Scan 34
Musical Courier 1898-06-01: Vol 36 Iss 952, 1898
94 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. 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.
1in Fauré's "Sancta Maria." It is not every teacher who can show so many really unusual alto voices, and Mrs. Morrill has trained them well.
3BEN T. HAMMOND'S MUSICALES.
5Ben T. Hammond, of Worcester, has a series of recitals in the spring, when his pupils appear before their friends. This year the first recital—really the 108th—took place on Wednesday evening, being followed on Thursday and Friday by the 109th and 110th. His handsome studio was made, if possible, still more attractive with flags and flowers, and the program was given by pupils who hold choir positions either in Worcester or the immediate vicinity. Mr. Hammond's pupils come not only from Worcester, but from nearly every town in Worcester County. He has taught for twelve years in that city, and his name stands for excellence in every respect.
7Mr. Hammond usually spends a part of each summer with his teacher and friend, William Shakspeare, in London, and the correspondence which has continued for so many years is most interesting.
9Mr. Hammond has a charming studio with so many objects of interest that a day might be spent there with profit looking at one curio and another. He has autograph portraits of Nilsson, Tietjens, Parepa Rosa, Marie Roze, Melba, Nordica, Hope Glenn, Camilla Urso, Mary Howe, Hasteire, Emma Juch, Adelaide Phillips, Marguerite Hall, Tamagno, Sangiovanni, Shakspeare, Webster Norcross and many others.
11Among other interesting things in the studio are nearly all the Italian operas marked by Sangiovanni with his original changes and cadenzas, a unique collection.
13Mr. Hammond has had many offers to go elsewhere, but he has remained true to Worcester, he being the only vocal teacher in that city who remains there all the time, the others either coming from Boston or going to other places to teach each week.
15Old Violins.
17AUGUST GEMUNDER & SONS, violin experts, No. 42 East Twenty-third street, New York, announce that during the months of May and June they desire to reduce the remainder of their stock of old violins collected for the season of 1897-8.
19To that end they offer these instruments at a reduction from the regular prices as an inducement to violinists to make their purchases now.
21August Gemunder & Sons, as experts, guarantee every instrument genuinely ancient. They will take other violins in part payment and sell their goods on time. They will send catalogues upon application and solicit correspondence.
23In Transit.
25Miss Margaret Macintyre, who sang at the Cincinnati May Festival, is in the city en route for Europe.
27Ben Davies, the English tenor, who sang at the same festival, left for Europe to-day. The latter engagement did not prove a drawing one on this occasion.
29Undergraduates' Recital, Synthetic.
31This recital was a great success, being given entirely by pupils of Miss Chittenden, the following taking part: Misses Cash, Coon, White, Saesch, Power, Fuller, Dallas, Buchtel, Des Rochers and Tesley Weston, assisted by Miss Anna L. Andreas, soprano; Mrs. Lewis F. Richards, soprano, pupils of E. Preston Miller, and C. Judson Bushnell, baritone. Mr. Miller pianist. Miss Chittenden left for a two months' stay in England last Saturday.
33Flavie Van den Hende.
35Miss Van den Hende has assisted much in removing the impression that the violoncello is an ungainly instrument for a young woman to handle. Her playing of solos and in chamber music was appreciated in New York and in nearby towns this season. A list of her latest engagements includes since April 16 eleven appearances: In New York at private musicales, at the Waldorf-Astoria, in Mendelssohn Glee Club Hall, with the Manuscript Society, in churches, and at an Aeolian recital for the sixth time; also in Mount Vernon, at the New Haven festival, at Bay Ridge June 1, and in Hackettstown, N. J., June 3.
37The New Haven papers mention favorably her playing at the festival there. The Morning Journal says, "she plays with excellent tone and sympathetic feeling." The Evening Leader and the Palladium also speak of "her good quality of tone."
39Ericsson F. Bushwiller one of two readings
40Ericsson F. Bushnell one of two readings
42AMERICAN BASSO,
43Oratorio, Concerts and Recitals.
44Address: 177 Duane Street, New York City.
46"The Black Hussar."
48WITH the bright and tuneful opera by Millocker, which has a true military swing and dash, and with the opening of the roof garden, beautifully decorated and lively with a Hungarian band, the American Theatre presented as much of an atmosphere of gayety Monday evening as is consistent with American ideas of amusement.
50The crowd surged to and fro, admired the stage setting and applauded the music, especially the chorus in the second act and the new "coon song." The opera is quite within the powers of the company, and illustrates some of its features at their best.
52Among some of the best impersonations were those of Thomas H. Persse, Raymond Ridgeley, Edith Mason, Bessie Fairbairn and Douglas Flint, whose picture is given below. The opera will be continued during this week. One present attraction at the American Theatre should not be overlooked, the Hungarian band and the roof garden.
54DOUGLAS FLINT.
56An excellent bass voice and well proved skill as a comedian are the two important facts about Douglas Flint which the public already knows. But some minor facts about him are of interest also. He was discovered by C. D. Hess while singing in a church in St. Louis, and immediately engaged for three years, during which time the company visited Mexico, the first English-speaking company which ever appeared in the Republic. In 1887 Mr. Flint played Rufus in "The Little Tycoon" at the Temple Theatre, Philadelphia. He was with David Henderson, Chicago Opera House, for three seasons, and with Charles Frohman one season, and has at various times been with nearly all the leading managers of this country. For the past year he has been with Augustin Daly, having created the part of the Ring Master in "The Circus Girl." This clever impersonation has become familiar to most New Yorkers, through the long run of the operetta. But Mr. Flint is not limited to one success. He has now sixty-eight operas in his repertory, any one of which he can play at twenty-four hours' notice. The theatre and music loving public may see and hear Mr. Flint this week in the "Black Hussar," which the Castle Square Company are now playing at the American Theatre.
