Scan 5
Musical Courier 1898-05-25: Vol 36 Iss 951, 1898
211 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 6. 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.
1SOME CHICAGO ADVERTISEMENTS.
3J. H. KOWALSKI,
4CELEBRATED VOCAL STUDIO,
5Suite 54 and 55, Kimball Hall,
6CHICAGO, ILL.
8MAX BENDIX,
9VIOLINIST,
10801 Steinway Hall,
11CHICAGO, ILL.
13Mme. JOHANNA HESS-BURR,
14Voice Coaching—Repertoire.
15FRANK S. HANNAH,
16Business Manager.
17Suite 1015-1016 Steinway Hall, Chicago.
19Mme. RAGNA LINNÉ,
20MARCHESI METHOD.
21ORATORIO—CONCERT—SONG RECITAL.
22Limited number of pupils accepted.
23Kimball Hall, Wabash Avenue,
24CHICAGO, ILL.
26HERMAN L. WALKER,
27Pupil of SHAKESPEARE and SBRIGLIA.
28TENOR.
29Concert, Oratorio, Song Recitals.
30Chicago Conservatory, Auditorium Building,
31CHICAGO, ILL.
33FRANK T. BAIRD,
34THE ART OF SINGING.
3584 Monroe Street, CHICAGO, ILL
37Eliodoro de Campi
38School of English and Italian Opera.
39Steinway Hall Building, Suite 908.
40CHICAGO, ILL.
42FREDERICK W. CARBERRY,
43TENOR.
44STEINWAY HALL,
45CHICAGO, ILL.
47SHERWOOD PIANO SCHOOL.
48WILLIAM H. SHERWOOD, Director, Steinway Hall, Chicago.
49Special inducements are offered to beginners, who may be assured when commencing their studies here that they will never have to retrace their steps, but that their progress will be steady and certain. Mr. Sherwood's methods of technique, tone, phrasing, interpretation, etc., which have produced wonderful results, are exclusively used. Sent for inspection.
50WALTON PERKINS, Secretary and Manager.
52ESTABLISHED 1867.
53Chicago Musical College.
54Studebaker Bldg., Michigan Ave., Chicago, Ill.
55Dr. F. ZIEGFELD, President.
56LOUIS F. ZIEGFELD,
57HANS VON SCHILLER,
58WILLIAM CASTLE,
59BERNHARD LISTEMANN,
60Musical Directors.
61Catalogue giving full information mailed free upon application.
63SIXTEENTH YEAR,
641896-1897.
65MRS. REGINA WATSON'S
66SCHOOL
67FOR THE
68HIGHER ART OF PIANO PLAYING.
69297 Indiana Street,
70CHICAGO, ILL.
72MR. AND MRS. BICKNELL YOUNG,
73Lecture recitals on Opera, its Origin and Development; illustrated by vocal examples from the earliest epoch.
75A. J. GOODRICH,
76Theorist,
77Lock Box 978, Chicago.
78Author of "Goodrich's Analytical Harmony."
79"Complete Musical Analysis."
80"Music as a Language," &c., &c.
81Personal or correspondence lessons in Harmony, Composition, Orchestration, Analysis and Theory of Interpretation.
83Genevra-Johnstone Bishop,
84… SOPRANO.
85Oratorio, Concerts and Recitals.
86Address
87KIRBY CHAMBERLAIN PARDEE, Manager.
8870 State Street, Chicago, Ill.
90WALTER SPRY,
91Director of Conservatory of Music,
92QUINCY, ILL.
93Piano and Organ Recitals … one of two readings
94Piano and Organ Recitals… one of two readings
96KATHARINE SPEAR CORNELL,
97CONTRALTO.
98Hyde Park Hotel,
99Chicago, III.
101Chicago Conservatory of Music.
102SAMUEL KAYZER, Director.
103Auditorium Building, Chicago, Ill.
104SEND FOR CATALOGUE.
105MUSICAL DIRECTORS.
106LEOPOLD GODOWSKY, Piano.
107ARTURO MARESCALCHI, Vocal.
108CLARENCE EDDY, Organ.
109S. E. JACOBSSOHN, Violin.
110FREDERIC GRANT GLEASON, Harmony, &c.
112Henry B. Roney,
113CONCERT ORGANIST—TEACHER.
114Organist and Chorister of Plymouth Congregational Church.
