Scan 24
Musical Courier 1897-01-13: Vol 34 Iss 880, 1897
110 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 25. 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.
1finish by the skilled body of executants under Mr. Henry J. Wood's direction. The playing of the second piece provoked so much applause that the conductor insisted that the members of the band should stand up and bow acknowledgment. Grieg's first Peer Gynt suite was likewise performed in excellent style, the final selection, In the Hall of the Mountain King, being, repeated, while little of the frenzy of the music in Liszt's fourth Hungarian Rhapsody escaped the conductor and his instrumental forces, whose splendid playing of the Hungarian March from Berlioz's Faust also elicited a roar of applause. More peaceful moments came with the presentation of Händel's famous Largo in G, otherwise a song from Serse, arranged for orchestra by Mr. Hellmesberger, the violin, harp and organ solos being carefully given by Mr. Arthur Payne, Miss Miriam Timothy and Mr. Arthur Pitt, the same three artists also lending aid in Gounod's Hymn to St. Cécile. Mr. B. P. Parker performed for a 'cello solo Fischer's Czardas, while solos on the cornet and bassoon were played by Howard Reynolds and E. J. James. The vocal interest was supplied by Mme. Belle Cole and Mr. Santley, the veteran baritone being called upon to repeat Nazareth.
3Yesterday being New Year's Day, the usual performance of The Messiah took place in Albert Hall, and in Queen's Hall Elijah was given.
5F. V. ATWATER.
7New York Press Notices of Anton Hegner.—
8Mr. Hegner played numbers by Popper and others, as well as a concerto and other pieces by himself, in all of which the audience had occasion to admire and applaud his rich tone, graceful style, brilliant technique and the crystalline purity of his harmonies. Miss Blauvelt and Herr Emil Fischer were the vocalists.—New York Evening Post.
10At last night's concert in the Music Hall several of Abbey & Grau's artist sang, and Mr. Anton Hegner exercised a right which he has always enjoyed by playing a solo. He played with delightful ease and nice taste the andante and finale from Goltermann's concerto for the violoncello in A minor, and was much applauded. The audience was generous in its expressions of approval.—New York Tribune. one of two readings
11At last night's concert in the Music Hall several of Abbey & Grau's artist sang, and Mr. Anton Hegner exercised a right which he has always enjoyed by playing a solo. He played with delightful ease and nice taste the andante and finale from Gottermann's concerto for the violoncello in A minor, and was much applauded. The audience was generous in its expressions of approval.—New York Tribune. one of two readings
13With the rank and file of the orchestra, as an ordinary musician, the union decided he should not play; but as a virtuoso, with the orchestra as second fiddle, he played last evening. Mr. Damrosch and Mr. Hegner came on the stage together, and the audience applauded vociferously and long, keeping both bowing for a minute or so.
15It was Herr Hegner's first appearance there since the Sunday night when his presence caused the abandonment of the concert, and the applause of the audience, very many of whom were of the regular attendants at the concerts, and apparently had the incidents of the difficulty well in mind, meant sympathy. The orchestra showed their impersonal feeling over the matter, too, by applauding vigorously at the end of each of Hegner's well-rendered numbers. He played the andante and finale from Goltermann's Concerto in A minor, a charming little Élégie of his own composition, and Popper's Tarantella, all with much cleverness and excellent spirit and finish.—New York Sun. one of two readings
16It was Herr Hegner's first appearance there since the Sunday night when his presence caused the abandonment of the concert, and the applause of the audience, very many of whom were of the regular attendants at the concerts, and apparently had the incidents of the difficulty well in mind, meant sympathy. The orchestra showed their impersonal feeling over the matter, too, by applauding vigorously at the end of each of Hegner's well-rendered numbers. He played the andante and finale from Gottermann's Concerto in A minor, a charming little Élégie of his own composition, and Popper's Tarantella, all with much cleverness and excellent spirit and finish.—New York Sun. one of two readings
18A Ress Recital.—The following program was delivered by Fräulein Vera Ress, assisted by Mr. Ludwig V. Schenck, violinist, and Miss Grace Luce, accompanist, at the Genesee Valley Club, Rochester, N. Y., on Thursday, November 12, at 8 p. m.
