Scan 32
Musical Courier 1898-05-25: Vol 36 Iss 951, 1898
131 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. 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.
1terest throughout, and full of passages that delight the contrapuntist. The poem is a setting of an old Greek myth. After long hesitation and indecision Attis, a Greek youth, determines to cross the sea to Phrygia, there to worship Cybele, goddess of the earth. He is accompanied by a company of youths whom he has inspired, and they at last reach the temple of the goddess, only to find a stone image where they had hoped to find the beautiful goddess. The image makes no response to their prayers, and, awed by the mystery of the place, they start to retrace their steps and return home. But by some awful influence they are drawn back once more to the goddess, and repeat their song of adoration. Then the air is filled with strange music, which gradually develops into a wild dance, into which they are drawn, whether they will or no, until at last they sink down before the goddess exhausted. As they rouse from the stupor into which they have fallen they hear from across the sea a faint melody which draws their hearts toward home.
3But the goddess allows no one who has entered her service to desert her, and as Attis stands on the shore, his arms stretched out toward Greece, she sends lions to frighten him back again to her, that he forever serve in her temple. The indecision of Attis, his resolve, the sea journey, the ascent to the temple of Cybele, the uneasiness which is felt by the youths as they view the image, the melody full of suggestion of the home land—in fact, all the dramatic moments, are most vividly portrayed. The "Attis" motives, noble and virile at the start, undergo numerous transformations, picturing the gradual degeneration of soul as Attis comes more and more under the unholy influence of the goddess. The beautiful "Prayer" motive, given out at first by the bass clarinet, accompanied by the violas and 'celli, becomes the principal theme of the orgiastic music of the dance, and in it all the principal motives appear in new forms at once effective and consistent with the psychological changes in Attis' character. We hope some time to hear the work after adequate rehearsal has made possible a perfect performance of this interesting but extremely difficult composition.
5The final concert—most of the audience the most enjoyable one of the festival—was a most brilliant performance of the "Flying Dutchman," with Gadski as Senta, Miss Spencer as Mary, David Bispham as the Dutchman, Mr. Howland as Daland and Mr. Rieger as Erik. The work of the chorus was perfect; in fact, if possible, superior to the work in the Verdi "Requiem."
7The impression produced by the concert of Thursday evening, that the festival would suffer from an anticlimax, proved groundless. Miss Spencer's work was the weakest she has ever done here, but fortunately her part was of comparatively unimportance. Rieger made a very satisfactory Erik on the whole, although his tendency to take liberties with the tempo was occasionally a drawback, notably in those places where he sung in connection with the male chorus. Mr. Howland held his own well, and in his duet with Bispham fairly shared honors with him. The crown of the whole festival, however, was David Bispham. One feels when listening to him not only the beauty of the voice, the absolute ease with which he sings, the wealth of temperament, but above all the personality and intelligence which make his singing what it is.
9In closing a tribute must be paid to the orchestra for the magnificent manner in which they played the score. The performance of the overture was one of the most brilliant orchestral offerings ever heard in Ann Arbor. In saying this we do not forget that the Chicago Orchestra played this same overture earlier in the season.
11The programs follow:
13CONCERT NO. 1—THURSDAY, MAY 12, 8 P. M.
14Mrs. Jennie Patrick Walker, soprano; Miss Gertrude May Stein, contralto; Wm. H. Rieger, tenor; Sig. Giuseppe Del Puente, baritone; the Choral Union, 300 voices, and Boston Festival Orchestra; Albert A. Stanley conductor.
16Requiem e Kyrie,
17Soprano, mezzo soprano, tenor, bass and chorus
18Dies Irae,…………………….Soli and chorus
19Domine Jesu, Oh, Lord God, Offertory, Quartet
20Sanctus, Holy! Fugue,………….For two choirs
21Agnus Dei, Lamb of God,
22Soprano, mezzo soprano and chorus
23Lux Aeterna, Light Eternal,
24Mezzo soprano, tenor and bass
25Libera Me, solo for soprano,
26Chorus and Finale Fugue
28CONCERT NO. 2—FRIDAY, MAY 13, 3 P. M.
