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Musical Courier 1897-07-14: Vol 35 Iss 906, 1897
115 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 7. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1woman and charming lady shines to-day in the light she has herself created, and is rich in the treasures of affection she has garnered by the way. She keeps the friends she makes, and the people she raises up about her rise up in turn and call her blessed.
3She does not do this either by flattery and fawning. She does it by loyalty, tact and decency of action. She is just, severe if necessary, discriminating, and, above all, "will have no nonsense!" Another thing she will not have, and for which she deserves "special mention," is backbiting or evil speaking among her protégés. She teaches them rather to help and encourage one another than to pull one another down. When there is discrimination to be made she makes it herself. If one proves unworthy of her trust, she alone must treat the case, and what she thinks about it goes up above her devoted head instead of out into the ears of gossiping and irresponsible beings.
5For this one big and beautiful trait then let musical beneficence place a special palm at the feet of this noble and active American musician, for surely such a promoter of beautiful harmony deserves the name—musician.
7There is not a salon in Paris where artists, home and foreign, find it more of a privilege to appear than in that of Mrs Pell. The reason for this is evident. The list of the musical stars who have played and sung and recited here would embrace all that is good of all nations, and the ties of sweetest friendship bind more than one of the greatest known.
9The program of this week was specially interesting from many points of view. Among the protégés was one of over eighteen years of unclouded acquaintance and devotion, Mr. Th. Bjorksten, the well-known tenor and music teacher of New York. Were Mr. and Mrs. Bjorksten to relate the events of their career, without doubt the tenderest accents would touch on the part relating to their experience with Mrs Pell, who has been to them everything the musical mother and friend could mean.
11Mr. Bjorksten had warmest applause, and made a big and lasting impression in singing the Schubert Serenade, Rosées, by M. Dubois, and Dormi pure, by Scuderi. The pieces were happily chosen, and the singer was in excellent form, although pleading the fatigue of a recent voyage. He returns at once to America, where his engagements commence at Bar Harbor. The private school of M. and Mme. Bjorksten, who, by the way, are representative pupils of Delle Sedie, is too well esteemed in America to need mention here. Christine Nilsson, Fauré, Widor are other friends of M. Bjorksten, all in Paris.
13Another favorite of the occasion was Mr. T. Adamowski, the Boston violinist, who gave a successful concert recently in the Salle Erard. His reception was brilliant, enthusiastic and in every way a distinct success. He played a melodie by Paderewski, a mazurka by Zarzyci, and Gypsy dance, by Sarasate. He played with zest and go, skill and no little feeling. He looked very handsome, and was a much sought after personage.
15Mrs. Pell's sympathetic heart went out likewise to the remarkable little prodigy of six years, Bruno Steindel, and he made his début in the Paris grand monde in her parlors.
17Like everybody else, the hostess was astonished to find that she was entertaining a veritable musician, not an infant prodigy. The élite present were struck dumb by the seriousness of the little Mozart. His nocturne and fantaisie by Chopin, Schubert impromptu, Petits Oiseaux, Henselt, Mendelssohn's Songs Without Words, were played with the admirable correctness and remarkable expression which made his Salle Pleyel concerts town talk. Aside from his music he is one of the most interesting and lovable little boys that live, and the farthest removed from a—curiosity.
