Scan 9
Musical Courier 1897-11-24: Vol 35 Iss 925, 1897
268 lines. Read by computer on 26 September 2026. No printed page number was found. See the scan on archive.org.
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1SOME CHICAGO ADVERTISEMENTS.
3J. H. KOWALSKI,
4CELEBRATED VOCAL STUDIO,
5Suite 54 and 55, Kimball Hall,
6CHICAGO, ILL.
8MAX BENDIX,
9VIOLINIST.
10801 Steinway Hall,
11CHICAGO, ILL.
13HESS-BURR,
14SCHOOL OF MUSIC.
15JOHANNA HESS-BURR.
16LOUISA HESS-PUCH.
172036 Indiana Avenue,
18Chicago, ILL.
20Mme. RAGNA LINNÉ,
21MARCHESI METHOD.
22ORATORIO—CONCERT—SONG RECITAL.
23Limited number of pupils accepted.
24Kimball Hall, Wabash Avenue,
25CHICAGO, ILL.
27HERMAN L. WALKER,
28Pupil of SHAKESPERE and SBRIGLIA.
29TENOR.
30Concert, Oratorio, Song Recitals.
31Chicago Conservatory, Auditorium Building,
32CHICAGO, ILL.
34FRANK T. BAIRD,
35THE ART OF SINGING.
3634 Monroe Street, CHICAGO, ILL.
38FREDERICK W. CARBERRY,
39TENOR.
40STEINWAY HALL,
41CHICAGO, ILL.
43AUGUST HYLLESTED,
4444 Kimball Hall,
45CHICAGO, ILL.
47ESTABLISHED 1867.
49Chicago Musical College.
50Central Music Hall, Chicago, Ill.
51Dr. F. ZIEGFELD, President.
52DR. F. ZIEGFELD,
53LOUIS FALE
54HANS VON SCHILLER,
55WILLIAM CASTLE,
56BERNHARD LISTEMANN,
57Musical Directors.
58Catalogue giving full information mailed free upon application.
60THEODORE SPIERING,
61VIOLINIST.
621105 Steinway Hall,
63CHICAGO, ILL.
64SIXTEENTH YEAR,
651886-1897.
66MRS. REGINA WATSON'S SCHOOL
67FOR THE
68HIGHER ART OF PIANO PLAYING.
69297 Indiana Street,
70CHICAGO, ILL.
72MR. AND MRS. BICKNELL YOUNG,
73Lecture recitals on Opera, its Origin and Development; illustrated by vocal examples from the earliest epoch.
74Address at 7 Kimball Hall, Chicago, Ill.
76A. J. GOODRICH,
77Theorist,
78Lock Box 976, Chicago.
79Author of "Goodrich's Analytical Harmony."
80"Complete Musical Analysis."
81"Music as a Language," &c., &c.
82Personal or correspondence lessons in Harmony, Composition, Orchestration, Analysis and Theory of Interpretation.
84Genevra Johnstone Bishop,
85… SOPRANO,
86Oratorio, Concerts and Recitals,
87KIRBY CHAMBERLAIN PARDEE, Manager.
88Address up to June 1, 1898,
89Mr. NEWTON D. HAWKINS,
9070 State Street, Chicago.
92WALTER SPRY,
93Director of Conservatory of Music,
94QUINCY, ILL.
95Piano and Organ Recitals…
97BESSIE O'BRIEN,
98MEZZO SOPRANO.
99MARCHESI.
100ORATORIO, RECITALS, MUSICALES.
101Address care MUSICAL COURIER office,
102226 Wabash Avenue, Chicago,
103or 130 West Mason Street, Springfield, Ill.
105Mr. HARRY J. FELLOWS,
106TENOR.
107Oratorio, Concert and Song Recitals.
108Address, 81 Fifth Avenue, New York.
109On tour to Coast with Mme. Bishop Concert Company till January, 1898.
111Chicago Conservatory of Music.
112SAMUEL KAYZER, Director.
113Auditorium Building, Chicago, Ill.
114SEND FOR CATALOGUE.
115MUSICAL DIRECTORS.
116LEOPOLD GODOWSKY, Piano.
117ARTURO MARESCALCHI, Vocal.
118CLARENCE EDDY, Organ.
119S. E. JACOBSON, Organ.
120FREDERIC GRANT GLEASON, Harmony, &c.
122HENRY B. RONEY,
123Concert Organist and Teacher.