20Aria from the Magic Flute………………………………………Mozart
21Ungeduld………………………………………………………..Schubert
22Up to Her Chamber Window………………………………….Chadwick
23Reverie………………………………………………………..Emile Mlynarski
24Solvejg's Lied…………………………………………………Grieg
25Im Walde………………………………………………………Taubert
26Do I Love Thee?……………………………………………..Knight Wood
27Lullaby………………………………………………………..Petri
28Suite from Henry VIII………………………………………Edward German
29Morris Dance.
30Shepherds' Dance.
31Torch Dance…………………………………………………Mr. Schenck
32La Folletta…………………………………………………….Marchesi
33Serenata………………………………………………………Moszkowski
34A June Valentine…………………………………………….Th. Saul
35Composed and dedicated to Fr. Ress.
36The Minstrel…………………………………………………Hildach
37Song with Violin Obligato.
39By Arrangement with …….
40Mr. Rudolph Aronson
41we are prepared to negotiate for
42THE GREAT …
43CARREÑO.
44Address …….
45R. E. Johnston & Co.,
46BELVEDERE HOUSE,
47NEW YORK CITY.
49MISS FANNIE HIRSCH
50SOPRANO.
51Concert and Oratorio.
52111 East 73d Street,
53NEW YORK.
55SOLO VIOLINIST.
56Also……
57Powell String Quartet:
58MAUD POWELL, 1st Violin.
59HERMAN KUHN, 2d Violin.
60FREDERICK SCHAEFER, Viola.
61FELIX BOUCHER, Violoncello.
6240 West 20th Street, – – – New York.
64WERTHER was revived last Wednesday night at the opera, with the following cast:
66Charlotte…………………………………………………Mme. Emma Eames
67Sophie………………………………………………………Mme. Sophie Traubmann
68Albert………………………………………………………M. De Vries
69Le Bailli…………………………………………………….M. Castelmary
70Schmidt……………………………………………………Sig. Corsi
71Johann……………………………………………………..Sig. de Vaschetti
72Werther…………………………………………………M. Jean de Reszké
73Conductor, Sig. Mancinelli.
75Massenet's delightful miniature work was first sung here April 19, 1894; although an act was given—the third act—at the last performance of that season. It was reviewed at length in these columns, for it made a most favorable impression, and why Mr. Grau has not seen fit to revive it until last week is a mystery. The reason given we have heard is because Emma Eames was absent. We are certain that plenty of singers could be found to sing Charlotte as well as Mrs. Eames and to act it much better. She gave no hint of the domestic, parent loving heroine of Goethe, and while she sang the letter aria with considerable virtuosity she at no time indicated the sadness of soul of the sorrow stricken girl.
77The opera is not so happily executed as the composers' Manon, but consider the difficulties of the book! There is but one dramatic situation and that is rendered full justice. The entire play is devoted to the exposition of Werther's and Charlotte's passion; all the rest is subsidiary. So we get several charming duos and the scene at the close of act three is strong and the pulses are stirred.
79Massenet's music is eclectic, but is so happily handled, so clever in rhythm, orchestral color and development that you forgive him his Wagner, Mendelssohn and Gounod quotations. The characterization is not very strong, sentimental, and of the salon rather than romantic or German. Jean de Reszké, despite the fatigues of the week previous, was at his best. He is lyric, not heroic by temperament, and he sang with delicacy, sweetness and grace. Of course he made as much as possible of the limited dramatic situations.
81De Vries was as rough and uncouth as usual, and Traubmann worked very hard in a very small part. Mancinelli again fell from grace, and his band made a bad slip during the duo of Charlotte and Sophie. Yet Werther was a great relief after the tiresome Lucia, the vapid Traviata and the wearisome Huguenots.