115The training of Boys' Voices for church and concert work a specialty. (Late Organist and Chorister of Grace Episcopal Church, 1887 to 1897. Studio: 2500 Indiana Ave., CHICAGO.) one of two readings
116The training of Boys' Voices for church and concert work a specialty. one of two readings
117(Late Organist and Chorister of Grace Episcopal Church, 1887 to 1897. Studio: 2500 Indiana Ave., CHICAGO.) one of two readings
119VICTOR HEINZE,
120Concert Pianist and Piano Teacher.
121Leschetizky Method.
122Studio: 1014 Steinway Hall, Chicago.
123THE HEINZE TRIO:
124VICTOR HEINZE, Piano; EUGENE BARE, Violin; BRUNO STEINDEL, Violoncello.
125Can be engaged for Concerts, Musicales, &c.
126Address Victor Heinze, 1014 Steinway Hall, Chicago.
128MRS. GEORGE BENEDICT CARPENTER,
129Season 1897-98.
130Director of MUSICAL ARTISTS.
131Steinway Hall, Chicago, Ill.
132Representing the Wolfsohn Bureau of New York in Chicago and the West.
134MARIE L. COBB,
135Concert Pianist and Teacher.
136Hans Von Bülow, Herr Von Wieck and Sgambati.
1373/ AUDITORIUM BUILDING,
138CHICAGO, ILL.
140D. A. CLIPPINGER,
141Voice Production and the Art of Singing.
142Room 40 Kimball Hall, Chicago, Ill.
144GOTTSCHALK
145LYRIC SCHOOL,
146INCORPORATED.
147MUSICAL AND DRAMATIC ART.
148L. GASTON GOTTSCHALK, Director
149Isabella Building,
15046 & 48 Van Buren Street, Chicago.
151Catalogues sent upon application.
153THOMAS TAYLOR DRILL,
154BASSO.
155Oratorio, Concerts, Song Recitals.
156VOCAL INSTRUCTOR.
157Studio: No 57 Kimball Hall,
158CHICAGO, ILL.
160ANNA WEISS,
161Late of Vienna Conservatory,
162Concert Pianist and Teacher.
163Suite 906 Steinway Hall, Chicago, Ill.
165AMERICAN CONSERVATORY,
166Kimball Building, 243 Wabash Ave., Chicago.
167JOHN J. HATTSTARDT, Director.
168ALL BRANCHES OF MUSIC, DRAMATIC ART.
169TEACHERS' TRAINING DEPARTMENT.
170Catalogue mailed free.
171JOHN J. HATTSTARDT, ALLEN H. SPENCER,
172GERTRUDE MURDOUGH, Piano; KARLETON HACKETT, NOYES B. MINER, RAGNA LINNÉ, MME DE NORVILLE, Singing; CLARENCE DICKINSON, Organ; JOSEF VILIM, Violin; ADOLPH WEIDIG, Composition, and thirty other superior instructors.
173GERTRUDE MURDOUGH, Piano
174VILIM TRIO: JOSEF VILIM, Violin.
175JOHN KALAS, Cello.
176243 Wabash Ave., care of American Conservatory
178HARRISON M.
179Studio 6,
180241 Wabash Ave.,
181CHICAGO.
182WILD
183CONCERT ORGANIST.
184Piano and Organ Instruction.
186WILLIAM H. SHERWOOD,
187CONCERT AND RECITAL PIANIST.
188MR. SHERWOOD created a furor by his wonderful playing at the meeting of the M. T. N. A in New York City last June. His playing in other large cities this season has aroused the utmost enthusiasm. He has been acknowledged by critics, the public and musicians to be the greatest American pianist. Mr. Sherwood will teach and give recitals as usual at the Chautauqua (N. Y.) Assembly from July 11 to August 13.
190number of years to study with great artists this says much for Vienna—and when Miss Ross came here her acquirements, especially in coloratura singing, were of a very high order. When Gutmann heard her sing he recognized at once an "Edle Stimme" (a noble voice). Not only did she sing at Sarasate's concert, but she sang at Gutmann's jubilee soirée among many other artists, who all accorded her the highest praise. I believe Carignani told Miss Ross that she had an exceedingly rare voice—"one out of a thousand." Other criticisms I have read are equally enthusiastic.
192Miss Ross is winning in Vienna the one thing she needed, viz., complete, all-sided development for dramatic singing. She has sung for Deckner, who expressed great satisfaction with her, and I understand that she may accept an operatic engagement in Frankfurt-am-Main in the fall for German opera.