29Miss Elsa von Grave, pianist; William Howland, bass; Emil Mollenhauer, conductor.
30Symphonie Pathetique, op. 74………….Tschaikowsky
31Aria, Honor and Arms…………………Händel
32Piano Concerto, A major………………Liszt
33Overture, Gwendolin………………….Chabrier
35CONCERT NO. 3—FRIDAY, MAY 13, 8 P. M.
36Miss Gertrude May Stein, contralto; Barron Berthald, tenor; Sig. Giuseppe Del Puente, baritone; Emil Mollenhauer and Albert A. Stanley, conductors.
37Overture, Akademische Fest, op. 80……..Brahms
38Herz zwunden………………………..Grieg
39Im Frühling…………………………..Grieg one of two readings
40Im Frühling………………………….Grieg one of two readings
41String orchestra.
42Aria, Am Stillen Herd, from Die Meistersinger…Wagner
43Aria, The Captive……………………..Berlioz one of two readings
44Aria, The Captive……………………Berlioz one of two readings
45Miss Stein.
46Symphonic Poem, Attis…………………A. A. Stanley one of two readings
47Symphonic Poem, Attis………………..A. A. Stanley one of two readings
48Aria, Eri Tu, Ballo Mascheri…………..Verdi one of two readings
49Aria, Eri Tu, Ballo Mascheri………….Verdi one of two readings
50Signor Del Puente.
51Barcarolle, A Night in Lisbon…………..Saint-Saëns one of two readings
52Barcarolle, A Night in Lisbon………….Saint-Saëns one of two readings
53Aria, from Oberon………………………Weber one of two readings
54Aria, from Oberon……………………..Weber one of two readings
55Kaiser-marsch………………………….Wagner one of two readings
56Kaiser-marsch………………………..Wagner one of two readings
58CONCERT NO. 4—SATURDAY, MAY 14, 2:30 P. M.
59Miss Janet Spencer, contralto; William H. Lavin, tenor, and Emil Mollenhauer, conductor.
60Overture, Jubel………………………..von Weber one of two readings
61Overture, Jubel……………………….von Weber one of two readings
62Petit Pas……………………………….Sudisse one of two readings
63Petit Pas…………………………….Sudisse one of two readings
64Aria, Semiramide……………………….Rossini one of two readings
65Aria, Semiramide……………………..Rossini one of two readings
66Rapsodie Espana………………………..Chabrier one of two readings
67Rapsodie Espana………………………Chabrier one of two readings
68Aria, Salve Dimora, Faust………………Gounod one of two readings
69Aria, Salve Dimora, Faust…………….Gounod one of two readings
70Mr. Lavin.
71Ballet Music from Carmen……………….Bizet one of two readings
72Ballet Music from Carmen………………Bizet one of two readings
73O Fatima……………………………….von Weber one of two readings
74O Fatima…………………………….von Weber one of two readings
75Koenig's Kinder, Entr'actes 2 and 3……Humperdinck
76Danse des Sylphs………………………..Berlioz one of two readings
77Danse des Sylphs………………………Berlioz one of two readings
78March Hongroise………………………..Berlioz one of two readings
79March Hongroise……………………….Berlioz one of two readings
80From Damnation of Faust.
82CONCERT NO. 5—SATURDAY, MAY 14, 7:30 P. M.
83THE FLYING DUTCHMAN.
84Cast—Mme. Johanna Gadski, Senta; Miss Janet Spencer, Mary; David Bispham, the Dutchman; William H. Rieger, Erik and Steersman; William A. Howland, Daland; sailors, maidens, &c., Choral Union; Albert A. Stanley, conductor.
86Lucie Stainback, a Powers Pupil.
