Scan 24
Musical Courier 1898-01-19: Vol 36 Iss 933, 1898
116 lines. Read by computer on 21 September 2026. Printed page 25. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1Mrs. Wyman at the National Conservatory.
3The celebrated mezzo soprano, Mrs. Julie Wyman, is making a record with her singing classes at the National Conservatory of Music. This artist, whose public career has been a series of successes both before and after she went to Marchesi, has proved herself a teacher of sterling merit. She has the magnetism as well as the knowledge and the faculty of transmitting both to her pupils, who respect her skill and admire her personality.
5Mrs. Wyman has superior advantages over the average teacher of singing. She is in public life. She knows the flavor of the footlights, the ways of the stage, and thus is able to impart to her charges style, the style necessary to a public performance. She is no mere coach for operas, but a sympathetic and trained interpreter who makes every phrase vital, every word a thing of meaning. It is this experience as well as her own charm of voice and execution that makes Mrs. Wyman such a rare master of her art—the art of instructing singing.
7There is much froth and fury in the claims of teachers of vocalism, but in Mrs. Wyman's case she is an admirable specimen of her own school, a living witness to her own training. It must, then, be considered an opportunity not to be slighted when such an artist descends into the arena, and adds to the scale of her gifts a charming personal equation. Mrs. Wyman is as conversant with oratorio as modern French and German song literature. A lesson from her gives a stamp of grace and finish to be found nowhere else, and Mrs. Thurber was aware of all this when she secured her services for the vocal department of the National Conservatory.
9A Successful Pupil of Carl Bernhard.
11Miss Bertha Bose was the soloist at the last entertainment of the Arion Singing Society and scored an extraordinary success. The critic of the Staats-Zeitung had this to say: "She simply took the Arionites by storm."
13Kathrine Hilke.
15Appended herewith are a few appreciative criticisms of Miss Hilke's work in "The Messiah" in Ottawa, Canada, on January 11:
17To the soprano was assigned several beautiful numbers, and to each of these did Miss Hilke do full justice. Her voice is clear, vibrant, melodious. "I Know That My Redeemer Liveth" was sung in admirable form.—Ottawa Daily Free Press, January 12, 1898.
19Miss K. Hilke, of New York, possesses a clear soprano voice of wide range. Her singing throughout displayed intelligent phrasing and good judgment. "I Know That My Redeemer Liveth" was sung with a sincerity of expression and purity of conception that made a profound impression.—Ottawa Evening Journal, January 12, 1898.
21Miss K. Hilke, of New York, the soprano, has a pure, clear voice, penetrating, flexible and expressive. These qualities were especially noticeable in the fine air "I Know That My Redeemer Liveth," which was warmly applauded.—Ottawa Citizen, January 12, 1898.
23KATHERINE RUTH HEYMAN,
24CONCERT PIANIST.
25WOLFSOHN'S MUSICAL BUREAU,
26131 East 17th Street,
27or STEINWAY HALL, NEW YORK.
29L. M. RUBEN,
30489 Fifth Avenue,
31NEW YORK.
33Manager and Agent for
34LEADING ARTISTS of
35EUROPE and AMERICA.
37RACHEL HOFFMANN.
38The Belgian Pianist.
39SEASON OF 1897-98.
40Exclusive Direction:
41R. E. JOHNSTON & CO.,
42Decker Building, Union Square,
43NEW YORK.
44Mlle. Rachel Hoffmann est une pianiste d'un véritable talent et d'une haute culture musicale.
45F. A. GEVAERT.
46The Steinway Piano be used.
48HOWARD FORRER PEIRCE,
49PIANIST.
5052 East 21st Street,
51New York.
53HUBERT ARNOLD,
54VIOLIN VIRTUOSO.
55EMILE LEVY, Manager, 141 Fifth Avenue.
56Private address: 242 West 43d Street, NEW YORK.
58TOR VAN PYK,
59TENOR.
60Concert, Oratorio and Opera.
61For Terms, Dates, &c., address H. M. HIRSCHBERG,
6236 West 18th Street or 132 West 88th Street, New York.
64WILLIAM EDWARD MULLIGAN,
65Solo Organist and Pianist.
665 WEST 18TH STREET, NEW YORK CITY.
68HERBERT WITHERSPOON,
69BASSO.
70Address, 102 East 57th Street, New York.
72THE MUSICAL COURIER.
74CHICAGO OFFICE THE MUSICAL COURIER,
75224 Wabash avenue, January 16, 1898.
77THOMAS ORCHESTRA'S TENTH CONCERT
78PUGNO'S EXTRAORDINARY SUCCESS.
80NOT extraordinary from an artistic point of view, because Raoul Pugno's playing was superb. It was extraordinary for an entire stranger without much advance notice, no preliminary puffing, and but little telegraphed information to arouse such unwonted fervor of applause. Making his Chicago début in Grieg's concerto, which I am told every schoolgirl knows, but which no schoolgirl can play, Pugno showed us what a past master in piano playing can do with an instrument.
