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Musical Courier 1898-04-27: Vol 36 Iss 947, 1898
79 lines. Read by computer on 21 September 2026. Printed page 12. See the scan on archive.org.
1The Haarlem Philharmonic Society
2Morning Musicale.
3THERE was something refreshing in the sincerity with which the artists imbued their work at the third morning musicale given by the Haarlem Philharmonic Society, at the Y. M. C. A. Hall, 125th street, last Thursday. Eleven o'clock was the hour set for the musicale, and only the ladies of the society had the privilege of hearing the musical feast, for such it proved to be.
5A quintet for piano, violin, horn and soprano, by Bruno Oscar Klein, and interpreted by the composer, Franz Kaltenborn, Mr. Beyer-Hané, Xavier Reiter and Miss Caroline Montefiore, was the opening number. This work is a valuable addition to the realm of chamber music, and should be heard frequently next season. Mr. Klein has shown a novel idea in this combination of instruments and voice, and the effect produced was highly satisfactory.
7The quintet is in three movements. For the voice the composer has adopted in the two first movements texts from Heine, and in the third movement allegro con fuoco, a setting from "Chamisso." There is a good proportion of originality in this composition, though at times the hearer finds echoes of Schumann and Schubert. The work was well given.
9The artists seemed enthused with their scores, and played with spirit and splendid tone, while Miss Montefiore sang her part with a broad, refined tone and an extraordinary amount of intelligence, backed by intense earnestness delightful to behold.
11Piano soli: Three Chopin preludes and three numbers, "Pensée Poétique," "Northern Idyl," "Capriccietto," by Klein, were played by the composer in very poetic style. Mr. Klein, later in the program, in conjunction with his wife, played the four-hand arrangement of his American Dances. These dances were heard earlier in the season by the Haarlem Philharmonic Orchestra, under Mr. Fleck's baton. The piano four-hand arrangement is very effective.
13"'Neath the Roses," a song by Klein, was one of the gems of the musicale. Miss Montefiore sang this, as also "Faithfulness," Brahms, and Liszt's "Mignon," as only a first-class artist can. The charm of this singer is in her simplicity and sincerity. There is no striving for effect, yet the effect produced is always artistic. Miss Montefiore is a fine artist, who is always sure of her work, and it is a pleasure to hear classical songs when given by her, and especially when accompanied by a musician and pianist like Bruno Oscar Klein.
15The large audience, although careful of their gloves, nevertheless enjoyed this musicale.
17Viardot-Garcia Versus Lamperti Method.
18A VERY successful and prominent teacher writes the following: "The differences between the Lamperti method and the Viardot-Garcia are many and important, the fundamental points never being printed, but always passing from teacher to pupil. As they must be illustrated to be understood, you will appreciate the impossibility of endeavoring to explain them—in a brief letter."
20Having sought in vain for information as to the points of difference between these two well-known methods I turn to the many readers of THE MUSICAL COURIER, hoping that someone will, through its columns, give students some inkling of the fundamental differences above referred to, or reference to some articles possibly unknown to my correspondent.
22J. STANFORD BROWN.
24Cello for sale.—Genuine Stainer, A. D., 1652; no reasonable offer refused. Address Paul Hamburger, 23 West 112th street, New York.
26Pennsylvania Conservatory of Music,
271616 North 17th Street, Philadelphia, Pa.
28MUSIC IN ALL BRANCHES—
29Instrumental and Vocal, Technical and Theoretical.
30Catalogues mailed upon application.
31VIVIAN INGLE, Director.
33HENRY K. HADLEY,
34Composer—Violinist.
35INSTRUCTION, THEORY OF MUSIC…..
36Musical Director St. Paul's School, Garden City, L.
37Mr. Hadley will be found on Saturdays from 9.30 till 5 at Studio 705 Carnegie Building, New York
39SINGERS and TEACHERS!
40EDMUND J. MYER announces a special Summer Normal Term at POINT CHAUTAUQUA, N. Y., based upon his new book, "Position and Action in Singing."
41Address 32 East 23d Street. New York.
43Music In Rome.
44[SPECIAL CORRESPONDENCE.]
45119 Via Frattina,
46ROME, ITALY, April 9, 1898.
48ROMAN "influenza" and rainy weather have both disappeared from the Eternal City, and the many strangers now visiting here are fortunate in this respect. With springtime, azure skies and sunshine have returned, for which the Romans are particularly thankful after so many weeks of rain.
