Scan 32
Musical Courier 1898-04-27: Vol 36 Iss 947, 1898
110 lines. Read by computer on 21 September 2026. Printed page 33. 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.
1CINCINNATI, Thursday, April 21, 1898.
3THE sixth season of the Orpheus Club was closed on Thursday evening, April 21, with the third concert. The club was assisted by Miss Olive Mead, violinist, and Frederick W. Carberry, tenor.
5It was the usual program of short choruses and part songs. Their filling out was done with piano and organ accompaniment, the former by Sidney C. Durst and the latter by Joseph P. Donnelly. The chorus singing was an evidence of good training and time well spent. In fact, weighing results carefully, the impression obtains that the club finishes the present season in better form and condition than the last, and has a well merited balance on the artistic side of the ledger.
7This improvement is noted particularly in the matter of a more vigorous tone volume and better proportion in the voices. "Consecration of Song," by Brueschweiler, was sung with terseness, good contrasts and dramatic effect, although at the expense of some roundness and finish in the voices. W. C. Earnest, tenor, sang the incidental solo acceptably with a clear, penetrating voice. In using "comes" instead of "come" in the reading of the third line of the solo he upset all the poetry and sense contained in the apostrophe. Mr. Earnest endeavored to rise to dramatic effect, but his is essentially a lyrical voice. The club sang with delicacy, finish and proportion "On the Seashore," by Eisfeld. The tenors sustained themselves admirably. Distinctly one of the best efforts of the club was found in the "Indian Love Song," by Sidney C. Durst. The work itself is clever.
9It reflects credit upon a local composer, and was given da capo. There was a listless, burdened manner about the singing of "May Night," by L. Damrosch. Force, spirit and some good crescendos characterized the reading of Brahms' "Let All Volunteer," which, by the way, is written in a strikingly original vein. There was a delightful breeziness in the interpretation of "Courtship," by Thayer; a familiar number. The singing of the basses formed an artistic background. There was a good ensemble in the concluding "Chorus of Bishops and Priests," by Meyerbeer, but it lacked in impressiveness and fervor.
11Charles A. Graninger, director, who since the beginning has trained the forces of the club, is to be congratulated upon the season's work and the standard which has been steadily maintained. Perhaps the chorus will find an opportunity next season to enlarge and ennoble the scope of its work. Mr. Graninger conducted with energy and ability. The club was assisted by two soloists—Miss Olive Mead, violinist, and Frederick W. Carberry, tenor. Miss Mead's playing indicates a great deal of character and talent. Her tone has musical quality. That she has temperament she showed in the adagio. She responded to two encores. Mr. Carberry, tenor, has a pleasing voice. He sings with considerable expression. Among his best numbers was the aria, "Strengthen Ye the Weak Hands," by Patten. He touched with delicacy and feeling a little lullaby by Wilson, with which he responded to an encore.
13A testimonial concert was given to Miss Ida Mae Pierpont, soprano, on Friday evening, April 22, in the Scottish Rite Hall. Miss Pierpont was assisted by George Krueger, pianist, of the Conservatory of Music Faculty, and Romeo Frick, of the same institution, in the following program:
15Piano Solos—
16Nocturne, op. 9, No. 1…………………….Chopin
17Ballade, op. 47, No. 3…………………….Chopin
18Scena ed Aria, Faust………………………..Gounod
19Miss Ida Mae Pierpont.
21Songs—
22Du bist wie eine Blume…………………….Schumann
23Widmung………………………………….Schumann
24Piano Solo, Theme Varie, op. 16, No. 3…….Paderewski
25Aria, Elizabeth's Prayer, Tannhäuser………..Wagner
26Miss Ida Mae Pierpont.
28Songs—
29Resolution………………………………….Lassen
30Were I a Birdling…………………………..Jensen
31Piano Solos—
32Recitative and Romance, Oh, Du mein
33Holder Abendstern, Tannhäuser…Wagner-Liszt
34La Campanella, Etude de Concert………….Liszt
35Song, Good-by……………………………..Tosti
36Miss Ida Mae Pierpont.
38The testimonial was in every way worthy of the talent of this young artist, who is indeed a child of the Conservatory of Music, and received from the beginning to her rounding out all her training from Miss Clara Baur, directress of the Conservatory. Miss Pierpont, in addition to a rich, fresh and musical quality of voice, has the advantage of beauty and a charming stage personality. It is a voice that has about it all the nap of the velvet. It is smooth and flowing, without any rough edges. The voice is coloratura, but it has capacity of dramatic expression—this was shown to advantage in her singing of "Elizabeth's Prayer." There was poetry as well as intensity in its interpretation. Her singing of the scene and aria from the garden scene of "Faust" was a test of which she has reason to feel proud. It was a credit vocally as well as interpretatively. "Goodby," by Tosti, was an appropriate conclusion to her numbers. Miss Pierpont was remembered with numerous floral gifts. She was assisted by Georg Krüger, pianist, of the conservatory faculty, and Romeo Frick, baritone, a pupil of Miss Baur. Mr. Krüger's playing indicated a fine proportion of the virtuoso and musician. He has a dynamic force that is only equaled by his sense of poetic proportion and value. His playing of a Chopin nocturne and ballade was in a fine balance of tempo rubato and poetic temperament. His singing quality of tone he brought out prominently in the "Tannhäuser" recitative and romance, and the "Theme Varie," by Paderewski. As an encore he played the "Spinning Song," Wagner-Liszt. Mr. Frick has a voice of decided musical quality. His enunciation is conspicuously distinct and he shows musical grasp. The Schumann numbers, "Du Bist Wie Eine Blume" and "Widmung," were particularly good.
