Scan 28
Musical Courier 1898-01-05: Vol 36 Iss 931, 1898
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1that it claims to be—the outline, the modeling, the superb workmanship, scroll, purfling, varnish, but, above all, the rich, sonorous tone proclaim it to be a Guarnerius.
3Of course the great affair of the week was the concert given by Ysaye and Sobrino. The audience was large and very enthusiastic. There is nothing new to be told of Ysaye, whose work is always magnetic, except that to many it was a sincere regret that he was not heard with orchestra, although perhaps thereby the music lovers had the pleasure of hearing certain numbers which they otherwise would have been denied.
5It seems too bad to say that the flashy Vieuxtemps concerto should have elicited so very much more applause than the superb Schuman Sonata, op. 105, in A minor, or the cameo like Sonata of Händel, in which class of work Ysaye's great art is at its height.
7Sobrino was very happy in his accompaniments, the more noticeably so after hearing the individuality and virility of his solo work. He played the Fantasie op. 49, of Chopin, one of the most interesting of his piano soli. Sobrino plays with breadth and authority, his readings are interesting and he does not lack fire. In the loud passages, however, the effects are sometimes marred by the pedal, but this does not militate against his right to the public's appreciation, for his talent is very pronounced. He played as encore Paderewski's new minuet. Two parts of this composition are replete with the grace and delicacy which made the first one so popular. The trio, however, seemed absolutely extraneous to me. There was no raison d'etre, there was no connection in any way between it and the rest of the composition; however, if the first and second parts do not carry it through the name of the composer probably will—the power of hero worship is too great to be healthy.
9It gives me very great pleasure to announce that the management of the Academy of Music has passed into the hands of Rafael Navarro, a man whose sympathy for the advance of music, whose business ability, and whose tact for making friends will make him invaluable not only to the directors who have entrusted their business to his judgment and care, but also to those who are giving concerts and entertainments, for Mr. Navarro's sense of justice and integrity is above reproach.
11The board of directors of the Academy of Music is indeed to be congratulated upon the wisdom of its selection, and upon the possibility to secure such a man.
13The first concert of the Cantata Club will occur January 6 in Association Hall. This will be remembered as the successful club over which Alfred Gerard Thiers wields the baton, and indeed the influence. A little sketch of the club may prove interesting.
15The desire for musical association and study of concerted singing induced eight ladies in the autumn of 1894 to organize the Brooklyn Cantata Club, a society limited to fifty ladies. With good fortune, the club secured Albert Gerard Thiers as director, and Mrs. Emma Richardson Küster as pianist.
17The first rehearsal was held on the morning of December 6, 1894, and the first concert on the evening of February 19, 1895. During the season of 1895 and 1896 it became apparent to the ladies of the executive board that the club had grown too large to warrant them in retaining the responsibility and care of its management.
19Twenty-five gentlemen, subscribers to the club, then came forward and offered to relieve the ladies of the burden of the business management, thus providing the opportunity for continued profitable study, and insuring the development of the artistic merit the club had already attained. The Cantata Club was incorporated on April 1, 1896.
21The concerts given by the club in Association Hall during its three seasons have been musically and socially brilliant affairs, the criticisms of the press placing the club at the head of all similar organizations. The vocal strength of the chorus is very evident from the fact that works by the following composers have been given: Saint-Saëns, Roeder, Foote, Reinecke, Beethoven, Cham- inade, Bizet, Händel, Palicot, W. Shields, Fisher, King, Vogrich, Kienze, Le Febvre, N. Hoffman, Smart, Chadwick, Brahms and Mendelssohn.
23At the next concert the club will have the assistance of Clarence de Vaux-Royer, violinist, and Miss Thudicum, soprano, when an interesting program will be presented.
25At the concert which is to follow the club expects to give the "Ave Maria" of Henry Holden Huss. By error last week I stated that the Guilmant recital would occur January 14. It is January 13, when he will give the following program:
27Second Concerto………………………………………Händel
28Andante Cantabile (4th Symphony)…………………Widor
29Musette (arr. Guilmant)……………………………….Chauvet
30Choral, In Dir ist Freude……………………………Bach
31Fugue in E (St. Ann's)……………………………….Bach
32Sonata No. 5 in C minor……………………………Guilmant
33Cantabile in B minor, Opus 41……………………Loret
34Fiat Lux………………………………………………..Dubois
35Improvisation on Given Theme……………………..Franck
36Finale in B flat………………………………………….Franck
38I think Christmas must have affected your Brooklyn correspondent a good deal because there were several important things which she omitted to mention, and attended them, too. One very important affair was the second song recital of Albert Gerard Thiers, in which he had the assistance of Hans Kronold, whose playing is always enjoyable and seemed especially so upon this occasion.
40Mr. Thiers in addition to a fine selection of ballads in which his versatility of style was well demonstrated, gave a novelty which was altogether charming. It was a cycle entitled "Christmas Songs," by Peter Cornelius, and is really beautiful. Miss Kate Stella Burr played the accompaniments. The next recital occurs to-morrow and will be reviewed in the next issue.
