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Musical Courier 1898-05-18: Vol 36 Iss 950, 1898
76 lines. Read by computer on 25 September 2026. Printed page 9. See the scan on archive.org.
1credit upon his teacher. In direct contrast to the "Tannhäuser" aria was "The Bandolero," which he sung for his second solo, making an equally fine impression. He was obliged to respond with encores to both his solos.
3Miss O'Neil has a mezzo-soprano that was heard to great advantage in "O Mio Fernando." She is a conscientious student.
5The tempo of the scene and aria from "Faust" (the "Spinning" and "Jewel" songs) was taken too fast, but Miss Horner showed a thorough knowledge of the music, and it was excellently given as far as technic is concerned. Miss Horner is a skilled musician, who has studied faithfully, and it was regretted that she had been indisposed. She showed great pluck in singing two such heavy numbers as the "Rigoletta" and "Faust." Later in the evening, in some concerted music, her voice rang out high and clear.
7Probably Mr. Cuneo will be heard of in the future, for he has a high tenor voice of a quality suited for operatic work. In the encore, "My Pretty Jane," he also showed that he had a talent for acting. But he must not forget that there is no royal road to singing, and he shows that hard, steady, constant work is necessary—work and plenty of it on the lines laid down by his present teacher will in the course of a few years put him in competition with other singers.
9The novelty on the program—novel to the writer—was the 129th psalm set to music by Edwin L. Walker. And in passing a word of tribute must be paid to Mr. Walker, who was the accompanist through the entire program. The hardest worked person of them all, with the least acknowledgment of his services from the public, he acquitted himself of his task in a way that showed what a thoroughly trained musician he is. Not once was the accompaniment made the prominent feature—it was really an accompaniment.
11The music of this psalm was written expressly for Mrs. Gilmore, who sang it con amore. It is a brilliant setting for her rich soprano voice, which she used to excellent advantage in all her work, the trio from "Ernani," "Elizabeth's Prayer" and in this psalm. Mrs. Gilmore has the temperament of an artist, sings with purity and breadth, and it is expected that she will at no distant day be heard on the concert stage. Her singing of "Elizabeth's Prayer" was a beautiful piece of work that would have reflected credit upon many well-known soloists. In a pupils' recital it was far above the usual.
13Taking this recital as a whole, it can be said that seldom, if ever, has such fine work been heard at a pupils' concert. Mr. Stevenson's work compares most favorably with what is being done by the best-known-teachers of the large cities; in fact, is superior to most. He teaches the method of the elder Lamperti, and shows from what he has accomplished that he is working in the right way along the right lines. The individuality of each singer has not been sacrificed; they have been taught how tones should be produced, their voices have been properly placed and they sing with a style and finish that is remarkable. Mr. Stevenson must understand his art well to have been enabled to impart its fundamental principles so thoroughly. He is so modest about himself and his work that it has not been blazoned abroad how much he has accomplished, but his work speaks for itself.
15In addition to his work of teaching, Mr. Stevenson is organist and director of the Sixth Presbyterian Church, where he has been for the past five years. He is also director and member of the Amphion Quartet, which has sung successfully in many Western and Southern cities. Every year one or two cantatas are given at the church by the choir under his direction, the one this spring being Dudley Buck's "The Story of the Cross."
17In 1895 Mr. Stevenson spent several months with F. Selwyn Graham in London, Mr. Graham being a pupil of the elder Lamperti. He gave Mr. Stevenson the following testimonial as to his qualifications for teaching:
19LONDON, England, August 21, 1895.
21I have pleasure in certifying herewith that Wm. M. Stevenson has followed a course of study with me during his visit to this city. I consider him to be fully qualified to teach the art of voice production and singing. I find his system of instruction hitherto to have been exceptionally good.
23F. SELWYN GRAHAM, Professor,
2414 Hanover street, Regent street, W.
26While abroad last year he also received further testimony of Mr. Graham's ability as teacher and musician.
28LONDON, England, March 25, 1897.
30Mr. Wm. M. Stevenson:
32DEAR SIR—I have much pleasure in stating that I had a very high opinion of the talents of the late Selwyn Graham. He was an admirable musician and a most able teacher of the art of singing. He had had a large experience of the voice, gained in singing himself, from a large practice as a professor of the art, and also from long, earnest and thoughtful study of much that has been written by competent authorities on the voice. I consider those who had the advantage of his services as a teacher were most fortunate.
34J. T. HUTCHINSON,
35Professor, Royal Academy of Music,
369 Baker street, Portman square, W.
38Mr. Stevenson began his musical studies in Boston with Edgar Buck, voice; Frederick Lincoln, piano; Henry M. Dunham, organ; George W. Chadwick, harmony.
40OVIDE MUSIN,
41AND
42An American School for Violin Virtuosity.