19Another interesting clou of this musicale of Mrs. Pell was the appearance of a Miss Adele Tracey, of New York, a new protégée in whom she is deeply interested, materially and artistically, and who is studying here. The young lady, who is bright, pretty, and has plenty of American aplomb, has also a clear, sweet voice of vibration and sympathy through all the registers, and is a high lyric. She attracted much attention and won applause in Se Saran Rose, by Ardit, Nevin's Spring Morning, and the grand aira from Traviata. The Musical Courier will be glad to follow the young lady's career, and if serious, will be happy to record the fact. one of two readings
20Another interesting clou of this musicale of Mrs. Pell was the appearance of a Miss Adele Tracey, of New York, a new protégée in whom she is deeply interested, materially and artistically, and who is studying here. The young lady, who is bright, pretty, and has plenty of American aplomb, has also a clear, sweet voice of vibration and sympathy through all the registers, and is a high lyric. She attracted much attention and won applause in Se Saran Rose, by Ardtli, Nevin's Spring Morning, and the grand aira from Traviata. THE MUSICAL COURIER will be glad to follow the young lady's career, and if serious, will be happy to record the fact. one of two readings
22M. Coquelin Cadet and Madame Brandes represented the tragedy and comedy of life in appropriate poems, and a Mr. Barracough sang admirably Ghazal, by Wekerlin, a song by White and Les Rameaux. The élite of the city were in the audience, and stange to say, the ladies refrained from whispering most of the time; part of which glorious and extraordinary result was due to a command expressed on the program, and part to an authoritative "Silence!" coming from the lady of the house when some thoughtless people forgot that respect for your neighbor is the first law of good breeding.
24***
26French expression has been exhausted in praising Duse. One of the most masterly résumés of the situation was that of M. Gustave Larronmend in the Figaro. It was a gem of verbal expression, aside from its psychological and philosophic treatments. In general estimate she is younger, more nervous, less authoritative, less self-mastered than was expected. Instead of being a great artist painting a role, she is a hysterical, undisciplined creature as a role. That is to say, that is her way of painting it—like Clara Morris.
28She displeases much by wriggling incessantly, by one continuous, endless and unending movement, which is fatiguing. There is an absolute monotony in her variety. The spoiled child motions take the place of plastic poses, and in point of repose reliefs she is less impressive than Sara. Then, she is a frightfully thin creature, long and empty, with flat chest and bony neck and knees frightfully sharp under china silk. Sharp knees in a woman! No eloquence can cover that! But she has the wide mouth, the eye of fire and the supple muscle abandon of the sun-fed people, and her colorature voice has fever in it, even when she says "Good day." She is the artist; it is a matter of taste whether one likes her methods more or less than those of another. That is all.
30It is such a relief to see a woman play out of her imagination instead of out of her throat. Oh, these stupid, stupid singers! What could they not do with us if they would let go of their throats and train their dream muscles and their bodies! And to think that Calvé is the only one!
32And what a relief to hear a story without music! And what a nuisance an opera has become, with its rasping fight between thought and noise! What an illogical, artificial, irrational means of entertainment!
34People did not talk while Duse played, and they do not talk while Bernhardt plays. They listen. They talk at the opera because there is no sense to anything, and they talk in the concerts through the habit formed at the opera, where music disturbs them. Then ill-advised people continually increase the opera orchestras with the idea of controlling the attention, and this is like an inefficient school teacher, who shrieks louder and louder to "control" the general disorder, and so the whole thing becomes one howling row.
36***
38The Musical Courier is called upon to record with real pain this week the death of a sincere friend, a noble woman, a sweet wife and a music lover, Mrs. T. W. Evans, wife of the well-known doctor-philanthropist, Mrs. Evans, who had been an invalid most of her life, was nevertheless active in all good works, and she will be deeply missed from many circles.
40***
42MM. Noté, Dupeyron and Renaud, three lights of the Paris Opéra, are having remarkable success in Covent Garden, London. One of the rising lights of the younger members of the Paris Academy of Music is M. Sizes, whose unusual acting and superb voice are attracting much attention. This artist, it will be remembered, is pupil of M. Giraudet, the Delsarte apostle at Paris, teacher also of M. Whitehill, the young American whose vocal success was so pronounced at the recent Eddy Trocadéro concert.
44Another American who has since had a success in this classic palace is Mr. Gustin Wright, pupil in organ of Mr. Guilman. He played on the grand organ there yesterday the toccata and fugue of Bach and Guilman's Elevation with such success that he has been invited to play there again next year at the concerts. He returns to do so after a series of organ recitals in America which commence next October.
46When Mr. Guilman goes next to America it must be remembered for him by our people the active, energetic and generous part he takes in bringing to European notice talented Americans in Paris. Vive Guilman! one of the greatest of organists and best of men!
