Scan 8
Musical Courier 1896-12-23: Vol 33 Iss 877, 1896
50 lines. Read by computer on 26 September 2026. Printed page 9. See the scan on archive.org.
1there was a strong line of sympathy, occult or studied, between these two souls so distinctly different to all appearance.
3"Adieu, gloire et patrie," in the third act of Auber's Haydée, is made to read as "à toi ma dernière pensée" from Guido to Genevra, by Halévy. Somebody had the temerity to point out this interesting fact to Auber, and received a full view of the latter's back for his pains.
5It is remarked that while Halévy's influence was exerted upon composers of his day, very few of these coincidences may be found in their scores. The reason for this would be an interesting point to discuss.
7Even the individual Reyer is not free from these reminiscent influences, active or passive. In the third act of Sigurd is a fleeting souvenir of l'Africaine. The delicate little prelude to Connaiss-tu le pays?, by Ambroise Thomas, is reflected in a ritournelle in Roi d'Ys, by Lalo, and again in the third act of Verdi's Ballo in Maschera, Seigneur, donnez par grâce. Lenepveu and Massé have heard the same suggestions in Noces de Jeannette and Deuil d'Avril. Of course there is a suggestion in movement, rhythm, shape, as in melody. A melodic musician is a fountain for dramatic writers to draw from, and of these Mozart and Mendelssohn are oceans. With all of Brahms' originality he drew from Schubert, Beethoven and Mendelssohn. Gounod may be generously traced in the classics.
9Harmonic reminiscences are charmingly traced by M. Hubert, and from the most interesting pages of his work. For instance, a duo in Romeo and Juliette and a passage in Haydn's twelfth symphony (B flat). Chords accompany the disappearance of the vision of Marguerite before Faust and certain chords in the Midsummer Night's Dream are similar. A tous mes maux fideles in the Stances de Sapho is found in a Schumann Etude Symphonique (a passage in E marked "Marcato il canto").
11To continue this delightful investigation would be but to fill more pages with surprises. To myself it has been a revelation in musical literature possessing a strong fascination. It is a very curious feature of composition, the marking of resemblance by rhythm without melody, sometimes with intervals quite different—key, phrasing and intention often different. When intentional it is clever, when unconscious absorption it is interesting, when occurring without possibility even of absorption it becomes weird and prophetic.
13It is only regrettable that this rapid suggestion is not accompanied by the notations, as wonder is deepened by the sight, especially in harmonic correspondence.
15MIETTES.
17Marie Van Zandt was beautifully received. The papers are full of applause of themselves, showing how very nice they were to be so nice. Miss Minnie Tracey is here studying Italian and German rôles and learning interpretation from composers. M. Reyer is a strong admirer of her as a singer and actress. A beautiful girl, large, vigorous, with good sense and practical intelligence, Miss Tracey is one for the new school. Maurel undertook to coach Delna not to be so gamine as Zerlina, and Delna would not have it. (That puts the case very mildly.)
19Miss Suzanne Adams is having new costumes made. Her engagement with the Opera closes in a few months. This is the young woman of whom Mr. Grau spoke admiringly, saying she was the only singer who ever refused to go to the Metropolitan because she was not ready for America.
21Miss Estelle Potts is at the boundary of the promised land. "I am just beginning to find out what it means to be a prima donna," she says.
23Nevada is having success in Russia.
25Marcelle Pregi sang Marguerite in the fiftieth presentation of the Damnation of Faust at last Sunday's Colonne concert. Fournets, the only Berlioz Mephisto, is playing the Devil at the Opéra, so horns and hoofs were lacking. How can it be that two first-class singers can represent so differently the same character? As well ask why does not the pink have the odor of the rose.
27Mme. Guy d'Hardelot regrets that her health does not permit of her being in America again this season. She hopes to go next year. A new song has been added to her repertory, Avec toi, companion to Sans toi. She speaks with warm admiration of the poems of Ella Wheeler Wilcox and their dramatic possibilities, making background music more suitable to them than conventional accompaniment. For example, she wrote scenic music for The Birth of the Opal, The Blue Danube and Tired, all of which are very successful as effective recitations.
29The Misses Flavel leave Paris this week for America, after seasons of careful musical study, vocal and instrumental. From New York they go to Washington, where they remain some time and where their accomplishments will be appreciated, and thence to their home in Astoria, Ore.
