Scan 9
Musical Courier 1897-01-13: Vol 34 Iss 880, 1897
180 lines. Read by computer on 23 September 2026. Printed page 10. See the scan on archive.org.
1GODOWSKY
2LAST SEASON IN AMERICA.
3BERNHARD ULRICH, Manager,
482 Auditorium Building, Chicago.
6ANNA LANKOW,
7Vocal Instruction,
8GARCIA-LANKOW METHOD.
9825 Park Avenue, New York.
11BREITKOPF & HÄRTEL,
12Oldest Established Music Publishing House.
13FOUNDED 1719 IN LEIPZIG.
14NEW YORK BRANCH: 39 E. 19th Street.
16THE EUTERPE TRIO,
17133 West 84th St., New York.
19ARTHUR HARTMANN,
20The Greatest Boy Violinist,
21IS OPEN FOR ENGAGEMENTS.
22For Terms, Dates, &c., Address
23S. HARTMANN, care of the MUSICAL COURIER, New York.
25MISS INEZ GRENELLI,
26PRIMA DONNA SOPRANO.
27CONCERT AND ORATORIO.
28For terms, dates, etc., address direct
29155 West 66th Street, New York.
31Dr. HENRY G. HANCHETT
32Pianist and Teacher,
33136 Fifth Avenue, NEW YORK.
34Director of the Central School of Musical Art,
35226 Hancock St., Brooklyn, N. Y.
36SONATA READINGS. ANALYTICAL RECITALS.
38LOUIS V. SAAR,
39With the National Conservatory.
40MENDELSSOHN PRIZE 1890. VIENNA TONKUNSTLER PRIZE 1892.
41"I recommend Mr. L. V. Saar as a most excellent teacher of musical theory, especially of his higher branches."
42MUNICH, I. RHEINBERGER.
43Address: STEINWAY HALL, NEW YORK.
45MR. CHARLES ABERCROMBIE,
46Ten years Solo Tenor to Her Majesty the Queen, and of the Albert Hall, Crystal Palace, St. James' Hall, Covent Garden, etc., concerts, and Professor of Artistic Singing, London, England.
47Vocal Studio, CARNEGIE MUSIC HALL, New York.
49CLEMENTINO DE-MACCHI,
50Concert Pianist,
51For terms, dates, &c., address
52DE-MACCHI'S MUSIC STUDIO,
53119 East 92d Street, New York City.
55Katherine Bloodgood,
56CONTRALTO,
57123 West 39th Street, New York City.
59ELEANORE MEREDITH,
60SOPRANO.
61Oratorio, Concerts and Song Recitals.
62ADDRESS:
639 West 21st Street, New York.
65George W. Fergusson,
66BARITONE.
67AMERICAN TOUR UNTIL JANUARY 15, 1897.
68FOR TERMS, DATES, ETC., ADDRESS,
69BROWN & WELD, Steinway Hall, Chicago, Ill.
71Brazzi, who took the part of the Queen. This excellent artist has come back to us a better artist than ever, a more perfect singer than in the past, and whose voice, made more flexible by serious study and constant work, charmed us most delightfully. Stamler (Hamlet) should not be criticised, as he sang Wolfram the night before. Boussa (the King) was not as good as in the Huguenots.
73Verdi's well-worn Trovatore was given for the début of the tenor Boyer who pleased the gallery with what they supposed was a high C, but was really B flat. Nevertheless he came out of the ordeal very well. Mme. Lyvenat made an excellent third début as Leonora. Mme. Brazzi as Azucena showed once more her great talent as a singer and tragedian. Mr. Stamler (Le Comte di Luna) was not quite up to his usual standard, owing to a cold. The ballet under the direction of Mlle. Stichel is always admirable and a great attraction to every opera in which it has a part.
75Faust has just been given with Mlle Emelen, (Marguerite) Scaramberg (Faust) Boussa (Mephisto) and Berriel (Valentine). Scaramberg and Boussa achieved a merited success. The others fell far short of mediocrity.
77There is a very strong feeling here against Mlle. Emelen and M. Berriel, who through influence and intrigue have been accepted by the theatre commission. Neither of them please the public. Le Cid, by Massenet, will be given this week. Lohengrin to follow.
78TH. PUGET.
80A Chat with Carl Bernhard.
82MR. CARL BERNHARD, the bass-baritone, is established in a convenient studio at 157 East Forty-seventh street, New York. A brief chat with Mr. Bernhard will not only convince one that he is a good all round musician, but that he is quite as good a singer himself as he is a teacher of singing. He has a voice of remarkable range, vibrancy and flexibility, which he can adapt with equal certitude to the declamatory recitative of a Wagner hero or to the virtuoso measures of one of Rossini's buffo heroes. In a word, he is an artist with a wonderfully good native organ, trained under Stockhausen, which he is able to put to the most facile use.
84Mr. Bernhard has come to New York with a view principally to teach. When asked why he had spent seven years in America, of which the last two months had only been passed in New York, he replied that as he had come to this country on the particular recommendation of Georg Henschel, by which his introductions all led him to Chicago, he went there direct, and while he has made a successful enough career he has come to the conclusion that New York offers him a better field. This is an excerpt from the letter of Georg Henschel recommending Mr. Bernhard:
85"He sings most tastefully and, what is more, knows how to use his voice as well as those of his pupils."
87Before leaving for this country Mr. Bernhard lived and taught for a long time in London.
89Richard Gompertz, professor of violin at the Royal College of Music, London, England, himself a former pupil of Mr. Bernhard, writes:
90"His method is based on sound musical and vocal principles, which may be depended upon to lead to success."
