Scan 34
Musical Courier 1898-05-25: Vol 36 Iss 951, 1898
88 lines. Read by computer on 23 September 2026. Printed page 35. 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.
1NASHVILLE.
3NASHVILLE, Tenn., May 9, 1898.
5We have been having more music than usual lately: student recitals, college concerts and several artist recitals.
7Two song recitals by Justin Thatcher were very pleasing. I was delightfully surprised at the excellence of his voice. Justin Thatcher is a native of Nashville, but has been in Chicago for several years, where he studied to good advantage.
9The last regular meeting of the Wednesday Morning Musicae was at the home of the president, Mrs. Gates P. Thruston, who graciously entertained the club in compliment to your correspondent. The program was, I believe, the best of the entire year, being one to which especial care had been given. The club had as guests: Justin Thatcher, tenor; Miss Susan Biddle, of Detroit, a most beautiful pianist; Mrs. Lula Randall and Mrs. Flournoy Rivers, both good pianists also. There was a large audience, every inch of space in the parlors and hall being filled. The day was made memorable by the presence and music of these four talented guests. The Saint-Saëns Concerto was a treat, and was most beautifully played by Mrs. Rivers and Mrs. Randall.
11The Musicae will have one more meeting, but this will be in the country, at "Glenraven," the lovely home of Mrs. Felix Ewing, a prominent member of the club. Mrs. Ewing will entertain the entire club of eighty members. The ladies go in a private car to Cedar Hill, thirty miles from Nashville, where they are met by Mr. and Mrs. Ewing, and are driven in all sorts of traps, seven miles, to "Glenraven." A specially arranged program will be given in the ballroom, and then a day of perfect pleasure out under the trees, among flowers, surrounded everywhere by the charms of that beautiful home—a most glorious picnic for the hard-worked Musicae, which will be thoroughly enjoyed.
13This is, then, the last and most brilliant episode in the life of the club this season, which has been a memorable one and full of important incidents.
15The season closes with a handsome clubroom secured—one which will seat 300 people—an addition of fifty associate members, and a firm hold upon the community, and a well established prestige. Next winter we hope to have one or two artist recitals, and we will be able to entertain visiting musicians at our club.
17May 10, 1898.
19Our May Festival is a thing of the past. It is with varied emotions I write of it, for it was, in some respects, short of what we expected. I have before me the prospectus which was sent by the management, and in it we are promised thirty men from the Boston Symphony Orchestra, ten from Seidl's, and five from Damrosch's. There were twenty-six in the orchestra we did have, with a harpist who seldom harped. It was a great disappointment. Somehow it seemed as if echoes from Theodore Thomas' orchestra still lingered in our big Tabernacle, and the small organization was but a little stronger than the lingering tones of that mighty company.
21I do not speak disparagingly of Gustave Strube's men, for they played very well, and I got genuine pleasure from the "Rienzi" Overture, the "Scherzo" from "Midsummer Night's Dream," and the "Peer Gynt Suite." The "Scherzo" was delightfully played. I think Strube lacks enthusiasm at times, but his reading was very conscientious. His own "Romanze" for strings was a veritable treat, and most charmingly played.
23I was quite pleased with Emanuel Siedler, who played "Zigeunerweisen," by Sarasate, with a great deal of dash and good technic and a really beautiful tone.
25Nannie Hands was at her best in the Mozart Aria in the first of the three concerts, which was a difficult thing, and very well done. Emanuel Siedler played a violin obligato.
27Personally I liked the three songs from the "Eliand" Cycle, by Von Fielitz, which Nannie Hands sang the second night. Von Fielitz has been but little sung here, and we were glad to hear those songs, which it is hoped will be given again, for they must be heard more than once to be appreciated.
29Dr. Ion Jackson created a very good impression with his fine tenor voice and his genial, handsome face. He sang with artistic finish and good tone the Opern aria, and at the second concert won more appreciation even than at the first. He was one of the favorites of the festival.
31S. Kronberg sang "Salve Regina," written for him by Eayrs, at the first concert. The second night he sang with good effect his encore, "The Palms," which is always a favorite here.