1242506 Indiana Avenue, CHICAGO.
125Organist and Choirmaster Grace Episcopal Church 1887 to 1897. Trainer and Manager of "RONEY'S SONGS," now available for concerts. Send for Pictorial Souvenir Book.
127VICTOR HEINZE, CONCERT PIANIST and TEACHER OF THE PIANOFORTE.
128Formerly principal teacher of the musical department of the Royal Normal School at Schweidnitz in Germany. Piano instruction by the application of the celebrated method of Pianoforte teaching with which Mr. Heinze studied. The Heinze Trio is open for engagements.
129Address to VICTOR HEINZE,
130Studio 1004 Steinway Hall, CHICAGO, ILL.
132SOPER SCHOOL OF ORATORY.
133Delsarte. Dramatic Art. Twentieth year.
134Able corps of teachers. Nellie Bangs Skelton, Director of Piano Department.
135Write Tenth Floor, Steinway Hall, CHICAGO
137CONSTANCE LOCKE-VALISI,
138CONCERT ACCOMPANIST.
139Residence: 96 East 42d Pl.
140Address
141Kirby Chamberlain Pardee,
142120 Tremont Street,
143Boston, Mass.
145MARIE L. COBB,
146Concert Pianist.
147Hans Von Billow, Herr Von Wiek and Sgambati,
14873 AUDITORIUM BUILDING,
149CHICAGO, ILL.
151MARIE LEWANDOWSKA,
152Only teacher in Chicago representing
153GIRAUDET,
15472 Auditorium Building, Chicago, Ill.
156THE SLAYTON LYCEUM BUREAU.
157Dunstan Collins, General Manager; Henry L. Slayton, President and Treasurer; Wendell Slayton, Secretary. Established 1874.
158General Office: Central Music Hall, Chicago, Ill.
160FAMOUS
161BROOKS' Second Regiment Band.
162(102 MEMBERS.)
163Chicago's Greatest Band.
164135 Michigan Avenue, Chicago, Ill.
166GOTTSCHALK
167LYRIC SCHOOL,
168INCORPORATED.
169MUSICAL AND DRAMATIC ART.
170L. GASTON GOTTSCHALK, Director
171Isabella Building,
17246 & 48 Van Buren Street, Chicago.
173Catalogues sent upon application.
175THOMAS TAYLOR DRILL,
176BASSO.
177Oratorio, Concerts, Song Recitals.
178VOCAL INSTRUCTOR.
179Studio: No. 57 Kimball Hall,
180CHICAGO, ILL.
182MARY WOOD CHASE,
183Concert Pianiste.
184For terms, dates, &c. address
1851000 Steinway Hall, Chicago, Ill.
187D. A. CLIPPINGER,
188Voice Production and the Art of Singing.
189Room 40 Kimball Hall, Chicago, Ill.
191MRS. GEORGE BENEDICT
192CARPENTER,
193Season 1897-98.
194Director of MUSICAL ARTISTS.
195Steinway Hall, Chicago, Ill.
196Representing the Wolfsohn Bureau of New York in Chicago and the West.
198ANNA WEISS,
199Late of Vienna Conservatory.
200Concert Pianist and Teacher.
201Suite 906 Steinway Hall, Chicago, Ill.
203AMERICAN CONSERVATORY,
204Kimball Building, 243 Wabash Ave., Chicago.
205JOHN J. HATTSTAEDT, Director.
206ALL BRANCHES OF MUSIC. DRAMATIC ART.
207TEACHERS' TRAINING DEPARTMENT.
208Catalogue mailed free.
209JOHN J. HATTSTAEDT, ALLEN H. SPENCER,
210GERTRUDE MURDOUGH, Piano; KARLETON HACKETT, NOYES B. MINEY, RAGNA LINNÉ, MME DE NORVILLE, Singing; CLARENCE DICKINSON, Organ; JOSEPH VILIM, Violin; ADOLPH WEIDIG, Composition, and other distinguished supplementary instructors.
211GERTRUDE MURDOUGH, Piano.
212VILIM TRIO: JOSEPH VILIM, Violin.
213JOHN KALAS, 'Cello.
214243 Wabash Ave., care of American Conservatory.
216HARRISON M.
217Studio 6,
218241 Wabash Ave.,
219CHICAGO.
220WILD
221CONCERT ORGANIST.
222Piano and Organ Instruction.
224HART CONWAY'S
225CHICAGO SCHOOL OF
226ACTING
227and all Branches of
228DRAMATIC ART,
229Including Series of Matinees.
