Scan 10
Musical Courier 1898-04-27: Vol 36 Iss 947, 1898
110 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 11. See the scan on archive.org.
1bert, Weise, Finger and Wander; singing, Misses Klotz, Mittenmeier, Koch.
2IV. Maturity as pianist, Misses Kien, Wander, and as concert pianist, Misses Johannides, Irmscher.
3V. Office as organist and concert work, Neumann; concert activity on the organ, Koehler.
4VI. Solo and orchestra violin playing, Warwas; clarionet playing, Neumann; orchestra violin playing, Lederer; double bass, Keyl; horn, Tietze; trumpet, Hachenberger; trombone, Pietschmann.
5VII. Concert singing, Misses Bock, von Kanitz; maturity as vocalists, Misses Klotz, Seifert, Schmidt, Kretzschmar; for concert and operatic singing, Fricke.
6VIII. For acting, Roman, Misses Bock and Knoefel.
7The following distinctions were awarded:
8I. Prize testimonials (the highest distinction the conservatory awards): Warwas (class of Rappoldi); Misses Johannides, Irmscher (class of Mrs. Rappoldi-Kahler), Miss Bock (class of Miss Sievert and Starcke).
9II. Public praiseful mention: Feigerl, Fricke, Hachenberger, Krueger, Lederer, C. Lehmann, Mehner, J. Neumann, Saarilahit, R. Schmidt, M. Schildbach, Tietze, and the ladies Baly, Hartmann, Countess Kanitz, Kneufel, Koch, Kretzschmar, Philipps, Samuelson, Th. Schmidt, Wander, E. Wuensche.
10III. The Coburg-Gotha Prize: M. Schildbach.
11IV. The Interests of the Kloss Legacy: R. Schmidt.
13* * *
14The performance of Berlioz's "The Trojans" at Cologne, under Professor Kleffel's direction, was a great, almost unprecedented, success. The first opera, "The Taking of Troy," pleased the audience more than the second half of this dualogy, "The Trojans in Carthage." Among the listeners were Choudens, the Paris publisher of Berlioz's works, and Director Stoumow, of the Brussels Monnaie Theatre, who intends to bring out "The Trojans" in the Belgian capital.
16* * *
17Kapellmeister Pruewer, of Breslau, who lately conducted with success at St. Petersburg, has been selected by Director Morwitz as first conductor of next summer's operatic stagione at the Goethe Theatre.
19* * *
20Miss "Willy" Sandmeyer, a handsome young American coloratura soprano and a pupil of Etelka Gerster, will "guest" at the Wiesbaden Court Opera House in the near future, and an engagement is pending for next fall.
22* * *
23Moritz Moszkowski has finished his second piano concerto (the first one he has entirely discarded), and will play the new work for the first time and personally at one of next season's Nikisch Philharmonic concerts.
25* * *
26Among the callers at the Berlin office of THE MUSICAL COURIER was Mlle. Marie Panthés, the charming pianist who soon return to Paris; Mme. Marcella Lindh, formerly of New York, now of Budapest, where she recently sang with much success, and Herr Prof. Dr. Meurer, musical litterateur from Aix-la-Chapelle. O. F.
28Henry Miller.
29The Weekly Advertiser, of Royersford, Pa., says in its review of Henry Miller's recent piano recital, which took place in Memorial Hall, Spring City, April 12, that it was attended by a large audience from Royersford, Spring City and Phoenixville. Mr. Miller's playing showed genius and skill as well as depth of feeling and expression. Two of Mr. Miller's pupils, Miss Emma Albright and Miss Blanche Finlaw, assisted, and Miss Anna Brown was the vocalist.
31(no line here) one of two readings
32PIANO INSTRUCTION. one of two readings
33Frederic Mariner, one of two readings
34TECHNIC SPECIALIST….. one of two readings
35STUDIO: one of two readings
36VIRGIL PIANO SCHOOL, one of two readings
3729 West 18th St., New York. one of two readings
39GUSTAV HINRICHs, one of two readings
40With the National Conservatory. Formerly Conductor of National Opera Company. Director of Hinrichs Opera Company. one of two readings
41VOCAL INSTRUCTION. one of two readings
42Prepares and finishes for CONCERT AND OPERA. one of two readings
43130 West 91st Street, New York. one of two readings
45Katherine Kerr-Carnes.
