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Musical Courier 1897-07-14: Vol 35 Iss 906, 1897
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1Trumpet Shall Sound, with trumpet obligato, he was also heard to advantage. This number is very often omitted on account of the high range for a bass soloist, but Mr. Fleming met all the requirements in a thoroughly efficient way. From first to last his work may be unreservedly characterized as most artistic.—Brantford Courier, June 24, 1897.
3Anna Lankow.—This well-known and successful teacher on her late voyage on the Spaarndam organized a concert, June 26, the program of which is subjoined:
4Elevation (Ave Maria)………………………………………Floersheim
5Mrs. Anna Lankow.
6Condola………………………………………………………..Henselt
7Valse Brillant…………………………………………………Chopin
8Mr. S. Camillo Engel.
9Ritournelli…………………………………………………….Chaminade
10Answer………………………………………………………..Robyn
11Duo………………………………………………………..Miss Mary N. Berry.
12Ballade, Archibald Douglas……………………………….Löwe
13Mr. F. Driessen.
14Loreley………………………………………………………..Schumann
15Jack the Boy, from the Geisha…………………………….Mr. Jacques Wein.
16Es Blinkt der Thau………………………………………….Rubinstein
17Ich Liebe Dich……………………………………………….Grieg
18Mrs. Anna Lankow.
19Parodistische Humoreske über das Lied—
20Kommt ein Vogel gejlogen……………………………….Ernst Scherz
21Mrs. Lankow and Mr. S. Camillo Engel.
23The result of the performance was $70 for the South Holland Life Saving Station. Miss Berry, of the First Presbyterian Church, St. Louis, made an artistic impression and had to repeat the ballad, Answer. Mr. T. C. Engel did his best with the instrument at his disposal. No small part of the success of the concert was due to Mr. Henry Bodenz, the purser. The first officer, V. J. Schoor de Boer, spoke at the concert with great delight of the singing of Miss Fannie Hirsch, of New York. Mr. Otto Floersheim's piece made a deep impression.
25J. H. McKinley.—At the National Saengerfest in Philadelphia last week, Madame Juch and Mr. McKinley were the soloists at the first festival concert. Two German works were given with a male chorus of 6,000 men and full orchestra. Mr. McKinley sustaining the solo work. Here are some press notes:
26Both Madame Juch and Mr. McKinley sang admirably. Mr. McKinley has a tenor voice of fine quality, which has been trained in a good school. His delivery of the aria was excellent, and he supplied the solo work to the mass choruses most artistically.—Philadelphia Call, June 23.
28The tenor of the evening was McKinley. His voice is clear and resonant, and filled the vast hall. The upper notes especially have strength and sweetness, and he always sings in tune, with forceful expression and dramatic intensity.—Philadelphia Inquirer.
30Mr. McKinley is a very capable artist, and sang all his numbers with great success.—The North American.
32He acquitted himself well and was warmly received. He rose admirably to the requirements of his beautiful aria.—Philadelphia Item.
34ALBION, MICH., FESTIVAL.
36The initial concert Monday evening by J. H. McKinley was a very happy beginning for the festival. Mr. McKinley's voice is a pure tenor and his artistic renditions, with his instinctive appreciation of the real sentiment of his music, make his recitals intensely interesting. His refined presence, versatility and the ease with which he sings contribute to heighten the effect. Deeper and Deeper Still, Händel; Waft Her Angels and Adelaide, Beethoven, were perhaps the most popular numbers. After one selection Mr. McKinley received three recalls.—Albion Recorder, June 12.
38After Mr. McKinley's singing of the Prize Song from Die Meistersinger, he received an ovation to which he was obliged to respond, not only once, but twice. He scored a great success.—Albion Daily Chronicle.
40CREATION, BINGHAMTON.
42Mr. McKinley's conception of the tenor role was one full of spirit and soul. His work was conscientious and in the splendid aria In Nature Worth he brought the audience to the highest pitch of enthusiasm shown during the evening.—Binghamton Leader, July 9.
44The first festival concert proved almost ideal of its kind. It took on a new mettle from the night before. It was as though the director's staff had been tipped with golden fire. The unparalleled aggregation of singers, a mighty host of societies all rolled into one huge individuality, followed the guiding baton with equal spirit and unerring art. And the soloists of this gala occasion, Madame Juch and Mr. McKinley, were not unworthy of their setting—an emphatic compliment.—Philadelphia Record.
46The second number was the performance of H. Moir's arrangement of scenes from Schiller's Tell, in which the full strength of the grand chorus of 6,000 voices was heard, supplemented by the orchestra, with Mr. McKinley as soloist.
48Mr. McKinley's part in this number was not the most important that fell to him during the evening (he made his best success in his aria), but in it he made his bow to the Saengerfest, and its patrons amply manifested their appreciation of his effort. The effect of the number was felt throughout the entire house. It was more than heard. The applause could hardly be restrained until the finale had been finished.—Philadelphia Press.
