Scan 32
Musical Courier 1898-06-01: Vol 36 Iss 952, 1898
190 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 33. See the scan on archive.org.
1adequate to demands, because it is made to be so. But not one of the soloists could lay claim to greater merit and distinction in her work than Mrs. Josephine S. Jacoby, contralto. Much has already been said of the richness, purity and power of her voice. It is a voice that reminds us in all of its features of that of Cary's in years gone by. It has not only the material, but the musical quality—without which a contralto voice more than any other must be a failure. Her singing of the solo in Part I., "Our Hope Is Thine," left a deep impression of art and of the sentiment expressed by the exquisite music. The same success was repeated in the angel's solo of Part III., "Not Yet." The richness of her lower notes was remarkable. In the ensemble numbers she sang with true artistic sense, her voice blending beautifully.
3David Bispham sustained his solo work with the usual art. His conception was true to the ideal—noble and refined. He enters into every fibre of the art structure and gives it expression.
5Joseph S. Baernstein sustained the impression of his previous work—that he is a conscientious artist who has a splendid basso voice and knows how to use it.
7George Hamlin, in the little he was assigned to do, did not detract from his previous reputation. His tenor voice has absolute tonal purity and is under artistic control.
9Miss Gertrude May Stein sang the opening solo of the cantata "One Morn at Gate of Eden" indifferently and with poor enunciation.
11The sixth concert, on Saturday afternoon, May 28, presented the following program:
12Overture, Academic Festival…………………Brahms
13Aria, An Jenem Tag………….Hans Heiling Marschner
14David Bispham.
15Symphonic Suite, Scheherazade, op. 35. Rimsky-Korsakoff
16The Sea and Sinbad's Ship.
17The Narrative of the Calender Prince.
18The Young Prince and the Young Princess.
19Festival at Bagdad.—The Sea.—The ship goes to pieces on a rock surmounted by the bronze statue of a warrior.—Conclusion.
20Recitative and Aria, Where Art Thou, Father Dear?
21Spectre's Bride……………………………Dvorák
22Miss Macintyre.
23Overture to a Comedy (Prodana Nevesta)……Metana one of two readings
24Overture to a Comedy (Prodana Nevesta)……Smetana one of two readings
25Romanza, La Gioconda……………………..Ponchielli
26George Hamlin.
27Symphonic Poem, Le Rouet d'Omphale……Saint-Saëns
28Aria, L'altra notte, Mefistofele…………….Boito
29Festival March and National Hymn………….Hugo Kaun
30Chorus, orchestra and organ.
32The orchestral numbers embraced several novelties, and conspicuous among these were the Symphonic Suite "Scheherazade," op. 35, by Rimsky-Korsakoff; the overture to a comedy "Prodana Nevesta," by Metana, and the Festival March and National Hymn, by Hugo Kaun, a Milwaukee composer. Rimsky-Korsakoff is a composer of the young Russian school, and the suite shows marvelous skill in construction and the use of coloring. As an exhibition of the wonderful effects that can be secured by modern orchestration in the combination of instruments it is as much a curiosity to the listener as it appeals to the analytical mind of the music student. one of two readings
33The orchestral numbers embraced several novelties, and conspicuous among these were the Symphonic Suite "Scheherazade," op. 35, by Rimsky-Korsakoff; the overture to a comedy "Prodana Nevesta," by Smetana, and the Festival March and National Hymn, by Hugo Kaun, a Milwaukee composer. Rimsky-Korsakoff is a composer of the young Russian school, and the suite shows marvelous skill in construction and the use of coloring. As an exhibition of the wonderful effects that can be secured by modern orchestration in the combination of instruments it is as much a curiosity to the listener as it appeals to the analytical mind of the music student. one of two readings
35The orchestra was quite equal to all its difficulties, and gave it a brilliant reading, clear and well defined in its detail, and elucidating its peculiarities of rhythm and elaborate development of Oriental figures. The embellishing effects of the first violin played in the second movement by Mr. Kramer were in the highest degree, delicate and artistic. This florid figure, as representing the Sultana, continues at different times through the various movements up to the close. The concentration of the orchestral forces had a massive effect in the last movement. The joyful, frolicsome overture, "Academic Festival," by Brahms, was given with vim and animation.
37David Bispham sang the aria "An Jenem Tag," from Marschner's "Hans Heiling," with what the Germans would call "Innigkeit"—with genial warmth and dramatic intensity.
39Miss Macintyre left a better impression than at any time during the festival in her rendition of the recitative and aria "Where Art Thou, Father Dear?" She sang it with good conception and dramatic endeavor. Her middle notes have poor development, and she always appears to be under some difficulty to retain the pitch.
41Miss Gertrude May Stein sang the recitative and aria "Unhappy King," from "Les Troyens," by Berlioz. Her recitative was badly punctuated and her enunciation not of the best. Her notes lacked musical quality.
