Scan 21
Musical Courier 1897-07-14: Vol 35 Iss 906, 1897
130 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 22. See the scan on archive.org.
1heard played. He learned it on the clavier in twenty-five minutes, and played it from memory.
3Dr. Percy Goetschius, of Boston, read a learned and interesting paper on The Pedagogics of Musical Composition, and Jaroslaw de Zielinski, chairman of the Specialist Committee on Musical Literature, reported for that committee.
5The afternoon recital was one of the events of the whole convention week. It was eventful because it was the last miscellaneous concert, given by Mr. Sherwood, Mrs. Sawyer and Mrs. Rogers. Mr. Sherwood made several changes in his schedule and played the Mephisto valse (Liszt), Witches' Dance, Fire Fugue, &c. In the first-named he reached the height of his technical feats this season. His playing the entire afternoon was as if improvised, so spontaneous and natural did all things sound.
7Mrs. Antonia H. Sawyer sang three solos, which were rendered, as is generally with her, in a manner that found universal approval. She sang Augusta Holmès' Strophes (La Montagne Noir), Tschaikowsky's Serenade and Bemberg's Chant Hindou. Mr. Riesberg was at the piano and Miss Bertha Howe played the violin obligato.
9One of the sweetest voices heard this year was that of Mrs. Howard J. Rogers, of Albany; her singing is ever enjoyable, high tones true and of dainty quality, and so her three numbers were given close attention. They were:
11The Secret……………………………………………..Goetz
12Oh, Remember Me………………………………………Salter
13When She Comes……………………………………….Salter
15The closing performance of what was confessedly the most enjoyable and successful of the nine meetings so far held by this organization consisted in a performance of The Creation, by a chorus of 125 voices, with these soloists, Madame Anita Rio, Mr. J. H. McKinley and Ericsson F. Bushnell, and orchestra of twenty pieces, under the direction of Mr. Louis Arthur Russell.
17Be it understood that this was a dignified performance; that the general effects were fair, the various dynamic degrees well observed, and an effective ensemble resulted. Furthermore, there were reasons why the convention could not command the services of the Choral Society (that fine body of Binghamton singers under the direction of Mr. W. H. Hoerrner), and so this Creation chorus consisted altogether of volunteers for the occasion, prepared by Mr. Frank Beman.
19Next year Hoerrner's club will be available, and this is as it should be, and will make possible Elijah, The Messiah, or some similar work. All credit is due Mr. Beman and his faithful followers, the Convention Chorus of 125. It is said he fairly worked them to death, having rehearsals two and three times a day, and to these the singers came, too, willingly and promptly.
21As to detail, Madame Rio knew every note of her part, and sang and looked so captivating that she won enthusiastic praise.
23Mr. McKinley's opening solo commanded instant attention and he held it throughout the entire evening. There was authority, conviction in his every phrase, and the ease and power of his high notes were fairly exciting. Bushnell is Bushnell; there is no second. Enough.
25As to Russell—well, he did wonders with his little stick and big brain. His beat is firm; no frills, every movement decided, yet not hurried, and so there resulted a unity unlooked for under the circumstances, and with only one orchestra rehearsal. The house was crowded from pit to gallery, and people standing.
27Cablegram.
29CLEMENTINE DE VERE.
31OFFICE MUSICAL COURIER,
32LONDON, July 13, 1897.
34CLEMENTINE DE VERE attained unequivocal success at Covent Garden in the role of Suzanne in Mozart's opera. Press unanimously praises her. X.
36Duluth.—A concert was given at Turner Hall, Duluth, June 29, at which Mr. Emil Schmied, piano; Carl Riedelberger, violin, and Theodor Lammers, baritone, appeared, when the following was performed:
38Ballade et Polonaise, op. 38……………………………Vieuxtemps
39Eit Syn…………………………………………………….Grieg
40Det første Mode………………………………………….Grieg
41Jeg råsker Dig…………………………………………..Grieg
42Ballad in A flat major, op. 47………………………….Chopin
43Concerto Romantique, op. 35………………………….Godard
44Der Wanderer…………………………………………..Schubert
45Wanderer's Nachtlied…………………………………Schubert
46Berceuse, op. 57……………………………………….Chopin
47Hark! Hark! the Lark…………………………………Schubert-Liszt
48Legende, op. 17………………………………………….Wieniawski one of two readings
49Legende, op. 17………………………………………..Wieniawski one of two readings
50Elegy (with violin obligato)…………………………….Massenet one of two readings
51Elegy (with violin obligato)……………………………Massenet one of two readings
53Music in Its Relation to Medicine.