46THE cut we present this week of Katherine Kerr-Carnes, the young artist who is called "the Patti of Memphis," is a beautiful likeness of a beautiful woman who descends from one of the most distinguished families of the South.
47While spending a winter in Washington, visiting her cousin, who was United States Senator for many years, she was considered the belle and beauty of the season. Her vocal talents have since brought her before the public, where she has just reason to believe she achieves her greatest success in life, for not only does she add new laurels to her already enviable reputation every time she sings, but managers recognize the fact, and the result is there is no concert, oratorio, &c., given of any importance in the Southern States, that Madame Carnes is not approached for terms, and secured if possible. Her next engagement is for the "Inflammatius" on the 27th inst.
48Endowed with voice, talent and beauty, the young artist, after studying at the Chicago College of Music with Gaston Gottschalk, came to New York to Mme. Florenza D'Arona, with whom she still studies during the summer months, whenever this famous teacher is not called away to Paris by other artist pupils, returning from tours.
49The press all over the country has been aglow with praise this past season of Madame Carnes' singing and her appearance in the operas of "La Sonnambula" and "Martha," revealed to the public histrionic ability of surprising excellence.
50Here in New York, where people are accustomed to hearing the best that any country can produce, Madame Carnes was applauded to the echo with "genuine enthusiasm" while singing at the Academy, and THE MUSICAL COURIER has reproduced press notices from time to time which have made her famous in any country, and America is not slow to appreciate its own singers when once it is made to realize their worth. So we may predict for Madame Carnes an enviable future right here in her native land, which we hope will kill that idea that our talent must be indorsed by Europe before doing them the justice they have a right to expect in America. one of two readings
51Here in New York, where people are accustomed to hearing the best that any country can produce, Madame Carnes was applauded to the echo with "genuine enthusiasm" while singing at the Academy, and THE MUSICAL COURIER has reproduced press notices from time to time which have made her famous in any country, and America is not slow to appreciate its own singers when once it is made to realize their worth. So we may predict for Madame Carnes an enviable future right here in her native land, which we hope will kill that idea that our talent must be endorsed by Europe before doing them the justice they have a right to expect in America. one of two readings
52Every nation concedes that the American voice is the most beautiful; Madame Carnes not only has voice, but every other requisite to success. Now let Eastern managers open the way for her to appear here again. Good singers are not too plentiful, even in great cities, and there are few who can compete with Madame Carnes.
54Professional Topics. one of two readings
55A PIANIST appears on the concert platform, and the audience prepares itself to criticise his work according to its knowledge. one of two readings
56If he claims to be an artist the music critics dedicate a thought to him in the columns of the newspapers and point out his merits or faults. one of two readings
57The great benefit this is to art is plain. The eyes of the public are open to real merit, and the musical market is cautioned against receiving as gold what in reality is only copper. one of two readings
58What I have said about a pianist can be applied to any other artist who, by performing in public, invites his audience to form a judgment and to express an opinion. one of two readings
59Now, be astonished! The only persons in the artistic fraternity who are exempted from that showing up are the blessed vocal teachers. one of two readings
60Let us suppose that there is a violinist who has never been heard to play; that said violinist proclaims himself a celebrity, and with stupendous boldness tries to make the public believe it; it is right to suppose that people in general would quickly impugn such gratuitous self-information, and demand proofs which could give credit to such statement. one of two readings
61formation, and demand proofs which could give credit to such statement. one of two readings
62Exactly under the same rules you find the vocal teacher, whom the public allow, however, to speak, to write, but never to prove.
64* * *
65Those same musical critics, to whom I have alluded, are to blame for the actual state of degeneration in which is found the art of the accompanist.