48Mlle. Mitford-Paoli, one of the most talented, serious and appreciative of the younger set in the Marchesi school, leaves Paris this week to pass some months in Switzerland. If half that Madame Marchesi and other artists predict for this young girl come true, she will be a great and famous person one of these days. Success to her!
50Mr. Hermann Ebeling, pianist and organist, from Columbus, Ohio, and his wife are in Paris. An able organist from near Boston, Mr. Albert S. Metcalf, is also here, visiting organists, talking with musicians and looking up new music. Mr. William H. Arnold is also back on a similar errand likewise to gather new light and strength for his musical life from his musical dieu, Delle Sedie.
52Miss Bell, another marked pupil of Marchesi, the possessor of a beautiful voice, rare intelligence and lovely person, leaves for London with Miss Moulton, a comrade, who is quite ready for a professional career. Miss Bell goes to Germany to study Lieder after taking English diction in London, and returns later to finish French and Italian roles in Paris. Miss Moulton goes home, where you will doubtless hear her for yourselves.
54Mrs. Aron (née Dick) has been engaged to sing with the Damrosch company next season.
56Banda Rossa.—When the Banda Rossa concludes its engagement of ten concerts at the Metropolitan Opera House in October it will visit Brooklyn, Philadelphia, Baltimore, Washington and Boston, where concerts will be given under equally brilliant auspices.
58General Manager Henry Rosenberg, who is arranging the American tour for this organization, states that he is in receipt of more offers for concert engagements than the Banda Rossa could possibly fill in two years. Nearly every city in the United States and Canada has made application for one or more concerts accompanied by the most flattering inducements.
60This favorable interest indicates that managers and the public in general anticipate an unusual musical treat through the concerts of the Banda Rossa, which is acknowledged in Europe to be a most remarkable concert band.
62FINE STUDIO FOR VOCAL TEACHER.—Henry Taylor Staats will let his large and elegantly furnished studio for two days in the week to a vocal teacher. The location, 487 Fifth avenue, near Forty-second street, is unsurpassed and the studio contains a fine Steinway concert grand piano.
64SPECIAL TO PIANO STUDENTS AND TEACHERS.—Mr. Nathan Gans, pianist and teacher, of New York, will conduct a Summer School for the study of the Virgil Method at Sutro Hall, Baltimore, Md., commencing May 24 and continuing throughout the summer. Special course for teachers begins July 6. Private and class instruction. For further information address Sutro Hall, Baltimore, where Mr. Gans may be seen daily from 9 to 12 a. m. and 2 to 5 p. m. by all interested in the latest developments in piano study and teaching. Appointments cheerfully granted.
66CLARENCE EDDY.
67ORGAN CONCERTS.
68BERNHARD ULRICH, Manager, CHICAGO, ILL.
69240 ROSCOE STREET.
71JOSEPHINE S.
72JACOBY,
73CONTRALTO.
74Concert and Oratorio.
75ADDRESS:
76MUSICAL AGENTS,
77OR
78154 West 84th Street,
79NEW YORK.
81PURDON ROBINSON,
82CONCERT BARITONE.
83ORATORIO, CONCERT, MUSICALES
84AND RECITALS.
85Address all communications until October 1 to Richfield Springs, N. Y.
87Alberto JONÁS,
88THE RENOWNED
89SPANISH
90CONCERT PIANIST
91ADDRESS:
92STEINWAY HALL,
93New York, or
94UNIVERSITY OF MICHIGAN,
95Ann Arbor, Mich.
97BELLE COLE,
98The Great American Contralto.
99Ballad Concerts.
100March, April and May, 1898.
101FOR TERMS, DATES, &C., ADDRESS
102Henry Wolfsohn's Musical Bureau, 131 East 12th Street,
103NEW YORK.
105MME.
106D'ARONA,
107PRIMA DONNA.
108Voices developed from foundation to stage.
109Analytical and synthetic special courses (with diploma) for teachers and professionals.
110Grand Opera in German, Italian, French and English.
111Oratorio, Concert, Church.
112Etc.
113124 East 44th Street,
114NEW YORK.
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