Scan 12
Musical Courier 1898-06-01: Vol 36 Iss 952, 1898
90 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 13. See the scan on archive.org.
1THE MUSICAL COURIER.
3de la Grange, her voice teacher, was present. The company was large and delighted. This was the virtual opening of the new installation, rue Ampère. Miss Baldwin is a charming young society girl of electrical nervous temperament, who is studying seriously for her own satisfaction. She has plenty of talent to make it a profession should she desire.
5The baritone, M. Paul Seguy, has been giving at the Salle Populaire des Beaux Arts here a remarkable conference on "Rational Lyric Art and its Application to Hygiene." The musician, who is a graceful and forceful speaker, demonstrated how the voice was badly trained and the harm resulting therefrom; also how easy it would be to work a complete revolution in vocal art if professors were only better instructed, not only in the art of music, but in the principles of physic and physiology, and sought more truth, simplicity and naturalness in method.
7He further showed how, by correct pulmonary gymnastics, an immense benefit was possible to weak pulmonary organs, even to the prevention of bronchitis and respiratory and lung troubles. It is to be hoped that this treatise will be published. It should be upon the tables of all professors. A charming concert followed the lecture, in which the professor and his pupils were heard.
9Edgar Marvin writes from on board the yacht Andria in the Bay of Naples that he and Percy Jackson are soon going into real work in Italy. They are guests of Mr. and Mrs. Brooks, and have been seeing the Mediterranean. They spent Easter in Rome and go next to Florence and then recommence vocal study. Both are well and happy as can be.
11Students of opera must not forget that Mme. Marie Sasse has opened a class for young men and women in special dramatic action and preparation in the business of stage work. This artist's great reputation speaks for the success of the work.
13M. Escalais sang at the recent benefit given to Alice Lavigne by the Paris artists. He was very much admired. M. Escalais was for several years a favorite singer at the Grand Opéra. His wife, Mme. Lureau-Escalais, sang there at the same time. They have now established a practical school for singing at their home, 52 Faubourg St. Honoré. Style and repertory are taught for opera and opera comique.
15Mme. Riss-Arbeau gave two concerts at the Salle Erard in the two past weeks. The programs were listened to by large and interested audiences. Schytte's concerto was heard for the first time at Paris at one of the concerts, which contained works by Beethoven, Schumann, Chopin, Henselt, Rubinstein, Moszkowski and Hedwidge Chretien.
17Mr. Bauer's last concert was quite an event. The wonderful technic and virtuosity of the player were shown in such pieces as Rubinstein's octave study and Liszt's "Au bord d'une Source." The grand sonata, op. 11, Schumann, was grandly and broadly played. The theme and variations by Fauré were interesting, showing facility and smoothness of finger. Bach preludes and fugues were played with the earnestness of a true musician. He always plays with earnest attention and lack of pose. The essential qualities of his playing are so well established that it is needless to repeat them. He leaves Paris for extended tours.
19Concerts have been given by Mlle. Tontain, Arthur van Dooren, of Brussels; the Société d'Art, in their thirty-fifth concert (modern writers); by Comte de Fontenailles, of his own works, interpreted by artists and the composer; by Mlle. L. Rückert, the last of the Quatuor series; by Houflack, at the Institut Polytechnique; by the violoncellist Bouicher, with the assistance of MM. Diemer, Risler and Loëb, the trio of Schumann and sonata for violin and piano by Saint-Saëns among the numbers; the second hearing of Mlle. Clotilde Kleeberg; the Société Nationale de Musique, and the pupils of Mme. Roger-Miclos.
21A concert, spoken and sung, was given of the works of M. Catulle Mendes. The Duc de Massa gave another of his brilliant musicales, his own compositions being sung by Mme. Rose Caron and M. Voguet, of the Opéra, the instrumental numbers by artists from the Opéra orchestra.
23Mme. Marie Roze gave a brilliant matinée, singing herself "Se j'étais jardinier du Roi," by Chaminade, and "Le Songe du Poète," by Ferrari. She was assisted by several prominent artists and her pupils.
