Scan 5
Musical Courier 1898-04-27: Vol 36 Iss 947, 1898
190 lines. Read by computer on 21 September 2026. Printed page 6. 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.
1SOME CHICAGO ADVERTISEMENTS.
3J. H. KOWALSKI,
4Celebrated Vocal Studio,
5Suite 54 and 55, Kimball Hall,
6CHICAGO, ILL.
8MAX BENDIX,
9VIOLINIST.
10801 Steinway Hall,
11CHICAGO, ILL.
13Mme. JOHANNA HESS-BURR,
14Voice Coaching—Repertoire.
15FRANK S. HANNAH,
16Business Manager.
17Suite 1015-1016 Steinway Hall, Chicago.
19Mme. RAGNA LINNÉ,
20MARCHESI METHOD.
21Oratorio—Concert—Song Recital.
22Limited number of pupils accepted.
23Kimball Hall, Wabash Avenue,
24CHICAGO, ILL.
26HERMAN L. WALKER,
27Pupil of SHAKESPEARE and SBRIGLIA.
28TENOR.
29Concert, Oratorio, Song Recitals.
30Chicago Conservatory, Auditorium Building,
31CHICAGO, ILL.
33FRANK T. BAIRD,
34The Art of Singing.
3534 Monroe Street,
36CHICAGO, ILL.
38Ellodoro de Campi
39School of English and Italian Opera.
40Steinway Hall Building, Suite 908.
41CHICAGO, ILL.
43FREDERICK W. CARBERRY,
44TENOR.
45STEINWAY HALL,
46CHICAGO, ILL.
48SHERWOOD PIANO SCHOOL.
49WILLIAM H. SHERWOOD, Director, Steinway Hall, Chicago.
50Special inducements are offered to beginners who may be assured when commencing their studies here that they will never have to retrace their steps, but that their progress will be steady and certain. Mr. Sherwood's methods of technic, tone, phrasing, interpretation, etc., which have produced wonderful results, are exclusively used. Send for prospectus.
51WALTON PERKINS, Secretary and Manager.
53ESTABLISHED 1867.
54Chicago Musical College.
55Studebaker Bldg., Michigan Ave., Chicago, Ill.
56Dr. F. ZIEGFELD, President.
57Dr. F. ZIEGFELD,
58LOUIS FALK,
59HANS VON SCHILLER,
60WILLIAM CASTLE,
61BERNHARD LISTEMANN,
62Musical Directors.
63Catalogue giving full information mailed free upon application.
65THEODORE SPIERING,
66VIOLINIST.
671105 Steinway Hall,
68CHICAGO, ILL.
70SIXTEENTH YEAR,
711896-1897.
72MRS. REGINA WATSON'S SCHOOL
73FOR THE
74HIGHER ART OF PIANO PLAYING.
75207 Indiana Street,
76CHICAGO, ILL.
78MR. AND MRS. BICKNELL YOUNG,
79Lecture recitals on Opera, its Origin and Development; illustrated by vocal examples from the earliest epoch.
80A. J. GOODRICH,
81Theorist,
82Lock Box 976, Chicago.
83Author of "Goodrich's Analytical Harmony."
84"Complete Musical Analysis."
85"Music as a Language," &c., &c.
86Personal or correspondence lessons in Harmony, Composition, Orchestration, Analysis and Theory of Interpretation.
88Genevra-Johnstone Bishop,
89… SOPRANO.
90Oratorio, Concerts and Recitals.
91Address
92KIRBY CHAMBERLAIN PARDEE, Manager.
9370 State Street, Chicago, Ill.
95WALTER SPRY,
96Director of Conservatory of Music,
97QUINCY, ILL.
98Piano and Organ Recitals…
100Chicago Conservatory of Music.
101SAMUEL KAYZER, Director.
102Auditorium Building, Chicago, Ill.
103SEND FOR CATALOGUE.
104MUSICAL DIRECTORS.
105LEOPOLD GODOWSKY, Piano.
106ARTURO MARESCALCHI, Vocal.
107CLARENCE EDDY, Organ.
108S. E. JACOBSON, Violin.
109FREDERIC GRANT GLEASON, Harmony, &c.
111GOTTSCHALK
112LYRIC SCHOOL,
113INCORPORATED.
114MUSICAL AND DRAMATIC ART.
