Scan 35
Musical Courier 1897-11-03: Vol 35 Iss 922, 1897
62 lines. Read by computer on 23 September 2026. Printed page 36. See the scan on archive.org.
1Frances Miller and Viola Pratt Gillett.
2THESE two representative American singers are having their usual success wherever and whenever they appear. It is no wonder, for beautiful voices and handsome personal appearance unite in them. Here are some recent notices:
4MISS MILLER.
5The soprano Miss Frances Miller received almost an ovation at the close of her numbers. Her voice is of a rich, clear quality, and a true soprano. Her rendering of "I know my Redeemer liveth" was to my mind the best I ever heard, speaking from an artistic standpoint. Her notes were so pure and true in their quality. Her stage bearing, too, is very fine.—Daily Times, Middletown, N. Y.
7Her solos were rendered in an extremely pleasurable manner, her opening number, "Now to Vesta," from Gounod's "Polyeucte," gave full scope in which to show the powers of her voice, which is remarkably clear and well rounded. Newcomb's "Slumber Song" is a dainty little bit, which Miss Miller rendered in a manner that brought forth an encore, to which she graciously responded.—Press-Record, Tarrytown, N. Y.
9MRS. GILLETT.
10Her voice is of marvelous power and richness.—Dramatic News.
12She won the audience completely by her artistic rendering of the fine airs from Massenet's "Le Cid."—Springfield Republican.
14She has a clear, sweet voice of great range and depth. She also possesses a charming grace of manner and expression.—Salt Lake Tribune.
16She gains new laurels at each appearance before the public. The 9,000 listeners at the Tabernacle last night gave her an enthusiastic reception.—Salt Lake Herald.
18Viola Pratt Gillett is marvelous. The richness of her tones, the perfect command of voice and her magnificent stage presence won for her the hearts of the audience.—Leadville Herald-Democrat.
20Xaver Scharwenka.
21UNANIMOUS testimony comes from San Francisco as to the marked appreciation of this brilliant pianist's concerts and recitals. His own compositions were received as they always are, with special approval. As may be seen from many newspaper criticisms, besides these reproduced, words of praise are bestowed for his breadth and nobility of style, for his musical honesty and his remarkable technical skill—words which are only a repetition of what New York has always said.
23His ideas in regard to interpretation are always sound and scholarly, yet there is no trace of pedantry; for Scharwenka has inspiration, as his compositions prove beyond a doubt.
25His playing is not sensational, and to the thoughtful musician this is one of the most satisfactory features of the performance. Scharwenka has throughout his career upheld the banner of true art and has never descended to the tricky methods of the pianistic charlatan. Last night his greatest effort was the Beethoven sonata, "Appassionata." Those who have heard Rubinstein in this wonderful sonata were reminded very strongly of the reading adopted by the great Russian, with whom this work of Beethoven's was a prime favorite. Scharwenka played the sonata very much as Rubinstein used to play it, only without the false notes always found in Rubinstein's playing.
27The lover of music for music's sake should enjoy Scharwenka's playing, for while it is conservative in some degree it is marked by catholic judgment and delightful finger facility. He is in every way capable of executing his own interpretations, and these interpretations are in many instances revelations in the present day, where personal characteristics of the virtuoso are often given too much license with music that we can hardly believe was intended to change its significance with the playing of every new artist.—San Francisco Call.
29His delicacy of touch is delicious. His technical skill is so complete as to be lost sight of in the eloquent and thoroughly satisfactory interpretation of the musical idea. He is singularly free from trick of appearance or manner. He plays seriously, musically, honestly, not as an exhibition of personal prowess, but with a complete self-abnegation in the interest of art. His readings appeal at once to the intelligent acceptance of his hearers as correct and tasteful. There seems a maturity about his musical development which entitles his judgment to special respect and his methods to imitation.—Examiner.
31Henri Joubert.
32THE photograph of Henri Joubert which appears with this story will bring back pleasant memories to many who remember his former residence in this city. During his stay here Mr. Joubert gained a host of friends through his musical ability and knowledge, and also through that courtesy which we have learned to regard as the natural inheritance of one who is French, either by birth or training. It is a valuable aid to success wherever it is found, and it is particularly serviceable in the positions which Mr. Joubert has occupied.
34While in Paris, where he has been for the past twelve years, Mr. Joubert was conspicuous as a concertmaster of the Grand Opéra Sunday concerts. Those who know the class of music performed at these concerts, and that they are a prominent feature of musical life in Paris, will readily understand that Mr. Joubert thus had opportunity to become familiar with the best French music and musicians and to add to his acquaintance with affairs and men. He was also conductor of the Normandie Orchestra at Bagnoles, and was associated at various times with many other musical organizations.
