Scan 34
Musical Courier 1898-01-19: Vol 36 Iss 933, 1898
137 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 35. See the scan on archive.org.
1the opening melody, a broad lyrical episode divides the brilliant middle section in two, and affords an effective contrast to the resumption of the airy, graceful scherzo mood. This predominates almost to the close of the piece, and is ended quite abruptly by assertive chords, which introduce the opening theme for the last time. Unlike most violin pieces, the ending of this "Fantasiestück" is not sweetness long drawn out," but consists of a short coda, brusque, sincere, original.
3I hope the work will not seek long for a publisher. It is too useful to remain merely an "exercise piece" of Mr. Bassett. In the varying tonality and modern wealth of color I recognize Mr. Boise's precepts.
5César Thomson made a "hit" last week in Munich with his playing of Paganini's D major Concerto. In the same city Sarasate was compelled to play four encores after his concert.
7Saint-Saëns conducted three concerts of his own works in Madrid, and led the first Spanish production of his "Samson and Delila" at the Teatro Real. He received the Cross of the Isabella Order, and was elected a member of the Madrid Academy of Arts.
9I hear that Kiefer, the "wizard of the violoncello," at present with the Windstein Orchestra at Leipsic, has been engaged as first violoncellist of the Berlin Philharmonic Orchestra, in place of Jacques van Lier, resigned. one of two readings
10I hear that Kiefer, the "wizard of the violoncello," at present with the Windstein Orchestra at Leipzig, has been engaged as first violoncellist of the Berlin Philharmonic Orchestra, in place of Jacques van Lier, resigned. one of two readings
12LEONARD LIEBLING.
14Eva Gardner Coleman.
16This prominent soprano and pupil of Townsend H. Fellows has been chosen as the new soprano of the Collegiate Church, Fifth avenue and Forty-eighth street. She resigns her position as soprano of Bloomingdale Reformed Church and goes on tour previous to assuming her duties at the Collegiate Church.
18Henri Marteau's Dates.
20Marteau's dates are as follows: January 18, New York (private musicale); Troy, 19; Buffalo, 21; Cleveland, 24; Oberlin, 25; Pittsburg, 27 and 28; Detroit, 31; Louisville, February 2; Indianapolis, 3; Nashville, 4. The last three concerts with the Thomas Orchestra. February 6 he plays in the Liederkranz, 10th with Seidl in the Astoria concert, and the afternoons of the 8th and 10th Marteau plays in two recitals with Siloti in Mendelssohn Hall.
22Howard Forrer Peirce.
24At the Ohio State Music Teachers' Meeting, which was held at Delaware during the holidays, Mr. Peirce gave a piano recital, of which one of the special correspondents present had this to say:
26The recital of the morning was given by Howard Peirce, of Dayton, who rendered a choice piano program illustrative of Russian and Polish compositions. Mr. Peirce is an accomplished player with a quiet, composed, what I would like to call American style. His selections were taken from Chopin, Tschaikowsky, Glinka and Balakireff; and were naturally tinged with the melancholy supposed to belong to this Slavic type. Emotion and dramatic expression were illustrated rather than technic, but the oriental fantaisie of Balakireff which closed the list was a notable exception, being a great exhibition of bravura playing, and winning enthusiastic applause from the connoisseurs present.
28The following clippings are from Dayton, Ohio, papers in regard to a concert given in that city on December 27:
30Mr. Peirce, who is one of the exceptions to the rules that a prophet is not without honor save in his own country, was warmly welcomed after his New York successes. The prelude by Rachmaninoff was majestic in style and Mr. Peirce played it most effectually, yet without the pounding some pianists seem to think necessary. The tone was broad and sustained, and the performance reached that acme of piano playing, the disguise of the percussive character of the instrument.
32The other selections were well received.—Dayton Evening News.
34There was only one complaint heard about the concert, and that was that Mr. Peirce had not played enough solo numbers. It did seem too bad that after an absence of months, he had to put us off with three dainty little selections, which were most exquisitely given.
36But here is a prophet that is not without honor even in his own country, and it is possible that the Dayton people feel that they can never get quite enough of Mr. Peirce.—Dayton Evening Herald.
38VIENNA. HOTEL MEISLL & SCHADN. VIENNA.