50After the overture to Euryanthe came scenes from Wilhelm Tell, music by Hermann Mohr. These scenes are written for chorus with orchestral accompaniment and solo. This great work, which the well-known oratorio singer, Mr. McKinley, rendered with great taste and in grand style, had good success.—Philadelphia Democrat, June 23.
52Professor Scharwenka in the Morgen Journal writes as follows: "The second number of the program was Mohr's scenes from Schiller's Tell (Part I.) chorus, solo and orchestra. The tenor, Mr. J. H. McKinley, sang the solo with perfect taste, and with good delivery that deserved all recognition. The execution, at first rather timid, rose, especially in its rhythmical respects to perfect excellence toward the end. Special mention must be made of the air Wir wollen sein ein einig Volk van Brüdern, which sounded true and genuine.
54Mr. McKinley, the tenor, had good success. His tenor has become decidedly stronger, and his delivery warmer and more musical.—New Yorker Staats-Zeitung, June 23.
56C. S. Staats.—We print some European and local testimonials to the merits of Mr. Staats, the noted clarinet virtuoso.
58Mr. Staats is a most excellent clarinet and bass clarinet player.—Hans Rickter, Vienna, November 26, 1889.
60I hereby testify that the clarinet soloist, Mr. C. L. Staats, has a brilliant technic and a beautiful, rich tone. He also plays bass clarinet to a degree of perfection seldom heard.—Ernst Schuch, Dresden, December 3, 1889.
62Mr. C. L. Staats has proven himself to be a real artist on the clarinet and bass clarinet, he having a beautiful tone and great execution.—Carl Reinecke, Leipzig, December 8, 1889.
64I hereby testify that the clarinet soloist, Mr. C. L. Staats, is a first-class artist on his instrument. His performance on the bass clarinet was remarkably fine.—Josef Sucher, Berlin, December 20, 1889.
66I take great pleasure in stating, having heard Mr. C. L. Staats, clarinet soloist, that he displayed excellent technic and a fine tone.—Georg Henschel, London, January 25, 1890.
68The clarinet recital at the Mason & Hamlin Hall last evening by Mr. C. L. Staats and assisting artists proved a most interesting event, and the lateness of the season did not prevent the attendance of a goodly sized and critical audience to do honor to the principal artist of the evening.
70Mr. Staats is a very accomplished player upon the clarinet, and had the assistance of Mrs. Virginia P. Marwick, Mr. Arthur Foote, pianist, and Mr. Fritz Giese, 'cello, all excellent artists for the duties of the evening.
72The chief item of the program was the new trio by Brahms for clarinet, 'cello and piano, the work having its first hearing here on this occasion.
74The use made of the clarinet easily explains its early hearing in various European cities, as it affords such a competent player as Mr. Staats realized opportunities for a display of skill and solid musical worth as a soloist upon this somewhat neglected instrument in the concert program of to-day.
76Mr. Staats certainly justified the anticipations of those familiar with his record abroad as a soloist, and he gained a well merited recognition of his rare gifts as a player from an audience well worth his best efforts.
78The same artists were heard in a most enjoyable interpretation of the trio in B flat major, op. 11, by Beethoven, and Messrs. Foote and Staats gave a fine performance of the adagio and rondo from the concerto for clarinet and piano by Weber.—Herald.
80Mr. C. L. Staats, assisted by Mrs. Virginia P. Marwick and Messrs. Arthur Foote and Fritz Giese, gave a chamber concert in Mason & Hamlin Hall last evening. The announcement that a new work by Brahms would be played for the first time in America drew many of the faithful.
82The other numbers were the Beethoven trio, op. 11, for clarinet, 'cello and piano, in which a melody from Weigl's opera, Gill Amori Marinar, was used, and two movements from Weber's duo concertant for clarinet and piano. Mr. Staats displayed an agreeable tone; his playing of bravura passages was generally excellent, and his phrasing was musicianlike. He was loudly applauded after the Weber number.—Journal.
84The concert given by Mr. C. L. Staats in Mason & Hamlin Hall on Tuesday evening was eminently a concert for musicians, and it was thus attended and appreciated. Clarinet music and the higher artistic interests of the instrument were ably exemplified here.
86At the head of the program and tastefully thus assigned was Beethoven's trio for clarinet, violoncello and piano. The playing of Messrs. Foote, Staats and Giese was at its best with this trio. Despite the refinedly artistic and delightful playing of Messrs. Foote and Staats, the Brahms' trio could not, as the result of a single hearing, be adequately appreciated. The Weber adagio and rondo from duo concertant was an entertaining feature of the concert that easily pleased, Mr. Staats performing the clarinet part with a virtuosic mastery and refinement that was wholly admirable.—Home Journal.