36For this work he was especially fitted by the fact that he is an able violinist, and has, therefore, a fund of practical as well as theoretical knowledge which serves him well in matters of musical taste and musical criticism. In New York, it will be remembered, Mr. Joubert was for a long time leader of the orchestra at Daly's Theatre, and under his leadership the orchestra became one of the best of among the theatrical orchestras of that period. Although he has lived in Paris so long, Mr. Joubert has not lost his interest in America or in American musical matters. He is a native of New Orleans, and still has a large circle of friends in this country.
38He has now placed his services at the disposal of the illustrious artists Ysaye and Pugno, as their private secretary and personal representative, and will be associated with them during their tours in America under the management of R. E. Johnston & Co. of this city.
40Tecla Vigna's Art Career.
41THE excellent musical work accomplished by Miss Vigna has made her name most notable in the annals of the West. Her reputation has also extended itself into many other parts of the country, through the pupils upon whom she has left the imprint of her own enthusiasm. The Musical Critic, of Chicago, justly says of her: "She has for many years been known as one of the foremost teachers, and enjoys a national reputation."
43The following interesting account of her career is from the Cincinnati Inquirer:
45Among the members of the musical profession in this city no one stands any higher by way of individual talent and splendid success in her work than Signorina Tecla Vigna. Quiet, conservative, unobtrusive, she has through her many years of musical activity established a name for herself which, by means of her pupils, has gone forth into many part of the musical world. If individuals are to be considered, it would be difficult to find anyone who has quite as much contributed to Cincinnati's art reputation in vocal culture as has Miss Vigna. She came to this city in 1882, an admirably educated Italian lady, with a broad and liberal training that was not confined to music. Mr. George Ward Nichols, at that time the president of the College of Music, was impressed with the versatility of her talent, and installed her as a prominent member of the college faculty. From the first her many musical gifts and her magnetic personality created a strong impression upon her students.
47Miss Vigna was born in Piedmont, coming of a musical family. At the Milan Conservatory she received two silver prizes—one for piano playing, which she studied under Sangalli, and the other for singing, which she perfected under Leon.
49She made her debut in Brescia the same season in which &…ichi made her first appearance in Italy. Miss Vigna's first important role was that of La Cleca in "La Gioconda" of Ponchielli. This role she had the distinguished honor of creating to the Florentine public under the directorship of Faccio, with the celebrated company from La Scala at Milan. She was re-engaged to sing "La Favorita" in Florence. With Madame Wild, at Trieste, she sang in the opera "Il Trovatore," this being her last Italian appearance, and in one important season in the city of Rome, with an American lady, Madame Urban. At the College of Music Miss Vigna's success was phenomenal. With the consent of President Nichols she organized a school of opera and presented in Dexter Hall, with gratifying results, "Cinderella" and others of the lighter operas. Miss Vigna's forte was the cultivation of dramatic expression, and in this direction pupils sought her training and influence from every direction.
51Her strong personal charms awakened the most enthusiastic devotion, both personal and musical, among her pupils. When the Euterpe Society was established at the College of Music—a female chorus of some fifty voices—it was composed almost entirely of her pupils.
53Miss Vigna severed her connection with the College of Music last year, and is at present connected with the Auditorium School of Music, of which Mr. Cnas. A. Graninger is director. In connection with her work she has established an operatic school.
55Breitkopf & Hartel.—At the close of the late Saxon exhibition a royal Saxon medal was awarded to Breitkopf & Härtel, of Leipsic.
57Turin.—German music flourishes in Turin, where the Royal Opera will give "Tristan und Isolde," Humperdinck's "Hänsel und Gretel" and Weber's "Der Freischütz." The latter work has not been given in Italy for many years.
59Rosa Olitzka.—The contralto Olitzka, who was a member of the Metropolitan Opera House Company here, is singing Carmen and Ortrude at Covent Garden, and sang at the third Richter concert in London on November 1 (Monday last); also at the second London Philharmonic, November 18.
61Naples.—The first work of the young composer Gian-tureo was produced lately at the Mercadante at Naples. The success was colossal, but perhaps not quite genuine. The composer of the new piece, named Rococo, is a son of the Italian Minister of Justice, and it is rumored that his father, who is a distinguished musician, aided in the composition.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.