Scan 28
Musical Courier 1898-04-27: Vol 36 Iss 947, 1898
44 lines. Read by computer on 21 September 2026. Printed page 29. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1Jacoby in Three Cities.
2THERE were three cities where musical culture runs high in which Mrs. Jacoby, the contralto, sang last week. The criticisms of the daily papers in those communities seem to constitute emphatic indorsement of all the former criticism of her singing and virtually make that opinion unanimous. The season, by no means closed so far as this singer is concerned, is a remarkable record of successful concert appearances on her part under the foremost American auspices.
4TROY.
5Mme. Josephine S. Jacoby is a contralto of splendid ability. Possessing a fine stage presence, she is a favorite before singing. Her voice is in keeping with her stage presence. Last night she generously appeared on the program in solo three times and then showed her patriotism by singing with the society in the national hymn. Her selections were well chosen and for the most part new to the auditors. Grieg's "Autumnal Gale" was her introductory number, and is a gem selection. Full justice was done the composition by the fair singer and an encore was demanded, Bartlett's exquisite song, "A Dream," being the response. Two songs signaled her second appearance, a "cello obligato enhancing each selection. The numbers were "Nur wer die Sehnsucht Kennt," by Tschaikowski, and "Time's Garden," by A. Goring Thomas. Both were delightfully rendered and proved to be two of the most admired songs heard in Troy for some time. A triple number signaled her last appearance, the compositions being "Si mes vers avaient des ailes," by Hahn; "Where Blooms the Rose," by Johns; and "Oh Lay Thy Cheek on Mine, Dear Love," by Jensen. These were so highly enjoyed that an encore was again demanded, and although Madame Jacoby had already sung seven selections, she again acceded to the demand and gave Neidlinger's "Laddie" in response. Madame Jacoby's voice is a rich, full contralto of splendid compass, and is always used excellently.—Troy Press, April 21.
7In Mrs. Josephine Jacoby the society secured a woman of striking presence. She is the fortunate possessor of a splendid physique, knows how to dress so as to show off her almost barbaric beauty advantageously, and is, besides all this, a singer with a telling contralto voice of large compass and pure intonation. In Grieg's song, "Autumnal Gale," her style was noted for refinement and musical intelligence. In fact all her numbers were marked by careful interpretation and expressive delivery. An abundance of well deserved applause greeted her every appearance, and let me add that Mrs. Jacoby was more than gracious in responding to the many demands for more. "A Dream," Bartlett; "Nur wer die Sehnsucht Kennt," Tschaikowski; "Time's Garden," Thomas; "Si mes vers avaient des ailes," Hahn; "Where Blooms the Rose," Johns; "Lay Thy Cheek on Mine," Jensen, and "Laddie," Neidlinger, comprised the program.—Troy Budget, April 24.
9Another claimant for honors was Mrs. Josephine S. Jacoby, and she received them. She, too, was unaffected, and won repeated encores. Her range is unusual for a contralto, and she uses her voice superbly. Her selections were "Autumnal Gale," Grieg; "Nur wer die Sehnsucht Kennt," Tschaikowski; "Time's Garden," Thomas; "Si mes vers avaient des ailes," Hahn; "Where Blooms the Rose," Johns; "Oh Lay Thy Cheek on Mine, Dear Love," Jensen.—Troy Daily Record, April 21.
11NEWARK.
12Mrs. Jacoby, contralto, sang "Under the Rose," by Fisher, and "Love Me While I Live," by Foote, and three other songs by MacDowell and Johns. Her voice is of a wide range, rich and powerful, and she sings with fine enunciation. She responded to an encore.—Newark Evening News, April 22.
14Mrs. Jacoby, who looked radiant in a beautiful white gown, and was in excellent voice, then gave "Under the Rose," Fisher, and "Love Me While I Live," Foote. Her rich and mellow notes were very pleasing, and the appreciation of the audience was attested in the great applause which followed her singing.
16Mrs. Jacoby, whose entrance was greeted with a burst of applause, then sang three charming selections, "Where Blooms The Rose," Johns; "Thy Beaming Eyes," and "The Bluebells," by MacDowell.—Newark Daily Advertiser, April 22.
18NEW YORK.
19(Liederkranz Concert): Among the soloists Josephine Jacoby contributed the most beautiful voice. It seems as if her alto was continually gaining in sonority. She sang the part allotted to her with much warmth and with as much musical sureness as if she had already performed it numerous times.—Staats-Zeitung, April 25, 1898.
21Notice on Omaha Exposition.
22MISS JULIA OFFICER, of Chicago, wishes it to be understood that there is no agent for her and that no one has been authorized by her to act for her in any capacity whatsoever regarding the engagement of artists for the Omaha Trans-Mississippi Exposition.
