y., on December 12, with the assistance of Mrs. David C. Robinson, contralto. The program was a light one, well given.
11Chicago Manuscript Society.—The following program was an interesting and excellently performed one by the Chicago Manuscript Society on December 10. All the local musicians present were enthusiastic over the merits of the works, as also over the work of the artists. William H. Sherwood played admirably, and, encored, gave MacDowell's Witches' Dance:
13Piano, Polonaise Brillante, Adolf Koelling; Arne Oldberg; songs, If I Knew, The Night Has a Thousand Eyes, Mrs. Jessie L. Gaynor; Burton J. Bloom; Piano, Canzonetta, P. C. Lutkin; gavot from Otho Visconti; Fredric Grant Gleason, transcribed by William H. Sherwood; Staccato Etude, Mrs. Elisa Mazzucato-Young, William H. Sherwood; piano and violin, Revery, Serenade, Henry Schoenefeld; Joseph Chapek; children's songs, The Flower's Cradle Song, Fire Flies, Jerushy, Mrs. Jessie L. Gaynor; from Poems of Melody No. 1, Mexican Dances (original), No. 1, Interlude, No. 2, Robert Goldbeck; Psalm CXXX, Mrs. Elisa M. Young, Bicknell Young; Idylle, op. 5, No. 1; Gypsy Dance, op. 10; Medea, op. 13, William H. Sherwood.
15Antonia H. Sawyer.—The Bridgeport (Conn.) press had the following good things to say of Mrs. Antonia H. Sawyer, referring to her work at a concert given in the South Church, Bridgeport, last week:
17Mrs. Antonia H. Sawyer, the contralto, sings with great expression and facility, while her voice is not only pleasing but well modulated.—The Standard, December 13
19The contralto, Mrs. Antonia H. Sawyer, has a voice that she may well be proud of. It is of rare flexibility and used with good expression. She rendered several very pretty selections.—Morning News, December 13.
21Scharwenka Conservatory Recital.—The following program was successfully given at the pupils' recital of the Scharwenka Conservatory on Monday evening, December 14:
23Trio for piano, violin, and 'cello, E major, Mozart, Miss Nordlinger; Miss Collins and Mr. Gramm; piano, Laender, Raff, Miss Terry; violin, Melodie, Bohm, Master Hacket; vocal, Oh, Mond, Oh loesch dein goldenes licht, B. O. Klein, Miss Rudolph; piano, Polonaise (posthumous work), Chopin, Miss Todd; violin, andante and scherzo from E major concerto, David, Mr. Mattmann; vocal, Oh Fair, Oh Sweet and Holy, Otto Cantor; Love Me, If I Live, Arthur Foote, Miss Darby; piano, rhapsodie, Brahms, Miss Goldberg.
25Success of a Gilbert R. Combs Pupil.—Miss Carrie S. Pierman, the talented young pianist who is studying with Mr. Gilbert R. Combs, director of the Broad Street Conservatory of Music, Philadelphia, gave a recital in the conservatory concert hall on Wednesday evening, December 16. The program, which was exceptionally interesting, was as follows: Carnival, op. 9, Schumann; prelude, op. 28, No. 4, etude, op. 10, No. 3, and berceuse, op. 57, of Chopin; Wieniawski Valse, op. 3; Galatea, of Jensen; Magic Fire Scene from Die Walküre, Wagner-Brassin; Godard's Vénitienne barcarolle, No. 4, and polonaise op. 17, No. 1, of Moszkowski. Miss Pierman's playing revealed her to be the possessor of finely developed technic, a touch dainty, delicate and exquisite, yet brilliant and full of power. Her playing of the Carnival deserves special mention, as being probably her best work of the evening. Miss Pierman was assisted by Miss Cordelia May Parker, who sang Summer Night, of Wormser; My Heart at Thy Sweet Voice, of Saint-Saëns; Farewell, by Dr. H. A. Clarke, and a lullaby by Miss M. Gertrude Slemmer, of the class of '95, the last two mentioned being sung for the first time publicly. Miss Parker has a voice of singular sweetness and purity, which has been carefully trained and developed under the care of Mr. J. C. Cousans, the noted voice specialist.
27New York College of Music.
29An important advance step has just been made by Mr. Alexander Lambert at the New York College of Music by the installation of a business manager in the person of Mr. Arnold Stiefel.
31The clientele of the college has become so large, and its business interests in consequence so multifarious that Mr. Lambert, desiring to devote himself solely to his duties as director of music and teacher of piano, felt it incumbent this season to relinquish all connection with the business details of the institution, and to intrust them to some representative with the capacity to carry out his views.