391 Karnthnerstrasse 22, Neuer Markt, 2.
40FIRST-CLASS HOTEL. HIGHLY RECOMMENDED FOR ENGLISH AND AMERICANS.
41Lift. Electric Lights. Baths. Telephone.
42JOHANN SCHADN.
44Leo Stern,
45THE YOUNG 'CELLIST.
46Address: The Henry Wolfsohn Musical Bureau.
47131 East 17th Street, New York.
49Georg Liebling and Royalty.
50BRITISH OFFICES OF THE MUSICAL COURIER,
5121 PRINCES STREET, CAVENDSH SQUARE,
52LONDON, December 24, 1897.
54GEORG LIEBLING is one of the few pianists who has the charm of personality necessary to make him a favorite with royalty. In a little chat with Georg Liebling he told some of his experiences with distinguished personages whom he had met in his travels all over the continent. When asked who had interested him the most, he replied that it was difficult to say, as all nobility seemed to him charming.
56"Perhaps," said he, "the prettiest impression I ever carried away with me was after my visit to the court of Vienna, where I was presented to that lady who had been gifted with beauty and visited with affliction, the Crown Princess Stephanie, whose charm of manner I cannot sufficiently extol. See what a pretty souvenir of her I possess," and he showed me a dazzling diamond breastpin.
58Mr. Liebling is now on a visit to Algiers with his charming wife, and will, while there, play before several of the princes who are visiting there at the same time. Reports of his doings in the Southern capital will appear in the columns of THE MUSICAL COURIER.
60People's Choral Union in "The Messiah."
62ON Saturday evening last, the 15th inst., at the Metropolitan Opera House, "The Messiah" was given by the People's Choral Society of New York, Frank Damrosch director, and the New York Symphony Orchestra (?). The soloists were Mme. Emma Juch, Mrs. Josephine Jacoby, Evan Williams and Mr. Charles W. Clark. Mr. Will C. Macfarlane was at the organ.
64A brief address to the public, printed on the program and signed, "The People's Choral Union," alluded to "The Messiah" as "the well-worn oratorio." The just Lord who feeds his flock, and would no doubt approve of feeding them with good music, well knows that "The Messiah" is so "well worn" as to be worn out. Why not, in the name of progress, pack away the old elaborately frilled garment in this new country? Leave it to England to haul forth as many times per year as she wants. She has genealogical interest in it. It was fashioned for her. But give the young American something which may be relied on to last. Händel in harness with sacredness is exploded long ago.
66Frank Damrosch conducted with great earnestness and vigor, and got prompt, if colorless, results from his chorus. This chorus mustered an advertised thousand strong and presented an imposing aspect to the audience. Considering its size the tonal impact was not wonderfully impressive by any means, and there were no really stirring effects in climax or effective episodes of contrast. The principal merits of the body were pure intonation, correct phrasing and a certain virtuosity in the florid numbers. The female attack was often timorous in the matter of volume; the men had more vocal courage. Taken all in all, however, and as a representation purely of "the people," the work was clear and creditable. If in the test chorus, "For Unto Us," the hushed mystery of the opening phrases was absent and the dramatic outburst of "Wonderful" lacked spirit, it must be remembered that these choristers are not singers cultivated to control of musical light and shadow, but New York's earnest young men and women drawn from the masses and taught thus far to read at ease the music which they sing—a sufficiently remarkable achievement.
68Emma Juch sang with the purity and exceeding polish which always mark her work, but there was at times an attenuated super-etherealized sentiment savoring more of theatre than oratorio. This same theatre experience, however, served well in her delivery of recitative, which was dignified and emphatic.
70The contralto, Josephine S. Jacoby, whose luscious voice can be imbued at will with the sombre tinge effective in oratorio, sang with remarkable breadth and intelligence. "He Shall Feed His Flock" was delivered with serious, impressive feeling, and artistically phrased in tones of most mellow power and beauty.
72Evan Williams sang with intelligence and vibrant effect, covering his vocal gymnastics with ease and distinctness, and leaving no one in doubt as to his text. The same may be said of Mr. Charles W. Clark, whose voice, pure and of solid, sonorous quality, is also flexible and yielded fluently to the agile Händelian demand. His diction was good.