24Mr. Thrane's Quartet.
25The quartet of artists, Ysaye, Marteau, Gérardy and Lachaume, organized by Victor Thrane, returned to the city on Sunday after a most flattering series of successful ensemble concerts at Washington, Boston (two concerts), Providence, Buffalo and Toronto. They left New York on Monday afternoon to fill the following engagements: Philadelphia, April 25; Pittsburg, April 26; Cincinnati, April 27; Chicago, April 28; Milwaukee, April 29, and Chicago, April 30.
27Max Bendix will appear with these artists at Pittsburg, Chicago and Milwaukee in order to give the César Franck and A. de Castillon quintets. Mr. Thrane will accompany the artists this week, and J. V. Gottschalk will have charge of his office during his absence.
29An Interesting Benefit Concert.
30A concert was given at Steinway Hall the evening of April 20 which proved an event of much interest, as it served to introduce to a favored few a quintet for piano and strings by Victor Benham, which created a really profound impression, it being one of the best produced by any of the modern composers. A more detailed account must be withheld until it receives a public performance. The quintet is written in four movements, the last of which is a theme adapted from a negro melody, with several remarkable variations. It was excellently performed by Messrs. Benham, Sinsheimer, Bernstein, Gramm and Tausig, as was also the great Schumann quintet.
32Miss Helen Lang, pupil of Mr. Benham, gave a delightful performance of Chopin's Spinato and Polonaise, op. 22. Mlle. Cecil Bramm contributed a beautiful song by Mr. Benham, "Thou Art So Near Me," and "Ich Liebe Dich," by Grieg, with great success.
34Sara Anderson's Concert.
35SARA ANDERSON is the daughter of Sarah Baron Anderson, a much respected and well-known singer of this city. The young lady is charming, and she sings artistically as well as charmingly. Her song recital at Mendelssohn Hall Friday evening last attracted a representative musical audience, and it called forth not a flattering but a just verdict, for any young woman who can sing eighteen songs representing the Russian, German, French and American schools of compositions, and ranging from the lyric to the broad dramatic, has good reason to be proud. Miss Sara Anderson is twenty-one. She studied in Paris with Bouhy, and she also knows the meanings of the German lied. Her voice is called a mezzo soprano, but it is really a dramatic soprano of wide range, of volume and richness. The top tones are vibrant, the lower full and of organ-like quality. The medium register alone lacks color and distinction, and there is an immaturity in delivery and at times a jejuné reading of the text, that tells us of the singer's youth. Her faults are those of inexperience, but she is musical, and temperament covers a multitude of artistic sins. We prefer to catalogue at the outset Miss Anderson's few sins of omission and commission and then hasten to praise her undeniable gifts.
37She labored under one terrible disadvantage. The piano that was ordered did not reach the hall in time, so an old and untuned upright was hastily pressed into service, and with dire results. Charlotte Welles Saenger, who accompanied Miss Anderson, must have suffered, but she wrestled as well as mortal could with the problem, and softened the harshness of the trial. Miss Anderson first sang Tchaikowsky's beautiful and seldom heard aria from "Jeanne D'Arc," which revealed the roundness and richness of her lower tones. This she delivered with dramatic feeling and ripe musical intelligence. Haydn's archaic but pretty "My mother bids me binds my hair," Schubert's "Wohni," Schumann's "Volksliedchen," "Es hab die Rose sich beklagt," by Franz, and Wagner's "Der Engel" were all witnesses to the singer's versatility, although she has not yet grasped the Wagner song. The Haydn, Schubert and Schumann were especially praiseworthy.
39The French group, "Amons Nous," Saint-Saëns; "Pastorale," by Bizet; Massenet's "Puisqu'ile a pris ma vie," and the romance "Sommel," from Ambroise Thomas' "Pysche," gave Miss Anderson a chance to display her excellent diction and thorough comprehension of the French genre. Later she sang Ries' "Es muss was wunderbores Sein," "Das Mädchen Sprecht," by Brahms, and Bungert's characteristic "Mir war's im Traume." Her German enunciation is as good as her French. The American songs were C. B. Henley's "Were I a Star," "My Sweetheart's Coming Home To-Day," by F. S. Hastings; Foote's "I'm Wearin' awa', Jean," "Thy Beaming Eyes," MacDowell, and a song, "May Morning," by Denza. Altogether, Miss Anderson has much to feel grateful for. She is comely, has magnetism, voice and inherited musical instincts carefully and intelligently nurtured.
41Miss Anderson's teacher is Oscar Saenger, of this city, a vocal instructor whose work has given him fame in all directions.
43Miss Jennie Hoyle, a young American violinist, caused a stir by her temperamental playing, full of dash, and a bold surets that was very captivating. Her tone is large
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