Scan 26
Musical Courier 1897-01-13: Vol 34 Iss 880, 1897
133 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 27. See the scan on archive.org.
1THE MUSICAL COURIER.
3Miss Lotta Mills.—Baltimore papers speak in unmeasured terms of praise of the piano playing of Miss Lotta Mills in that city on January 8. The American said:
5The tenth Peabody recital was given yesterday afternoon at 4 o'clock at the institute by Miss Lotta Mills, pianist. As far back as 1891 Miss Mills showed herself to be much above the ordinary, when she played a difficult and varied program of piano compositions at one of the Burmeister concerts in this city. Since then she has studied at Vienna and has developed into an artist of the first rank. Her touch is firm, though delicate, and her tonal enunciation is accurate and clear. Her program gave her an opportunity to display her virility, brilliancy and vigor. It included Bach's Fantasia and Fugue, in D minor; Von Weber's allegro con spirito, from piano sonata in A flat major; two compositions of Leschetizky, her old instructor—Souvenir d'Italie and Etude Characteristique; a nocturne in F major and a waltz in A flat major, by Chopin; Rubinstein's Baracole in F minor; two piano transcriptions of Wagner—The Magic Fire, from The Walküre, by L. Brassin, and the finale from Tristan und Isolde, transcribed by Liszt.
7The morning Herald had the following criticism:
9Miss Lotta Mills, a pianist of much promise, and former pupil of Prof. Richard Burmeister, was the soloist at the tenth Peabody recital yesterday afternoon. Her program was composed entirely of classic compositions, and in the rendition of each the performer showed a rare knowledge of the writings essayed.
11Miss Mills, in addition to displaying the necessary conception of the work before her, gave evidence of skillful training and careful practice. She possesses a graceful, sure touch, and in the Bach fantasia and Fugue in D minor the cadenzas were played with accuracy and in a delicate, crisp manner. Each tone was given with excellent precision and correct regularity. The two Wagner numbers were given in equally as artistic a manner.
13Richard Burmeister as Conductor.—As already announced, Richard Burmeister has organized a movement in Baltimore looking toward the establishment of a permanent orchestra, and in order to interest the citizens he announced a concert for last night under his own direction, the orchestral body consisting of the New York Symphony Orchestra. In referring to Mr. Burmeister the Baltimore American said:
15As to Mr. R. Burmeister's Baltimore début as a conductor, curiosity is on tiptoe as to what kind of a leader he will prove to be. His reputation as one of the great pianists is settled, but as to his ability as an orchestral conductor nothing is known of it here, though he led an orchestra with great success in Berlin and Hamburg. Then Mr. Burmeister is well known here as a most painstaking and strict teacher, and in order to prepare an orchestra for artistic performances the qualities of a teacher and instructor are most valuable ones.
17The American might have added that Mr. Burmeister is a composer of high standing, having written a piano concerto of great importance, and a symphonic poem, The Chase After Fortune, which occupies a high rank in modern musical composition.
19$30,000 Farrand & Votey Organ.—Mr. Clarence Eddy opened a $30,000 Farrand & Votey four bank organ in St. Ignatius Church, San Francisco, on December 26. It is a marvelous instrument.
21Jacoby Engagements.—Mrs. Josephine S. Jacoby, unquestionably one of the foremost contraltos we have in this country, has engagements this month in several large educational institutions in Connecticut, where musical entertainments of the higher order are given. In March she will sing in Worcester, in Buffalo and in Columbus, Ohio.
23De Vere-Sapio in Hamlet.—The following are the New York press comments on Clementine De Vere-Sapio's Ophelia:
25Mme. Sapio undertook a most difficult task, and it may be said at once that she not only accomplished it most creditably, but so highly delighted the audience that applause was frequent and hearty, and half a dozen recalls rewarded the brilliant rendering of the music of the mad scene.
27To judge her critically under the circumstances of her hurried appearance would hardly seem just. Nevertheless, she did such thoroughly good work, vocally and dramatically, that she deserves high praise, even forgetting the fact of her insufficient preparation. She made a charming picture, had the true dramatic conception of the part, acted it out naturally, and vocalized it like a real artist.
