Scan 11
Musical Courier 1898-05-18: Vol 36 Iss 950, 1898
118 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. Printed page 12. 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.
1St. Veit, near Vienna. He is now eighteen years conductor at Carlsruhe, and I am loath to believe that he will leave his position there, which is one of the most independent and grateful that could be found anywhere in the world. I rather believe that Mottl is trying for a raise of his salary, and that the Grand Duke of Baden, in order not to lose his favorite Kapellmeister and General director, will refuse the permission to a cancelling of the Carlsruhe life contract and will grant the same sum that is offered by the Munich Court Opera intendency. "Qui vivra verra."
3* * *
5Arthur Nikisch has gone to the Riviera to recuperate from his grand work of conducting, of which he did a big lot during the season of 1897-98.
7* * *
9Eugen d'Albert has just finished the composition of a concert aria for soprano. As there is no superfluity of this genre of music, the announcement will be hailed with joy by many concert soprano singers, and d'Albert's aria will prove no drug in the market.
11Among the callers at the Berlin office of THE MUSICAL COURIER during the past week was Raoul Andre, singing teacher from New York, who wants to settle in Berlin; also his favorite pupil the operatic singer, Marie M. de Rohan, who shortly will leave Berlin for London, where she hopes to be heard in opera and concert work. Miss Minnie Dilthey, the New York soprano, called. So did Dr. jur. Paul Ertel, the composer of the symphonic poem "Mary Stuart" and music critic of the Berliner Lokal Anzeiger; also Max Lowengard, composer, teacher of harmony and musical littérature. Furthermore, Robert Thrane, the young brother of the New York manager, Victor Thrane. This young fellow, who is a violoncellist, educated under Professor Schroeder at the Sondershausen Conservatory, found an engagement as first 'cellist for the Bukarest summer orchestra, and is now on his way to that city. Last, but not least, I received a call from Count Geza Zichy, the one-armed pianist, president of the Hungarian National Conservatory and the composer of the opera "Alir," which will be produced for the first time at the Berlin Royal Opera House next Tuesday night.
13O. F.
15An Important Engagement.
17THE Seidl Society has just engaged the services of the well-known organist William C. Carl for the opening concert next autumn, to appear as soloist.
19Mr. Carl will play several important works with the orchestra, and the concert will be given in Plymouth Church, Brooklyn.
21Our Work in San Francisco.
23Miss Emilie Frances Bauer, representative of the New York MUSICAL COURIER, is in San Francisco gathering notes for the great "patriotic edition" projected by the managers of THE COURIER. Miss Bauer finds musical culture far advanced here, and considers a San Francisco audience more discriminating than most. Her letters to THE COURIER from the Coast are delightful reading—Alameda Argus, May 7.
25Hastings' New Song.
27If all the skies were sunshine,
28Our faces would be fair
29To feel once more upon them
30The cooling plash of rain.
32If all the world were music,
33Our hearts would often long
34For one sweet strain of silence
35To break the endless song.
37No wonder that rising composer, Frank Seymour Hastings; was moved to set these words to music; they are by Dr. Van Dyke, of the Brick Church, and to them Hastings wedded music which is simply beautiful, and far beyond anything yet done by the composer of "A Red, Red Rose." Deep harmony (suggesting the arranging of the song for a solo quartet) and refined melody unite in this song, which is for mezzo-soprano or baritone, B to D, title the first line of the poem, of which the above is only part.
39CHARLOTTE MACONDA
40Soprano.
41Concert and Oratorio.
42For Terms, Dates, &c., address
43Wolfssohn Musical Bureau,
44131 E. 17th St., New York.
46The Albany Festival.
48THE people of Albany who are musically disposed have been congratulating themselves on the admirable results of the recent festival. And the press, which mirrors generally the sentiment of various public occasions, or tries to, has not failed to congratulate the conductor, the chorus and those of the soloists who were conspicuous in adding to the festival's success.
50The praise bestowed might seem extravagant if it were not for the fact that Elliott Schenck's skill in training a chorus and his personal magnetism have always seemed to produce the same results, and if it were not for the fact, also, that such soloists as Madame Maconda, Mr. Frangcon-Davies and Mr. Van Yorx, for example, have made their names synonymous with brilliant vocal achievements from Dan to Beersheba or from Maine to California, wherever musical news is read and discussed.
52Three concerts were given at the festival: May 4, Parker's "St. Christopher"; May 5, an afternoon concert, and in the evening Mendelssohn's "Athalie" and excerpts from Wagner's "Parsifal."
54Mme. Charlotte Maconda made a striking impression, not only by her voice and her vocal skill, but by her beauty and modest grace. She thus repeated the success that has attended her appearance in New York this winter at some of the most important public and private entertainments. While the music of "St. Christopher" was not in certain passages well written for the voice, she invested her part with all the charm of which it was susceptible in the estimation of critics present.
56The Albany Argus says:
58Mme. Charlotte Maconda, thoroughly the artist in every beautifully turned phrase of liquid melody, sang with exquisite fluency and precision the emotional music of her role as the Queen, and in the trio with Messrs. Frangcon-Davies and Van Yorx most effectively showed her possibilities in brilliancy of tone.
