Scan 36
Musical Courier 1898-06-01: Vol 36 Iss 952, 1898
96 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 37. See the scan on archive.org.
1I Arens' Studio Recital.
3THOSE who went to the Fifth avenue studios of F. X. Arens on Decoration Day felt that they had no cause to regret attendance, for all the numbers were meritorious. It could scarcely be called a pupils' recital, for although those appearing are still students they are rapidly approaching the standard set for artists.
5Louis J. Dochez, introduced by Mr. Arens as an exponent of his vocal methods, has a rich baritone voice of wide range and fine quality—a voice noticeable even in the New York wilderness of baritones. While some of the tones in his middle register were occasionally husky and forced, they were in the main remarkably even and occasionally of glorious musical volume. The high tones have a true tenor value and with more certainty will be extremely effective. As exemplified in the "Bird and the Rose," they were delicately controlled. In the Schubert "Faith in Spring" the simplicity of style was attractive and appropriate. In the oratorio selections Mr. Dochez was less happy, being carried away at times by the fervor of his temperament. "The Post," Schubert, was very neatly phrased—in fact, every song was phrased, and the pronunciation proved how musical even English consonant sounds become when rightly managed. It is a theory of Mr. Arens that no language should be sung unless the singer has more than a pronouncing knowledge of it; otherwise the result is more or less mechanical.
7Mr. Arens' new song "Homage" received enthusiastic appreciation and quite deservedly, for it is smooth and flowing in melody, well harmonized according to modern ideas.
9Miss Marie Torrilhon has been successful in her playing in many instances this winter. She is a pupil, and a worthy pupil, of Joseffy and proved it by her brilliant playing of Joseffy's "Czardas," a fascinating bit of genre painting for the piano. She also played the Brahms' Rhapsodie No. 2 with dignity, and the piano part in the Rubinstein Sonata for piano and 'cello, in which the spirit and technical accuracy was commendable, although in places the piano was too assertive.
11Miss Flavie Van den Hende's idea of the Rubinstein number was very good and so it was of the Popper "Papillons," barring some lack of delicacy in the latter. She has temperament and grace of style, as she has been showing in the numerous concerts where she has appeared this winter.
13Mr. Aren's good taste manifested in this musicale argues well for studio recitals next season.
15Symphony Orchestra's Plans.
17THE New York Symphony Orchestra does not intend to go out of existence because Walter Damrosch has ceased to be its conductor. Nobody was sure that it would, and, beyond the fact that the band had been engaged to play with Charles Ellis' Opera Company next year, nothing definite as to the future was known. But the organization was afraid that the public might think it was about to disband. It will, however, preserve its identity. At the annual meeting held on Saturday night the following resolution was adopted:
19Resolved, That the organization use every available means to contradict the reports recently published to the effect that the orchestra was about to disband, and to assure the music-loving public that the artistic standard of the orchestra shall be upheld and every endeavor made to attain the highest possible artistic results.
21The officers elected for the ensuing year are: President, Ludwig Manoly; vice-president, Paul Miersch; secretary, William F. Hofman, and treasurer, Julius Spindler. The orchestra, which has always been considered the best in New York, so far as the players were concerned, has been engaged for opera, but no other announcements of its plans have been made. It is not supposed that the Symphony Society will resume its concerts.
23Scherhey Pupils' Concert.
25THIS affair, which occurred last Monday evening at Chickerling Hall, was a brilliant success. The score or so of pupils bore themselves well under the trying ordeal of public appearance, and Mr. Scherhey may congratulate himself on the results of his teaching, as manifested in the efforts of the pupils.
27Miss Anna Balz, a Scharwenka pupil, played a piano solo at the beginning of each part of the program. She is a brilliant player, blest with much temperament. Miss Albrecht has a pretty and light voice; Miss Wettengel sang with expression and gusto; Miss Childs, a handsome, dark girl, sang with style, as betokened her appearance, receiving a recall. Miss Staab and Dr. Otto Jacob sang the "Zauberflöte" duet with unity, and Miss Stursberg, with her bell-like voice and high B's, received rousing applause. Mrs. Pattison, another type of brunette beauty, pleased the audience, and Mrs. Anna Eisen substituted for Miss Arcularius with good effect. Mr. Goldfinger has a big bass voice, and sang a "Don Juan" aria with telling effect. Mrs. Phillips received a big floral tribute for her singing of the difficult "Hans Heiling" aria—a brilliant performance.