194I am much in arrears for concert and opera notes, which I will send by next mail, but before I close I wish in connection with the foregoing to remind Americans that, although Vienna (which does not advertise, and consequently is little known as one of the first art-centres in respect to the study of singing) still possesses more world famous singers to-day than any other European city. The Italian-Marchesi school is well represented here by Fräulein Muehte, Materna, Garimperti; as also by the famous "new method" of Josefine Richter von Innfeld, mother of Hans Richter, upon whose work and ideas, as published in her book, I hope one day to expatiate at length. And I think that the greatest singers the world has known, excepting Jenny Lind and Patti, have come from Vienna. No singers for other stages have been in such demand as the Austrian and Hungarian artists. Here is the home of Lucca, Materna, Marianne Brandt, for some time of the Lehmann sisters, and the Vienna Conservatory alone has sent out hundreds of well-known artists. I remember the RACONTEUR once said: "Berlin and Vienna are the places for real, earnest study," and since my experience here as music critic I should, for the art of study, place Vienna at the first of the line. I examined artists from many other cities and nowhere do I find so much exact and exacting study. Thoroughness is the watchword—slipshod work is crushed. Such minute attention to details and exactitude in everything is difficult to describe. What I say of singing is equally true of the piano and the violin.
196Rosenthal, Grünfeld, Leschetizky (Rubinstein school), Dacles (now dead), and Eppstein, of the conservatory, have their homes here, and their work as artists and teachers surpasses any other now living known to us. As to the violin, we have more celebrated quartets, excepting the Joachim and Kneisel quartets. Witness the famous Quartet Rosé, Hellmesberger Quartet and the later Prill Quartet, Fitzner, Soldat-Roeger, &c. Grün, Rosé and Prill and Hellmesberger and their preparatory teachers exact the most superior work from their pupils. Students come from Paris and all over Germany, and say they first learned to study in Vienna.
198Still Americans rush to France and Germany in the largest numbers, and why? First, because, no doubt, these cities advertise and Vienna does not; secondly, because the prices of living are more expensive in the Austrian capital than elsewhere. Both of these conditions could and should be changed. Vienna should keep more in touch with the spirit of the times and not allow her musical atmosphere to become stagnant. She could also put prices of living more in keeping with the purses of students. For this purpose I will take the opportunity to say here that THE MUSICAL COURIER Office (which is really my private home) in Vienna will take the initiative and offer to American students (young ladies) all the comforts and refinements of the English and American "home," as well as opportunity to speak in English, German or French, and "coaching" either for singing or piano, at rates within the means of students. The Viennese "pension" is, as a rule, too expensive, and when not too expensive too unfit in every sense for young ladies who come here alone and without protection to study. Those who apply will be referred either to those now availing themselves of this offer here, or else to others fully competent of judging for themselves, who are acquainted with the plan of an "art pension" for students.
200I find it impossible now to speak further of other students who deserve more than passing notice, viz., Miss Virginia Bailie, of New York; Miss Roepper, of Bethlehem, Pa.; Mr. Friedbeger, a most promising young pianist, pupil of Professor Eppstein; Mr. Gebhard, and many others of whom I will write at length soon.
202News of the surpassing performances of Sembach in the Italian opera season in the Carl Theatre, the last performances for the season, of our quartets, the visit to the grave of Brahms in company with Alice Barbi, her concerts, the new guests and new engagements in the Court Opera, notably that of the former baritone Schmedes, who is a lately discovered tenor, and past concerts, especially that of Grünfeld, who goes constantly deeper into study and grows riper as a pianist, and who is rapidly winning an enviable reputation as teacher; the movement to secure funds to erect a monument to Brahms worthy of the last of the masters. These will all receive due attention by next outgoing steamer.
204E. POTTER-FRISSELL.
206N. B.—Numbers and subscriptions of THE COURIER are to be had at Kratochivill's XVIII. Währingweinhausstr. 18, Braumüller & Son, Graben Buchhandlung, Rosé & Gutmann Musikalien handlungen on the Kärthner Strasse.
208Gallico's Success.
210Owing to the favorable impression created by Paolo Gallico's pupils at his recent concert he will give a grand orchestral concert during next season, in which his advanced pupils, Miss Friedman, Miss Kahn and Mr. Morck will make their professional débuts. As a piano teacher Mr. Gallico takes high rank; he is a serious worker in the cause of good music.
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