Scan 25
Musical Courier 1898-01-19: Vol 36 Iss 933, 1898
28 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 26. See the scan on archive.org.
1of the harp mingles with the song of the violins in altissimo. With this in its most ecstatic moments is combined the second subject of the poem, as suggesting that even in Paradise there can be no bliss apart from striving for progress and spiritual growth. This leads to an episode in which the English horn bears again a principal part. Again the first phrase of the work appears as a reminiscence, but it has lost its despondent tone, and now seems like the memory of "griefs overpast." From this point, after another climax, the movement, which is in G flat major, takes on much of the character of a lullaby. Edris bids Theos return to earth, and he falls asleep to reawaken in this "vale of tears." After a measure of silence the violoncellos take up a variation of the mournful first phrase, followed by a lamenting passage for clarinets and bassoons, in which the low notes of the instruments are employed for the sake of their characteristic color. A kettledrum tremolo introduces a passage for violoncellos in open fifths and to depict the emptiness and dreariness of earth life, and afford a strong contrast to the joys of Paradise, from which the poet has just awakened. The melody, entering later, is assigned to the violas and then the G strings of the violins, with the accompaniment of the fifths beneath all.
3The next notable point is an augmented triad given by the four horns and a sonorous response by the rest of the orchestra, with a strange contrasting harmony, a design which, several times repeated, may be taken to stand for the discord of earth life and its final resolution into harmony in the great drama of existence. These lead to a melody for the strings chiefly, which is designed to characterize earthly joy, sensuous in its contrast with the spiritual bliss of Paradise. The motive of striving, characteristic of the poet's individuality, is now heard in the major key and worked up to a climax. Again the first phrase is heard, but in contrary motion and common, instead of triple time, in which, however, it preserves a strong resemblance to its original form. It leads to the harmonies for the brasses, rushes of the strings, and a suggestion of the "Paradise" music. The next transition is to the Field of Ardath, not far from the ruins of what was once Babylon. Theos keeps his mystic tryst with the celestial maiden Edris in the moonlight. The muted violins tell the story, the English horn, partially hidden in the mas of muted strings represents the voice of the maiden, and the love scene grows more intense. Fragments of the poet's first motive, the heavenly music and the lullaby are combined, gradually leading into a finale constructed chiefly of the two poet motives, which have now not only lost their mournfulness, but have become transformed so as to express jubilant triumph. The celestial visitant, having counselled her beloved, reascends to Heaven, and the closing cadence brings again the harmonies, which earlier stood for the discord of earth life and its resolution into the serenity and peace of Paradise.
5August Hyllested gave a recital in Kimball Hall on Tuesday, when he played a brilliant program in a brilliant manner. For virtuosity, bravura, and elaborate accomplishment, Mr. Hyllested is the same pianistic pedagogue we have known for years. His successes abroad have been recently duplicated in Canada, and now he is firmly re-established in Chicago his recitals may be looked for as regular events. Mr. Hyllested's programs are distinguished for variety of composition and soundness of pianism, and include all that is best known in classical as well as modern music. His recital this week exemplified his versatility and brilliancy.
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9Miss Mary Wood Chase and Miss Helen Buckley gave a piano and song recital Wednesday in Handel Hall. It is not often that a recital is so remarkably well attended, even with so artistic a team as the two young artists, who each in her way has achieved prominence. Somewhat nervous, consequent upon a first appearance, for it was at this concert that Miss Chase made her Chicago public début, the first number did not fully show the rare ability and artistic qualities of this finely gifted pianist, but in subsequent numbers Mary Wood Chase demonstrated that she was equal to any demands of the concert room, and could give a recital in which musicianship, intellectuality and technic were necessary.
11It may be argued that in the program there was no heavy composition or arrangement of Liszt or Tausig, such as is usually included in a piano program. Miss Chase possibly prefers to play works which appeal to her from the purely musical standpoint, and which she interprets so perfectly.
13Miss Helen Buckley sang a prodigious number of songs, very varied as to composer, but peculiarly enough of great sameness as regards the style of composition. Miss Buckley is too good an artist to allow a monotonous touch to her work, and, while artistically trying to introduce new compositions to a Chicago audience, should not sacrifice herself to works unworthy of her powers.
15Helen Buckley's voice has mellowed and gained in strength; her vocalism is at all times finished and frequently distinguished for its brilliancy.
17The recital given by Misses Chase and Buckley received most favorable comments from the Chicago press, and some few of the notices are here reproduced.