43George Hamlin, tenor, sang the romanza from "La Gioconda" with tenderness and poetic expression. His high notes were pure and resonant. His interpretative faculty proves him an artist.
45With the Festival March and National Hymn, "The Star Spangled Banner," which aroused the audience to a demonstration of patriotism, the concert was brought to a close.
47The seventh and last concert Saturday evening, May 28, presented the following program:
48The Flying Dutchman………………………..Wagner
49Overture.
50Recitative and Aria, The Term's Expired.
51Spinning Chorus and Ballad.
52Duo, Like to a Vision.
53Senta………………………………………Miss Macintyre
54Mary………………………………………Miss Gertrude May Stein
55The Dutchman……………………………..David Bispham
56Chorus of women's voices and orchestra.
57Parsifal…………………………………….Wagner
58Vorspiel.
59Good Friday's Spell.
60Funeral Procession and Glorification.
61Parsifal…………………………………….Ben Davies
62Amfortas…………………………………..David Bispham
63Gurnemanz…………………………………Joseph S. Baernstein one of two readings
64Gurnemanz………………………………..Joseph S. Baernstein one of two readings
65Chorus and orchestra.
67Miss Macintyre for the first time in the festival asserted something of what was expected of her. Her voice was well managed up to the dramatic point. The other soloists, especially Mr. Bispham, Mr. Davies and Mr. Baernstein, covered themselves with glory.
69The "Spinning Chorus" by the female voices was a marvel of poetic expression, grace and shading.
71The "Star Spangled Banner," sung by soloists, chorus and audience, with orchestra, made a very effective patriotic close and consigned the thirteenth festival to the records of the past.
73J. A. HOMAN.
75The Twenty-second Texas Saengerfest.
76GALVESTON, Tex., May 8, 1898.
78THE twenty-second Saengerfest of the Texas German Singers' League took place in Galveston, Tex., on April 25, 26 and 27. The fest was a grand and total success financially, for, strange to say, there was even a surplus of a little over $100 after the liquidation of all indebtedness, which is something that has never happened before. As a matter of fact the twenty-second Saengerfest cost over $8,000 less than the eighteenth, which was held in this city April, 1891, and at which there was a deficit. Of course a great deal of credit as to the result is due to the executive committee of the Saengerfest, the members of which managed the affairs on strictly business principles and within their estimates as outlined originally. The following are the gentlemen who had charge of the fest:
80OFFICERS OF THE LEAGUE.
81Albert Beckman, president, San Antonio; Otto Riebe, secretary, San Antonio; B. Engelke, treasurer, San Antonio.
82Executive Committee of the Saengerfest—Arthur Bornefeld, president; C. Janke, vice-president; Lem. J. Selby, secretary; U. C. Tiarks, corresponding secretary; John Sealy, treasurer; Jacob Singer, arrangement; M. H. Bauer, director.
83Music Committee—M. H. Bauer, R. B. Savage, Jacob Singer.
84Finance Committee—J. Sonnentheil, John Goggan, Otto Busch, Dr. A. A. Dier, J. Schott.
85Hall Committee—U. C. Tiarks, A. Janke, John Lutz.
86Printing and Press Committee—C. I. Baehr, Jacob Singer, A. Keetch, Julius Langenbach. one of two readings
87Printing and Press Committee—C. I. Bachr, Jacob Singer, A. Keetch, Julius Langenbach. one of two readings
88Commissions Committee—John Poth, A. J. Rosenthal.
89Transportation Committee—Chas. Fowler, J. Merrow, J. H. Miller.
90The soloists were Miss Inez Grenelli, New York; Mrs. Bessie Bell Andrews, San Antonio; Mrs. Alonzo M. Millett, San Antonio; Mrs. Fischer-Baxter, Austin; A. J. F. Parker, Galveston.
91The following is a list of the participating societies: Beethoven Maennerchor, San Antonio, Carl Beck, leader; Deutscher Maennerchor, San Antonio, Carl Beck, leader; Frohsinn, San Antonio, F. M. Halbedl, leader; Liederkranz, San Antonio, O. M. Hilgers, leader; Frohsinn, Dallas, Chas. Rossler, leader; Schweizer Maennerchor, Dallas, Abr. Schmid, leader; Saengerrunde, Austin, Wm. Besserer, leader; Saengerbund, Houston, C. C. Lieb, leader; Frohsinn, Houston, Franz Wendels, leader; Concordia, Galveston, Carl Weis, leader; Maennerchor, Galveston, M. H. Bauer, leader; Quartet Society (guests), Galveston, R. B. Savage, leader.
92Musical director, M. H. Bauer; accompanist, Frank Herre; leader of string orchestra, Emil Lindenberg.