87This young soprano, of St. Stephen's P. E. Church, one of Francis Fischer Powers' most conscientious and intelligent students, is the subject of an interesting rumor in connection with Cupid's well-known predilections. The young man is said to be well known and wealthy.
89Jessie Shay 'n Brooklyn.
90Miss Shay's playing at the Brooklyn Teachers' Association concert was much admired. One wonders whence comes all her power with that slender physique. In the Moszkowski etude she piled climax on climax, the "Sparks" was crisp and clean-cut, and the Chopin ballade of ineffable charm. An artistic personality is Miss Shay.
92MME.
93FLORENZA D'ARONA,
94PRIMA DONNA.
95The vocal instrument perfected tone by tone. Traditional Grand Opera and Oratorio, analytically interpreted and adapted. Famous Cadenzas, Concert, Church Etc. Teachers' Course with Diploma. Only serious pupils accepted.
96124 East 44th Street, NEW YORK.
98Brooklyn
99BROOKLYN, May 23, 1898.
100THE third of the Vesper Series of Organ Concerts given by the Brooklyn Institute took place at the Lafayette Avenue Presbyterian Church on May 18. The concert is one to be remembered on account of the fact that it introduced to a Brooklyn audience an American contralto who has attained quite a reputation in England, Mrs. Katherine Fisk. Her voice is one of those which deceives one into thinking the tones produced much lower than they really are. Mrs. Fisk uses her voice to perfection, and the grand, full tones which pour forth when she sings are thrilling. Her selections were "Lungi dal caro bene," an Italian song, by Secchi, and Gounod's "O That We Two Were Maying," both of which were encored. Although these songs do not give any chance for displaying technic, one felt certain that it would be impossible to find a song too difficult for Mrs. Fisk.
102Hermann Riedrich, 'cellist, and member of the New York Philharmonic Orchestra, performed a pastorela by Rheinberger and rondo by Boccherini. He was much appreciated by the audience, his work being praiseworthy.
104The rest of the program was performed by John Hyatt Brewer, organist. It consisted of six numbers, some of which were quite long. Although no fault could be found in the execution of these compositions, this part of the program proved tiresome on account of its length and lack of variety. Mr. Brewer played his own "Canzonetta," which met with approval. In his "Romanza," with 'cello obligato, however, one could not help a feeling of pity for Mr. Riedrich, as nearly all the 'cello part was doubled by the organ, and in many parts of the composition the 'cello was entirely drowned out.
106The next of the series will be a concert by R. Huntington Woodman, assisted by Royal Stone Smith, baritone, on Wednesday evening, May 25.
108All thinking people will hail the present burst of opera in this city and Manhattan. And still more will they delight in the large audiences which crowd the houses at every performance. Yes, it can be said that the people are anxious to learn and are embracing this great opportunity. The very people who are making the opera a success, but who cannot yet appreciate symphonies, will in a few years be the ones who will build up or support a permanent orchestra.
110The Castle Square Opera Company presented "Pinafore" and "Cavalleria Rusticana," in English, at the Montauk last week. The company has already received much commendation in THE COURIER, and it continues to live up to its reputation. In "Pinafore" I would mention particularly William Broderick, who took the part of The Boatswain. The deliberate and sonorous way in which he sang
112For in spite of all temptations
113To belong to other nations
114He remains an Englishman
116was vociferously applauded, as it deserved to be.
118Miss Marie Celeste as Josephine won the approval of all by her pleasing voice. Frank Moulin, who took the part
120TOR VAN PYK,
121TENOR.
122Concert, Oratorio and Opera.
123For Terms, Dates, &c., address
124132 WEST 85th STREET, NEW YORK.
126THE H. W. GREENE
127Summer School of Singing, Piano and Theory.
128Best Teachers in all Departments.
129For Terms and Particulars address
130H. W. GREENE, 487 Fifth Ave., New York.
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