19One of the most charming recitals of the season was given in Handel Hall last evening by Miss Helen Buckley, soprano, and Miss Mary Wood Chase, pianist. The cozy hall was well filled, and the young ladies were accorded great encouragement for their work. Miss Chase, although residing in this city nearly a year, made her concert début on this occasion. She is a brunette, a decided contrast to the blond beauty of her associate, Miss Buckley. She has studied for several years with Oscar Reiff, in Berlin, and is well equipped in technical details for interpreting works of the modern school. She has grace, facility and brilliancy, and her playing is delightfully free from mannerisms. Her opening number was finale, op. 43, Schubert, followed by Schumann's tone songs, "At Evening" and "In the Night." In the latter selection she found considerable favor. She next played two selections from Brahms' capriccio and intermezzo, op. 76, both beautifully given; and her Moszkowski numbers, "Masquerade and Unmasking" and "The Jugglers," had artistic distinction that worthy won most enthusiastic approval. Subsequently she played five Chopin selections. Miss Buckley won new laurels for her singing, and gave a program well calculated to display the versatility of her accomplishment. Her first appeal for favor was through three new songs by Oscar Meyer. Then she sang Tchaikowsky's "Canary Bird," one of the most brilliant bits of vocalism recently heard on the local stage, and this had a most appropriate successor in Francis Allitsen's "Song of Four Seasons." Her next group of songs, admirably given, had a rare charm in variety: "Aubade" (new), Gabriel Faure; "Absence" ("Les Nuits d'Eté"), Hector Berlioz; "Si Mes Vers Avaien des Ailes" (new), Baron F. d'Erlanger; "Villanelle," Cecile Chaminate. After the brilliant French group her last selections were charming in contrast by simplicity. They were: "Sheep Under the Snow" (old Manx song from "The Christian"), Hall Caine; "Pur Dicesti" (old Italian), Lotti; "Turn Ye to Me" (old Highland melody), "Good-Morrow, Gossip Joan" (old English song).—January 13, 1898, Charles Nixon, in Chicago Daily Inter-Ocean. one of two readings
20One of the most charming recitals of the season was given in Handel Hall last evening by Miss Helen Buckley, soprano, and Miss Mary Wood Chase, pianist. The cozy hall was well filled, and the young ladies were accorded great encouragement for their work. Miss Chase, although residing in this city nearly a year, made her concert début on this occasion. She is a brunette, a decided contrast to the blond beauty of her associate, Miss Buckley. She has studied for several years with Oscar Reiff, in Berlin, and is well equipped in technical details for interpreting works of the modern school. She has grace, facility and brilliancy, and her playing is delightfully free from mannerisms. Her opening number was finale, op. 43, Schubert, followed by Schumann's tone songs, "At Evening" and "In the Night." In the latter selection she found considerable favor. She next played two selections from Brahms' capriccio and intermezzo, op. 76, both beautifully given; and her Moszkowski numbers, "Masquerade and Unmasking" and "The Jugglers," had artistic distinction that worthy won most enthusiastic approval. Subsequently she played five Chopin selections. Miss Buckley won new laurels for her singing, and gave a program well calculated to display the versatility of her accomplishment. Her first appeal for favor was through three new songs by Oscar Meyer. Then she sang Tchaikowsky's "Canary Bird," one of the most brilliant bits of vocalism recently heard on the local stage, and this had a most appropriate successor in Francis Allitsen's "Song of Four Seasons." Her next group of songs, admirably given, had a rare charm in variety: "Aubade" (new), Gabriel Faure; "Absence" ("Les Nuits d'Ete"), Hector Berlioz; "Si Mes Vers Avaien des Ailes" (new), Baron F. d'Erlanger; "Villanelle," Cecile Chaminate. After the brilliant French group her last selections were charming in contrast by simplicity. They were: "Sheep Under the Snow" (old Manx song from "The Christian"), Hall Caine; "Pur Dicesti" (old Italian), Lotti; "Turn Ye to Me" (old Highland melody), "Good-Morrow, Gossip Joan" (old English song).—January 13, 1898, Charles Nixon, in Chicago Daily Inter-Ocean. one of two readings
22In spite of the bad weather the recital by Miss Helen Buckley and Miss Mary Wood Chase attracted an audience last night that filled Handel Hall. Miss Chase, who may be said to have there made her début upon the concert stage, showed herself a pianist of ability. Although there was a frequent tendency to blur the tones in rapid forte passages, especially noticeable in the Schubert finale from op. 143, with which the program began, her playing showed an excellence of technic, a breadth of phrasing and a power that was really surprising. These three qualities made her rendering of the Chopin ballade, op. 47, especially enjoyable, though, on the whole, her best work was shown in Brahms' capriccio and intermezzo, op. 76, and Moszkowski's "The Jugglers." This is perhaps due to a want of "poetry" in her playing, a fault that made the two Schumann numbers—"At Evening" and "In the Night"—the least satisfactory parts of her work.
24Miss Buckley's singing is too well and too favorably known here to require extended comment. Her selections covered a wide range and displayed her voice to advantage. Especially good was her rendering of Tchaikowsky's "Canary Bird" and Berlioz's "Les Nuits d'Eté." Her songs were, on the whole, well selected.—January 13, 1898, Chicago Evening Post. one of two readings
25Miss Buckley's singing is too well and too favorably known here to require extended comment. Her selections covered a wide range and displayed her voice to advantage. Especially good was her rendering of Tchaikowsky's "Canary Bird" and Berlioz's "Les Nuits d'Ete." Her songs were, on the whole, well selected.—January 13, 1898, Chicago Evening Post. one of two readings
27Handel Hall last night was very nearly filled by the audience which had assembled to hear the concert given by Miss Helen Buckley and Miss Mary Chase Wood, two young artists of talent and promise. Miss Buckley, who has a soprano of agreeable quality, generally full and smooth throughout its register, gave a number of light songs with much taste and sentiment, and was obliged to respond with encores. The evident taste and appreciation with which she sings and the evenness and purity of her register should secure her popularity on the concert stage. The piano performance of Miss Wood shows marked signs of talent. Her technic is adequate, she plays with intelligence, and, in such numbers as the selections from Brahms, shows unexpected firmness and authority of style. Beyond an occasional blurring of tones, due either to
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