Scan 26
Musical Courier 1898-04-27: Vol 36 Iss 947, 1898
92 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 27. See the scan on archive.org.
1Serenade, op. 34, No. 3…………………….Schütt
2La Babillarde, op. 41, No. 3…………………Leschetizky
3(Dedicated to Madame Wienzkowska.)
4Grande Etude de Concert…………………….Wieniawski
5Mélancolie, op. 51……………………………Rubinstein
6Rhapsodie, No. 8…………………………..Liszt
8* * *
10Miss Harriet Goddard, a pupil of Arthur Hubbard, sang last week at Waterville, Me., with the Choral Society and scored a pronounced success in "O Cicliazzurri," from "Aida," and ballads, being repeatedly encored. She also sang for the Newton Club in Cambridge, with the Boston Operetta Company last Wednesday evening, in the third act of "Faust" and the "Marriage by Lantern," with her usual success.
12The Boston Operetta Company has met with appreciation wherever it has appeared this season, and will continue next year to give the same programs, with perhaps new scenes from other operas. The organization is composed of Miss Goddard and Miss Ruby Cutter, sopranos; Miss Helen Day, Miss Jennie Paine, contraltos; S. Williard Flint, basso, and Jerome Haushue, tenor and director.
14Miss Cutter is a new member of the company, and has won her audiences wherever they have appeared.
16* * *
18Rafael Joseffy was a caller at the Faelten School last week, while in the city filling a symphony engagement, and upon attending the sessions of several classes expressed himself as very much pleased with the way the work is being carried on.
20Harold Randolph, the newly appointed director of the Peabody Institute at Baltimore, was a pupil of Carl Faelten. During a recent visit to Boston he called upon the new Faelten School.
22* * *
24Mrs. Edith McGregor Wood is to be one of the contraltos in the coming testimonial given for Mr. Zerrahn. Mrs. Louise Bruce Brooks was invited to sing, but owing to a future engagement could not respond. The choice of contraltos reflects very creditably upon Mrs. Gertrude Franklin-Salisbury, as she is the coach for ooth singers, and they are worthy exponents of her art.
26* * *
28Nashua, N. H., not to be outdone by neighboring cities with their festivals, will give on May 3 the cantata "Lazarus," by P. A. Scheucker; the coda of "Forth to the Meadows," for a chorus of shepherds, taken from the German by Rev. J. Troutbeck; Franz Schubert's "Rosa-munde," and the "Song of the Sea," a vocal march composed by G. A. Veazie, Jr.
30The chorus, numbering 250 voices, will be under the direction of E. J. Hood, with Mrs. James H. Tolles at the piano.
32* * *
34The Zerrahn testimonial will be simply enormous in its proportions. The chorus of 1,500 will have the assistance of an array of soloists unprecedented. The plan is to have all the minor parts taken by Mr. Zerrahn's friends with whom he has been associated in past years. S. M.
36Choir Notes.
38Lewis L. Evans, tenor, and Mrs. Milton Ferry, contralto, have been engaged for the coming year at St. Agnes' R. C. Church, East Forty-third street, entering upon their duties May 1.
40Elmira, N. Y.
42At Miss Roberts' regular Saturday morning musical, April 16, the program was given by her talented pupil, Miss Edna C. Mixer, of Waverly, N. Y. The local press was unanimous in its praise of Miss Mixer's convincing readings, variety of tone, and clear, adequate technic. She was ably assisted by Frederick Wishard, baritone.
44Liederkranz Concert.
46UCH praise is due to the Liederkranz for giving an opportunity to hear a work of such sterling quality as Max Bruch's "The Bell" (ode by Schiller). In polyphonic writing, in mastery of choral tone balancing and in instrumental coloring Bruch is a routiniere, and the manner of working out his thematic material at times compensates for the absence of inspiration. "The Bell" is not a novelty, but it is not in line with the other often-repeated choral works, and hence once more thanks to the Liederkranz.
