Scan 41
Musical Courier 1897-11-24: Vol 35 Iss 925, 1897
76 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.
1CINCINNATI, November 18, 1897.
3THE first concert of the fourth season by the Cincinnati Symphony Orchestra, on Friday afternoon and Saturday night, in Music Hall, offered the following program:
5Symphony in C major, No. 2………………………………………Schumann one of two readings
6Symphony in C major, No. 2………………………………….Schumann one of two readings
7Scene and aria, Der Freischütz………………………………………Weber one of two readings
8Scene and aria, Der Freischütz………………………………….Weber one of two readings
9Symphonic poem, La Jeunesse d'Hercule……………………………Saint-Saëns one of two readings
10Symphonic poem, La Jeunesse d'Hercule…………………….Saint-Saëns one of two readings
11Aria, Tannhäuser…………………………………………………….Wagner one of two readings
12Aria, Tannhäuser…………………………………………………Wagner one of two readings
13Night of Spring………………………………………………………Van der Stucken one of two readings
14Night of Spring…………………………………………………Van der Stucken one of two readings
15Overture, Massaniello……………………………………………..Auber one of two readings
16Overture, Massaniello………………………………………….Auber one of two readings
18It was encouraging to note an increased attendance over that which prevailed at the afternoon concerts last season. This was probably owing in a great measure to the low, almost nominal price of admission offered to students of music, whether at colleges and conservatories or at private schools. Hundreds of music students availed themselves of this opportunity of placing themselves in touch with the educational advantages. As for the orchestra, its material is substantially the same as it was last year, the few changes that were made in the several divisions having rather contributed to its strengthening and improvement.
20From the outset this year there seems to be a better understanding among the forces of each other, and the result is more compactness and a more reliable ensemble. With its rhythmic clearness and well-poised contrasts, its musical texture and admirable precision, the orchestra is gradually acquiring finish and roundness. There are some rough edges in the general cast and framework, especially in the brass, but this is really a minor defect, and can be easily remedied in the course of a few rehearsals. What the orchestra seems to possess to a considerable degree is the spirit of enthusiasm. The members play together as if actuated by the spirit of the music which they are interpreting. There is no listlessness, no inattention on the part of any member. He is always on the alert, serious, capable and anxious to do his best. He grasps the musical idea and gives it expression. The present sum total of result could hardly have been expected so soon, and it is to be emphatically accredited to the energy, tact and unremitting diligence of the conductor, Mr. Frank Van der Stucken.
22He holds his forces under admirable control. More than that, he possesses the faculty of inspiring his men with confidence and enthusiasm. The conception of the Schumann symphony was an evidence of a faithful, conscientious study of the original. Its moods, striking in their intensity and gloom, their resignation of spirit and elevated religious love and thought, were reproduced to the life.
24If the first movement lacked somewhat in finish and in the contrasts of light and shade, the following scherzo was the more beautiful by reason of its clearness of purpose and fidelity of design. The characteristic restlessness of the music made itself felt. In the peaceful and religious melody of the adagio the quality of the woodwind asserted itself. The crescendos were good and there were some fine touches of shading. The last movement was played with verve, compactness and energy. The symphonic poem of Saint-Saëns was given a masterful interpretation.
26In the modern range of composition it would be difficult to find a better and more thorough interpreter than Mr. Van der Stucken. He seems to have made this a particular study, and his own faculties run in that direction. The rich orchestral coloring of the French composer and his descriptive power made themselves clear and impressive under Mr. Van der Stucken's direction. The contrasts were held in a striking manner. Quite a little gem was recognized in one of Mr. Van der Stucken's songs—a paraphrase orchestrated by the composer. The overture "Massaniello" was given an original interpretation by Mr. Van der Stucken. It was out of the usual rut and hum-drum style, on a broader and more historic basis. On that account it was decidedly refreshing and pleasing.
28The soloist, Mme. Johanna Gadsky, soprano, made the impression of a wonderfully gifted vocalist—one who seems to have included in her power of song the entire literature of lyric and dramatic art. After singing the scena and aria from "Der Freischütz" with all its dramatic requirements and demands on the reader, giving it with sentiment, color and impassioned fervor, she sang with exquisite sweetness a little song by Franz "To Music." Madame Gadsky's voice is absolutely true to the pitch, and it has a soft and sensuous charm, and withal a freshness that even the persistent singing by Wagner operas has not marred or impaired. Her singing of the aria from "Tannhäuser" was marked by a chaste, noble conception and dramatic intensity. As an encore she responded with a song by Brahms, which with all its difficulties, was wonderfully sympathetic. The striking characteristic about her is that she sings with fervor—with heart and soul.