44EARNEST students of the violin in the United States will be highly gratified to learn that Ovide Musin, the celebrated violin virtuoso, has decided, after strenuous solicitation, to pass six months of every year in New York city, where he will establish violin classes upon the system pursued at the Royal Conservatory at Liège, Belgium, where he is now leading professor of the violin. Mr. Musin will be able to do this, as his appointment with the Belgian Government allows him annually six months' leave of absence, the Liège musical season being from February 1 to the middle of July and the musical season at New York from August 1 to February 1. The characteristics which have made the Liège school of violin celebrated in time past (as well as at the present day) were a perfect position, gracefulness of bowing, purity of style and general brilliancy of execution, qualities indispensable for a successful violin virtuoso.
46The prime object of Mr. Musin's classes will be to perfect advanced pupils and prepare those not sufficiently advanced for admittance to the Royal Conservatory of Liège, should they contemplate doing so. Many Americans going abroad to study the violin have been disagreeably surprised to find they were not sufficiently well grounded in the science of music to gain admittance to even the lowest class in the Conservatory. They were therefore obliged to take private lessons of the principal professor at a large expense (from $3 to $6 per lesson) for a considerable time before becoming competent to enter the Conservatory. Pupils contemplating study in Europe will appreciate the enormous advantage to be derived from this venture of Ovide Musin.
48A few words as to the career of this artist may not be out of place. He entered the institution at Liège at seven years of age, and so great were his accomplishments that he had gained all the preliminary prizes before his tenth year, and at the age of eleven he secured the first prize. During his early studies he was a pupil of Desire Hyneberg. He afterward continued his studies under Leonard and followed him to Paris. At the age of fourteen he had secured the golden medal with distinction for both violin and quartet playing. According to the laws of the Conservatory superior pupils graduating were required to teach gratis one year in the institution, and thus this child of fourteen years became the teacher and leader of pupils who were (some of them) full grown men. Upon completing this duty he began a series of triumphal concert tours throughout Europe with the great artists and impresarios of the time, and appeared as soloist in all the large art centres of Europe. He also formed a quartet in Paris, and was the first musician to introduce in that city the chamber music of Brahms. An autograph letter from Hans Richter highly compliments him personally and in the name of the Philharmonic Orchestra for his wonderful interpretation of the Beethoven Violin Concerto. At the height of his European renown he came to America, being presented by Dr. Leopold Damrosch, playing with the principal orchestral societies throughout the country. He afterward organized a concert company of his own, with which he toured for several seasons; and probably no great violinist is so universally known as Ovide Musin.
50Upon returning to Liège last fall, 1897, from an extended tour of the world, he was solicited to accept the position of head professor to the superior class of violin in the Royal Conservatory. This he finally decided to do, and he has proved to be not only a great artist and violinist, but a great teacher, his class having made enormous strides during six months' study under his faithful direction. In times past among the celebrated exponents of the violin school of Liège were Wieniawski and Leonard, names well known in America, and it has ever been the aim of the Government to perpetuate the high order of acquirements which so justly gave it such great renown. Pupils, as in Liège, will be divided into classes according to their ability and advancement, and rapid progress invariably follows not only because each and every pupil receives personal attention and instruction, but for the reason that he also has the privilege of listening to the corrections and instructions given to others in the class.
52During his absence from Liège Mr. Musin's classes will be in charge of a competent violin professor, a graduate of the conservatory, who strictly carries out the line of work laid down by Mr. Musin. Such an arrangement will be made in New York as well, in order that pupils unable to study in Europe may continue their work under proper guidance until Mr. Musin's return to New York each season. Annual examinations will be held and prizes offered. A professor of solfeggio will also come over from Liège, and pupils will be required to do a good deal of ensemble work.
54All inquiries as to terms, &c., will be cordially responded to. Letters should be addressed to the Ovide Musin Violin School, Steinway Hall, New York.
56Inez Grenelli Appreciated.
58The favor with which Miss Inez Grenelli has been received in Galveston, Tex., seems to justify an extra amount of praise in the local press. In proof whereof we note the following from the Galveston Tribune:
60Miss Grenelli is a delightful singer and a finished artist. Upon the conclusion of her number, the grand aria from "Freischütz," last night she received approval which amounted to an ovation. Her voice is a soprano of exceptional range and volume, of the purest quality of tone, and delightfully even throughout the register.
62After speaking of the ease with which she sings, her phrasing and her distinct enunciation, the following is added:
64This, together with a most pleasing personality, won for her the entire attention and sympathy of her audience. After repeated recalls she gave as an encore song Brahms' "Lullaby" with a delicacy of tone and shading truly exquisite.
66ELLISON VAN HOOSE,
67PRIMO-TENORE
68Damrosch & Ellis Grand Opera Company.
69For Concerts and Festivals address
70L. M. RUBEN, 489 Fifth Avenue, NEW YORK.
72TENOR.
73Concert and Oratorio—Vocal Instruction.
74STUDIO:
75126 WEST 66th STREET, NEW YORK.
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