42I also omitted mention of the lectures of Krehbiel and Finck, assisted by Miss Lotta Mills, which were highly interesting, as always. The concert given on Thursday afternoon to the members of the Institute, by Hermann Dietman, baritone, and Maurice Kaufman was admirably given and well received by a large audience.
44The next and last song recital of the Institute course will be given on Wednesday night by Mme. Emma Juch and Victor Herbert.
46The last in the regular series of chamber music will be given by the Kaltenborn String Quartet January 12. Then why can't we have the Kneisels again, and have them at the Academy of Music?
48The course of lectures, by Carl Fiqué, given before large audiences under the auspices of the Brooklyn Institute ended last week. Here is some attempt to show what work Mr. Fiqué went over:
50THE STUDY OF MUSICAL FORM.
52"Melody and How It Is Constructed"—showing the development of a motive into a phrase, a phrase into a section and the combination of sections to form a melody. Illustrated by "The Old Folks at Home," "Nearer My God to Thee," "Last Rose of Summer," Mendelssohn's "Spring Song," melody in F, by Rubinstein, and "Di quella Pira," by Verdi.
54"Song Forms," Simple and Complex—Vocal, a, two sections: "My Country," "Tis of Thee," "Duke Street," prayer from "Freischütz," Schubert's "Lindenbaum," "Maiden's Lament" and "Adieu." (b) With intermediate section: Mendelssohn, "On Wings of Song;" Chamade, "Madrigal;" Schubert, "Am Meer;" Schumann, "Widmung;" Schubert, "Cradle Song." (c) Complex: Schubert's "Wanderer," and "Dried Flowers."
56Instrumental song form—Mendelssohn, "Consolation;" Chopin, Nocturne, op. 9;" Thomé, "Simple Aveu;" Grieg, "Erotikon."
58"Variations and Their Mode of Application"—Händel, "Passacaglia;" Beethoven, "A flat Sonata, first movement;" Mendelssohn, "Variations Sérieuses;" Chopin, "Berceuse;" Beethoven, "Andante from Fifth Symphony."
60The Dance Form—Bach "Gavotte in G minor;" Mozart, "Minuet in E flat;" Beethoven, "Scherzo from Seventh Symphony;" Clementi, "Funeral March;" Chopin, "Waltz in E minor;" Scharwenka, "Polish Dance;" Schubert, "Impromptu in E flat;" Grieg, "On the Mountains," Brahms, "Rhapsody in B minor."
62Rondo, Canon, Fugue, Harmony, Counterpoint, Introduction and Coda—Beethoven, "Sonata Pathétique" and "Sonata op. 53," last movements; Mendelssohn, "Rondo Capriccioso;" Jadassohn, "Ballet Music in Canon Form;" Bach, "Fugue in G minor."
64The Conventional Form of the First Movement of the Sonata—Clementi, "Sonatine;" Haydn, "Sonata in D," Mozart, "Sonata in F;" Beethoven, "Sonata Pathétique," "Sonata op. 53" and "Appassionata."
66The Other Sonata Movements, Chamber Music, Symphony, Concerto and Suite—Beethoven, "Sonata Quasi una," "Fantasia op. 27" and "Fifth Symphony;" Rubinstein, "Concerto in D minor;" Hummel, "Concerto in A minor;" Grieg, "Suite in Ancient Style."
68The Application of the Leading Motive—Weber, "Der Freischütz;" Schumann, "Symphony in B flat;" Wagner, "Lohengrin," "Walküre," "Siegfried," "Götterdämmerung."
70Overtures and Preludes—Mozart, "Don Giovanni;" Rossini, "Il Barbiere;" Weber, "Jubel;" Mendelssohn, "Midsummer Night's Dream;" Beethoven, "Egmont;" Rossini, "William Tell;" Wagner, "Lohengrin," "Meistersinger" and "Tristan."
72The Orchestra—Description of the character, compass and functions of every instrument.
74These lectures were very valuable and highly interesting. It would be well for some of the large schools to consider the presentation of such a course, as for students its value is beyond measure.
76Invitations have been issued for a matinee musicale at Pouch Gallery by that popular teacher, Frederic Reddall, to occur on Thursday morning. He will have the assistance of Mrs. Lillian Sherwood Newkirk, soprano; Miss Georgina Walsh, violinist; Leroy W. Jackson, pianist; Miss Florence Ward Smith, Miss Annie Wilson Arthur, sopranis; Misses Augusta Tohey and Edith Lanning, contralti.
78Miss Anna Wilde Beach, pupil of Miss M. Louise Mundell, has accepted a position as teacher of the vocal department of a prominent institute at Franklin, N. J. Miss Beach has a beautiful soprano voice and was a pupil for three years.
80Mrs. George Milton Silleck, another pupil of this successful teacher, has left St. James' M. E. Church, and is now singing at the Embury M. E., where she has a better position.
82Miss Mundell will give a pupil recital at her studio, 77 New York avenue, on Wednesday evening, January 12.
84There has been a large sale of seats for the concert of the Seidl Society, to occur Thursday, January 6. The soloists will be Dyna Beumer and Paul Tidden. Further intentions of this enterprising society will be announced next week.
86Just before closing, with no time to elaborate upon the scheme, I receive word from the Boston Symphony Or-
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