33Leon van Vliet, 'cellist, played one of the most appreciated numbers on the matinee program. For an encore he played a dear little thing of his own, of which he spoke so modestly I could not catch the name.
35Felix Fox, the pianist, is a player who uses the pedal with satisfying judgment, whose technic is good and clean, whose phrasing is correct, and who made a good impression in the face of immense disadvantages. The music of his Rubinstein Concerto for the first concert did not arrive, and he substituted with readiness three other numbers.
37At the matinee the piano had been tuned too high for the orchestra, so the concerto could not be given, but Mr. Fox played a Grieg number. At the third concert the Rubinstein was finally played.
39W. S. Kerr received a positive ovation. He sang the "Evening Star" romanza from "Tannhäuser" at the first concert. At the matinee he completely won everybody with the "Toreador Love Song," by Couchois, responding to prolonged applause with "A Dream," by Hawley, and was compelled to sing again. At the second evening concert there was a call started for Kerr which would not allow the concert to proceed until he appeared and sang. This evident appreciation was very flattering to Mr. Kerr, but it was not wise nor kind to those on the program.
41This demonstration occurred just before Harry Lucius Chase was to sing, and it made it very hard for Mr. Chase, but he showed good sense and sang, and did it so well he had his share of appreciation. I like Chase's voice extremely well, and every one here did. His singing the first night was excellent, his method was artistic, his tones smooth and even, and his style good, and he confirmed all the good opinions formed of him the second time he sang. I have heard a number of people speak in high praise of him. He is evidently a careful student, showing earnest work and the best training.
43Mlle. Alice Verlet was entrancing. I cannot express how lovely her voice was in the Lakmé "Bell Song" of Delibes, with its flute-like tones, its grace, its brilliancy and its perfectly artistic style, and she is so fascinating we all fell in love with her. I sat by her through one concert, and all the while the others were singing or the orchestra was playing she was constantly muttering the most delicious little trills and cadenzas like a veritable song bird. She is overflowing with music and simply can't repress it.
45We got a great deal of pleasure out of the festival, with much disappointment mixed in. I suppose we should be too wise by this time to believe advertising sheets of this, that and the other "artists." Our faith, in these times, is really touching. The business management of the affair was bad. The orchestral scores were misplaced, and many selections could not be played at all. Mr. Mitchell was singing one thing when the program announced Dr. Jackson for another. Miss Preston sang "By the Bonny, Bonny Banks of Loch Lomond" when Miss Bridewell was put down to sing an aria from "Orpheus." Such blunders were very confusing and discouraging. Two or three features redeemed it, and made it worth hearing, but I advise that same combination not to try us again next year.
47ELIZABETH FRASER PRICE.
49WASHINGTON.
51THE MUSICAL COURIER OFFICE, 501 Fourteenth st., N. W., WASHINGTON, D. C., May 13, 1898.
53A presentation on Thursday night of Liza Lehmann's "In a Persian Garden," from the "Rubaiyat" of Omar Khayyam. The soloists were the pupils of Mrs. Harriet Mills, of the instructors here most progressive and capable, fully abreast of the times, as this classic testifies. A Washington representative audience heard the work, which was of complimentary nature, and the hearing was thankful. The soloists were Miss Mai Greenwell, soprano; Miss Eleanor Simonds, contralto; William Mooney, tenor; Otto Luebkert, baritone, and Edward Varela at the piano.
55The production of the "Rubaiyat" was most artistic. The soloists were clear of comprehension and thoroughly imbued with the spirit of the text. In Miss Greenwell Mrs. Mills reckoned not without her host. Her tone was fresh and unblemished. Her delivery carried a consciousness of conviction, of self-reliance and full regard of the justness due to art. From the beginning the audience was without fear for and had faith in Miss Greenwell. Miss Simonds has a trained mind, is a musicianly person, ready in reading and forcible in the production of her voice, which is of ample register, round and rich, with execution of culture. Yet she has not hitherto sung with the breadth and musical wisdom marking her work on Thursday. She disclosed possibilities not vouchsafed before, singing as artists sing, with all modesty of demeanor and truthful expression.