115L. GASTON GOTTSCHALK, Director
116Isabella Building,
11746 & 48 Van Buren Street, Chicago.
118Catalogues sent upon application.
120THOMAS TAYLOR DRILL,
121BASSO.
122Oratorio, Concerts, Song Recitals.
123Vocal Instructor.
124Studio: No. 57 Kimball Hall,
125CHICAGO, ILL.
127MARY WOOD CHASE,
128Concert Pianiste.
129For terms, dates, &c., address
1301000 Steinway Hall, Chicago, Ill.
132D. A. CLIPPINGER,
133Voice Production and the Art of Singing.
134Room 40 Kimball Hall, Chicago, Ill.
136ANNA WEISS,
137Late of Vienna Conservatory,
138Concert Pianist and Teacher.
139Suite 906 Steinway Hall, Chicago, Ill.
141AMERICAN CONSERVATORY,
142Kimball Building, 243 Wabash Ave., Chicago.
143JOHN J. HATTSTAEDT, Director.
144ALL BRANCHES OF MUSIC, DRAMATIC ART.
145TEACHERS' TRAINING DEPARTMENT.
146Catalogue mailed free.
147JOHN J. HATTSTAEDT, ALLEN H. SPENCER,
148GERTRUDE MURDOUGH, Piano; KARLETON HACKETT,
149NOYES B. MINER, RAGNA LINNÉ, MME DE NORVILLE, Singing; CLARENCE DICKINSON, Organ; JOSEF VILIM, Violin; ADOLPH WEIDIG, Composition, and thirty other superior instructors.
150GERTRUDE MURDOUGH, Piano
151VILIM TRIO: JOSEF VILIM, Violin.
152JOHN KALAS, Cello.
153243 Wabash Ave., care of American Conservatory
155HARRISON M.
156Studio 6,
157241 …
158Wabash Ave.,
159CHICAGO.
161WILD
162CONCERT ORGANIST.
163Piano and Organ Instruction.
165BROOKS' Second Regiment Band.
166(102 MEMBERS.)
167Chicago's Greatest Band.
168135 Michigan Avenue, Chicago, Ill.
170FAMOUS
172WILLIAM H. SHERWOOD,
173CONCERT AND RECITAL PIANIST.
174MR. SHERWOOD created a furor by his wonderful playing at the meeting of the M. T. N. A in New York City last June. His playing in other large cities this season has aroused the utmost enthusiasm. He has been acknowledged by critics, the public and musicians to be the greatest American pianist. Mr. Sherwood will teach and give recitals as usual at the Chautauqua (N. Y.) Assembly from July 11 to August 13. Address MAX ADLER, Manager,
175240 Wabash Avenue, Chicago.
177poser's first essay in quartet writing. The first and third movements—Adagio, Vivace, Andante, and Andante Sostenuto—are remarkably beautiful in idea and workmanship, being marked by the utmost freedom consistent with due adherence to classic form. Haydn's quartet, op. 74, in G minor, brought to a close a very happily chosen program. The Bohemians are always welcome; their beautiful playing and ever-varied choice of compositions have become quite a feature of the London concert season.
179At the second of the Walenn series of chamber concerts the program included a first performance of an interesting Trio in D minor for piano, violin and 'cello, by Alexander Zemlinsky. The work is in classical form, and consists of three movements. The Andante is richest in thematic material, though both opening Allegro and Finale contain distinguished and expressive themes. These are developed with much cleverness and ingenuity, and, taken as a whole, the work is clear and powerful. It was well given by Gerald and Herbert Walenn and Miss Rihll. Another novelty was the song cycle, "The Passing Year," sung by Arthur Walenn, and accompanied by the composer, Rutland Boughton. It calls for little comment, words and music being of small merit. The other soloists were Miss Hettie West, a soprano not without talent, but of imperfect method, and in consequence not always perfect intonation. Miss Maud Rihll, who contributed the "Carnival" (Edward Schütt), a composition full of verve and brio, played with much assurance and understanding. The delightful "Bagatellen" of Dvorák, for two violins, 'cello and piano, concluded the concert.