50The musical season in Rome is not a long one, but is all the more active. Besides the opera, there are many high class concerts given here; the prices for the latter, however, are not so low as in Germany, or even in America. On March 10, after many rehearsals and several postponements, Mancinelli's opera, "Ero e Leandro," was successfully given at the Teatro Argentina for the first time before a Roman audience, under the composer's own direction. Since then this opera has had a number of repetitions.
52Widor, the French organist; César Thomson, Emile Sauer and Sarasate have been among the soloists at the concerts of the Orchestral Society Romano, given at the Royal Accademia di Santa Cecilia, under the direction of Ettore Pinelli. Sgambati also appeared, playing his own concerto masterfully, and now Adele Aus der Ohe is announced to play here on the 16th inst. The "Quintetto" of Her Majesty the Queen, consisting of Sgambati (piano), Monachesi, DeSanctis (violins), Jacobacci (viola) and Morelli (cello), have given a series of three concerts. There have also been concerts by the Bach Society, of Rossini's "Stabat Mater" and others of a purely orchestral nature, besides numerous recitals.
54But the greatest—the best in every respect—have been the two performances of Verdi's "Messa da Requiem" by the Royal Accademia di Santa Cecilia on the afternoon of April 4 and the evening of April 6, with a chorus of 150 voices, an orchestra of eighty players and the following soloists:
56Lillian Blauvelt, soprano; Zaira Cortini-Falchi, contralto; Francesco Marconi, tenor; Romano Nannetti, basso, and Stanislao Falchi, conductor.
58The last concert on Wednesday night I shall never forget. This music of Verdi, in which there are many exclamation points, was given most satisfactorily throughout, excepting a slight discrepancy in tempo at the beginning of the Fugal chorus. Barring this, all the choruses—whether in fortissimo or in pianissimo singing—were remarkably good, and some of the effects were positively electrifying. The orchestra, too, was a brilliant one.
60Of the soloists, I have much to say in connection with the soprano, and on that account shall mention the other end first. The basso, Signor Nannetti, has a fine, manly voice, which he knows how to use. Signor Marconi, the tenor, you may remember as the Otello in Verdi's opera when produced for the first time in America some years ago at the New York Academy of Music by the lamented Campanini. The music of the Verdi "Requiem," however, is much better suited to Marconi's voice, and he sang really well on this occasion—with thorough understanding and splendid effect.
62Signora Cortini-Falchi, the contralto, is a very conscientious singer. She has a well-schooled voice of large compass, under perfect control, and sang her numbers with musicianly insight. Signora Cortini-Falchi is the wife of the conductor.
64Mme. Lillian Blauvelt, the American soprano, is so favorably known in her own country that she requires no introduction there; but her remarkable performance in Rome, where she sang for the first time, deserves full mention and much praise.
66At the eleventh hour, when the necessity of postponing or abandoning the production of the "Messa" altogether was being talked of, for want of a singer to take the soprano part, Lillian Blauvelt was discovered to be in Rome and was prevailed upon to undertake the part. Being a good reader, Miss Blauvelt actually learned the music within the short time of four days, and sang it with such ease and assurance that the audience gave her a perfect ovation at the first concert.
68Queen Margherita, of Italy, is a great lover of music, and after this concert Lillian Blauvelt was presented to Her Majesty, and was given a right royal welcome, the Queen expressing great pleasure and satisfaction with the singer's success. At her hotel Miss Blauvelt was the recipient of beautiful flowers and hearty congratulations.
70The second concert was even more brilliant, the distinguished audience of Rome's nobility and fashion overcrowding the hall into the corridors. Lillian Blauvelt is a brunette of prepossessing appearance and a singer certainly of courage and will power, whose example will stimulate American girls to emulation.
72From here Miss Blauvelt will go to Germany to sing, and while there will also study to enlarge her repertory and broaden her style. After that her plans will take her to Russia.
74At that evening concert, seated next to me, I met our old friend Pietro Cianelli, for years teacher of "la lingua Italiana" at Mrs. Thurber's National Conservatory in New York.
76One day, during the time of busy rehearsals of Mancinelli's "Ero e Leandro," that great conductor beckoned to me on the opposite side of the street and when I reached him found he was so pre-occupied—probably with thoughts of the "première" of his opera—that it required some time before he could remember where he had known me, or why he should find me at Rome. In the case of Cianelli, too, things were not quite clear until I mentioned a little foreign restaurant in New York, not far from Sixth avenue, below Fourteenth street—a place much frequented by artists and Bohemians.
78I learn that Moderati, once a resident of New York, is now living in Rome. A short time ago, too, I met Americo Gori, well known as a musician and writer in New
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