Scan 31
Musical Courier 1898-04-27: Vol 36 Iss 947, 1898
116 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 32. 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.
1The Grand Garcia.
3FURTHER NOTES OF HIS LIFE AND CHARACTER.
5To be a singer it is not enough to have a voice; one must have the most vast musical knowledge.—Garcia.
7TOO much strength cannot be placed upon the fact that Garcia, though a grand genius, worked tremendously to arrive at power. He studied to be composer, chef d'orchestre, comedian, musician and musical historian in order that he could sing. This after he had accomplished the technics by long and systematic drill.
9He studied violin and composition at the same time, and had his compositions sung and played, all as study.
11As musician he was informed in all the known forms of melody, instrumental and vocal. He considered nothing musical unuseful. He devoted his life solely to music, as though there were no other life but music. All his reflections fell into musical form. In promenade, at table, in bed, during an instant of leisure; anywhere and under no matter what conditions he occupied himself with music in one way or another. He wrote over forty operas.
13True, there are many who say it is so with them; but they are simply "putters," bizarre artistic people; for the most part very lazy and very self-indulgent. They do not take themselves in hand as Garcia did, do not bend their backs, do not agonize over the work. Besides, he had that superb quality, intellect, system, order and analysis, of the lack of which many artistic putters boast. And they are wholly wrong. A great wrong done to art, aye, and to artists too, is that semi-sentimental custom of indulgence shown to them in exonerating them from the claims of ordinary intelligence. Everybody cannot be a Garcia, try ever so hard; but many musicians could be much more strong than they are could they emulate him a little in the way of intellect and will. There is not sufficient distinction made between a merely artistic temperament and the material of a great artist. one of two readings
14True, there are many who say it is so with them; but they are simply "putterers," bizarre artistic people; for the most part very lazy and very self-indulgent. They do not take themselves in hand as Garcia did, do not bend their backs, do not agonize over the work. Besides, he had that superb quality, intellect, system, order and analysis, of the lack of which many artistic putters boast. And they are wholly wrong. A great wrong done to art, aye, and to artists too, is that semi-sentimental custom of indulgence shown to them in exonerating them from the claims of ordinary intelligence. Everybody cannot be a Garcia, try ever so hard; but many musicians could be much more strong than they are could they emulate him a little in the way of intellect and will. There is not sufficient distinction made between a merely artistic temperament and the material of a great artist. one of two readings
16The Garcia genius is no accident. The name bears glorious souvenirs for over three hundred years. In the seventeenth century it was made illustrious by a Spanish composer, antecedent of the family. How many may be of direct blood relationship is not known, but in an old Spanish book of reference the name occurs thirty-one times, beginning in the tenth century, every one of which was illustrious in some way.
18Six were kings, six poets, two counts, six painters, two sculptors, two novelists, the great tenor and his son a celebrated teacher, diplomats, prelates, dramatists and one a captain, who was a giant in size and force.
20It seems that it was in Italy that Garcia had his first revelation in singing as a medium of dramatic expression. The intensely poetic spirit of the country, the melodic atmosphere and the peculiar effect of the musici singing in the streets stirred his ardent imagination, and made him seek and finish "the grand methods." He appropriated all, and added to it the results of his divine intuition, he seemed inspired in the art country. He conceived the art of vocal music by which he has become immortal.
22He might have felt all this and more, however, and all of it have fallen at his feet, but for the rare qualities of analysis, order, energy and will which led to the classification of causes, the passionate search for effects, the studious concentrated habit, which crystallized all this emotion and made of it a legacy to posterity.
24What was commenced in Italy was continued in France, in applying practically the theories which his enthusiasm and his study had taught him. The proof of his work lies in his children, in Adolphe Nourrit, in Lalande, in the Countess Merlin, Raimbaut, Ruiz and hosts of others.
26During the five or six years passed in Paris Garcia seemed possessed of two distinct souls, equally passionate, that of the teacher and the artist. At the end of that time he went to England and opened an academy of singing in London. The artist spirit pushed him to travel and to the conquest of souls by his art. The story of the succeeding years has already been told in preceding pages of THE MUSICAL COURIER. At the time that he lost his fortune Pauline was but six years old; Manuel had left him and returned to France; Malibran had married. On his return to Paris he continued teaching with ever increasing success. He continued till he saw his method safe in the hands of his children and his disciples.
28Metropolitan College of Music.
29E. PRESSON MILLER PUPILS.
31THE twenty-first lecture (school of applied music) in Assembly Hall last Thursday was a most interesting event, what with the excellent singing of some pupils of E. Presson Miller, and the very instructive and entertaining lecture by Frank Hunter Potter. This latter gentleman, in a most informal and charming manner, gave the salient points of the Italian school of opera, each little "talk" being followed by the musical number illustrating it. The program in full was:
33Maledetto, Eritrea ………………………………………Cavalli
34Ah! mon ami, Iphigenia ………………………………………Gluck
35Il mio tesoro, Don Giovanni ……………………………Mozart
36Una voce poco fa, Il Barbiere ……………………………Rossini
37Qui la voce, I Puritani ………………………………………Bellini
38O mio Fernando, La Favorita ……………………………Donizetti
39Nobil Signor, Huguenots …………………………………Meyerbeer one of two readings
40Nobil Signor, Huguenots ………………………………………Meyerbeer one of two readings
41Romanza, L'Africana ………………………………………Meyerbeer
42Ernani involami, Ernani ………………………………………Verdi
43Di Provenza, Traviata ………………………………………Verdi
44Duet, Santuzza and Turiddu, Cavalleria Rusticana ……….Mascagni
45Miss Maude Farwell Bliss and W. Otto Polemann.
46Scena, Nedda and Sylvio, I Pagliacci …………………Leoncavallo
47Miss Anna L. Andreas and E. Presson Miller.