93The orchestra consisted of about thirty-five men (mostly local musicians). M. H. Bauer, the conductor of the orchestra, was also musical director of the festival, and had charge of all the musical details in connection with the same, with the exception of the string selections, which were led by Emil Lindenberg, and of the united chorus of the San Antonio societies, conducted by Carl Beck.
95The Saengerfest program was as follows, and with the exception of three or four numbers was given as originally outlined:
97FIRST CONCERT—April 25, 1898.
98Fest Marsch………………………………….Hoffmann
99Die Weihe des Hauses, Overture…………….Beethoven
100Festival chorus.
101Fest Gruss…………………………………..Meyer-Olbersleben one of two readings
102Fest Gruss………………………………….Meyer-Olbersleben one of two readings
103Mass chorus and orchestra.
104Gruss mir das blonde Kind am Rhein………….Spielter
105Beim Liebchen zu Haus………………………H. Piel
106Mass chorus.
107Grand Aria from Samson e' Delila, My Heart at Thy Sweet Voice………………………..Saint-Saëns
108Mrs. Fischer-Baxter.
109Der Morgen im Walde………………………..Hegar
110Frohsinn, Dallas.
111Ar don g'lin cen-si, Grand Aria from Lucia de Lammermoor……………………………Donizetti
112Mrs. Bessie Bell Andrews.
113Der Fröhliche Wanderer………………………Kaum
114Frohsinn, Dallas.
115Alt Under Himmels Faste……………………Svendsen
116Du Gamla, du Friske, du Fjellhoga Nord……Svendsen
117String orchestra, E. Lindenberg, director.
118Elsa's Dream, from Lohengrin………………..Wagner
119Miss Inez Grenelli.
120Three Fishers……………………………….Goldbeck
121Bedouin Song……………………………….Foote
122Galveston Quartet Society.
123Der Kuku…………………………………….Fittig
124Schweizer Maennerchor, Dallas.
125Friederich Barbarossa………………………..Podbertsky
126United chorus of San Antonio societies.
128SECOND CONCERT—MATINEE, April 26, 1898.
129König Karl, March…………………………..Unrath
130Die Felsenmühle, Overture…………………..Reissiger
131Festival Orchestra.
132Dein Gedenk ich, Margaretha………………..Meyer-Helmund
133Mass chorus, with orchestra.
134A Dream…………………………………….Bartlett
135Mrs. Fischer-Baxter.
136Im Eichenwald……………………………….Winkler
137Frohsinn, Houston.
138My Harp Is Untuned, Great Master…………..Koester
139Thou Brilliant Bird…………………………..David
140Mrs. Bessie Bell Andrews.
141Der Einsiedler an die Nacht………………….Kern
142Saengerrunde, Austin.
143Herzwunden…………………………………Grieg
144Der Frühling………………………………..Grieg
145String orchestra, E. Lindenberg, director.
146Wie nahte mir der Schlummer, Grand Aria from Freishuetz…………………………..Von Weber
147Untreue…………………………………….Glück
148Freundschaft, Liebe und Treue……………….Scheh, Sr.
149Mass chorus.
151THIRD CONCERT—April 26, 1898.
152Marche de Marionette………………………..Gounod
153Euryanthe, Overture…………………………..Weber
154Festival orchestra.
155Das Lied…………………………………….Baldamus
156Mass chorus, with orchestra.
157Heut ist Heut……………………………….Weinzierl
158Ritter's Abschied…………………………..Kinkel
159Mass chorus.
160Andante Cantabile, from String Quartet…Tschaikowsky
161String orchestra, E. Lindenberg, director.
162Jung Werner…………………………………Wolf
163Beethoven Maennerchor, San Antonio.
164Jewel Song from Faust……………………….Gounod
165Mrs. Alonzo Millett.
166Im Wald…………………………………….Hermes
167Liederkranz, San Antonio.
168Polonaise, from Mignon………………………Thomas
169Mrs. Bessie Bell Andrews.
170Noch sind die Tage der Rosen………………..Spicker
171Deutscher Maennerchor, San Antonio.
172Casta Diva, Grand Aria from Norma………….Bellini
173Miss Inez Grenelli.
174Margareth am Thore…………………………..Felden
175Saengerbund, Houston.
176Grand Aria from the Barber of Sevilla, Lo! the Factotum!……………………………Rossini
177A. J. F. Parker.
178Waldes Harfen………………………………Spicker
179Concordia, Galveston.
181Considering it from a musical standpoint the Saengerfest artistically surpassed the last one held in this city. Of course there were some drawbacks, but then again there were features that deserved unlimited praise. The show-
183SARA ANDERSON,
184SOPRANO.
185JACQUES BOUYH, PARIS. one of two readings
186GEORG HENSCHEL, LONDON, one of two readings
187OSCAR SAENGER, NEW YORK. one of two readings
188(no line here) one of two readings
189358 East 50th Street, New York.
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