55MEN and women whose faith in medicine is strengthened by their daily use of it will either smile or wonder at the idea of attributing to music a curative influence over disease. The enemy whom the author has most to fear is the three-headed alliance of the doctor, druggist and undertaker. The union and common interest of these three professions might be disturbed by introducing "reform" where an adherence to the old is most profitable. But while the dignified prescriber, the ingenious compounder and the grave embalmer would array themselves on the warpath, an old industry, dead and forgotten, would at once resurrect—namely, the itinerary street band.
57However, the idea of music possessing medicinal properties is not at all new. Ancient philosophers, scientists, poets and travelers regarded sound and song superior in some diseases to pills and potions. When the crowned head of Israel, King Saul, was stricken with dementia his servants advised him to try music. (I wonder what the medical societies thought of those busybodies.) Thereupon little David, who was as good a harper as a fighter, was invited to charm the great king with his pastoral melodies. We all know that the king was cured.
59"The ancients," says Isaac Disraeli, "indeed record miracles in the tales they relate of the medical powers of music. A fever is removed by a song (now it is removed for a song) and deafness is cured by a trumpet, and the pestilence is chased away by the sweetness of a harmonious lyre." Another writer claims that gout, rheumatism, sciatica, hydrophobia and consumption were cured by the sweet and melodious strains of musical instruments. The ailments, however, over which melody wields its magic wand most supremely are those resulting from functional disturbance of the brain and the nerves. Melancholia and hysteria are grand examples of this class. All may know from experience that there is nothing more potent to stifle the "blues" than a lively piece of music, and what's "blues" but temporary melancholia.
61Now more than ever medical men are getting to regard the many eccentricities of the human mind as so many forms or types of mental derangement. Crankiness, for example, is a species of insanity. Again, the maid who grows old and the bachelor who grows gray, both of whom foresaw matrimony, are considered freaks of nature, aliens to the human family—people whose cerebral machinery is dwarfed and out of order. Music is credited with curing this form of mental aberration.
63In support of the efficacy of music in this particular malady is cited a unique little story. The narrative comes from France, but that should not influence our credulity. An old bachelor, who was as rich as Croesus, vowed not to marry. Matrimony, in his opinion, was a curse; its consequences 'a crime. A young woman, possessing more shrewdness than beauty, resolved to capture the petrified heart of this unnatural man. Thereupon (thus the story goes) she established her quarters adjacent to his. Day in and day out she filled the air with charming strains of quaint old songs, now on some instrument, now with her voice, and often with both. At first this old monster was annoyed by the "noise"; a little later he lent an ear to it; still later, his heart having softened, knocked at the door of this young, but sagacious charmer.
65Thereafter he knocked every day. Ah, this woman-hater was conquered! The story says he died in her arms, and on his tombstone are engraved the following words:
67Music hath charms to soothe the savage breast,
68To soften rocks and bend the knotted oak.
70There is a case on record of a patient in convulsions who was cured while in the "fit" by hearing the tones of music. There is an instance of a dancing master who was stricken with fever and delirium, but on hearing charming melody he recovered. Those acquainted with ancient literature will remember that birds' singing was used to cure the insomnia of Maecenas.
72One writer, Vigneulde Marville, tells a story of a person of distinction, "who assured him that once being suddenly seized with violent illness, instead of a consultation of physicians, he immediately called a band of musicians, and the violins played so well in his inside that his bowels became perfectly in tune, and in a few hours were harmoniously becalmed." Away, therefore, with morphine, hot plates and mustard plasters!