48The quartet was excellent in its ensemble, although Mr. Fischer really no longer sings; he declaims everything. After a voice has done as much duty as his no resonance is to be expected. The tenor, Mr. Van Yorx, who has a voice of beautiful quality, gave a musically intelligent rendition of his part, but the text was somewhat blurred, as was the case with Miss Sargent, the soprano, who has a vibrant, clear, bell-like voice of excellent quality. She is also temperamental in her style, and makes an excellent impression as a musical personality, the phrasing and interpretation giving evidence of musical intelligence of a high order.
50Mrs. Josephine Jacoby, the alto, has developed her voice to such a degree of power and resonance as to secure sufficient homage to satisfy any singer for these reasons alone, but in addition the musical quality and the legitimate artistic effects she gives out place her far in advance of most of the singers on the concert platform today. Add to these gifts absolutely pure intonation, distinct syllabic enunciation, broad and intelligent phrasing and deep musical feeling, and nothing more need be said, for they comprise the qualities looked for in singers in the first rank.
52Mr. Zoellner conducted metronomically, but as this was his last concert at the Liederkranz there is no necessity for a further discussion of his work. A wreath was handed to him as a token of love and respect. His successor has not been selected.
54Martinus Sieveking.
56The well-known pianist, Sieveking, will return next season for a series of fifty concerts under the direction of Victor Thrane.
58Delavan Howland.
60Delavan Howland announces that he will give an orchestral concert at the Waldorf-Astoria on Friday evening, April 29, with the assistance of Miss Dora Valesca Becker, violinist; Miss Marian Walker, soprano; Miss Adele Becker, accompanist, and an orchestra of forty musicians, Delavan Howland conductor.
62A Gilbert R. Combs' Pupil.
64Miss Carrie S. Pierman met with her usual success in the piano recital given by her on Wednesday evening in the concert hall of the Broad Street Conservatory of Music, at No. 1331 South Broad street, Philadelphia. Miss Pierman has quietly risen to be a great pianist, and displays that fine artistic training that is characteristic of all of Gilbert Raynolds Combs' pupils. Her conception was broad and original, her technic was faultless, her tones mellow and pure, and in the "Humoreske" of Schumann she displayed great depth of feeling.
66The Godowsky numbers were a big undertaking for such a young artist when we consider their great technical difficulties, which Miss Pierman mastered with brilliancy, as well as clearness and smoothness, this being also the first time these numbers have been publicly performed by anyone excepting the composer.
68The Zaremski Polonaise was the last, and if it is possible to make a distinction in such a well-given program, was probably the best number.
70Georg Liebling As Performer.
72THAT enterprising and highly important London journal, the Daily Telegraph, which probably has the largest circulation of any paper in England, in speaking of Herr Georg Liebling's playing at his recent recitals, says:
74Mr. Liebling's presentation of Schumann's fascinating Fantasiestücke proved thoughtful and earnest, the two Preludes (Chopin), in A major and F major, being played with charming delicacy and refinement, while the Nocturne in E and the Impromptu in A flat were likewise treated in a thoroughly artistic manner. Plenty of applause greeted Mr. Liebling's performance of the Polish composer's Polonaise in A flat, and after two recalls the pianist returned to play Jensen's "Murmelndes Litchen." Mr. Liebling submitted also a piano concerto in A of his own composition. This work comprises a highly strung and impetuous Allegro, an Andantino which yields a decidedly pleasing and graceful melody, and an extremely fiery concluding movement. There are several effective passages from the solo instrument, and the reposeful, slow movement, providing agreeable relief and contrast, cannot fail to recommend itself. Mr. Liebling has in his favor a lively finger and a supple wrist. In the familiar "Marche Funèbre" the trio was touched with real pathos and tenderness. So, likewise, did a most engaging rendering of the Prelude in D flat major. one of two readings