31Miss Mandelick has been heard by Ricordi. "The king of Italy," as he is styled by the artists, was most enthusiastic in praise of her voice and talents. Miss Stelle, of New York, is passing all the operatic rôles in French with Juliani, and is almost ready for a debut. Miss Adelaide Kalkmann, of St. Louis, returns home soon. She has been studying with Sbriglia. Mlle. Jane Vieu is a young French composer just coming to view. She is tall, dark, brilliant, and sings her own songs.
33Dr. Riera, the handsome young Spaniard, well known in Philadelphia society, hearing that a certain singing teacher excused her financial severity to her pupils on the ground of the ingratitude she so often received, replied: "Good heavens! On that score I should not suppose the Lord would ever give us anything!"
35Two lovely American girls at the Marchesi school this year are Miss Brimson of Boston, and Miss Weaver, of Pennsylvania. Miss Weaver has finished French work for concert, and is now taking up German songs—Schubert, Schumann, Brahms, &c., after which will follow a thorough review of all, and then she will return home to ornament, it is to be hoped, your concert stage. Miss Brimson has all the usual operas in French, and is now studying German rôles of Elsa, Elizabeth, Buünhilde and Sieglinde in French. She means later to take them up in German. The directors have their eyes on this young woman, and all hope for happy recompense for the pains she has taken.
37Saint-Saëns says that Don Juan should be sung in Italian. The Hymne à Sara Bernhardt, to be given by the Colonne orchestra and chorus on the occasion of her fête, is by Gabriel Pierné. The Opera house direction permits a repetition by its dancers of the classic dances given at Versailles before the Czar. The representation will be for the benefit of the Dramatic Artists' Society. A Mr. Lohengrin, by Audran, is being played here. A portrait of Rossini was sold this week for 6,000 frs., and a manuscript score of William Tell for 4,700 frs. The Chanteurs de St. Gervais have recommenced their excellent work in the domain of sacred and classic music.
39Mme. Ambre Bouichère gave the first of her pupils' auditions this week. It was given in one of the city theatres, with costumes, décors, mise en scène, &c. This is splendid drill for operatic students, nothing better, and Mme. Bouichère in indefatigable in her efforts to make them of the greatest value.
41FANNIE EDGAR THOMAS.
43New York Ladies' Trio.—The New York Ladies' Trio played on December 8 with the Paterson, N. J., Orpheus Club, and on November 28 with the Palma Club, Jersey City, to which concerts the following notices refer. The trio will play on December 28 in a chamber concert at the Brooklyn Art Institute:
45The New York Ladies' Trio, a portion of the assisting talent, followed with Godard's Adagio and Scherzo. The trio consisted of Dora Valesca Becker, violinist; Flavie Van den Hende, violoncellist, and Mabel Phipps, pianist. They rendered very attractive music and proved one of the especial features of the evening. Their other selections were equally well given. Mr. Wiske's Twilight Song, one of the latest compositions of the talented conductor of the Orpheus Club, was the third number of the program and was rendered for the first time in public last evening. It at once aroused the enthusiasm of the audience, for, besides possessing true merit, it was capitally given. Mme. Ruth Yebba, the soprano of the evening, is a singer of marked quality. Her voice is delightfully fresh and pure.—The Morning Call, Paterson, N. J., December 9, 1890.
47The Palma Club was filled last night at what was esteemed the finest concert ever given by the club. The instrumental artists, under the title of the New York Ladies' Trio, were Miss Dora Valesca Becker, violinist; Miss Flavie Van Den Hende, violoncellist, Miss Mabel Phipps, pianist, and a more charming and thoroughly artistic rendering of their two numbers on the program has not been heard in this city. Miss Becker's violin playing was remarkably fine; her bowing and technic and the broad, full tone she produces, together with the expression she gives to all her work, shows her mastery of the instrument. Miss Van Den Hende, the violoncellist, produces a rapturously rich, pure, even quality of tone. Miss Mabel Phipps, the pianist of the trio, is very artistic. Her touch is firm, her technic and accompanying are good.—The Journal, Jersey City, N. J., November 28, 1890.
49MATI VIOLINS—Two genuine Amati violins—one Hieronymus and the other Nicolas—for sale. Address genuine letters only to "Violin," care of this paper. They are the property of an artist, not of a collector or dealer.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.