29The gypsy melodies sung by Misses Stursberg and Mengel created a furore. There were several recalls and bravas resounded. The voices blended beautifully, and throughout the changing tempi there was entire unity. Miss Patz is a bright young girl, pleasing her hearers. Miss Staab has a voice of much volume and personal attractiveness, and Miss Holdsworth a light organ of promise. Misses Stursberg and Wettengel contributed a neat bit of artistic duet singing in the Mendelssohn "Sunday" and "Maybells." Most appreciative applause was theirs. Mrs. Eisen has undoubted temperament, as displayed in her "Carmen" bolero. Dr. Jacob has a flexible bass organ of much range, united with quality and quantity. He trills and takes a high G with ease. Miss Louise Mengel was one of the best of all, receiving three hearty recalls. She possesses a low F and a high A, astonishing in a contralto voice. It is of lovely quality, and the girl is also blest with a warm heart. Although it was late when she came on, yet her audience were instantly interested. Wm. Xanten sang his "Aida" with lavish tonal quality and expression, rousing all to hearty applause. With Mrs. Phillips he united in the "Carmen" duet for the closing number.
31F. W. Riesberg was the accompanist, Miss Zu Nieden, Mr. Scherhey's regular studio accompanist, also assisting.
33Sailed for Paris.
35Henry Jacobsen, director of the Buffalo Saengerbund, sailed last Saturday on the steamer Amsterdam for Paris, where he intends spending the summer for recreation and study. He will meet Mrs. Jacobsen, who has been studying with Leschetizky in Vienna, and will return early in the fall to take up his work again in Buffalo and Rochester.
37A Pupil of Mr. Arens.
39Miss Marie Bell has proved the value of her training under X. Arens by assuming, almost at a moment's notice, the role of Zerlina in "Fra Diavolo" and fulfilling the requirements of the part satisfactorily. She was telegraphed for to take the place of Miss Atkinson at the Girard Avenue Theatre and went upon the stage to sing without opportunity for rehearsal. The Philadelphia Record says: "Miss Bell came on from New York at the shortest notice. She sang the music of Zerlina with much fervor and carried the audience completely."
41Jessie Shay in Troy.
43Appended is from a Troy paper of recent date:
45The first number played by Miss Shay was the G minor Ballad by Chopin. * * * The encore to this number was the Moszkowski Waltz, op. 34, and in that Miss Shay showed a decided temperament that lent itself gracefully to the spirit of Moszkowski. The Allegro Appassionata by Saint-Saëns, the Capriccio, op. 76, by Brahms and Moszkowski's Concert Etude formed Miss Shay's second group of piano work, and in all of them she displayed two very striking features in her efforts—conscientious interpretation and a delightfully clear technic. Brahms' Capriccio was well played, but might have been a trifle more Brahmsian in character. Miss Shay forgot herself near the end of the Capriccio and, I think, unconsciously allowed Brahms to have full command over her playing, for in the last few measures we recognized Brahms' majestic yet passionate spirit prevailing. Miss Shay is a pianist that one listens to with great interest. one of two readings
46The first number played by Miss Shay was the G minor Ballad by Chopin. * * * The encore to this number was the Moszkowski Waltz, op. 34, and in that Miss Shay showed a decided temperament that lent itself gracefully to the spirit of Moszkowski. The Allegro Appassionata by Saint-Saëns, the Capriccio, op. 76, by Brahms and Moszkowski's Concert Etude formed Miss Shay's second group of piano work, and in all of them she displayed two very striking features in her efforts—conscientious interpretation and a delightfully clear technic. Brahms' Capriccio was well played, but might have been a trifle more Brahmsish in character. Miss Shay forgot herself near the end of the Capriccio and, I think, unconsciously allowed Brahms to have full command over her playing, for in the last few measures we recognized Brahms' majestic yet passionate spirit prevailing. Miss Shay is a pianist that one listens to with great interest. one of two readings
48Eleanore Meredith.
50"There is music in her beauty," said Sir Thomas Browne long ago, apropos of some high-born dame. That and still more than that may be said of Mme. Eleanore Meredith, for there is beauty in her music, too. The combination had its due effect upon the local writers who conspired to praise her singing after the recent festival in Burlington, Vt.:
52Mme. Eleanore Meredith, prima donna soprano, made her first bow to a Vermont audience yesterday. She is all that has been claimed for her and much more. Her solo last evening was an aria from "Oberon," entitled "Ocean, Thou Mighty Monster." No selection could have tried the capability of a soprano more than this theme, depicting, in music, the moods of the restless sea. If it tested her voice, it showed its marvelous quality also. Purity is its primary factor, for every passage, however trying, was rendered with tone absolutely flawless. It, too, is tempered with a peculiar sweetness, having a something that other sopranos have not. Mme. Meredith is a mistress of technic, and sings as easily as though breathing only. Withal, she is a handsome and stately woman, never failing to throw the audience into raptures after her solo. She sang in a telling manner the pretty waltz song from "Romeo et Juliette."—Burlington (Vt.) News, May 20, 1898.
54Madame Meredith, while a newcomer to Burlington, is by no means a stranger to the musical people here. She has a national reputation as a prima donna soprano, and was heard here for a first time with great delight. On her appearance she met with instant favor by her charming voice and exquisite singing. Her voice is deliciously pure and powerful and her pearly tones flow from her in a stream of melody. Her phrasing and technic are perfect, her enunciation very clear, and her singing is marked by no apparent effort and with a great degree of dramatic expression.—Burlington (Vt.) Free Press, May 20, 1898.