74Not wishing to be personal, I shall therefore not mention sex; what but the noise of the drum, the touching and inflaming strains of the violin, can make the sufferer oblivious to the awful pain of the luscious foot, encumbered by an abominable corn, both encased in an immaculate but tiny slipper, lifting, kicking, spinning and sweeping in the whirl of the dance, without a thought of pain or anxiety, all to the ravishing music of the band?
76And so, if space permitted, one could go on indefinitely enumerating disease after disease, suffering after suffering, which was overcome by the power of music. But now the important question may be asked, which music is antidotal to which disease? Ah, reader, that would be telling tales out of school. The tricks of the trade permit us only to tell you what we can do, but "how to do"—for that you must call on your family physician. Sufficient for you is the knowledge that:
78Music the fiercest grief can charm,
79And fate's severest rage disarm.
80Music can soften pain to ease,
81And make despair and madness please.
82Our joys below it can improve,
83And antedate the bliss above.
85F. ABRAHAMS, M. D.
86NEW YORK CITY.
88Virgil Piano Recital.
90APPARENTLY nothing can affect the ardor of the players of the Virgil Piano School, for they played last fall directly after the long summer vacation, then during the regular season, and now with the mercury in the nineties they commence a series of summer school recitals, and, wonderful to relate, they can attract good sized audiences, who in spite of the intense heat showed their appreciation in a vigorous and convincing manner.
92The first recital took place Tuesday evening, July 6, and was played by Miss Gertrude Gardiner, of Boston, assisted by Mr. Frederic Mariner, baritone. Miss Gardiner repeated her success of May 18, playing, as then, with brilliancy and power and in the softer and more lovely passages showing a keen appreciation of tone and a knowledge of musical effect.
94Beginning with the Peer Gynt suite, a most trying set of pieces for a pianist to make interesting, even under ordinary conditions, in spite of the intense heat Miss Gardiner played with inspiration, and each of the four numbers sparkled with interest. The Chopin, Jensen and Paridies numbers likewise were played with success; but it remained for the Rubinstein barcarolle and Paganini caprice to show to the best advantage the capabilities of this talented young pianist. The latter selection was particularly delightful.
96As a relief from the never ending rhapsody, Miss Gardiner finished her program with the Schumann-Liszt Spring Night—surely a happy thought, which proved a most acceptable exception. As a public performer Miss Gardiner seems well equipped. She has plenty of the right kind of technic, easy movements and the ability to get good tones. Give her more experience in public playing and Boston may well be proud of its exponent of the method taught at this remarkable school.
98Mr. Frederic Mariner, baritone, a great favorite with all who know him, was the singer of the occasion, and contributed much toward the enjoyment of the evening. The audience showed their appreciation of his efforts by giving him a hearty encore. The next recital will occur on Tuesday evening, July 13, and will be played by Miss Bessie Benson, assisted by Miss Bessie Blamer, soprano. This recital is open to the general public, and a cordial invitation is extended to you.
100Following is the program of the recital:
102Peer Gynt Suite…………………………………………..Grieg
103Morning.
104Asa's Death.
105Anita's Dance.
106In the Hall of the Mountain Kings.
107Miss Gertrude Gardiner.
108Thy Sentinel am I………………………………………Watson
109Mr. Frederic Mariner.
110Prelude No. 17…………………………………………..Chopin
111Galatea…………………………………………………….Jensen
112Toccata…………………………………………………….Paridies
113Miss Gertrude Gardiner.
114At Parting……………………………………………….Rogers
115Im Garten…………………………………………………Price
116Mr. Frederic Mariner.
117Barcarolle……………………………………………….Rubinstein
118Paganini caprice………………………………………Schumann
119Spring Night…………………………………………….Schumann-Liszt
120Miss Gertrude Gardiner.
122Important to Students.
124A. DURAND et FILS, PARIS.
126Octave Studies, by Philipp,
127After Bach, Clementi, Cramer, Chopin.
129Followed by original studies and preludes by Th. Dubois, Delaborde, Bernard, Duvernoy, Faure, Mathias, Philipp, Pugno, Widor.
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