Scan 27
Musical Courier 1897-01-13: Vol 34 Iss 880, 1897
129 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 28. See the scan on archive.org.
1city of hair and airs that he charmed everyone, and an enthusiastic demand for an encore was gracefully complied with.
3The second half was a repetition of the first as far as the excellence of the performance and the enthusiasm of the audience were concerned. It was opened by a polonaise of Chopin, by Sig. De Macchi, followed, of course, by an encore.—Nashville Sun.
5Severn Chamber Concert.—Mr. and Mrs. Edmund Severn, violin and piano, gave a chamber concert in Springfield, Mass., on January 9. They were assisted by Mr. Romeo Regnier, 'cello, and Mrs. W. J. Olliver, contralto.
7Drexel Chorus Concerts.—The Drexel Chorus Society, of Philadelphia gave a good Christmas choral concert on December 28, and has already issued the program for an Easter concert, to take place on April 5. Admission to these concerts can be had by card only; tickets not being placed on sale.
9Chicago Musical Colleges.—The Chicago Musical College is out with a pamphlet in which its work for 1896-7 is described. Musicales and lectures are continuously given by the college faculty, while members of the college faculty also co-operate with the pupils in giving excellent programs representing all the departments. The workings of this institution are very busy and effective.
11Money and Music.—Judgment for $13,648 was obtained here on Monday against Pierre Ughetto, lyrical artist, formerly of Nice, in favor of Henriette Staudt, who advanced 35,000 francs for his musical education prior to 1881. He made an agreement to repay her by giving her one-third of his salary, but did not do so. He was served with the summons at 46 Irving place.
13Mrs. Vanderveer-Green at Bagby's.—At the last musical morning of Mr. Albert Morris Bagby, given at the Waldorf on Monday last, the 11th inst., Marie Vanderveer Green, mezzo-soprano, was one of the soloists, and achieved a marked success. Mrs. Green sang with great feeling and finish songs of Lalo, Bemberg, Korbay and MacDowell, and gave with much charm and effect the old Scotch air Loch Lomond. This latter touched everybody, and was certainly sung with moving simplicity and taste. Mrs. Green has developed much on the side of grace and finish since she made her American début here in New York two winters ago. The voice, which was always of pure, even volume and wide range, is now more feelingly and artistically used, and the singer has gained much in intelligence and artistic delivery. She received abundant applause and recalls, and was certainly proclaimed a favorite.
15Mrs. H. H. Mills for New York.—Says the Washington Post of the 3d inst.:
17Mrs. H. H. Mills, the well-known vocal teacher, will, beginning this month, make weekly trips to New York city for the purpose of teaching. Mrs. Mills has a large class of pupils in this city, being represented by many of the leading singers, all of whom have gained their knowledge of singing under her careful tuition. Some of the most prominent in this connection are Miss Alice Judson, Mrs. Hattie Meads-Smith, Mrs. Charles Shaler, Miss Grace McCullough, Miss Eleanor Simonds, Mr. Otto Luebbert, Miss Pauline Whitaker, Miss Fannie Arlee and many others. Mrs. Mills is a conscientious and painstaking teacher, that fact being apparent by the excellent and artistic work done by her pupils.
19Mrs. Mills is mother of the well-known young pianist Lotta Mills.
21Rubinstein Club.—The Rubinstein Club of ladies' voices, under the direction of W. R. Chapman, will give the first concert this season on Thursday evening, January 21, in the Madison Square Garden Concert Hall. Mr. Gwilym Miles and Mr. Hans Kronold will be the assisting artists.
23Maud Powell in Louisville.—Miss Powell appeared recently in Louisville, Kentucky, where she made a hit, according to the local press, which is quoted below:
25Maud Powell and her pet Amati have come to Louisville and gone away, leaving a good number of the citizens with rapturous memories of them. The two belong together. Miss Powell, any one would say, is a young woman of very charming personality as she stands waiting for her cue note, the famous—and still to be more famous—Amati tucked under her left arm; but there are many very charming young women connected with the stage in various ways up and down the broad land. There are very few violinists of either sex in America or out of it whom it would be worth while to compare with Miss Powell.