56Madame Maigille's Concert.
58THE Carnegie Lyceum Concert Hall has seldom held a better pleased audience than that which listened to the pupils of Mme. Hélène Maigille a few days ago. Madame Maigille has already acquired an excellent reputation as a vocal teacher in Brooklyn, and much was expected of her pupils. The expectations were more than realized. Throughout the long and difficult program there were constant evidences of Madame Maigille's care in the production of even, well sustained tones, in the artistic finish of the neatly rounded phrases and in the clear pronunciation which made it a pleasure to hear some of the familiar songs, the words of which are so often unrecognizable. To particularize seems almost invidious; yet it goes without saying that there were degrees in merit as to finish, even though all the voices were worthy of cultivation.
60Miss Olive Celeste Moore's contralto voice, fresh, true, delightful in timbre and extending over two and a half octaves, could scarcely have been heard in selections better calculated to display its qualities than in "The Worker," by Gounod, and the "Ave Maria" from "Cavalleria Rusticana."
62Miss Marie Thornton, who sang the Bemberg "Nymphs et Sylvains" and in contrast to this closed the program with the beautiful Massenet's "He Is Good, He Is Kind," from "Herodiade," also possesses a beautiful voice and sang with ease. Miss Julia S. Leonard interpreted Gotze's "O Happy Day" with appreciative feeling, and Miss Lucy Hartt preserved Wagnerian traditions in "Elsa's Dream." A word only as to others should include reference to Miss Edythe Porter's musical understanding of her songs, Miss Isabel Herries' flexibility of execution and Miss Marian Gilmer's satisfactory presentation of the Chadwick and Nevin songs.
64The assisting artists were George Lehmann, violinist, and Emil Levy, accompanist.
66Altogether the concert was one which gained for Madame Maigille renewed interest in her vocal methods and inspired respect and appreciation from the musicians present.
68Thursby Musicale.
70A week ago Friday, at the last of Miss Emma Thursby's afternoons, a musicale occurred with the appended participants, Madame Melba, of course, being the star guest: Mrs. Charles Foote, piano; Miss Hastings, Miss Estelle Harris, of Easton, Pa.; Miss Geraldine Farrar, pupils of Madame Thursby; Miss Edith Miller, contralto; Miss Cornelia Dyas, piano; Frederick Blair, 'cellist.
72Van Yorx at Recent Festivals.
74The musical pleasure derived from the singing of Mr. Van Yorx at the May festivals has been manifested everywhere by deeds and words. The deeds were "enthusiastic applause," the only present way an audience has of expressing gratification. This part of the public interest circumstances forbid our reproducing; but we can reproduce some of the words:
76ALBANY FESTIVAL.
78Mr. Van Yorx, who sang the role of the King, and in the later scene of the Hermit, has a voice of richness and sympathetic quality. In the farewell to Offerus the voice came out superbly at the climax, and the Hermit solo was given with breadth of tone and impressiveness.—The Argus, Albany, N. Y., May 5, 1898.
80Mr. Van Yorx's tone was good. His best effort was in the Hermit's song.—Albany Express, May 5, 1898.
82Mr. Van Yorx sang very artistically.—Albany Press-Knickerbocker.
84Mr. Van Yorx's ballad work was very satisfactory.—Albany Morning Express.
86Mr. Van Yorx's "Love's Rhapsodie," by Homer N. Bartlett, was the ballad feature of the program. His voice had richness, expressiveness and all the qualities which give charm to song. As an encore he gave "Songs of Araby."—Albany Argus, May 6, 1898. one of two readings
87Mr. Van Yorx's "Love's Rhapsodie," by Homer N. Bartlett, was the ballad feature of the program. His voice had richness, expressiveness and all the qualities which give charm to song. As an encore he gave "Songs of Arab."—Albany Argus, May 6, 1898. one of two readings
89SHERBROOKE MUSICAL FESTIVAL.
91All of Mr. Van Yorx's work met with great favor. He has a voice of remarkably pleasing quality and sings with great expression. "His Let Me Like a Soldier Fail" quite captured the audience. He was accorded an ovation on Bartlett's "Love's Rhapsodie," and had to respond to an encore. In "The Messiah," on the last night of the festival, Mr. Van Yorx's work in "Every Valley" and "Behold and See!" were most beautifully rendered.—Sherbrooke Recorder
93Mr. Van Yorx made a most favorable impression, and every number of his was most thoroughly enjoyed. In "The Messiah" Mr. Van Yorx did grand work.—Sherbrooke Gazette.
95Mr. Van Yorx's singing gave much pleasure. His work in Goring-Thomas' "Sun Worshippers" was very effective. Bartlett's "Love's Rhapsodie" was re-demanded. At the afternoon concert Mr. Van Yorx gave a most masterly rendering of "If With All Your Hearts," from "Elijah." His work in "The Messiah" was of a high order throughout.—Sherbrooke Press.
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