230Full course opens October 4. Catalogues free
231Handel Hall, 40 East Randolph St.
233scientiously recommend to Lieder singers in search of novelties of merit.
235* * *
237Hermann Gura, the son of Eugen Gura, the great Lieder and ballad singer, is gradually working into his father's ways and even his repertory. He gave a song recital here last week and met with an enthusiastic reception at the hands of a large audience. His best effort was Loewe's great Edward ballad, which young Gura sang with dramatic delivery and telling verve. Young Gura's voice is, of course, much fresher than his father's and also more vibrant and sonorous, but in timbre it greatly resembles that of his paternal ancestor.
239Of comparative novelties the program contained two of Count Philipp zu Eulenburg's songs to Aegir—beg pardon, Skalden Gesaenge, and two musicianly Lieder by Hermann Behn.
241* * *
243Wednesday was a day of very many concerts. I first attended the opening portion of the regular Philharmonic Pop., at which Concertmaster Anton Witek was the soloist and performed no less than three violin concertos with orchestra—the Mozart A major, the Mendelssohn concerto and McKenzie's Scotch fantasia "Fibroch." The Mozart concerto he played delightfully, with neat technic and pure tone, as well as cleanest intonation. Witek is a great favorite with his audiences, especially the American student element which forms so great a constituency of these justly popular concerts. And these young Americans are really quite a critical set, so that if anybody succeeds in eliciting their enthusiasm in the way Witek has been doing these years, that in itself is a guarantee that such party is really a great artist. Witek was made the recipient of a huge laurel wreath, which on great silken streamers in the American colors bore the legend: "Dem unvergleichlichen Kuenstler, Concertmeister Anton Witek, from his American admirers William E. Bassett, Max Guhlka, Estelle Liebling, Marguerite Melville, William D. Sanders, Daniel Visanski and Herweigh van Ende."
245* * *
247Miss Dora Utz, who sang at the Hotel de Rome that evening, is a young Swiss lady of medium musical attainments and an average soprano voice. What made the concert interesting to me was Leonard Liebling's piano playing, who was down on the program with Scarlatti's A major allegro, Grieg's berceuse and the Schumann E major novellette. He also played Liszt's Sixth Hungarian Rhapsody, and although he did not seem in his best trim, he succeeded in arousing the audience to an enthusiastic demand for an encore, for which this talented chip of the old block selected a very pretty and sweet little nocturne of his own.
249The Vossische Zeitung and Kleines Journal published favorable criticisms on Mr. Liebling's performance.
251* * *
253The other singer, whom I heard that same evening in the Singakademie, a young lady from Vienna named Hedwig Salter, should have remained at the Austrian capital, where shrill and harsh voices are very much en vogue just at present. We have no use for such singers here at Berlin.
255Miss Marguerite Liebig, who "assisted," is an unimportant pianist, but not so offensive an artist as her partner proved to be.
257* * *
259Josef Hofmann's second piano recital proved in every respect a great improvement over the first one, of which I spoke in one of my last letters.
261He played the Bach D major organ prelude and fugue in the d'Albert piano arrangement (Busoni has also transcribed this same work) in a perfectly tremendous style. He really produced some wonderful organ effects upon the piano, especially in his left hand octave work.
263The Beethoven A major sonata, op. 101, I have rarely heard with more plasticity and clearness. The final movement, which sounds like a clever improvisation on "Shoo Fly, Don't Bother Me," was performed with great abandon and real geniality. Three Mendelssohn Songs Without Words were hailed with delight by the large and responsive audience. The middle one of the three, a melody in F major, is Ignace Jan Paderewski's favorite encore piece. Then Hofmann performed his own very interesting variations in F major, which he wrote when he was only sixteen and which are by far the best thing I have heard by him. The canon in F minor and the big final fugue are products of ingenious and ripe musicianship and the whole work is very brilliant and effective.
265What surprised me most was Josef Hofmann's Chopin playing. While before he did not satisfy me in the emotional side of his interpretation of the greatest poet of the piano, Hofmann this time was as tender and gemuthvoll as a young woman, and yet his tone and style was healthy and quite manly. His performance of the B minor sonata was a real treat, and a great musical enjoyment were the smaller pieces, the E major and the study on black keys, as well as the E major nocturne, the order of the pieces as given on the program being reversed by the young artist.
267Regarding the last part of Hofmann's program, both the Schubert-Liszt "Erlkönig" and the sixth rhapsody
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