66Routine, with all its ignorance, has established for them the habit of scarcely regarding the (almost always) bad interpretation of the accompanist, and lend all their attention to the soloist's work. Nevertheless, the artistic sensibility of this same critic would be greatly shocked were he to witness the appearance in a selected circle of a beautiful lady in elegant costume arm in arm with a ragged, filthy tramp.
67Petty excuses never take a long time before they become confirmed reasons in idiotic minds. Someone, somewhere, and at sometime, said that, in order to be a good accompanist, a necessary requisite was to be a poor pianist; that is to say, that the greater the ability of an accompanist, the less in comparison should be his musical knowledge. What a folly!
68I do not doubt that the saying was invented by some mechanical pianist who could not read half a bar in a largo, but with presumption enough to call himself a soloist, or by some single-handed piano player, whose digital dexterity and independence of fingers could bring to your memory the celebrated Siamese twins.
69The truth is that there are many so-called accompanists, that deserve the title from the mere fact of escorting the soloist before the public; not because their playing contains anything artistic or accurate.
71* * *
72A singing teacher, of charming personality by the way, has given utterance, in a musical magazine, to certain ideas which sound excessively funny. I am still in doubt whether he really meant them. "Becoming a good vocal teacher is a matter of development. No person, no matter how long he has studied or how great he has been, his musical experience is a good teacher in the first year or two of teaching."
73I feel grieved at not being able to share that opinion. A pill of such proportions, even if well sugared, is very hard to swallow.
74If I were allowed to express my opinion on the subject I would say: "A bad vocal teacher may be born or made so."
75His voice-destroying abilities develops with the experience, so that a bad master, after thirty or forty years of professional practice, will render voices useless in much less time and with a greater amount of skill and sang froid than any of his novice's colleagues.
77* * *
78If we compare the bitter deceptions suffered by the blessed martyrs of the Early Church with those suffered in the present age by the modern pioneers of vocal art, we will come to think that the former had an easy time of it.
79There was a vocal teacher who, after accomplishing a perilous trip to Alaska, climbing mountains and huge icebergs in search of the vocal "missing links," returned in utter dismay, to find that a professional brother, without risking anything but his common sense, had discovered during a nightmare that same "missing link" hidden somewhere in the false vocal cords (1?1).
80LOUIS G. MUNIZ.
82(no line here) one of two readings
83Professional Topics. one of two readings
84A PIANIST appears on the concert platform, and the audience prepares itself to criticise his work according to its knowledge. one of two readings
85If he claims to be an artist the music critics dedicate a thought to him in the columns of the newspapers and point out his merits or faults. one of two readings
86The great benefit this is to art is plain. The eyes of the public are open to real merit, and the musical market is cautioned against receiving as gold what in reality is only copper. one of two readings
87What I have said about a pianist can be applied to any other artist who, by performing in public, invites his audience to form a judgment and to express an opinion. one of two readings
88Now, be astonished! The only persons in the artistic fraternity who are exempted from that showing up are the blessed vocal teachers. one of two readings
89Let us suppose that there is a violinist who has never been heard to play; that said violinist proclaims himself a celebrity, and with stupendous boldness tries to make the public believe it; it is right to suppose that people in general would quickly impugn such gratuitous self-in- one of two readings
91VIENNA. HOTEL MEISLL & SCHADN. VIENNA.
921 Karnthnerstrasse 22, Neuer Markt, 2.
93FIRST-CLASS HOTEL. HIGHLY RECOMMENDED FOR ENGLISH AND AMERICANS.
94Lift. Electric Lights. Baths. Telephone.
95JOHANN SCHADN.
97ISIDORE LUCKSTONE,
98The Accompanist and Musical Director,
99Style Repertoire, Finish. VOCAL CULTURE PERMANENTLY IN NEW YORK.
100Studio: 836 Lexington Ave., or address Musical Courier.
102Opera, Concerts and Song Recitals
103MAUD PRATT-CHASE,
104Dramatic Soprano.
105HARRY LUCIUS CHASE,
106Baritone.
107DIRECTION:
108VICTOR THRANE,
10932 Union Square, West, New York.
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