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Musical Courier 1898-05-25: Vol 36 Iss 951, 1898
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1CINCINNATI, May 21, 1898.
3THE May Festival spirit has arrived in due course of time, after a lapse of two years, and taken hold of Cincinnatians. It is the silver jubilee of the Cincinnati Festival. It was in 1873, just twenty-five years ago, that the first festival was held in the old Exposition Building. The deficit, as the records show, was only $350, and this amount was easily covered out of the private purses of the board of directors. The festival was the precursor of the German saengerfests, the first of which was held in this city nearly fifty years ago. But the genius of Theodore Thomas purified, elevated and ennobled the old plan, making the Cincinnati Festival an artistic ideal for others to follow and spreading its reputation all over the musical world. Theodore Thomas at that time was in the very prime of his vigorous manhood and well adapted for the task of molding the festival in accordance with his high standard.
5There was not then a bald spot on his head. It grew, however, by degrees, and now Mr. Thomas is beginning to grow venerable. Well, he is the same rigorous, exacting disciplinarian he was at that time; he has not lowered his standards, and his usefulness has but been increased by the ripeness of his experience. The Festival Association had every reason to be pleased with the work of Thomas during this quarter of a century, and if the entire board of directors has been faithful and loyal to him even up to the present time, in spite of considerable pressure in another direction and adverse influences, they are all the more and better men for that. There was conscientious endeavor and high artistic purpose in the work of the association from the beginning. The object has ever been to give the best music in the best way. Much is expected from the chorus at the present festival, on account of its combination with the Apollo Club forces. E. W. Glover, the local conductor, and B. W. Foley, director of the Apollo Club, have had the preparatory work in hands, and it has been energetically and spiritedly done.
7The soloists for the festival embrace the following artists: Sopranos, Miss Margaret Macintyre, Miss Helen Wright, Mrs. Corinne Moore Lawson, Miss La Nora Caldwell; contraltos, Miss Gertrude May Stein, Mrs. Josephine S. Jacoby; tenors, Ben Davies, Geo J. Hamlin; basses, David Bispham, Joseph S. Baernstein. Arthur Mees, who himself trained for several years the festival chorus, will preside at the organ.
9* * *
11The musical élite of Avondale were gathered on Saturday night, May 14, in the studio of Mrs. Breed, No. 3347 Reading road, to show their appreciation of the fifth recital by pupils of Mrs. Breed, pianist, and Adolf Hahn, violinist. The recital proved to be of an exceptionally enjoyable character, both on account of the attractiveness of the program and the genuine interest with which it was invested by the participating pupils. Much of it showed artistic preparation; all of it pointed to correct methods of training and results that come from a labor of love. The piano concertos were accompanied by a string sextet and second piano, the latter played by Mrs. Breed. The latter impresses upon her pupils much of her own individuality—clearness of expression and refinement. Mr. Hahn's pupils acquitted themselves with much credit, and proved the value of their training. The program was as follows:
13Concerto, C major……………………………Beethoven
14Miss Pauline Wessel.
15Preislied (Meistersinger)……………………..Wagner-Wilhelmj
16Miss Katharine McCoy.
17Concerto, G minor……………………………Moscheles
18Miss May Hamilton.
19Faust Fantaisie……………………………….Alard
20Miss Jessie Straus.
21Concerto, G minor……………………………Mendelssohn
22Miss Margaret Bassett.
24Miss Wessel played with fervor and good contrasts. Miss Bassett imparts a well-defined meaning to her playing. She is developing musically as well as technically. Miss Hamilton showed a delicate touch, liquid runs and considerable poetry. Miss Katharine McCoy played the Preislied from "Meistersinger" with fine execution and evidence of musical temperament. Miss Jessie Straus is decidedly talented and proved this by her playing of the "Faust Fantaisie," by Alard. She plays with assurance and has a good tone. Her bowing is vigorous.
26The last of these recitals was given on Friday afternoon, May 20. One of the most advanced pupils of Mrs. Breed is Miss May Hamilton, and she has reason to feel proud of her progress and developing capacity. Miss Hamilton played the "Sonata Pathetique" with expression and considerable intensity. Her many sided adaptation she proved in a variety of subsequent solos, embracing a gavotte and musette by Bach; "Shadow Dance," by MacDowell; two Chopin etudes, C minor and G flat major; "Fantaisie Impromptu," by Chopin, and "Valse Caprice," by Tausig. The MacDowell number was given a piquant reading, with good contrasts. Her technical development appeared to advantage in the difficult "Valse Caprice," by Tausig, which she played with a good deal of repose. Miss Katharine Rawn, a pupil of Mr. Hahn, played on the violin the well-known Chopin nocturne. She has decided talent, and imparted to the number a considerable amount of poetic expression.
28* * *
30One of the graduates of Georg Krueger's class this year at the Conservatory of Music will be Miss Ida B. Ulmer. With the assistance of Miss Frances Cusson, mezzo soprano, she presented on Wednesday evening, May 18, in Recital Hall, the following program:
31Concerto, No. 1, G minor, op. 25………….Mendelssohn
32(Orchestral part on second piano.)
33Songs—
34Pastorelle………………………………….Haydn
35Dance Song………………………………..Händel
36Longings…………………………………….Rubinstein
37Etude, op. 10, No. 3………………………..Chopin
38Impromptu, A flat major, op. 29………….Chopin
39Au Printemps, op. 43, No. 6………………Grieg
40Staccato Caprice…………………………..Vogrich
41Songs—
42Pinks in My Garden………………………….Presell
43Love Sonnet…………………………………Thome
44Sognai—I Dreamt…………………………..Schira
45Concerto, A minor, op. 54…………………Schumann
46(Orchestral part on second piano.)
