Scan 32
Musical Courier 1897-11-24: Vol 35 Iss 925, 1897
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1Royer's Debut a Success.
3CLARENCE DE VAUX ROYER, violinist, formerly of Paris and a pupil of Ysaye, Halir and Marsick, has been heard several times in New York in private musicales and has always met with success.
5His public début was made in Chickering Hall on Tuesday evening, November 16. He was warmly received—in fact, his reception approached an ovation—and he was recalled a number of times. His playing of the "Légende" and Mazurka by Wieniawski was especially pleasing. His tone is full and mellow, and his interpretations are replete with fire, delicacy, and feeling. For encore, he gave the Bach-Gounod "Ave Maria."
7Chamber Music at the Century Club.
9THE following is the program of a concert given at the Century Club, of Philadelphia, on Thursday afternoon, November 18:
10Sonata, A minor (Kreutzer)……………………………Beethoven
11Maurits Leefson and Jan Koert.
12Songs—
13A Love Lullaby………………………………………Goring Thomas
14My Love is Like a Red Rose………………………….Henschel
15Where the Bee Sucks…………………………………Sullivan
16Marguerite Hall.
17Violoncello—
18Andante Religioso………………………………………Thomé
19Tarantelle……………………………………………..Popper
20Hans Kronold.
21Address, Civic Architecture……………………………Edgar V. Seeler
22Songs—
23Serenade Printaniere…………………………………Holmés
24Bolero……………………………………………………Tosti
25Marguerite Hall.
26Trio, D minor (piano, violin, violoncello)………….Mendelssohn
27Maurits Leefson, Jan Koert and Hans Kronold.
29The ensemble playing of the trio was highly finished and every number was most enthusiastically received.
31Jan Koert, concertmaster of the New York Symphony Orchestra, played the "Kreutzer Sonata" with his customary masterly technic. Maurits Leefson, pianist, is a virtuoso of high rank. His musicianly phrasing and technic are both excellent. Hans Kronold was received with enthusiasm and scored a decided success.
33A trio of such uniform excellence would be a welcome addition to the chamber music organizations of New York.
35David Mannes to Wed Clara Damrosch.—Report had it some time ago that these young people were betrothed, and THE MUSICAL COURIER is now able to officially announce that fact.
37Margaret Gaylord's Encomiums.—Miss Gaylord was the soloist at a Saengerbund concert in Buffalo recently, when the following appeared in the Enquirer:
39Miss Gaylord is one of the pleasantest of the local sopranos, both to look at and to listen to. Her self-possession is complete and her voice is clear and true and sweet. She sang her several selections with excellent taste and finish, and merited all the applause she received.
41The soloist of the evening was Fräulein Gaylord, a soprano, who commands a strong, well-schooled voice of great compass. She introduced herself by means of Massenet's aria most favorably, and aroused a storm of applause, which would not cease until she favored the audience with an encore. Later she sang excellently two Schubert songs, in which the whole beauty and strength of her agreeable voice were apparent.—Die Sonntags Post.
43Although she came here a stranger and unknown, she returns home with the praises of all who heard her. Miss Gaylord has a pleasing voice, well trained, pleasing personality and confidence in herself without seeming so Va great desideratum in a singer. She excels as a Lieder singer, her interpretation being not only correct, but there is ever present a refinement and charm, "an art that conceals art," which is altogether satisfying.—Des Moines, Ia., Mail and Times.
45Charles W. Clark.
47BRITISH OFFICE THE MUSICAL COURIER,
4821 PRINCES STREET, CAVENISH SQUARE, LONDON.
50CHARLES W. CLARK, who sails for America the last of this month, has met with most remarkable success during the past season. He came to England to sing at the London Symphony Concerts. In a production of Bach's St. Matthew Passion Music conducted by Mr. Henschel, which performance was conceded by the press to be the finest ever given in London, Mr. Clark received well merited praise from both the critics and the public for his intelligent rendering of the part of Christ.
52After his first performance other engagements immediately followed, and each appearance added to the impression that Mr. Clark has not only a beautiful voice, but is as well a masterly singer. He sang the part of Wotan, with Madame Duma as Brünnhilde, in the duet in the final scene of "Die Walküre," with very marked success. He also appeared in "Tannhäuser," "Lohengrin," Max Bruch's "Frithjof," Dalcroze's "La Poeme Alpestre."
54It is said of him by one of the oldest managers in London that not in his recollection has a male singer made such progress. Mr. Clark's tour in America, under the direction of Henry Wolfsohn, is limited to the months of December, January and February, on account of engagements which bring him back early in March and continue during the London season.