48Quartet, Bella Figlia, Rigoletto ………………………….Verdi
49Miss Maud Bliss, Miss Florence L. Woodin, McCall Lanham, Frank Hunter Potter.
51Mr. Miller sang, at a moment's notice, the first two numbers, Mr. Potter having a cold. The tenor, W. Otto Polemann, has a high voice and superior style and execution. He was followed by Mrs. Richards, who has a coloratura organ, enabling her to surmount with ease the difficulties of "Una voce." She touched a high D, and held the adjacent C well. Miss Kimball's was one of the best voices, of breadth and carrying quality. Miss Denham has a mezzo soprano organ with much capacity for expression. Admirable was Miss Radcliffe, whose voice is bright and clear. She sang the "Nobil Signor" in the original key. Miss White sang with sweetness and expressively, and Mrs. Richards again displayed an easy trill, high range and pleasant animation in singing. Mr. Lanham sings with much temperament, reaching E easily. The "Cavalleria" duet was one of the best numbers, Miss Bliss singing with fire and spongiancy. Her voice is very brilliant and full of color, and should land her, with her pleasing personality, in the front ranks.
53Another most interesting number was the Leoncavallo duet, in which Miss Andreas and Mr. Miller fairly revelled in genuine Italian tone effects. It was more than well done, thanks also to the excellent accompaniment provided by William F. Sherman. The famous "Rigoletto" quartet, now nearly half a century old (the opera was produced 1851), concluded an interesting afternoon. It was sung with fervor and good ensemble, and again displayed the many good qualities of the soprano, Miss Bliss.
55Grasse-Hauser Concert.
57MENDELSSOHN HALL has seldom seen such enthusiasm, such artistic appreciation as that vouchsafed the blind thirteen year old violinist Edwin A. Grasse, son of Dr. Grasse and pupil of Carl Hauser, at his concert last Saturday evening. This was the program: Symphony, No. 2, in D……………………………Haydn
58Concerto for violin……………………………Mendelssohn
59Aria, Pace, Pace, Deo Mio……………………………Verdi
60Miss Shannah Cummings.
61Symphonic Sketches……………………………Master Grasse
62Prize Song, Meistersinger…………………….Wagner-Wilhelmj
63Solo for violin.
64Songs—
65'Twas April ………………………………………Nevin
66Thy Beaming Eyes……………………………MacDowell
67Madrigal ………………………………………Harris
68Miss Shannah Cummings.
69Overture, Jubal………………………………………Weber
70An orchestra of forty men participated, under the direction of Mr. Hauser, and the evening was well spent. Young Grasse possesses the musical spark, temperament, a sweet and carrying tone, and so appeals to all, irrespective of his affliction. He played the concerto andante beautifully, and in his succeeding appearances but emphasized his great talent. The boy is said to have studied eight years with Mr. Hauser, and to be gifted with an infallible sense of pitch. His "Symphonic Sketch" is no bagatelle; it is full of color and animation, quite a characteristic piece, a sort of Russian dance movement. It is said he dictated the instrumentation.
72Miss Shannah Cummings sang the Italian aria brilliantly, giving Weil's "Spring Song" as encore, with a very fluently played and sympathetic violin obligato by Master Grasse. Her later appearance brought her increased applause.
74Mr. Hauser directed his orchestra with an ease indicative of practice a-plenty. Perhaps in Cincinnati, when of the College of Music staff? They played with much spirit, although rather roughly. The concert came to a brilliant and patriotic close with the final strains of the "Jubal" overture "God Save the King," known here as "America."
76Powers for Denver, Col.
78Francis Fischer Powers closes his New York season on May 15 next, leaving directly thereafter for his summer class at Denver, Col., which he opens on June 1, after singing at ten concerts on his way thither.
80Studio To Let.
82On account of leaving the city to conduct his summer class in Denver, Col., Francis Fischer Powers will let his elegantly furnished suite of (six rooms) studios and living apartments in Carnegie Hall for four or five months, from May 15 next. The apartments are desirable for either bachelor or family residence, and being in a fireproof building and on the eleventh and twelfth floors, the air and view make them ideal for summer living. Apply at Carnegie Hall, Fifty-seventh street entrance.
84SUMMER VOCAL STUDY.
85George M. GREENE.
86SPECIALIST in the DEVELOPMENT of the VOICE.
87Mr. Greene will receive pupils in New York during the Summer months. SPECIAL TERMS UNTIL OCTOBER FIRST. Circular on application.
88417 West 23d St., New York City.
90Chickering & Sons…
91Grand Concerts,
92Chickering Hall.
93Next Regular Afternoon Musical
94MONDAY, APRIL 25,
953 P. M.
97A. Durand et Fils, Paris.
98Several brilliant new French Ballads and Songs, suitable for concert, schoolroom or salon. All the opera scores, operatic gems and arias. Books and scores for piano and vocal study (Philipp's New Piano Studies included), and new and old works, instrumental and vocal, at this popular Franco-American headquarters. Musical information of all kinds as to concerts, halls, artists, musical work.
994 Place la Madeleine, . . Opposite the Church.
101EVAN WILLIAMS,
102TENOR.
103Oratorio and Concert.
104For Terms, Dates, &c., address
105Wolfsohn's Musical Bureau,
106131 East 17th Street,
107NEW YORK.
109BREEN,
110SOPRANO. Concerts, Musicales, Oratorio.
111Address: 303 West 18th Street, New York City.
113SOUSA'S GRAND PATRIOTIC SPECTACLE
114"The Trooping of the Colors."
115Now On Tour. Louisville, April 22, 23; Terre Haute April 24; Chicago, April 25, 26, 27; Graz. Rapids, April 28; Detroit, April 29, 30.
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