83Friday evening there was a good representation of Lohengrin, except that de Reszké was almost sung out. He is risking too much at his age to sing three times a week. Eames was in good voice, and sang much better than she did Wednesday. Olitzka and Bispham were as usual most satisfactory.
85Saturday afternoon Melba was indisposed for the sixth time this season, so Violetta, in La Traviata, was sung by Madame Clementine De Vere-Sapio, and sung in a most artistic manner. She acted very well and Ah Fors e lui was delivered with great finish. Ancona as Germont was affected as ever and Salignac was not a good Alfredo. Cavalleria Rusticana, with Calvé, closed the afternoon. In the evening Don Giovanni was repeated, and Edouard de Reszké was the best thing in it, for Lassalle's amorous hero has become gouty in action and off the key in voice. Litvinne's Donna Anna was distinctly bad; she cannot sing legato, and has no notion of Mozart. Traubmann's Donna Elvira, having no dramatic force, was badly cast, while Miss Engle's Zerlina was pretty, but her voice is not suited to the Opera House.
87Mancinelli was in good form and conducted with great care. A little adverse criticism does these gentlemen good. On Monday night Siegfried was given, and Litvinne again proved hopelessly incompetent. To-night Mefistofele, with the same cast as before; Friday, Tristan and Isolde, M. Jean de Reszké, M. Edouard de Reszké, Mr. Bispham, Mr. Von Hubbenet, Mr. D'Aubigné, Mlle. Olitzka and Mme. Litvinne; Saturday afternoon, Faust, Mme. Calvé, Mme. Mantelli, M. Edouard de Reszké, Signor Cremonini and M. Lassalle; Saturday night, Romeo et Juliette, Mme. Melba, M. Salignac, M. Plançon, Signor Campanari, M. de Vries and M. Castelmary.
89Second Concert at the Union League Club.—The Apollo Sixteen, under direction of W. R. Chapman, and the Kneisel Quartet gave the following program at the second smokers' concert at the Union League Club on Tuesday evening, January 5, before a large and appreciative audience:
91Quartet in D major, op. 64, No. 5, J. Haydn, Kneisel Quartet; Like the Woodland Roses, Male, Yeoman's Wedding Song, Molloy, the Apollo Sixteen, conducted by W. R. Chapman; air, J. O. Bach, Hungarian Dance, Brahms-Joachim, for violin, Mr. Franz Kneisel; Andante, l'Africaine, Meyerbeer, Signor Victor Clodio; Still as the Night, Bohm, March from Faust, Gounod, the Apollo Sixteen; Largo, Händel, Spinnlind, Popper, for violoncello, Mr. Alwin Schroeder; The Two Grenadiers, Wagner, Mr. Townsend Fellows; Invitation Waltz, Hoffmann, the Apollo Sixteen.
93Philadelphia Lecture.—Dr. H. A. Clarke will deliver before the students of the Broad Street Conservatory of Music, Philadelphia, and their friends, the third in a course of six historical and analytical lectures on music on Wednesday evening, January 18. The subject will be Folk Songs, Troubadours, and the Divergence between Sacred and Secular Music.
95The Columbia University Orchestra.—The orchestra which was recently formed at Columbia University bids fair to be a success. At the last rehearsal there were twenty players present, among whom were several graduates. The orchestra is conducted by Mr. H. H. Wetzler and is entirely distinct from all the other musical clubs and organizations of the university.
97The rehearsals take place once a week in the drawing room of the School of Mines, and it is intended to give a concert some time in April or May. Classical music only is played.
99Both active and associate membership is open to all who are or have been connected with the university, and applications for either may be made to the secretary of the Philharmonic Society, care of School of Mines.
101ILLIAN BLAUVELT one of two readings
102LILLIAN BLAUVELT one of two readings
103May be …. engaged for
104Concerts and Festivals ….
105By addressing her Manager,
106GEORGE W. STEWART,
107120 TREMONT STREET,
108BOSTON, MASS.
109Through whom only ENGAGEMENTS CAN BE MADE FOR APRIL AND MAY, 1897.
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