56Mr. Clark is also a social favorite and has many friends among influential London people. He was specially invited to sing at the reception given to Herr Leschetizky by Prof. Michael Hambourg, during the stay of the distinguished Viennese pedagogue in London. Henschel's "Morning Hymn" was his regular contribution to this short program, but later in the evening, at the earnest solicitation of Herr Leschetizky, he sang "In the Balmy Night," by Tschaikowsky, and songs by Clarence Lucas and MacDowell. Mr. Clark has done not a little in making American songs known to London. Having the prestige gained by social influence, he has introduced some of the best selections of American composers in a manner which has been highly favorable to their reception here.
58Mr. Clark was selected with Mme. Engle to illustrate William Armstrong's lecture on "American Song Writers," given here last June. Mr. Clark, with his voice full of beautiful quality, threw intense pathos and earnestness into the work, and gave the selections—in themselves gems of melody—in a manner calculated to instill into his hearers an entirely new and exalted appreciation of the musical resources of the New World. The composers drawn upon were Arthur Foote, Henry Schonfeld, E. A. MacDowell and G. W. Chadwick, who had their cause championed by an artist who did full justice to the task.
60Mr. Clark is a native of Ohio. He was principally educated in Chicago, receiving all of his musical training there. He acknowledges his indebtedness to Frederick Root for starting him on the right path. His public appearances include successful engagements with the Chicago Orchestra, the Apollo, Mendelssohn and Germania Clubs, the St. Louis Symphony, and many other leading institutions in various cities of the United States. His repertory embraces a large number of songs, and nearly all the works sung upon the concert platform.
62Below will be found some press notices concerning his appearances in the Bach Passion, and on various concert appearances, both in London and the provinces, from which it will be seen that his singing has been highly approved by the critics:
64The principal solo part was sung by Mr. Charles Clark with accuracy and intelligence.—Times.
66Mr. Clark was a very powerful interpreter of that deeply moving music.—Pall Mall Gazette.
68Mr. Charles Clark, using a good voice well, delivered the music allotted to the Saviour with all appropriate fervor and appreciation of its significance.—Westminster Gazette.
70His declamation was intelligent and correct; his fine voice told with good effect.—Globe.
72The words of Christ were clearly delivered by Mr. Charles Clark.—Morning Post.
74The utterances of the Saviour were given with earnestness by Mr. Charles Clark.—Daily Graphic.
76He gave every vocal phrase its fullest significance.—The Musical Standard.
78Mr. Clark's beautiful voice interpreted the words of Christ with force and impressiveness.—LONDON MUSICAL COURIER.
80HENSCHEL SYMPHONY CONCERTS.
82Mr. Clark used a telling voice with success, and the beautiful "Farewell" was given with dignity and power.—Times.
84Charles W. Clark sang the part of Wotan. * * * His voice is musical in quality, and was used in a manner that indicated good training and thorough sympathy with Wagner.—Morning Post.
86Charles W. Clark, who made his first appearance in England, showed that he possessed a voice of pleasant quality, well trained in the music of Wotan.—Standard.
88Charles W. Clark, a new American baritone, made a favorable impression by his vigorous and intelligent delivery of the music of Wotan.—Daily Graphic.
90A resonant, sympathetic voice and excellent method, coupled with distinction and freedom of style.—Sunday Times.
92Mr. Clark is the possessor of a powerful voice of great range. His conception of the part was intelligent, his enunciation distinct and the volume and telling quality of his voice made it possible for him to be heard above the playing of the full orchestra.—LONDON MUSICAL COURIER.
94The possessor of a powerful voice of good quality.—Musical News.
96Sympathetic and masterly singer. * * * There is not the slightest doubt of his having full knowledge of the color and effect of the music.—Musical Standard.
98"Mme. Beumer confirmed the impression of her artistic powers gained at her previous appearance; namely, that she is a brilliant and accomplished coloratura singer."—New York Tribune, Nov. 10, 1897.
100The Great Belgian Soprano
101DYNA BEUMER
102EXCLUSIVE DIRECTION OF
103The HERLOF CONCERT BUREAU, 11 East 22d Street, NEW YORK.
105"Mme. Beumer is undoubtedly a well schooled and experienced singer, and she was heartily applauded and recalled."—New York Herald, Nov. 10, 1897.
107GUSTAV HINRICHS,
108With the National Conservatory. Formerly Conductor of National Opera Company. Director of Hinrichs Opera Company.
109VOCAL INSTRUCTION.
110Prepares and finishes for CONCERT and OPERA.
111130 West 91st Street, New York.
113Miss JOSIE HARTMAN
114PIANIST.
115DIRECTION OF
116The HERLOF CONCERT BUREAU,
11711 East 22d Street,
118New York.
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