40Under Miss Clara Baur's training he has made remarkable progress. He is a hard worker, who deserves success, and there is in his present makeup every indication of artistic success in the future. Miss Frances Moses was the able, discerning accompanist of the evening.
42An exhibition of "Tableaux Vivants" was given on Wednesday evening last, and this afternoon in Music Hall for the benefit of the Symphony Orchestra. The deficit this year amounted to about $3,000. F. H. Alnis, it is understood, has contributed $1,000 of the amount. The tableaux were ideal pictures of art. J. A. HOMAN.
44Women's String Orchestra.
46THE third concert of this organization was given as usual in Mendelssohn Hall before an audience of unusual brilliance and enthusiasm. The young women comprising the orchestra played a suite by Reinhold, the prelude to Massenet's "L'Assomption," a couple of Norwegian airs by Grieg, and Bruno Oscar Klein's new Petite Suite, "Miniatures." These were all very well performed, the last named work especially, directed by the composer; the "Angelus," with carillon (chimes) obligato, had to be repeated. A delightful performance was that of the sixteen solo violins in unison, Schubert's "The Bee," which went with such splendid ensemble. Mr. Lachmund has reason to be satisfied with his forty girls. Much and careful training only could have produced such superior ensemble playing!
48Mme. Camilla Urso played in masterly fashion a rather artificial caprice by Guiraud, in which her famous $5,000 violin sang and trilled and sent forth all manner of floriture to the inexpressible delight of all. A rousing encore persuaded the amiable and great artist to give the Chopin song-transcription, "Maiden's Wish."
50A clerical gentleman pleasantly interrupted the program with a bright speech of presentation to Mr. Lachmund, a beautiful gold-mounted baton being then presented him by the orchestra, inscribed "To our esteemed friend and conductor, Mr. Carl V. Lachmund."
52Floersheim's "Suite Miniature."
54At a late popular concert of the Philharmonic Orchestra, Berlin Capellmeister Rebicek produced a "Suite Miniature," by Otto Floersheim. The piece consists of six concise little movements, and is remarkable for its melodic invention, clearness of musical thought and skillful handling of the orchestra. The work is charmingly free from all pretense, and met with a most favorable reception from the large audience that filled the hall.
56A LADY (musician) of first-class antecedents and superior education, speaking fluently German, French and English, also in close acquaintance with musical and art circles in Vienna, offers a refined home and chaperonage in one of the best localities of Vienna to a young American or English lady wishing to pursue her studies there. Special advantage for next season. Address "Vienna," care of the Bureau of Information, MUSICAL COURIER. References exchanged.
58VAN YORX,
59TENOR.
61DIRECTION:
62VICTOR THRANE,
63Decker Building, New York.
65WM. H.
66RIEGER,
67TENOR.
68For Terms, Dates, &c., address 18 East 22d St., NEW YORK.
69or Western Manager, BERNHARD ULRICH, 240 Roscoe St., Chicago, Ill.
71MISS
72Genevieve Weaver
73SOPRANO.
74Song Recitals.
75French, German and English Composers.
76Concert and Oratorio.
77Engaged by Ethelbert Nevin for a series of concerts entirely of his compositions.
78UNDER DIRECTION OF
79THOMAS & FELLOWS,
80Carnegie Hall, New York City
82Mrs. Elizabeth Northrop,
83SOPRANO.
84Tour of Europe after May 1
85PERSONAL ADDRESS:
86338 W. 56th St., New York.
87CABLE ADDRESS: "MARGUERITE," BOSTON.
88WHITE-SMITH MUSIC PUBLISHING CO.
89BRANCH HOUSES:
90NEW YORK, 6 East 17th St. CHICAGO, 5 & 6 Washington St.
91Principal Offices, Publishing and Sales Departments:
9262-64 Stanhope St., Boston, Mass., U. S. A.
94BROOKE
95Chicago Marine Band.
96THE GREATEST POPULAR MUSIC BAND IN THE WORLD.
97Has played constantly for three years.
981898 Summer at Willow Grove Park, Philadelphia eighteen weeks.
99Fall, 1898, tour through New England and Canada, ten weeks.
100HOWARD PEW, Manager,
101200 Wabash Ave., CHICAGO, ILL.
103ARTHUR J.
104HUBBARD
105The Eminent Authority on all matters pertaining to the Art of Singing.
106Voice Production, Concert, Church, Oratorio, Teaching and Opera.
107Open class taught Drama-ic Action, Stage Practice Public Performance, &c.
108149A Tremont St.,
109BOSTON.
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