74The orchestra worked carefully, called on with taste and discretion by Mr. Frank Damrosch, under whose beat the Pastoral Symphony flowed with a really delicate suavity.
76Metropolitan Sunday Concert.
78THE last of the Sunday night concerts under the management of R. E. Johnston & Co., at the Metropolitan, brought forth the Seidl Orchestra in a more solid program than usual, Wagner predominating. The soloists were Mlle. Alice Verlet, soprano; Mrs. Josephine Jacoby, contralto; the Sutro sisters, ensemble pianists, and Leon Marx, violinist.
80Mlle. Verlet made a brilliant impression, singing the "Come per me Sereno," from "Sonnambula," and the "Bell Song," from Lakmé, with marvelous fluency and finish. The voice was flute-like, her trills, runs and staccati admirably executed, and the ease and grace of her delivery bespoke plainly the artist of experience. A clean, more even instrument united to such brilliant coloratura power is not often heard on the boards of the Metropolitan.
82Mrs. Jacoby sang Gounod's "Stances de Sapho," and had a double encore. The English song, "Under the Rose," she gave beautifully, with feeling and excellent diction. Mlle. Verlet gave in encore Massenet's "Serenade de Passant" and a Tarantelle of Rossini.
84The piano accompaniments of Aimé Lachaume were delightful. Nothing else in the program calls for specific mention except the playing of the Sutro sisters. Of their high standard of interpretation, although not called into requisition by the program numbers of Sunday night, enough is known by the European and American musical world, and there was some evidence exhibited in the encore number. They will probably give a recital here in the near future.
86Gwyllym Miles.
88Gwyllym Miles has been engaged by the St. Louis Choral Symphony Society to sing the "Golden Legend" in the middle of February. He will also sing the "Elijah" in Pittsburg February 25. In the Spring Mr. Miles will sing in a number of festivals and also with the Handel and Haydn Society in Boston.
90Carl E. Dufft.
92The following criticisms of Mr. Dufft's work in "The Messiah," in Pittsburg, Pa., December 31, are noticeable:
94Nothing but praise could be bestowed upon Mr. Dufft for the capable manner in which he handled the bass solo work. His voice was heard to good advantage, especially in the solo, "Why Do the Nations."—Pittsburg Press, January 2, 1898.
96Carl E. Dufft, the basso, in the solo "Why Do the Nations," revealed a voice of great intensity, that he could use to do anything with.—Pittsburg Dispatch, January 1, 1898.
98Carl E. Dufft, the basso, was in excellent voice last night, and his singing as a whole was even more artistic than on former occasions.—Pittsburg Times, January 1, 1898.
100Carl E. Dufft, the basso, is well known in Pittsburg, and last night's engagement will certainly not detract from his popularity. He sang "Why Do the Nations Furioulsly Rage?" in a masterly manner.—Pittsburg Leader, January 1, 1898.
102Sousa's Concerts.
104JOHN PHILIP SOUSA, Conductor.
105MAUD REESE-DAVIES, Soprano.
106JENNIE HOYLE, Violiniste.
108Jan. 22, Philadelphia, Pa.
109Jan. 23, New York City.
110Jan. 24, Lancaster, Pa.
111Jan. 25, Pottstown, Pa.
112Jan. 25, Reading, Pa.
113Jan. 26, Tyrone, Pa.
114Jan. 26, Altoona, Pa.
115(no line here) one of two readings
117Jan. 27, Beaver Falls, Pa.
118Jan. 27, Youngstown, O.
119Jan. 28, Salem, O.
120Jan. 28, Canton, O.
121Jan. 29, Bucyrus, O.
122Jan. 29, Marion, O.
124Chickering & Sons' . . .
125Grand Orchestral Concerts.
127ANTON SEIDL, Conductor.
128CHICKERING HALL,
129Tuesday Evening, February 1, at 8.30.
130Tuesday Afternoon, March 1, at 3:00.
131Tuesday Afternoon, April 8, at 3:00.
132SOLOISTS FOR LATER CONCERTS:
133FRANZ RUMMEL,
134XAVER SCHARWENKA.
135Reserved Seats, $1 and $1.50; admission, 50c.; Course Tickets, $5 and $7.50.
136Now on sale at Box Office, Tyson's, Manhattan and Windsor Hotels
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