Scan 37
Musical Courier 1897-11-24: Vol 35 Iss 925, 1897
80 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1The Becker Lecture-Musicales.
2The third lecture-musical of Gustav L. Becker's third season was given last Saturday morning from 10 to 12 at 70 West Ninety-fifth street, on the subject "The Classic and Romantic Elements in Music." In point of clearness and instructiveness the lecture was the best that Mrs. Becker has given this season. Seven of Mr. Becker's pupils assisted him in giving a program of ten numbers, from Ph. E. Bach, J. S. Bach, Beethoven, Schumann, Fr. Boelsche, Schytte, Godard and Henselt. The assisting artist was Miss Martha Hofacker, soprano, who sang with excellent effect the cavatina "Porgi amor" from "Figaro," and Schumann's "Widmung."
4At the close of the program, and before the usual social session, the prize offered in the spring by Mr. Becker for the best scrap-book on musical subjects was awarded to Miss Carrie Y. Nichols, of Paterson, N. J. The prize-winning volume was of heroic size, being a folio of 324 pages, that for range of contents and convenience of arrangement deserves to be taken as a model. The prize was a copy of H. E. Krehbiel's "How to Listen to Music."
6Circulars and Pamphlets.
7The artistic cuts, half-tones and reproductions of the photographs and portraits published in this paper are known to the whole musical profession. These are printed, together with this paper, by the Blumenberg Press, 214 William street, which is prepared to print the most artistic kind of circulars and pamphlets and catalogues for musicians or others.
9The Blumenberg Press has a large line of samples and specimens of its work, which can be submitted as evidence of the artistic finish of its productions, besides offering every week The Musical Courier as the best evidence of rapid newspaper production, typographically as perfect and beautiful as anything in its line in the world—in fact, superior to the great majority of weekly or magazine publications. All questions on printing cheerfully answered in detail.
11Flavie Van den Hende.—The appended notices are evidence of the artistic standing of the 'cello virtuoso Flavie Van den Hende:
12A concert, very enjoyable throughout, was given last night. Prominent among the several numbers were the solos of Flavie Van den Hende, the famous 'cellist, of New York. She is an artist in every sense of the word, and her work was very enjoyable. Her 'cello is a genuine Magini. Miss Van den Hende should certainly be heard again.—Troy Daily Press.
14A famous violoncellist, Miss Flavie Van den Hende, of New York played two numbers—"The Butterfly," by Popper, and the "Romance," by Mendelssohn—and several encore pieces. Miss Van den Hende has a delightful stage presence. Her playing was charming, and when she first drew her bow over her favorite instrument the audience realized that they had before them an artist of rare attainments. Her reading of "The Butterfly" was grand, and one could readily see, in imagination, a swarm of bright winged butterflies, flitting hither and thither from flower to flower, gay and bright and beautiful; then the music becomes sad, and one imagines those bright winged things dying. Miss Van den Hende's conception was fine, and there was a depth of feeling in each of her pieces which characterizes the true artist.—Albany Argus.
16Mme. LAURA DANZIGER-ROSEBAULT.
17CONCERT PIANIST.
18"Her playing a revelation."—Berlin Tageblatt.
19"Audience enthusiasm."—New York Herald.
20"Foreign approval indeed."—New York Sun.
21"Great musical feeling."—New York Staats-Zeitung.
22Address STEINWAY HALL, or, San Remo Hotel, New York.
24CHEVALIER MAURICE DE VRIES,
25First Baritone Metropolitan Opera House, New York; La Scala, Milan; Covent Garden, London, and principal European theatres.
26Will receive a limited number of selected pupils.
27STUDIO: 302 Carnegie Hall, NEW YORK.
28Reception days: Tuesdays and Fridays. Voice Culture. Opera and Oratorio in English, Italian, French and German.
30GENEVIEVE CLARK WILSON,
31SOPRANO.
32Address FRED. J. WESSELS, one of two readings
33Auditorium Tower, CHICAGO, ILL. one of two readings
34Address FRED. J. WESSELS, Auditorium Tower, CHICAGO, ILL. one of two readings
36Thomas and Fellows CHOIR AGENCY
38Giacomo Quintano.
39The young Italian violinist, Giacomo Quintano, who signalized his advent to this country by a series of his torical recitals in Chickering Hall, proved at the time to all who heard him that he is an artist in the truest and best sense of the term. The range of his scholarship, his technical equipment, the beauty, breadth and richness of his tone, together with the finish, delicacy and poetic charm of his interpretation, proclaimed him more than a mere virtuoso.