60The Albany Express has also a word of commendation:
62Mme. Charlotte Maconda, soprano, sang the part of the Queen and later of the Angel. Her voice is a pure high soprano and of even register, while she used it with good judgment.
64Madame Maconda's success is gratifying to all who are interested in having the higher musical qualities of artists recognized.
66As a dominating figure of the festival she naturally receives first place in this written record. But there is also to be noted the general success of the chorus. The work of the chorus and orchestra taken together—the New York Symphony Orchestra assisted—was the most satisfactory yet presented by the association. The chorus was well kept in hand by Mr. Schenck, and in color and careful finish evidenced its high musical aims. Such an association is a powerful influence in the musical life of a community and a constant element in the diffusion of culture.
68Of Mendelssohn's "Athalie" the Times-Union says:
70Certainly a cleverer rendition than that of Mendelssohn's "Athalie" has never been given by the association. The final trio and chorus was enthusiastically applauded, and deservedly so.
72Last evening was the first rendition of "Parsifal" in Albany, and from a musician's standpoint it was magnificently given. The orchestral and choral work in the prelude to the entrance of the Knights of the Grail, with its glorious dramatic effects, was exquisitely rendered. The rapt attention of the audience throughout this heaviest of Wagnerian music was particularly noticeable.
74The Journal's comment also includes recognition of the chorus, saying that the chorus outdid itself, although the requirements were difficult, and that Mr. Schenck deserves highest commendation for his methods and the enthusiasm he is capable of bringing forth.
76Dr. ION A. JACKSON,
77TENOR.
78ORATORIO AND CONCERT.
79For Terms, Dates, &c., address
80THOMAS & FELLOWS,
81Carnegie Hall, NEW YORK.
83BARONESS DE PACKH,
84Dramatic Mezzo-Soprano.
85A limited number of pupils received for VOICE CULTURE and DRAMATIC TUITION.
87MAURICE GOULD,
88Formerly Assistant of ANTON SEIDL.
89Coaching for Opera, Concerto, Oratorio, Wagner music &c.
90JOINT STUDIO:
91174 East 78th Street,
92NEW YORK.
94Remenyi Died in Harness.
96(no line here) one of two readings
97SAN FRANCISCO, May 15.
98A T the Orpheum Variety Theatre to-day Eduard Remenyi, the Hungarian violinist, joined those who have flocked to the vaudeville stage, but his first appearance proved to be his last also, for after two selections he suddenly fell on the stage and was dead of heart failure before physicians could reach him. Remenyi came here from St. Louis by way of Southern California. He was feeble when he arrived on Thursday, and the rainy, cold weather made him take to his bed for two days. To-day, however, he felt so well that he informed the Orpheum management that he would appear. They had billed the town and a big audience, which included many of his old admirers, was gathered to meet him. He was handsomely received, but his friends were pained to notice his weakness.
100He was playing a piece in response to enthusiastic applause. The old violinist had only started on the first bars when he leaned to the left, as though trying to bring himself in range with the accompanist. He made a few uncertain steps and then sank gently down upon the covered footlights, still holding his violin in his hand. The curtain was lowered and a doctor summoned, but nothing could be done, as the heart had evidently failed, even while the old maestro was sounding his last notes.
102The audience knew nothing of the death of Remenyi, supposing he had merely fainted, and the performance went on. His friends to-night dwelt on his happiness over his reception and his pleasure in his playing as evinced by his smiles.
104Eduard Remenyi, though he ended his career on the vaudeville stage and had previously far outstayed his time as a performer in artistic concerts, has a past that was not without much distinction. He was born in Hungary in 1830, and received his musical education at the Vienna Conservatory from 1842 to 1845, where his teacher was Joseph Böhm, the same who taught Joachim. On account of the active part he took in the Hungarian revolution of 1848 against Austria, in which he was adjutant to General Görgey, he was compelled to flee to the United States, where he appeared as a virtuoso. He returned to Europe within a few years, and in 1853 he went to Weimar and entered into friendly relations with Liszt. It was at this time that he traveled and gave concerts with Johannes Brahms. In 1854 he went to London and obtained the appointment of solo violinist to the Queen. In 1860 he received amnesty from the Austrian Government and returned to Hungary. In 1865 he appeared for the first time in Paris, where he is said to have created a furore in the salons of the aristocracy; thenceforth he made repeated concert tours on the Continent and in England that served greatly to increase his fame. In 1878 he returned to the United States, where he had since spent much of his time and gave many concerts, though during these years he also made visits to other countries. About a dozen years ago he was said to have been lost in a shipwreck on the coast of Africa.
106Remenyi's real name was said to be Hoffman.
108Joseph B. Zellman.
109A testimonial by the choir of the First Reformed Church of Brooklyn to their director will be held on May 19, at which the well-known basso-cantate Jos. B. Zellman has been especially engaged to assist in the program.
111Mme. Katharine Evans — VON KLENNER,
113Vocal Instruction.
114VIARDOT-GARCIA METHOD.
115Sole Authorized Representative in America.
116Private Studio: 40 Stuyvesant St., 10th St. and Second Ave.
117NEW YORK.
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