29She has not acted the part in six years, had no orchestral or other rehearsal before going on the stage last evening—indeed, hardly knew with whom she was to sing when she consented to fill the rôle. But she seemed entirely at home in the music, and after the natural nervousness of the first entrance gained complete control of her voice, and went on to what became a marked success. Her breadth of tone, the extreme sweetness of her notes, the freedom with which they were delivered were the marked excellences of her singing. In the mad scene she vocalized the florid passages in grand style, and deserved the several recalls that followed.—New York Herald, January 2, 1897.
31Mme. Calvé was indisposed last night, and H. Ambroise Thomas' Hamlet was given with Mme. Clementine De Vere-Sapio in the part of Ophelia. It was stated she had assumed the rôle at very short notice, but there was no need for an apology in her behalf, for she sang delightfully, with ample voice, nice taste and admirable expression. If a good performance could have atoned for the disappointment occasioned by the failure of Mme. Calvé to sing it would have been atoned for by the efforts put forward by Mme. De Vere-Sapio.—New York Tribune, January 2, 1897.
33Placards at the entrance of the Opera House announced the indisposition of Mme. Calvé with the fact that Mme. de Vere Sapio had agreed at the shortest possible notice to take her place. Those who knew Mme. Sapio's artistic attainments felt no doubt that even under the unfavorable circumstances of no rehearsal and the inevitable nervousness attending a first performance she would be able to please her audience and do ample credit to her own previously high reputation. Results proved the justness of such suppositions, for Mme. Sapio's performance was a very charming one, and was so acknowledged by her hearers, as was testified to by the flattering applause she received both during and after the opera.
35After a long absence from the boards it is but natural that vocally her triumph transcended her dramatic success. She showed perfect knowledge of stage requirements, but longer preparation might make a stronger character than her Ophelia was last night. Mme. Sapio's place is upon the operatic stage, and with this fortunate, fateful opening it may be hoped that she will follow up the chance and become once more the successful prima donna. Her voice was particularly beautiful in the last few exquisite phrases sung while Ophelia floats down the rush-lined stream.—New York Sun, January 2, 1897.
37The large audience that gathered to hear Calvé was plainly disappointed at the announcement that she would not appear, and prepared to be bored by her substitute. They were most agreeably surprised. Mme. Sapio, despite her hurried preparations, gave a finished and thoroughly artistic impersonation, vocally and dramatically.
39Although it is six years since she sang the rôle, and went on last night without a rehearsal, she was thoroughly at home in the music, and after the first nervousness had disappeared was in complete control of the part. Her breadth of tone, sweetness of notes and ease in singing were marked excellences and hers was a perfect triumph.—New York World, January 2, 1897.
41Mme. Clementine De Vere-Sapio, who was Mme. Calvé's substitute, was a remarkably good Ophelia, when one considers the fact that she took the place of the sick diva on very short notice. She sang with a great deal of sweetness and fervor, and her acting showed she had an insight into all the dramatic possibilities of the rôle.—Commercial Advertiser, New York, January 2, 1897.
43Mme. De Vere-Sapio has been known here chiefly as a concert singer, and, in fact, save in a performance of Lucia di Lammermoor with Signor Campanini, under whose auspices she came to America, she has not appeared here in opera until last evening. But she is an experienced actress nevertheless, and her work last night was conscientious and frequently excellent. Her singing was a further demonstration of her powers as a coloratura artist.—Mail and Express, New York, January 2, 1897.
45The indisposition of Mme. Calvé induced the management to secure Mme. De Vere-Sapio, who courageously undertook her part without a rehearsal. Yet it is not at all necessary to make allowance for her engagement being so sudden. She sang the florid as well as the cantabile measures of Ophelia with a very beautiful voice and finished phrasing which won her the cordial applause of the audience.—Evening Post, New York, January 2, 1897.