48Mr. Krueger has an individuality which is stamped upon all his pupils without interfering with their natural bent and endowment. The conception of the Schumann concerto was a particularly happy and strong one, showing how thoroughly Mr. Krueger had mastered the subject, and in turn imparted his ideas to his pupil. Miss Ulmer's playing was forcible, intellectual and not without the evidence of poetry. The singing quality in the touch carried through the execution, combining delicacy with strength, points unmistakably to the Leschetizky method, of which Mr. Krueger is an able exponent.
50Miss Ulmer was fairly overwhelmed with floral gifts. Miss Cusson sang with expression and color. Her voice is true to the pitch, and under the training of Miss Frances Moses she is making rapid progress.
52J. A. HOMAN.
54Mlle. Verlet's Festival Singing.
56Not content with the approbation won in the East Mlle. Alice Verlet has been sending arrows of song straight to the hearts of Western music lovers. Those who have heard her here know that the interest and attention bestowed upon her are not undeserved, and that a strong substratum of truth underlies even such glowing press notices as the following:
58Mlle. Verlet, in the aria from "Traviata," covered herself with glory and bore out my criticism of yesterday that she is the most finished and artistic soprano who ever sang in Nashville, Patti not excepted.—Nashville American, May 7.
60Mlle. Alice Verlet, the coloratura prima donna from the Opéra Comique, Paris, sang the Polonaise from "Mignon" and captivated the audience. She sang the high E as easily as the middle E, clean and clear as a crystal, in perfect tone. She sings with dash and fire, still her work is refined. She can easily be compared with any of the living prima donnas without any exception.—The Macon Telegraph, May 10.
62When Mlle. Verlet, the famous prima donna of the company, made her appearance she was received with great applause. The enthusiasm of the audience increased as she sang, and when she finished the audience, despite the understood rule that no encore would be given, insisted upon one and received it. The voice of the talented singer is rich, smooth and refreshing, and withal one of the most melodious ever heard here. Chattanooga people expected much from her, but none were disappointed.—The Chattanooga News, May 5.
64Miss Verlet's number, the "Bell Song," from "Lakmé," was encored, and she sang with only piano accompaniment "Annie Laurie," the French accent giving an unusual piquancy to the Scotch words.—The Knoxville Sentinel, May 3.
66Much was expected of Mlle. Verlet, and she was much the best of the vocalists, although the recognition bestowed on her was not so generous as on others.—The Nashville Banner, May 6.
68Mlle. Verlet was, of course, the star of the evening, not because she received the most applause nor because she was charming and fascinating in appearance, but because of her great artistic merit. She reminded me of Sembrich in the accuracy and brilliancy of her execution, except that her voice is sweeter and less metallic. She sang with a freedom and ease that was enchanting, though there was a perceptible lack of shading now and then. Altogether she is the most pleasing singer who has ever been heard in Nashville.—Nashville American, May 6.
70The star of the company was Mlle. Verlet, the opera soprano from Paris, who sang the aria from "La Traviata." Mlle. Verlet has a voice of wonderful range and of equal sweetness of tone. She evidenced the fact that she is thoroughly capable of singing the most difficult compositions, and was received with continued applause. As an encore she sang "Annie Laurie," which, of course, met with loud applause.—Knoxville Daily Journal, May 3.
72Mlle. Alice Verlet, the prima donna of the company, sang an aria from "Traviata," by Verdi, and was accorded a regular ovation when she finished. She sang for an encore "Annie Laurie," and that old favorite caught her hearers again.—Knoxville Tribune, May 3.
74Miss Verlet, the star of the company, pleased everybody. She is quite French and very charming. She is captivating. Her encore number was "I Sing Thee Songs of Araby," by Clay.—The Rome Tribune, May 8.
76G. SCHIRMER, NEW YORK.
77Importers and Publishers of Music.
78Beg to announce that they are now representing in the United States
79The Catalogue of Compositions of
80ALEXANDRE GUILMANT,
81comprising all his works for Organ, Harmonium, and miscellaneous compositions.
82Among the most recent of his works we recommend
83Sonata for Organ No. 5, op. 80, Net, $2.40.
84Sonata for Organ No. 6, op. 86, Net, 1.60.
85Any of the above music will be sent for examination.
86Send for catalogue of SCHIRMER'S LIBRARY Edition of Musical Classics.
88FEILDING ROSELLE
89DRAMATIC CONTRALTO.
90Oratorio, Festivals, Concerts, Recitals.
91Address care Musical Courier, New York.
93Dr. HENRY G. HANCHETT
94108 FIFTH AVENUE, NEW YORK CITY.
95Summer Courses, Piano Recitals and Lessons.
96JUNE—SYRACUSE, N. Y.
97JULY—MONTEAGLE, TENN.
99RUDOLF ZWINTSCHER,
100PIANIST.
101Solo and Accompaniments.
102Piano Instruction.
103STUDIO: 326 FIFTH AVE., NEW YORK.
105Mrs. MARTHA – DORLON – LOWE,
106Voice Culture,
107CONTRALTO-CONCERTS, ORATORIO.
108Studio, 539 Fulton St., Brooklyn.
109New York address, MUSICAL COURIER.
111J. FRED WOLLE,
112ORGANIST.
113Address:
114THE WOLFSON MUSICAL BUREAU, 131 East 17th St., New York.
116George Hamlin,
117TENOR.
118Address FREDERICK J. WESSELS,
119Western Representative
120Auditorium Tower, CHICAGO.
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