92Mr. Bernhard arrives here now directly from Chicago and the South, as in his direction of choral societies and lessons to distant pupils his work carried him constantly from the main centre of his activities. He conducted in Memphis, Tenn., a maennerchor of thirty-six members, which took first prize in a singing contest in Alabama. Twelve representative members went and brought Mr. Bernhard back the silver wreath of conquest. Mr. Bernhard also shows with great satisfaction a handsome baton presented him by this maennerchor, which fully realized the benefit it had derived from his instruction.
94Always liking to combine choral with his solo training, Mr. Bernhard has established a ladies' choral class, which meets at his studio in New York. As a singer in concert, church or oratorio Mr. Bernhard is equally successful. In Chicago he was the solo baritone of Bishop Cheney's Christ Episcopal Church for many years, but it is as a teacher of the voices that Mr. Bernhard deserves first to be considered. Mr. Georg Henschel said of him he knows well how to use his own voice, but he knows much better, if possible, how to teach others to use theirs.
96A wide future should await Mr. Bernhard's talents in New York, where abilities of his nature are in demand. We append from a large number of press notices a few of the more recent ones obtained since he left his native Germany:
98THE BRIDE OF MESSINA.—Schiller's tragedy, The Bride of Messina, forms the subject of an opera by Herr Bonawitz, which was given for the first time in London on April 23. The part of Don Manuel, one of the two brothers, was taken by Herr Carl Bernhard, who was excellent. He throws his whole soul into the music, and he gives special attention to the important point of distinct articulation.—London, Magazine of Music.
100* * * We wish to mention Mr. Carl Bernhard, our new baritone, who sang two songs, one of Schubert, The Inquirer, and a song by Hoffmann. The powerful voice is not only of a beautiful mellow quality, but also excellent trained. One may justly say of him, "It is the interpreters who build up the singer's favor." For really have we heard a singer who combines with great expression such excellent enunciation.—Chicago Staats-Zeitung.
102Mr. Carl Bernhard, who sang at Wolfsohn's chamber music concert, has a voice exceptionally rich in quality and steadiness, which he uses with artistic finish. He sings with expression and intelligence, and his songs, by Schubert and Hoffmann, were very enjoyable features of the evening. He is supposed to have a warm recall with an Italian song by Pergolesi, proving his own accompaniment, as every singer ought to do when so responding. Otherwise the response is too obviously "cut and dried."—Chicago Times.
104RICCARDO RICCI, • • •
105BASSO.
106Late of the Royal Italian Opera, Covent Garden, London; the Royal Albert Hall and Covent Garden Concerts, and of "The Bostonians," begs to announce that he has
107Opened a Studio for Voice Culture
108At 106 EAST 31st STREET, NEW YORK.
110GERTRUDE MAY STEIN,
111The Contralto.
112ADDRESS:
113THE HENRY WOLFSOHN MUSICAL BUREAU, . . . 131 East 17th St., or 965 Park Ave., New York.
115PAUL LISTEMANN, FRANZ LISTEMANN,
116Violin Virtuoso. Violoncello Virtuoso.
117CONCERTS, RECITALS and CHAMBER MUSIC.
118Limited Number of Pupils accepted.
119Studio: 118 EAST 86th STREET, NEW YORK CITY.
121University School of Music
122ANN ARBOR, MICHIGAN.
123ALBERTO JONÁS, Head of Piano Department.
124GARDNER S. LAMSON, A. B., Head of Vocal Department.
125HERMANN A. ZEITZ, Head of Violin Department.
126Send for Calendar and particulars to
127ALBERT A. STANLEY, A. M., Director.
129The New York School of Opera and Oratorio,
130110 LEXINGTON AVENUE,
131EMILIO AGRAMONTE, – – Director.
132The only Special School devoted to the study of Opera and Oratorio in this country.
134Broad Street Conservatory of Music,
135GILBERT RAYMONDS COMBS, Director.
1361331 South Broad Street, Philadelphia, Pa.
137— ILLUSTRATED CATALOGUE FREE.
139New York College of Music,
140128 & 130 EAST 58th STREET.
141ALEXANDER LAMBERT, . . . Director.
142ALL BRANCHES OF MUSIC TAUGHT.
143Terms from $15.00 upward per Quarter.
144Descriptive catalogue free on application.
146NINA RATHBONE
147DRAMATIC SOPRANO.
148Opera, Concert and Oratorio. Vocal Instruction.
149Studio: HOTEL EMPIRE, NEW YORK CITY.
151MISS AMY FAY
152is open to engagements for
153PIANO CONVERSATIONS.
154Book of Eight Programs sent on application.
155Address care of CHICKERING & SONS,
156Fifth Avenue and 18th Street, NEW YORK.
158J. Henry McKinney
159TENOR.
160Concert and Oratorio—Vocal Instruction.
161STUDIO:
162126 WEST 66th STREET, NEW YORK.
164JEANNE FRANKO,
165• SOLO VIOLINIST, •
166ALSO
167THE JEANNE FRANKO TRIO.
168Address for terms, dates, &c.,
169114 EAST 81st STREET, NEW YORK.
171DORA VALESCA BECKER,
172SOLO VIOLINISTE,
173With the NEW YORK LADIES' TRIO.
174Address: 120 East 89th Street, New York.
176Ericson F. Bushnell
177AMERICAN BASSO,
178Oratorio, Concerts and Recitals.
179Address: 177 Duane Street, New York City.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.