27There are many things about Miss Powell's work that might be noted with profit. Not the least pleasing feature is its purity of style. It may be said that there is in the playing of this young American not a trace of trickery—nothing done simply for the sake of doing a difficult thing—out all with a single eye to high artistic effect. Perhaps this is one reason why the old Amati has taken such a fancy to her. She is before all things an artist, not a mere clever trickster. Her technical training has reached that point where to do the simple things and to do the well-nigh impossible are all one, because of study and long practice. But between her and the Amati there is a deep, mysterious understanding by which emotional effects are produced far more wonderful than any possible or impossible digital acrobatics. To take just one example, there were three deep long notes in the opening of the Faust fantasia, of which two spoke a warning with infinite solemnity, as if in prescient pity, and the third repeated it sadly, as if to madly deaf ears. Those few bars alone would have proved Maud Powell a musical executant of the rank of the immortals. one of two readings
28There are many things about Miss Powell's work that might be noted with profit. Not the least pleasing feature is its purity of style. It may be said that there is in the playing of this young American not a trace of trickery—nothing done simply for the sake of doing a difficult thing—but all with a single eye to high artistic effect. Perhaps this is one reason why the old Amati has taken such a fancy to her. She is before all things an artist, not a mere clever trickster. Her technical training has reached that point where to do the simple things and to do the well-nigh impossible are all one, because of study and long practice. But between her and the Amati there is a deep, mysterious understanding by which emotional effects are produced far more wonderful than any possible or impossible digital acrobatics. To take just one example, there were three deep long notes in the opening of the Faust fantasia, of which two spoke a warning with infinite solemnity, as if in prescient pity, and the third repeated it sadly, as if to madly deaf ears. Those few bars alone would have proved Maud Powell a musical executant of the rank of the immortals. one of two readings
30All of these things are cause for congratulation to those who wish well to musical art in America. Miss Powell, it is true, received much of her training in Berlin and in Paris, but she is American by birth, by her early training and by temperament.—Louisville Courier-Journal, December 20.
32Miss Maud Powell, the famous American violinist, was accorded an ovation last night at Macauley's. Miss Powell's playing is incomparable. She seems to be mistress of the king of all instruments, and to the most marvelous and brilliant execution she adds an ease and grace in rendition that it is a pleasure to behold. And above all, with her faultless execution, she interprets music as if she loved it and she plays with rare beauty of expression.—Louisville Commercial, December 20.
34Carreno's First Recital.—Following is the program of Mme. Teresa Carreño's first piano recital to be given at the Hotel Waldorf to-morrow (Thursday) afternoon at half-past 3 o'clock:
35Fantasie, Chromatique and Fugue………………………………………Bach (Bülow's Edition.)
36Sonata Appassionata, op. 57………………………………………Beethoven
37Two Preludes, B flat………………..Beethoven
38G flat………………..Beethoven
39Nocturne, G major, op. 31………………..Chopin
40Etude, G flat………………..Chopin
41Polonaise, A flat, op. 58………………..Schubert
42Impromptu, op. 90, No. 3………………..Schubert
43Soirée De Vienne………………..Schubert-Liszt
44La Campanella (Etude)………………..Paganini-Liszt
45Sonetto Del Petrarca………………..Liszt
46Rhapsodie Hongroise No. 6………………..Liszt
48Bispham and Moore-Lawson to Riesberg.—"Let me thank you for the beautiful accompaniments you played for me in Troy, which added greatly to my success. I shall hope for a repetition of them."
50CORINNE MOORE LAWSON.
52"I have not forgotten the splendid way in which you read and played those latest songs of Brahms, op. 121, for me the other day. I should much like to do something with you at an early date."
54DAVID BISPHAM.
56Mr. Seidl Going to London.
58IT was decided yesterday between Mr. Grau and Mr. Seidl that the latter will lead the orchestra during the coming Covent Garden season in London in Wagner operas that are sung in German.
60This agreement was reached after the receipt by Mr. Grau of a most pleasantly worded letter from Signor Mancinelli, in which, after referring to his having consented last year, at the urgent solicitation of Sir Augustus Harris, to lead the German performances at Covent Garden, and the unanimously kind press notices that followed, he adds:
62In spite of this success, I beg you, my dear Grau, to engage a German conductor for the performances which will be given in German at Covent Garden. I feel that it will not be possible for me to sustain this heavy work, as I must occupy myself with the mise-en-scène of my opera Hero and Leander. Besides, in spite of the fact that I have dedicated all of my artistic career to the Wagnerian cause, having carried on a real campaign for it in Italy and Spain, I nevertheless respect the opinions of certain Wagnerians who believe that only a German conductor ought to direct Wagner operas when given in German.
64I shall always direct with my greatest interest Lohengrin, Tannhäuser, Walküre and Meistersinger when they are sung in Italian or French. Faithfully yours,
65L. MANCINELLI.
67Mr. Seidl said recently: "I did not seek the appointment to direct the German operas in London. The offer came to me entirely unsolicited. Signor Mancinelli and I have always been the best of friends, and my going to London under the circumstances will not, I am sure, disturb the existing agreeable relations. As to the necessity of having a German to conduct Wagner opera in German, I prefer not to talk. As a matter of fact," added Mr. Seidl, with a smile, "I am not a German, but a Hungarian. However, I hope that I will be able to give satisfaction. I will do the best I can."