57Under Mrs. Mills' guidance Mr. Mooney, the tenor, has emerged from a somewhat obscure past into the open day of the tenor singer with a voice of lyric cast, true, rich in quality and well placed. Mr. Mooney is of musicianly stuff throughout, his presence is commanding, and he will be the artificer of his own musical future if he decides to assist the art and yet learn of it.
59Mr. Luebkert sang with finish and in a thoroughly musicianly way, which is characteristic of him. A careful student, abounding in temperament and reliable, his contributions to the setting were worthy the applause he received. With Mr. Varela at the piano the work was in artistic hands. His efforts were heroic when such were demanded, and all supporting in the most difficult phrasings. To hear an accompaniment through the voice and be yet in a dreamful state concerning its presence is the acme of support to singer and auditor.
61The audience was roused to great enthusiasm in many instances where the quartet in its ensemble work drew from it its fullest sympathy. It is safe to say that this quartet is in culture and executive ability beyond any other that has been heard in this city for years. No amateur quartet may aspire to do such work as it produces. Mrs. Mills received from all the highest marks of praise for her labor in the rendition of this classic.
63The Damrosch Society, assisted by the Jeanne Franko Trio, Miss Ruth Thompson, contralto, and Charles E. Meyers, baritone, gave an excellent program on May 4 at the Columbia Theatre. Under the direction of Edmund A. Varela the society has attained an enviable standard in ensemble work, the numbers of the society showing an analytical study of the scores, with especial attention given to coloring. Otto Luebkert was at his best in the baritone solo in "The Farewell of Hiawatha" of Arthur Foote. Miss Ruth Thompson made an excellent impression, except for a slight attack of nervousness which marred her first number. Miss Celia Schiller, Hans Kronold and Charles Meyers were heartily received. Archibald Olmstead accompanied with his usual good taste.
65The Washington Military Concert Band has changed leaders, and is now under the baton of Chris Arth, Jr. Their recent concert was well attended and their program well given, though a few changes in the brass would be an improvement.
67Stanley Olmstead has just returned from four years with Leschetizky, and made his first appearance in a well-arranged program of Rachmaninoff, Chopin, Rubinstein, Schütt and Liszt. Mr. Olmstead has all the requisites of a pianist, and no doubt a great deal will be heard from him in the future.
69At the last meeting of the Friday Morning Club the following officers were elected: President, Miss Bradley; vice-president, Miss Louise Shepard; musical director, Miss Allen; assistant musical director, Mrs. Bard; secretary and treasurer, Miss Robbins. The vice-president of the club, Miss Louise Shepard, has decided to make Washington her home. She was formerly a member of the Rubinstein Club and Manuscript Society of New York, and possesses a rare dramatic soprano voice.
71C. S. B.
73SAVANNAH.
75SAVANNAH, Ga., May 14, 1898.
77Since my last letter there have been various musical occurrences here.
79On the 3d of this month the Boston Festival Orchestra was here, and gave a delightful entertainment. The orchestra played well up to its reputation, and the vocalists were all good. There was not a single poor feature on the entire program to mar in the least the pleasure of the evening. Every performer was fully entitled to the well merited applause accorded them.
81I am very much afraid that J. S. Atkinson & Co.'s venture with the Southern May Festival Company, which was here for three performances, on the 13th and 14th, was not a financial success. Very poor houses there were, and I am sure they fell far short of making expenses.
83In local musical doings Mme. St. Roques Playter gave a recital at the theatre on the 5th inst. of her piano pupils, at which she introduced the most remarkable prodigy, a little girl about ten years of age, who sat with her back to the piano and played the bass with her right hand and the treble with her left.
85The Savannah Musical Club have had three meetings since I last wrote you, and presented at them the usual good class of music.
87Miss O'Byrne sang so well that I really believe many members of the club were desirous of infringing on the rule prohibiting applause. She has studied in Paris for two years, but for the past two years she has been studying here under the efficient direction of F. E. Rebarer, who is every year turning out good vocalists. Mrs. Feimie did some good work in the "Erl King," but its thorough effectiveness was lost by its not being sung in German. The Reissiger trio was excellent, and a splendid progress
The computer misreads some letters and numbers. Where a name matters to you, read the scan.