82It was a revelation in intellectual, emotional pianism, and a performance which excludes all thoughts of any other interpretation of the Grieg concerto. There was united with power of expression marvelous technic, which, so far as recollection serves, is only equaled by Godowsky. There was force without noise, extraordinary clarity and precision, while the rhythm and delicacy were exquisitely noticeable. Pugno's pianissimo scale work is perfection, the minutest finish of every phrase, no matter how delicately light, how deliciously shaded, was observable and hearable in the remotest corners of the vast Auditorium; the poetry of expression is Pugno's, while nothing is lost in the way of grandeur. Take his chord work; how the middle notes stand out clean and strong, no blurring in the rapid movements, only one grand, great performance to which every musician in the audience and the orchestra testified his admiration. Pugno was recalled a dozen times and played as encore Liszt's little known Eleventh Rhapsody.
84That he combines old-fashioned ideas with modern performance was shown by the score of the concerto being placed on the piano. But that this was merely a form could be seen from the spontaneity of his interpretation. In a word, Pugno's was the completest success of the soloist list this season. Brahms' chorale and Hugo Kaim's new symphony, of which detailed criticism will be given next week, occupied the entire first part of the program. The Grieg concerto and Wagner's "Tristan and Isolde" and "Kaisermarsch" completed the program.
86The orchestral work in the accompaniment to Pugno was most satisfactory, while the Kaim symphony and the Wagner numbers were given a splendid representation. Brahms' suffered slightly from the defection of a double bass, which was later rectified.
88The following description of Gleason's work presented last week may prove of interest. The symphonic poem "Edris" is founded upon the prologue to Marie Corelli's novel "Ardath." Theos, a poet, has lost the creative power in his art, and can originate nothing new. The poem opens with a mournful solo phrase in B flat minor, a lament, assigned to the bass clarinet. It is almost immediately repeated in a higher octave by the violas, and then, in turn, appears in a modified form in the various woodwind instruments, at last broken in upon by solemn harmonies for the brasses alone, which might be regarded as typical of the overwhelming power of Fate. Next the strings take up the original subject, leading into an ascending figure in the violins. These two subjects are designed to suggest the poet's nature in its despondency, and the futile efforts to rise above repressing conditions, mournfully striving after something higher and nobler, an ideal which ever eludes him. A short phrase for the 'cellos in connection with French horns is designed to suggest the poet before he lost the power of creative thought, but this is immediately broken in upon by the massive motive of Fate, solemnly intoned by trombones and tuba.
90These three subjects form the keynote, as it were, of the entire work. The first two subjects are developed at length in the strings chiefly, and afterward in the woodwind, depicting a condition of restless striving, culminating in a fortissimo of the entire orchestra, ushering in a rapid chromatic passage suggestive of the "flash of blinding light" which accompanied the separation of the poet's soul from his body and its flight into space to seek inspiration. The slow swaying passages which follow with the strange successions of augmented triads may stand for the experiences of the liberated soul, lost in the darkness. To its agonizing cry, "O, God, where are Thou?" the trumpets seem to answer, as it were, "Here and everywhere!" This phrase is taken up by all the voices of the orchestra and led to a tremendous climax, from which it sinks away into mournful reiteration of a fragment of the first subject, followed by a modified form of the Fate motive in the brasses, alternating with upward rushes of the strings.
92The English horn stands for the voice of the angelic being Edris, who calls to her twin soul. Several times the call is repeated, and the soul struggles to rise, but in vain. At last it succeeds, is drawn swiftly upward, and a stormy orchestral passage culminates in the first motive in the trombone beneath a long tremolo of the strings, with a transition to ethereal harmonies for the strings, which tell of the home of blessed spirits. Later the sound
94Mr.—PAUL HAASE.—Mrs.
95Baritone. Soprano.
96Oratorio, Opera, Concert and Musicales.
97Management of Mr. Alexander Weiss, College of Music,
98CINCINNATI, OHIO.
100Carl Bernhard
101BASS-BARITONE.
102Oratorio and Concert.
103Vocal Studio: 157 East 47th St., New York.
104"He sings most tastefully, and, what is more, knows how to use his voice as well as those of his pupils."—Georg Henschel.
106CLEMENTINE DE VERE
107RESIDENCE: HOTEL SAVOY NEW YORK.
108BERNHARD ULRICH, Manager, 240 Roscoe Street, Chicago, Ill.
110NEDDA MORRISON,
111Prima Donna Soprano.
112CONCERT. OPERA. ORATORIO.
113For terms, etc., address
114THE HENRY WOLFSOHN MUSICAL BUREAU,
115131 East 17th St., NEW YORK.
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