69[The substance of this news was published a month ago in THE MUSICAL COURIER. It was later on denied in some of the dailies, but our information was authentic, as is now seen.]
71Averill-Bradley Recital.
73THE sixth song and piano recital by Messrs. Perry Averill and Orton Bradley, which formed the second of this season, was held on Thursday evening last, January 7, in Mendelssohn Glee Club Hall.
75Following was the program in full:
76Gavotte and Gigue (from Suite Anglaise in G minor)…..J. S. Bach
77Feldensamkeit………………………………………J. Brahms
78Vonewiger Liebe………………………………………J. Brahms
79Sonata in B flat (op. 58)………………………………………Ludwig Schytte
80A group of songs by request:
81Winds in the Trees………………………………………Goring Thomas
82Ninon………………………………………Tosti
83A Fable………………………………………Old English
84Love's Repose………………………………………Purdy
85A Song of Solomon………………………………………Wood
86Poème Erotique………………………………………Grieg
87Papillon………………………………………J. Farmer
88Sarabande………………………………………Henselt
89Wieglenlied………………………………………Kleczynski
90Carillon………………………………………Kleczynski
91(The music-box stops and is wound up again.)
92Recueillement………………………………………Faure
93Marquise………………………………………Massenet
94Sonnet d'Amour………………………………………Thomé
95Waltzes (op. 54)………………………………………Dvorák
96Now Phoebus Sinkeh in the West………………………………………Arne
98Without going into detail it may be stated that this program in its performance was quite as successful as that of the first recital. It was lighter and more varied, and as such more popular, and both artists lent themselves to its flexible moods with much spirit and taste. Especially successful was Mr. Averill in his group of French songs, which were given with great tonal beauty and uncommon finish. His French is excellent, and his diction clear and refined. The Brahms songs were equally well given, though less popular, and among the English the delicate little lyric, Love's Repose, was a graceful idea, judiciously handled in the delivery.
100Mr. Bradley's work as soloist and accompanist was throughout musically and satisfying. The Schytte sonata is a novel work, novel in its birth as in its charm, and was read by Mr. Bradley with piquant grace and poetic sentiment. Mr. Bradley always plays Bach with judicious care, so the opening number was given with nice technical finish and rhythmic definiteness. The accompaniments were everything to be desired.
102Evening hours are not the best for a recital of this kind, and, as might have been predicted, the audience suffered in number just a little. But it was very little, and the good-sized house present was most generous in its applause and enthusiasm. Some translations from French into English verse figured on the program, very neatly done by Mr. Orton Bradley.
104A Lillie Bergh Musicale.—Miss Lillie d'Angelo Bergh gave her regular monthly studio musicale last week at the Vira, 110 West Thirty-ninth street. These musicales are given to introduce professional and amateur pupils, thus accustoming young singers to informal audiences before they are launched into the public pupils' concerts especially arranged by Miss Bergh each season.
106Among the singers Miss Dora Malcolm made a decided hit. Her voice, which was small and uncertain last season, has developed under Miss Bergh's training, into a full, vibrant contralto, with surprisingly high notes. The artists assisting the young singers were Mrs. Fremont, soprano; Miss Corinne Flint, violinist; Miss Alice Blake, Mr. Henry Taylor Staats and Mr. Henry Pinner, pianists. During the afternoon a buffet luncheon was served, and there was the usual crowded and fashionable attendance.
108Elvira Toni.—Elvira Toni, a pupil of Vittorio Carpi at Milan, made a success at La Scala on December 27 as one of the Rhinedaughters in the Götterdämmerung. She was immediately engaged to sing in Andrea Chenier.
110FLORENCE TOWNSEND, one of two readings
111ACCOMPANIST, one of two readings
112FOR VOCALISTS AND INSTRUMENTALISTS. one of two readings
113224 West 21st Street, NEW YORK. one of two readings
114COACHING A SPECIALTY. one of two readings
115Reference: Editor MUSICAL COURIER. one of two readings
117JAN VAN OORDT, one of two readings
118The Netherland Violinist. one of two readings
119FIRST APPEARANCE IN AMERICA. one of two readings
120ADDRESS CHARLES DE GROAT, one of two readings
12142 University Place, NEW YORK CITY. one of two readings
123HELENE MAIGILLE, one of two readings
124LABORDE METHOD. one of two readings
125VOCAL INSTRUCTION. one of two readings
1266 East 17th Street, NEW YORK. one of two readings
127RESIDENCE: 319 WASHINGTON AVENUE, BROOKLYN, N. Y. one of two readings
128(no line here) one of two readings
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