88Mascagni.—Mascagni's Iris is now completed, and it was performed in the house of the Marquis Guerrieri-Gonzago. The tenor Runcio, whom Mascagni claims to have discovered, will take the leading male rôle.
90To See Sound.—Dr. Max Schliher, of Berlin, has shown that by the use of the Roentgen rays one can see how sounds are produced by the voice in singing. The process will be very useful to all teachers.
92La Bohème.—Three theatres in Venice lately rejoiced in La Bohème. The Fenice gave Leoncavallo's, the Rossini Puccini's, and the Goldoni presented an Italian translation of the original piece by Murger and Barrière.
94Klindworth.—Some time ago Karl Klindworth published sixteen etudes of Bertini, revised and arranged for modern piano technic. He will soon publish fifty-two etudes from Clementi's Gradus ad Parnassum, revised for the use of teachers.
96La or Si.—In the overture to Rossini's William Tell there is in cantabile for the 'cello a ranz des vaches, which is afterward repeated by the cor Ingles. In France in the third passage of the second part a Si is played, while in England La is played. Jules Ruière has consulted many distinguished authorities and they agree that the note in question is Si, not La. Rossini made the same statement to Giulio Ricordi.
98SYRACUSE.
100SYRACUSE, N. Y., June 24, 1897.
102THE CREATION received a successful presentation here June 1 by the choral society bearing the name of and ably directed by Grove L. Marsh. The soloists were Mrs. John E. Harwood, soprano; Bertrand Bedell, baritone, and Mr. Fleming, of Geneva, tenor. An orchestra of local musicians, assisted by Miss Lillian Littlehales, of New York, 'cellist, gave valuable support to the soloists and chorus.
104At the second concert given by the graduates of Crouse College, May 27, Louis Baker Phillips, a Syracusean, distinguished himself by a highly creditable performance of the first movement of Rubinstein's D minor concerto. Mr. Phillips is technically proficient, has magnetism and bids fair to achieve extraordinary success as a soloist.
106Cupid has been extremely busy with some of our professional musicians the past year. In Auburn, June 9, Prof. Wm. Baerwald, of Crouse College, married his pupil, Miss E. Baker, of that city, and two days later, in Syracuse, Prof. Adolph Frey, of the same institution, married his favorite pupil, Miss Maude Van Tassel, also of Syracuse.
108At the First Presbyterian Church, June 22, the organist, Miss Blanche B. Atherly, became the bride of Richard G. Calthrop, solo baritone of the same church.
110All these presumably happy individuals have the best wishes of HENRY W. DAVIS.
112OUR INFORMATION BUREAU.
114MAIL FOR ARTISTS.
116Mail addressed to the following has been received at THE MUSICAL COURIER Bureau of Information:
117Jean de Reszke.
118"Impresario."
119Merchon & Co.
120Mme. Marie Van Duyn.
121Emil Ober-Heffer.
122Professor R. Herman. (Marked important. Sent by Dr. Sylvester, Berlin.)
123Arthur Clark.
124Blanche Wallace.
125Lillian Blauvelt.
126Miss Lizzie Annerdale.
127Mrs. Clara L. Kellogg-Strakosch.
128J. Philip Sousa.
129Mme. G. Valda.
130Mrs. Lawrence.
131Madame Diana.
132Madame Martini-Johnson.
133Mrs. Franz Wilczek.
134Mme. Bohrer Chatterton.
135Mr. Harry Pepper.
136Miss Hanley.
137Miss Herman
138Wm. Pecher.
139Miss Claude Albright.
140E. Bushnell.
141E. B. Phillipo.
142Mrs. Geo. Lehman.
143Mr. D. Heagman.
144Mr. W. H. Hall.
145Mr. H. B. Warner.
146Herr Lorenz.
147Fracklyn Wallace.
149MAIL FORWARDED.
151Letters have been forwarded to the following since previous issue:
152Emile Ober-Heffer.
153Prof. R. Herman.
154John P. Sousa.
155Mons. R. Sapi.
156Mr. Ross Jungnickel.
157Mrs. Frida Ashforth.
158Mrs. Florence B. Joyce.
159Miss Ellen Russell.
160S. G. Pratt.
162Bulow.—A tablet has been placed on the house in the Alsterglacis, Hamburg, where Hans von Bülow lived from 1887 to 1894.
164Bayreuth.—The rehearsals for the Bayreuth Festspielen began under Mottl's direction on the 15th of last month.
166All About a Wreath.—The Mainz City Theatre lately applied for admission to membership in the German Bürenverein, but its demand was refused. The reason was that the Mainz manager had provided that a laurel wreath be presented to d'Andrade over the footlights, and had taken the wreath out of the singer's carriage. In Germany they think such things injure the character of the house.
168SEE NEXT SATURDAY'S ISSUE OF THE
169MUSICAL COURIER
170TRADE EXTRA.
171IT WILL BE A MODEL TRADE PAPER.
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