75Mr. Liebling's presentation of Schumann's fascinating Fantasiestücke proved thoughtful and earnest, the two Preludes (Chopin), in A major and F major, being played with charming delicacy and refinement, while the Nocturne in E and the Impromptu in A flat were likewise treated in a thoroughly artistic manner. Plenty of applause greeted Mr. Liebling's performance of the Polish composer's Polonaise in A flat, and after two recalls the pianist returned to play Jensen's "Murmelndes Lichten." Mr. Liebling submitted also a piano concerto in A of his own composition. This work comprises a highly strung and impetuous Allegro, an Andantino which yields a decidedly pleasing and graceful melody, and an extremely fiery concluding movement. There are several effective passages from the solo instrument, and the reposeful, slow movement, providing agreeable relief and contrast, cannot fail to recommend itself. Mr. Liebling has in his favor a lively finger and a supple wrist. In the familiar "Marche Funèbre" the trio was touched with real pathos and tenderness. So, likewise, did a most engaging rendering of the Prelude in D flat major. one of two readings
77Following up his plan of devoting the programs of each of his last recitals to the works of a single composer, Mr. Liebling paid homage yesterday afternoon at the shrine of Robert Schumann. Praise is Mr. Liebling's due for the manner in which he carried home a weighty burden. He who plays Schumann has a special call made upon his powers, just as he who essays to shine as an exponent of Beethoven or Chopin. In some respects, indeed, the demand is a larger one in Schumann's case than in either of the other two masters. The heart of such a work as the Sonata in F minor lies deep beneath the surface, and only a peculiar order of intellectuality in the pianist can effectually pluck it out. In the slow movement, no doubt, a less profound method may suffice; but the bulk of the work is very defiant of the ordinary pianist's handling, unless a mere striking of the notes as Schumann put them on paper be held to satisfy the requirements of the case. This artist's chief strength lies in the keen sensibility with which he can waken to life a movement in which the feeling and poetry are readily accessible. Accordingly, it was in some of the Fantasiestücke—for he played the whole set—and in portions of the delightful "Carnaval" that Mr. Liebling did best.
79On Thursday afternoon Georg Liebling brought his protracted series of recitals to a close. The occasion was used chiefly as a means of demonstrating the pianist's qualities as a composer, for no less than seven works from Mr. Liebling's pen figured in the program. Of these the most considerable was a concerto in A major for piano and orchestra, which, although introduced at an earlier recital, with the assistance of a second piano, had not previously been heard with its proper instrumental equipment. Much of the music is bold and fluent, and the great bulk of it is admirably calculated to furnish an imposing means of display for the principal performer. Its difficulties were easily surmounted by the soloist on Thursday, and the orchestra does not lack spirit and color. Earlier in the afternoon Mr. Liebling played Liszt's Concerto in E flat, pushing his way triumphantly through the briar and bramble planted by the abbe against the footsteps of the rashly daring, and enjoying a rare battle royal with the orchestra at the climax of the finale. A bouquet of short pieces gathered from the garden of his own works was also offered by the pianist. All were played with grace and good taste, and certainly one of them, a dainty "Suite a la Watteau," pleased all ears with its Old World charm.
81Frank G. Dossert.
83Frank G. Dossert has been engaged as organist and choirmaster of the Fourth Presbyterian Church at West End avenue and Ninety-first street. Mr. Dossert will announce a series of organ recitals during the year.
85Elsa von Grave.
87Miss Elsa von Grave is fast gaining recognition as one of the finest women pianists in America. Miss von Grave has been engaged as soloist of the Boston Festival Orchestra, and will appear with the orchestra in Ann Arbor, Madison, Ogdensburg, Milwaukee, Plattsburg, Saginaw and other cities.
89FANNIE —- BLOOMFIELD ZEISLER. 568 East Division St., Chicago., Ill. LONDON DEBUT— Philharmonic Society—April 28, 1898.
91CLEMENTINE IN AMERICA SEASON 1897-98. DE VERE RESIDENCE: HOTEL SAVOY NEW YORK. Address Leading Agents. ANNA BURCH, Prima Donna Soprano. Concerts, Musicales and Festivals. L. M. RUBEN, 489 Fifth Ave., New York.
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