30Enjoyable was the "Evening of Song" given on Thursday night, November 18, by Oscar Ehrgott, baritone, in Smith & Nixon's recital hall. The first part of the program was made up of single numbers, such as the recitative and air, "O Ruddier than the Cherry," from "Acis and Galatea"; Wagner's "Träumer," Gounod's Vulcan Song from "Philemon et Baucis," "Toreador," from "Carmen," &c., and the second part was a cyclus of ten songs from "Eliand." Mr. Ehrgott is to be congratulated upon his progress. By dint of serious study and the aid of innate talent and voice material he is cultivating himself into a singer of prominence. His voice is being mellowed and subdued by art. It has lost its rough edges, and behind it there is more of sympathetic soul. In the cyclus Mr. Ehrgott proved himself to be a singer whose art can correctly portray a variety of the human emotions. Mr. Romeo Gorno was an intelligent, sympathetic accompanist—one who knows how to assist and carry with him the sentiment of the music.
32Armin W. Doerner is succeeding admirably with his new school of music, established in the Methodist Book Concern Building. Pupils are coming to him from every direction and he has a good many from the city and its suburbs. Recently there was formed quite spontaneously for him a musical organization, which assumed the name of "Doerner Club." It is composed altogether of pupils of Mr. Doerner, several of them being graduates of his instruction and already taking position in the musical world. The members are as follows: Misses Georgine Brown, Belle Beazell, Susie Cosgrove, Ellen Davis, Ida Ewing and Anna Hulman. The club, assisted by the best local talent, will give a series of recitals this winter and the first of these occurred this afternoon, November 20, at the Doerner Piano School. The club was assisted by Mrs. Katherine Boughner, vocalist, and Richard J. Ferrer, violinist, in the following program:
34Overture, Ruy Blas……………………………………………..Mendelssohn
35Sonata, C minor, piano and violin………………………………….Grieg one of two readings
36Sonata, C minor, piano and violin……………………………….Grieg one of two readings
37Thine Only………………………………………………………..Bohm
38Concertstück, op. 92……………………………………………..Schumann
39Spinning………………………………………………………..Cowen
40Madrigal………………………………………………………..Chaminade
41Concert Galop…………………………………………………Milde
42Misses Davis, Ewing, Beazell and Cosgrove.
44The performance of the program was altogether worthy of the high art endeavor of this club. J. A. HOMAN.
46Richard Hoffman.—A testimonial concert to Richard Hoffman, on the occasion of the fiftieth anniversary of his first public appearance in New York will be given in Chickering Hall, on Wednesday afternoon, December 1. Mr. Hoffman will have the assistance of the Dannreuther Quartet, and of several other artists. An interesting program is promised.
48Guilmant Recital.—Alexandre Guilmant, the great organist of La Trinite in Paris, will arrive early in December, and will give an organ recital in Mendelssohn Hall on the evening of December 14. This will be the only appearance in a public recital in this city of the distinguished master, and as he has expressed his intention of never again visiting America, the only opportunity of hearing him will be during the next few months. one of two readings
49Guilmant Recital.—Alexandre Guilmant, the great organist of La Trinité in Paris, will arrive early in December, and will give an organ recital in Mendelssohn Hall on the evening of December 14. This will be the only appearance in a public recital in this city of the distinguished master, and as he has expressed his intention of never again visiting America, the only opportunity of hearing him will be during the next few months. one of two readings
51Miss Frances Miller's Success.—Miss Miller recently sang in several New Jersey towns, and with pronounced success, as may be seen by the following:
53No such soprano has ever been heard here. Her rendition of Beach's "Song of Love," in the first part, was a delightful and masterful effort, bringing out a range of voice that came very near being marvelous. It requires no stretch of the imagination to predict for this young singer a future of the brightest and most lasting possibilities.—Observer, Arlington, N. J.
55She possesses a grand voice of wonderful compass, and her enunciation is perfect.—Fradonian, New Brunswick, N. J.
57Miss Frances Miller sang her number, the recitative and aria from Goring Thomas "Nadeshda," with a clear, high soprano. She has a very attractive stage presence, and puts a great deal of feeling into her singing.—Daily Times, New Brunswick, N. J.
59She has a pure soprano voice of a most delightful timbre. Her rendering of "I Know That My Redeemer Liveth" was as near perfection as could be desired.—Daily Press, Middleton, N. Y.
61Mr.—PAUL HAASE.—Mrs. Baritone. Soprano.
62Oratorio, Opera, Concert and Musicales.
63Management of Mr. Alexander Weiss, College of Music,
64CINCINNATI, OHIO.
66Milles. YERSIN,
67Authors of the Phono-Rythmic Method for French Pronunciation, Accent and Diction.
6856 West 50th Street, New York.
70NEDDA MORRISON,
71Prima Donna Soprano.
72CONCERT. OPERA. ORATORIO.
73For terms, etc., address
74THE HENRY WOLFSON MUSICAL BUREAU,
75131 East 17th St., NEW YORK.
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