33In Mr. Arnold Stiefel Mr. Lambert has made an extremely discreet and felicitous choice. This gentleman, considered from the capable business, the musical or the social standpoint, is pre-eminently fitted for the task he has assumed. Mr. Stiefel is, still further, no stranger to the social and artistic circles of New York, but has the advantage of being a well-known figure in the metropolis, his piano teaching and his artistic surveillance as director of music of the college. This is a state of things beneficial to all sides and marks an important era of advancement in the successful history of the New York College of Music.
35Mr. Stiefel is a man in the early thirties, old enough to have acquired ample experience for his work, and young enough to possess in ripest order abundant energy and enterprise.
37Concert Halls in Detroit.
39Editors The Musical Courier:
41Should any concert artist be booked in Detroit with the supposition of appearing in a first-class concert hall, they are very much mistaken in their ideas. I am sorry to state in this letter that this city is in arrears with nearly every city in the Union so far as a concert hall is concerned.
43While New York, Chicago and other large cities have their elegant halls appropriate for the appearance of concert artists, we only have hopes for such in the future, thanks to the new undertaking of the Detroit Light Guard Armory boys, as they intend to erect an armory hall which will surpass anything of the kind in this vicinity. But the erection of a building of this kind is not entirely satisfactory to the whims of musical people. This building, with the ground floor on a level, is not as capable of granting satisfaction in the same degree as one which is sloping, on account of our ladies being affected with the plague known as the high hat nuisance. But as the new hall will seat about 5,000 people, we must accept what we can get with sincere thanks. There is room yet for some capitalist to erect a concert and amusement auditorium suitable to cater to the demands of the musician.
45We have what is known as the Auditorium, which is nothing more nor less than a large barn, which was used as a roller skating rink in times past, with level flooring, one gallery and low ceiling. The Lyceum Theatre and Detroit Opera House, the only two theatres fit for artistic attractions in the musical line, are engaged for from one to two years in advance and it is exceedingly hard to find an open date.
47There is only one congregation that will rent its church out for concert purposes, viz., the Church of Our Father. I see no reason why the body should be prone against renting the churches for musical purposes. I am sure that musical enterprises do not conflict with Christianity, and if the deacons would only consider the matter seriously they would find that their debt would be lightened, and they would not have to beg for so many collections as they do.
49The object of this letter is to show that there is a wide field for some person to erect a handsome building, well lighted, heated and ventilated, in the city of Detroit, and musical people here will never be happy until we have it. Although there are 3,000 students at Ann Arbor the University Hall is not rented to outsiders, and although the matter of erecting a suitable building was in contemplation the proposition is still going begging.
51John C. Young, Jr.,
52Concert Manager,
5395 Pitcher street, Detroit, Mich.
54December 3, 1896.
56Fannie Hirsch Busy.—Miss Fannie Hirsch, soprano, sang last week at several private musicales, and on December 14 for the Professional Woman's League at their rooms, 1509 Broadway, when she had to give encores to her various songs, all of which were new publications by Boosey, and to sing a second time late in the afternoon by special request. Miss Hirsch had also charge of the music at the Professional Woman's Fair, of which was written:
58The annual Professional Woman's Fair was opened yesterday. In the evening a special musical program was given by Miss Fannie Hirsch, who is the official instructor of the league.—New York Times, December 8.
60Teresa Carreño.—Mme. Carreño is reasonably certain to receive a hearty welcome when she returns to this country about the first of the year. Her early successes were won here and she is remembered as an artist of very pronounced ability. Her American tour begins on January 8, with the New York Philharmonic Society, and in explanation of why it was put off until after the holidays the following story is told:
62One day soon after her American tour was arranged with Rudolph Aronson she said to little Puppi, who is her especial idol: "My dear, Fr. Krahil will have to light your Christmas tree for you this year, for your poor mother will be far away in America."
64In an instant a pair of little arms were about her neck, and a little voice, broken with sobs, was crying, "Du sollst bei uns bleiben! Du sollst bei uns bleiben (you musn't go from us)! " The tiny Herto ceased his play, and clinging to his mother's skirts cried with Puppi, "Du sollst bleiben!" With many kisses and many tears did Puppi and Herto plead that they should not be left to spend their Christmas in loneliness, with their mother far across the ocean. The ambition of the artist proved to be not so strong as the love of the mother, and so Carreño promised her little ones then and there that she would stay with them to light their Christmas tree. And that is why Carreño's American tour does not begin until January 8.
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