47Gregorowitsch.—The success of this great artist is fully emphasized by the fact that last evening at Mr. Bispham's concert he appeared for the twelfth time in New York city. He starts on his second provincial tour this morning, playing in Baltimore to-night, Cincinnati 15th and 16th; Dayton 18th; Oberlin 19th; Buffalo 21st; Rochester 22d; returning to New York city, he plays at the Metropolitan Opera House 24th; Springfield, Mass., 25th; with Mr. Beigel at the Waldorf Hotel 26th; Northampton, Mass., 27th, then several soirées and concerts in this city. In February he starts on his third provincial tour, when he visits Toronto, Detroit, Chicago, Milwaukee, Toledo.
49Feliding C. Roselle.—Feliding C. Roselle, the popular contralto, is extremely busy. She sings at the next private meeting of the Manuscript Society concert—by request of the composer—two of Emilio Pizzi's songs. She is booked for the Troy Choral Club January 18, and also engaged for the Albany Musical Association January 21, Professional Woman's League February 11, besides several social musical engagements.
51Kaltenborn-Beyer-Hane String Quartet.—Mr. Franz Kaltenborn, first violin; Mr. Carl Windrath, second violin; Mr. Ernest Bauer, viola, and Mr. Hermann Beyer-Hané, 'cello, will give their second concert next Saturday evening, January 16, in Carnegie Chamber Music Hall, and will be assisted by Miss Mabel Phipps.
53The program will be the quartet by Haydn, in D, and Smetana's beautiful quartet, Aus Meinem Leben. The feature of the program will be the Ruben Goldmark trio, op. 1, the composer's first publication. Ruben Goldmark is a very talented young nephew of the famous Carl Goldmark, and this trio, as well as several other compositions, have been highly commended by his teachers, Rafael Joseffy and Anton Dvorák.
55Shamus O'Brien.—Shamus O'Brien, a romantic opera based on an Irish libretto by George H. Jessop, with music by C. Villiers Standford, was produced last week at the Broadway Theatre and met with success. The cast is competent and the entertainment of a pleasing nature.
57Jeanne Franko Trio.—On January 81, on the occasion of the Schubert Centenary, the Jeanne Frank Trio will give a concert, playing a Schubert program in Steinway Hall at 3.30 in the afternoon, assisted by Mrs. Cornelia Meysenheim, soprano, and Mr. Samuel Moyle, baritone.
59Evans Von Klenner Back to Town.—Mme. Katherine Evans Von Klenner has returned to New York after Christmastide spent in the country. While away Mme. Von Klenner sang socially a great deal and with emphatic success. She has resumed teaching at her studio where she is as usual exceedingly busy.
61Metropolitan Sunday Concert.—At the Metropolitan concert on Sunday night last the soloists were Mme. Emma Eames, Miss Laura Louise Wallen, M. Campanari and M. Plançon. All the soloists were satisfactory, the new mezzo-soprano, Miss Wallen, making a very good impression.
63Hanchett.—Dr. Henry G. Hanchett's courses of Beethoven readings begin on Tuesday, January 19; in Chickering Hall, New York, at 11 o'clock, and in the Art Building, Brooklyn, at 2 o'clock. The subject at the first reading is Rhythm, and the sonata that will be used as illustration is that in C major, op. 2, No. 3.
65Dr. Hanchett's programs for his three recitals in Norfolk, Va., include Liszt's version of the Schubert Fantasia, op. 15, and the Schumann Symphonic Etudes at the first; the Saran Fantasie-Sonata, and the March and Chorus from Beethoven's Ruins of Athens at the second; Beethoven's op. 31, No. 3, in E flat, and the Chopin A flat Polonaise at the third, besides a liberal selection of compositions by Bach, Rheinberger, Grieg, Rubinstein, Dupont, Weber, Raff and others.
67Dr. Hanchett will also contribute two of the Beethoven sonatas to the winter and spring lecture course at the Metropolitan College of Music, New York, in April.
69Cady-Robinson Recitals.—Miss Harriette Cady, piano, and Mr. Purdon Robinson, baritone, announce three subscription recitals in Mendelssohn Glee Club Hall on January 20, 29 and February 11. The list of patronesses is long and fashionable.