41Quintano was educated at the Royal Conservatory of Naples, and while yet a pupil he distinguished himself by the mastery of his musical conceptions, and by the atmosphere of sympathy and passion which surrounded all his performances.
43His repertory is extensive and comprises all the masterpieces of the violin world. He is also a composer of merit. From among a large number of the most flattering notices the following are quoted:
45Quintano's rendition of Hauser's "Rhapsodie Hongroise" was given with a finish that stamped him a master of the violin. He was heartily applauded at the end, and was forced to respond to an encore.—The Standard-Union, Brooklyn.
47Quintano managed well the technical difficulties of Hauser's "Rhapsodie Hongroise." His other double number consisted of a Berceuse by Loret, and in marked contrast the popular Wieniawski Mazurka, for both of which he was encored and responded.—The Citizen, Brooklyn.
49Giacomo Quintano, an Italian violinist, who has been seldom heard here as yet, displayed a good deal of virtuosity in Hauser's "Rhapsodie Hongroise." Later he showed a more sympathetic quality and much taste in a Berceuse, by Loret, and played a difficult Mazurka, by Wieniawski.—Daily Eagle, Brooklyn.
51Signor Quintano will rank high among the violinists of the day. His execution is very correct and a good tone is produced, while in all the details his work shows careful study and an enthusiastic love of his instrument. He was encored after his first number, viz., Vieuxtemps' Ballad and Polonaise.—Toronto World.
53Quintano, the violinist, is a great artist. For one encore he played a pretty canzonetta, excelling in difficult chording.—Toronto World.
55Signor G. Quintano was the solo violinist, and gave as his first number Vieuxtemps' immensely difficult Ballad and Polonaise. Signor Quintano has a well developed left hand technic and a tone sweet and clear. Signor Quintano was well received, and was recalled and encored.—Toronto Mail and Express.
57Of the several numbers by the violinist, Signor Quintano, the most popular was undoubtedly the Berceuse by Loret. It was given with exquisite feeling.—Montreal Gazette.
59Signor G. Quintano, solo violinist, was exceptionally good, and received round after round of applause. He had a very sweet, mellow toned instrument, and gave each group of notes an expression so precise and with such artistic thought as is only attained by a musician whose whole heart is in his work.—Hamilton (Ont.) Times.
61Signor Giacomo Quintano undoubtedly won the appreciation and sympathy of the audience. In his hands the violin certainly does everything but speak. He is an artist of the first rank and worked up his hearers to the highest pitch of enthusiasm, each of his items being loudly applauded and encored. His performance of Loret's Berceuse was exquisite and so was the Ballad and Polonaise by Vieuxtemps, and the beautifully shaded selection given as an encore.—Quebec Morning Chronicle.
63Le virtuose Giacomo Quintano nous rappelle tous les grands violonistes que nous avons entendus à Québec. Il a joué en rappel, et très bien joué, un caprice de Paganini, d'une très grande difficulté.—Le Soleil, Quebec.
65Signor G. Quintano, the violinist of the occasion, possesses great breadth of style and wonderful execution.—Toronto Globe.
67German Conservatory 411th Concert.—This occurred in Chickering Hall last Wednesday evening, when a houseful of interested listeners attended and enjoyed one of the best concerts so far given by the conservatory, of which L. G. Parma is the director.
69Powers Pupils Sing for Charity.—At the fashionable charity entertainment given at the Knapp Mansion, Brooklyn, on Wednesday evening last, to provide comforts for poor children at Christmastide, a program of music, under the direction of Francis Fischer Powers and interpreted by three of his artist-pupils, Mrs. Mabel Wilzin Hendrickson, Franklyn Van Rensselaer Bunn and Herbert Miller, was given to the delight of all present. Mrs. Hendrickson sang in a most charming manner several very difficult songs, and Messrs. Bunn and Miller made their teacher very happy by "carrying everything before them," so to speak. Each received a distinct ovation and was recalled again and again.
71MAX KARGER,
72Violin Virtuoso.
73Under the Sole Management of L. M. RUBEN, 489 Fifth Ave., New York.
74Antoinette Trebelli, Prima Donna Soprano.
75NOVEMBER until MAY, 1898……
76[By special arrangement with Messrs. Vert & Harriss.]
77Concerts, Oratorios, Musical Festivals, Etc.
78Sole Representative for the United States:
79The Henry Wolfsohn Musical Bureau, 131 East 17th Street, NEW YORK.
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