181Herr Rosenthal gave his second recital this season at St. James' Hall on Monday, and I certainly never heard him to better advantage, the entire program, from the Beethoven Sonata Caractéristique to the great "Masaniello" Fantaisie, being given with the power of a master. If there is any fault to find it is with the program itself, which was chosen rather for technical display than for artistic value. One felt that the pianist's true worth was in a measure hidden, the glimpses we had of his great intellectual power and poetic feeling only making one more impatient with such numbers as Poldini's Valse in A flat and Davidoff's "At the Fountain." Not that technic should be underrated, as it is by those who described Rosenthal as a "mere technician." Scales of marvelous clearness, trills that rival the bird's note, thundering octave passages and arpeggios are not obtained without endless toil and study. Last Monday a Nocturne by Field was played with exquisite delicacy and refinement, as was the Chopin Barcarolle and Preludes. The Valse in A flat, which was encored, was almost ideal in its interpretation. The Brahms' Variations on a theme by Paganini, the most fantastical and imaginative set of pieces Brahms ever wrote and one of transcendent difficulty, was played with masterly ease and cunning, the terrible fourteenth variation of the first book being chosen as a finale. Two pieces by Henselt followed, of which "Si oiseau j'étais" is an old favorite of Herr Rosenthal. The tempo at which he takes this charming representation of fluttering wings is astonishing, and yet there is no sign of effort. The Liszt Fantaisie was marvelously played, the melody now sounding like a clear, sweet voice above the thunder of the bass, and now woven like a bright silver cord through the intricate left-hand passages.
183Rosenthal was granted three encores, and the applause was almost deafening in its fury at the close when apparently the audience thought that he would not grant the extra which they were determined to have. Rosenthal is a great favorite in London, and I doubt if the hall will hold all those who will crowd to hear him at his next recital on the 16th inst., which is announced as his last for this season.
185On March 30 Mr. and Mrs. Henschel's second and last recital filled St. James' Hall to overflowing with both amateurs and artists, all eager to admire these delightful singers. The program was perhaps scarcely so attractive as on the former occasion, and the first items would have been a dangerous choice for less experienced singers; but with Mr. and Mrs. Henschel nothing can be uninteresting or trivial. Mr. Henschel's greatest success was in Löwe's "Archibald Douglas," the touching story of which became most vivid owing to its dramatic delivery and Mr. Henschel's magnificent playing of the a~cor~paniment, which is exceptionally difficult and expressive. In "Der Doppelgänger" the singer showed his understanding of Heine and Schubert, for the last words were sung almost mezza voce, marking the dreamy sadness of remembrance after the dramatic climax. Three songs from the "Winterreise" and examples from Händel also found a place in the program. Mrs. Henschel sang, as usual, beautifully, but her selections were not advantageously chosen, and Liszt's "Loreley" is hardly satisfactory as a pièce de résistance. The duets were, of course, exquisitely sung, and in the last, from "Don Pasquale" (Donizetti), Mrs. Henschel's florid singing was admirable, her voice being fresher and firmer than at the beginning of the concert. Everyone regretted that the second recital was the last.
187At Mr. Cowen's recital on the 1st an excellent choice of this composer's songs delighted a crowded audience. While his large works, of course, have the chief claim on our interest, many of the song melodies have won a place in the hearts of the people, and cultured and uncultured alike delight in the flowing rhythm. Mr. Lloyd sang "Fedalma" and "A Serenade," the latter a charming number, with a quaintly monotonous accompaniment imitating the guitar or mandolin. Miss Clara Butt was in particularly good form, "The Angel of Death" suited her voice admirably, her really pathetic singing of "Because" aroused great enthusiasm and she had to repeat the spirited ditty "Love Me If I Live." Andrew Black's numbers, "Onaway, Awake, Beloved," which abounds in brio, and "Near Thee," were delightfully interpreted. Mr. Santley received an encore for the well-known "Border Ballad." It was unfortunate that Miss Esther Palliser was attacked by sudden hoarseness which made her voiceless; the eight songs, including two new ones, that would have fallen to her share were accordingly struck off the program. Miss Evangeline Florence, Mme. Medora Henson, Miss Mabel Berrey, Miss Florence Oliver and Hiran Jones also contributed some songs, and Miss Fanny Davies played three of Mr. Cowen's piano pieces charmingly.
189Mme. Fanny Copeland's vocal recital introduced a singer hitherto unknown to us. It would be obviously
The computer misreads some letters and numbers. Where a name matters to you, read the scan.