71Kronberg Route with West Point Cadets.—The following is the route of Mr. and Mrs. S. Kronberg with the United States West Point Cadet Band:
73Sunday, January 10. Syracuse, N. Y. one of two readings
74Sunday, January 10………………..Syracuse, N. Y. one of two readings
75Monday, " 11. Albany, N. Y. one of two readings
76Monday, "…………………………..Albany, N. Y. one of two readings
77Tuesday, " 12. Troy, N. Y. one of two readings
78Tuesday, "…………………………..Troy, N. Y. one of two readings
79Wednesday, " 13. Utica, N. Y. one of two readings
80Wednesday, "………………………..Utica, N. Y. one of two readings
81Thursday, " 14. Lyons, N. Y. one of two readings
82Thursday, "…………………………..Lyons, N. Y. one of two readings
83Friday, " 15. Buffalo, N. Y. one of two readings
84Friday, "………………………………Buffalo, N. Y. one of two readings
85Saturday, " 16. Cleveland, Ohio. one of two readings
86Saturday, "…………………………..Cleveland, Ohio. one of two readings
87Sunday, " 17. Toledo, Ohio. one of two readings
88Sunday, "……………………………..Toledo, Ohio. one of two readings
89Monday, " 18. Detroit, Mich. one of two readings
90Monday, "…………………………..Detroit, Mich. one of two readings
91Tuesday, " 19. Ann Arbor, Mich. one of two readings
92Tuesday, "…………………………..Ann Arbor, Mich. one of two readings
93Wednesday, " 20. Battle Creek, Mich. one of two readings
94Wednesday, "………………………..Battle Creek, Mich. one of two readings
95Thursday, " 21. Grand Rapids, Mich. one of two readings
96Thursday, "…………………………..Grand Rapids, Mich. one of two readings
97Friday, " 22. Kalamazoo, Mich. one of two readings
98Friday, "………………………………Kalamazoo, Mich. one of two readings
99Saturday matinée, " 23. Chicago, Mich. one of two readings
100Saturday matinée, "…………………Chicago, Mich. one of two readings
101Saturday evening, " 24. Elgin, Ill. one of two readings
102Saturday evening, "…………………Elgin, Ill. one of two readings
103Sunday, " 24. Aurora, Ill. one of two readings
104Sunday, "……………………………..Aurora, Ill. one of two readings
105Monday, " 25. Streator, Ill. one of two readings
106Monday, "…………………………..Streator, Ill. one of two readings
107Tuesday, " 26. Galesburg, Ill. one of two readings
108Tuesday, "…………………………..Galesburg, Ill. one of two readings
109Wednesday, " 27. Peoria, Ill. one of two readings
110Wednesday, "…………………………Peoria, Ill. one of two readings
111Thursday, " 28. St. Louis, Mo. one of two readings
112Thursday, "…………………………..St. Louis, Mo. one of two readings
113Friday, " 29. St. Louis, Mo. one of two readings
114Friday, "………………………………St. Louis, Mo. one of two readings
115Saturday, " 30. Louisville, Ky. one of two readings
116Saturday, "…………………………..Louisville, Ky. one of two readings
117Sunday, February 1. Cincinnati, Ohio. one of two readings
118Sunday, "……………………………..Cincinnati, Ohio. one of two readings
119Monday, " 2. Columbus, Ohio. one of two readings
120Monday, February 1…………………Columbus, Ohio. one of two readings
121Tuesday, " 3. Pittsburgh, Pa. one of two readings
122Tuesday, "…………………………..Pittsburg, Pa. one of two readings
123Wednesday, " 4. Washington, D. C. one of two readings
124Wednesday, "…………………………Washington, D. C. one of two readings
125Thursday, " 4. Baltimore, Md. one of two readings
126Thursday, "…………………………..Baltimore, Md. one of two readings
128Clementino De Macchi's Southern Successes.—The following press clippings are taken from Southern papers:
130Signor C. de Macchi played the accompaniment after having been introduced to the audience in a magnificent rendition upon the piano of the second Rhapsodie of Liszt. He played brilliantly, artistically, sparklingly, with Italian delicacy, a musical cameo, it might be said.—The Times-Democrat, New Orleans.
132The first number was a piano solo by Sig. De Macchi, the second rhapsody of Liszt. Sig. De Macchi is one of the most accomplished pianists in the world, and he rendered the difficult number with such sweetness of touch, wonderful technic, and with such a marked pa-
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