25At two concerts of sacred music for charitable objects given by the Vicomtesse de Tredern Gounod's "Redemption" was performed.
27The Salon is now open. Aside from a habit of mocking Salon work, aside from fashion and aside from the horrors and absurdities that are inevitable in such exhibitions, there is an immense amount of superb work of various styles in there, marvels of design and execution in many of them. There are many things which will live forever. The sculpture is especially fine, with a much broader and more sincere expression in general than the painting.
29A writer somewhere remarks that Heinrich Heine is the poet who has been most set to music. He may be found in music over 3,000 times, and by the best composers, too—Mendelssohn, Schubert, Rubinstein, Brahms, &c. Thirty-seven musicians have written after his "Loreley." Two other poems have been set eighty-five times. "Thou Art Like Unto a Flower" is in 160 forms in song. Why is that?
31It must not be forgotten that to-morrow is the anniversary of the frightful catastrophe of the Charity Bazaar of a year ago. It seems as if but a few weeks ago, so vivid are the thrilling scenes. Masses are being held for the souls of the unfortunate victims. Work is already finished on the pavilion covering the chapel in which commemorative services are to be held—a ceremony, it is needless to say, reserved wholly for families of the victims.
33Remenyi's Funeral.
35FUNERAL services of Edouard Remenyi, who died in San Francisco two weeks ago, were held at the Lenox Lyceum Sunday morning. Mr. Remenyi was during his life a prominent member of the local Hungarian societies, and it was they who assisted yesterday at his funeral. The boxes of the Lyceum were all occupied and the building was well filled. The gathering appeared to be made up entirely of Mr. Remenyi's compatriots. On one side of the stage was hung an American flag and at the other were the colors of Hungary. The front of the stage was covered with flowers, and there the bier was placed after it had been borne into the hall and through the main aisle of the building by the pallbearers. They were selected by the Remenyi Memorial Committee, who had invited the following gentlemen to act:
36Col. Robert G. Ingersoll, Henry D. Chapman, Jr., Robert H. Griffin, Emerson McMillan, John Philip Sousa, Bruno Oscar Klein, Max Vogrich, Isadore Luckstone, William Perzel, Consul-General Francis Stockinger, Robert W. Bourne, Edward J. Cornelius, Rafael Joseffy, Louis Fleischmann, Alexander Hollander, John D. Crimmins, Sigmund Neustadt, Theodore Totis, Vilmos Kovas, Sylvester A. Murphy, Emerson Kleinmann, Marcus Brown, John Kiss and Morris Cukor.
38The members of the Yorkville Hungarian Society, of which Remenyi was a member, stood on each side of the main aisle as the bier, followed by the pallbearers, passed down to the stage. The body had lain in state at the rooms of the society from the time it arrived here from Chicago until the hour of the services yesterday.
40The services commenced with the Chopin Funeral March by an orchestra from the Musical Mutual Protective Union, and this was followed by the singing of "Gyasad" by the Hungarian Singing Society. Morris Cukor delivered an oration in Hungarian and this was followed by the playing of Hungarian dirges under the direction of Hazai Naczi, Horvath Miska, Olah Pal and Balogh Matyas. One of the numbers was founded on a Hungarian air written by Remenyi. After the orchestral numbers there came an address by Recorder Goff. The services concluded with a funeral march composed for the occasion by Ludomir Thomas.—Sun.
42Millar to Europe.
44Miss Anna Millar, manager of the Theodore Thomas Chicago Orchestra, left for Europe last week on a quick business trip.
46WILLIAM ARMSTRONG, one of two readings
47LECTURES, 1897-98: one of two readings
48"Unpublished Interviews with Great Musicians." one of two readings
49"Imaginations of Contemporary Music and Musicians in England." one of two readings
50Limited engagements in America until May, when return London dates will be filled. Address one of two readings
51FRED PELHAM, Manager Central Lyceum Bureau. one of two readings
52Inter-Ocean Building, CHICAGO. one of two readings
54ELIZABETH LEONARD, one of two readings
55…CONTRALTO. one of two readings
56For Terms, Dates, Etc., 158 West 83d St., NEW YORK. one of two readings
58(no line here) one of two readings
59Marcel Herwegh.