58Mlle. Verlet's Departure.
60Just before sailing, noticed elsewhere, Mlle. Verlet's contract with Victor Thrane was canceled by mutual agreement, and for reasons important both to the piquant soprano and the enterprising manager. It seems to be a case of mutual loss and mutual gain with a balance yet to be adjusted.
62Murlo Celli Musicales.
64At the soirée musicale at Madame Murlo Celli's tomorrow (Thursday evening) the following will participate: Her pupils, the Misses Meade, Searles, Bushwiller, Eyre, Howe, Broadfoot, Thurlow, Roderick and Shalek, and Messrs. Victor Clodio and Edward O'Mahony. Miss Emma Schlitz, solo-pianist, will also assist. Miss Broadfoot sang last Friday evening at a musicale at the Waldorf.
66SUTRO SISTERS
67AT
68Columbus.
70THE ensemble pianists, Rose and Ottilie Sutro, gave one of their characteristically artistic performances at Columbus, Ohio, with the Arion Club of that city, on May 19. They had a splendid reception and made a decided impression upon an audience unusually discriminating. The criticisms we reproduce here are evidence of the nature of their recognition:
72The Arion Club concert on Thursday night was an event beyond the ordinary in the history of that organization. The Misses Sutro have made a specialty of ensemble piano playing. Some of the work they do is almost beyond belief in its technical precision. The two small numbers (Romanza, by Thorn, and Gavotte, by Raff) were delightful, and to an encore the ladies responded with "Rolling Fire," by Duvernoy. The "Tannhäuser" overture was brilliantly and powerfully played.—Ohio State Journal, May 22, 1898.
74The Arion Club gave their last concert of the season on Thursday evening to the usual large audience, and I have not seen so much enthusiasm in a Columbus concert hall for a long time. The appearance of the famous Sutro Sisters was looked for with great interest, and their playing justified their reputation. As ensemble players on two pianos they can hardly be surpassed. Each subdues her individuality to the combined effect without losing any of the artistic impression. Their performance of the "Tannhäuser" overture fairly coruscated with beauties. Such pure, searching, bell-like velvety tones have not been heard on a Columbus stage this season.—Columbus Dispatch, May 21, 1898.
76The last Arion Club concert for this season, which was given at the Great Southern Theatre last Thursday evening, was one of the most thoroughly successful concerts in the history of the club. Of the assisting artists who were presented the ensemble pianists, the Misses Sutro, were new to Columbus. They came heralded as excellent ensemble players, and they certainly sustained their reputation. Their ensemble is so nearly perfect that is really quite wonderful. Some of their best work was done in the stupendous Sinding Variations. They played this number with remarkable composure and reserve, and brought out with wonderful clearness and fluency the contrasting rhythms in which the work abounds. Their performance was a delightful surprise in that it revealed their artistic temperament and individuality to a great degree, showing how thoroughly they understand each other, which prevents their combined performance from assuming a too precise precision. After the famous Raff Gavotte, which was given with much grace and poetic feeling, they responded to the insistent encore by playing, by special request, "Feu Roulaud," a charming composition by Duvernoy.—Press-Post, May 22, 1898.
78Clementine De Vere.
80"The poetry of song"—these words are apt to come uppermost in the minds of those appreciating the musical and personal charms of Clementine De Vere. As a concert and oratorio singer the dignity and purity of her art has always commanded as much respect as the sweetness of her voice has inspired pleasure. The most critical journals are those which give unreservedly their praise to her very recent appearances in New York State and further north, thus following the example set lately by their Western contemporaries. From the Montreal press come these notes of praise:
82We must praise unreservedly the beautiful voice of Mme. de Vere. It has remarkable compass and perfect evenness. The recitative "Que l'air est etouffant," followed by the song of the King of Thule, was sung in a ravishing manner and with great intensity of expression, and after the first meeting of Marguerite and Faust she threw an infinite charm into that impassioned dialogue. In the great trio of the separation the artist gave in full tones the heartrending cries of Marguerite. But above all, in the romance, "D'amour mon ame est pleine," Mme. de Vere displayed her best qualities and sang it with a tender and caressing feeling.—L'Art Musical, Montreal, May 10.
84Speaking of Mme. de Vere's appearance in Gounod's "Romeo and Juliet," the same Canadian journal says:
86The valse ariette gave Mme. de Vere the opportunity of displaying her virtuosity and the public whom she conquered did not withhold its applause. The madrigal "Ange Adorable" and the duet in Act 4, "O Nuit Divine," exhibited the artistic side of her nature, but it was in the marriage scene (trio and quartet) that she gained her greatest success. The duo "Nuit d'Hymenée" and the scene in the tomb were equally applauded.
88ARTHUR J. HUBBARD
89The Eminent Authority on all matters pertaining to the Art of Singing.
90Voice Production, Concert, Church, Oratorio, Teaching and Opera.
91Opera class taught Dramatic Action, Stage Practice Public Performance, &c. one of two readings
92Opera class taught Dramatic Action, Stage Practice Public Performance, etc. one of two readings
93149A Tremont St., BOSTON
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