61THE violin virtuoso, Marcel Herwegh, gave a concert at the Berlin Singakademie on April 25, at the very close of the season. The concert was especially noteworthy for the program which this Parisian violinist performed. For a Parisian violinist Marcel Herwegh must be called, although he is German by descent, being the son of the well-known poet of the year of revolution—the memorable '48—the "Freiheits dichter," Georg Herwegh. The fame of his Parisian successes had preceded him, and the verdict of Berlin was that he possessed all the virtues and none of the vices of the French violin school. In Herwegh virtuosity is only a means to an end, the end being the perfect reproduction of a work of art. The clearness of his conception, his skill in modulation of tone, and the brilliancy of his bowing were all equally admirable. So, too, was his versatility.
63While in the B minor rondo of Schubert he had the genuine Viennese tone, the modern French esprit characterized his playing of the Saint-Saëns concerto. The Romance and Scherzo by Fr. Ries gave him an opportunity to display the beauty of his tone in cantilene and his consummate virtuosity in the most difficult chords and the most rapid passages. Although it was the end of the season the audience was a large one, and its applause increased with each number. It is to be regretted that he did not visit Berlin earlier in the concert season, in which he would have been one of the most prominent successes, for his unusually sympathetic tone was a revelation to the Berlin critics. It may be said that in all the French school of violinists there is no more refined or more technically perfect artist than Marcel Herwegh.
65Mrs. George E. Howes.
67Mrs. George E. Howes, a pupil of Arthur J. Hubbard, of Boston, made a distinct success at Burlington, N. H., where she sang in the May Music Festival recently. The Burlington Daily News said of her singing the part of Delilah:
69But Burlington should be proud of the artist who sang the difficult role of Delilah—Mrs. George E. Howes. Her rich, pure voice, delicately shaded to a tender, sympathetic quality, or strong and majestic like the swelling note of an organ, charmed the ears of her hearers last night as never before. Her expression has all the dramatic fire necessary to place her in the high standard of operatic singing. Among her best solos were "The Spring With Her Dower" and "My Heart at Thy Dear Voice." The latter song is one of the most difficult to render correctly, but Mrs. Howes was equal to the requirements, displaying a knowledge of technic that was surprising. Her phrasing and enunciation of "Coward! You Loveless Heart," were marvelous. Mrs. Howes' reputation as an artistic contralto is established. She delighted her friends who believed in her ability, and charmed and surprised the strangers present, who were unaware of the fact that Burlington could produce a soloist of such rare power.
71Burlington may well be proud to have such a singer as Mrs. Howes, capable of singing such an arduous part as Delilah in such a finished manner as she did last evening. Mrs. Howes fully met all the requirements and sang her part in a highly artistic manner, and was warmly greeted by her many friends. Her rich voice was shown to fine advantage in aria and recitative, while the famous aria "My Heart at Thy Sweet Voice" was rendered in a manner well nigh faultless. In the second half of the solo is the legato movement. The part demands that the first five measures to be sung in one breath. This has proved a stumbling block to many aspiring mezzo-sopranos who have attempted its artistic rendition. This was beautifully done by the soloist, revealing her artistic conception of the part.
73Mrs. Howes is a pupil of Arthur J. Hubbard, of Boston, who stands in the front ranks of the vocal teachers of this country. Mrs. Howes has studied with him for five years, and recently visited Boston to be coached by him in the part of Delilah.—Burlington Free Press and Times.
75SERENA SWABACKER,
76…Soprano
773306 Calumet Avenue, CHICAGO
79GEORGE LEON MOORE
80ORATORIO, CONCERT and SONG RECITALS.
81TENOR,
82address HENRY WOLFSON MUSICAL BUREAU, 131 East 17th Street, or 57 West 39th Street, New York.
84VAN YORX,
85TENOR.
86DIRECTION: one of two readings
87VICTOR THRANE, one of two readings
88DIRECTION: VICTOR THRANE, one of two readings
89Decker Building, New York
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