Scan 37
Musical Courier 1898-06-01: Vol 36 Iss 952, 1898
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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.
1Parson Price Pupils.
3Miss Florence Stockwell, soprano, assisted at the Irvington High School concert recently, and James H. Childs, baritone, at the Händel Chorus concert, Brooklyn, with much credit to their teacher.
5Kaltenborn-Beyer-Hané at Fordham Club.
7This well-known quartet gave an entire concert, with solo numbers by Messrs. Kaltenborn and Beyer-Hané, at this club last Friday evening. One who was there writes that there was much applause after the Boccherini menuet and that the "Cavalleria Rusticana" Intermezzo had to be repeated. Also that Violinist Kaltenborn received much appreciation, and Beyer-Hané was compelled to play an encore.
9Music at the Woman's Press Club.
11The literary program last Saturday was, as usual at these monthly social meetings, supplemented by music. The child pianists, Bessie and Mamie Silberfeld, pupils of William M. Semnacher, astonished those able to judge by their technic and sentiment, which told not only of careful instruction, but of more than ordinary youthful talent. Mamie played Raff's "Fahlian" and Bessie Schubert's "Slumber Song" and Weber's "Perpetual Motion." Miss Eleanore Broadfoot delighted the audience by her interpretation of "Lieti Signori," from "The Huguenots," and "Mon cœur s'ouvre à ta Voix," from "Samson and Delilah," both showing her vocal fluency to advantage. Miss Emma Schlitz accompanied.
13Hans Kronold and Ferdinand Dunkley.
15Following the Wagner musicale at St. Agnes' School, Albany, and adding to the excellent musical impression created thereby, Ferdinand Dunkley arranged last week an evening recital with Hans Kronold, the violoncellist, and with the further assistance of Mrs. John Brines, soprano.
17Mr. Kronold, whom to hear, as New Yorkers know, is to praise, won the interest of Albany hearers and proved anew his mastery of the instrument. "His selections," the Albany Journal of May 2 justly says, "were given with all that grace of feeling and excellence of tone which have made him one of the few good performers on the 'cello."
19Mr. Dunkley's accompaniments to Mr. Kronold's difficult selections attracted the special attention of the Albany Express critic, who writes of them as "one of the most pleasing features of the entertainment. He did not, even to the slightest degree, attempt to lead, but simply accompanied."
21Mr. Kronold himself declares that Mr. Dunkley is one of the best accompanists with whom he has ever played. Mr. Dunkley is a composer as well as a pianist, and a considerable part of the program was given to his songs, the words written by Maud Dunkley. In these Mrs. Brines won much favor; according to the Journal "her best numbers were the compositions by Ferdinand and Maud Dunkley."
23Charlotte Maconda.
25For Madame Maconda the spring passes into summer without there being any diminution of engagements and of appreciative accounts of them. She appeared May 14 in Detroit, not having been there before for four years, and although the concert was given primarily for a local favorite, Madame Maconda, so the Detroit Tribune says, "carried away the honors of the evening." It adds in further comment:
27At her first appearance she sang the aria, "Ah, fors e lui," from "Traviata," by Verdi. Before she had finished the brief and brilliant recitative with which it opens she had proved the superb quality and wonderful range of her voice. The closing cadenzas of the aria were handled with exquisite accuracy and art. She appeared at great advantage in the waltz song, "Diletto," by Luckstone, which she gave at her second appearance. For encores she sang "L'Amour," by Homer Bartlett, and "Twas April," by Nevin.
29Concerning this difficult aria mentioned the Detroit Free Press and the Detroit Journal speak in nearly similar terms, both mentioning that she sang with exquisite skill. The Lock Haven papers note her appearance there with equal interest:
31Mme. Charlotte Maconda, the soprano, has a voice rich in tone quality and remarkably free from any perceptible imperfection. She throws an ardor into her vocal efforts that is charming. She sang her arias and recitatives with a freshness that was inspiring. Her high notes were clear and sweet, while the lower tones emitted were just as firm and as pleasing.—Lock Haven Daily Democrat, May 21, 1898.
33Mme. Maconda proved to be all that had been promised, a lady of charming stage presence and a soprano whose tones are full, pure and clear and who has the ability to faultlessly render the beautiful solos of "The Creation" that occur in her part.—Lock Haven Express, May 21, 1898.
35Clemente Belogna.
37A worthy son of Italy, land of poetry and song, aptly describes the distinguished basso who is creating a favorable impression wherever he appears. In many ways he fulfills that Ideal of an Italian singer which exists in the public mind. It is an ideal which the public never seems to forget and which it is always glad to see realized. The critical verdicts upon his singing at the Montreal festival have been duplicated by those passed upon his solos at the Burlington festival:
39Signor Belogna, the Italian basso, made a pronounced hit. He sings his solos according to the Italian method, and his selection of the drum major's song in "Le Cid" indicated that he had sung grand opera before. His voice does not strike one as deep and ponderous. It seems grand and rich. He does not astonish by sliding down the scale to a bottom note, but presents rather a masterly interpretation of the number in hand. He responded to an encore with the familiar ballad, "O Come to Me, My Love," showing that his English pronunciation is most excellent, a rare thing among Italian singers.—Burlington (Vt.) News, May 20, 1898.
41The new soloist from abroad, who made his début before a Burlington audience, was Sig. Clemente Belogna. He sang the "Song of the Drum Major" from Thomas' "Le Cid," and in encore Shelley's "Love's Sorrow." Signor Belogna has a full, rich bass voice, which he uses in a highly artistic manner. He sings with dramatic fire and expression, and his phrasing in particular was most excellent.—Burlington Free Press, May 20, 1898.
43Baernstein's Record.
45Mr. Baernstein's engagements were many of them chronicled lately in THE COURIER. But the rather surprising fact may be chronicled also that he has not been obliged to cancel any on account of indisposition, and this during a season when so many have succumbed to illness and overwork. He prides himself on "keeping in the pink of condition," as desirable an ambition for a singer as for a soldier. Probably that is one reason why his work has been so universally satisfactory this season. During the past week he has been singing in Goring-Thomas' "Swan and the Skylark," Barnby's "King All Glorious," Berlioz's "Damnation of Faust" and Haydn's "Creation." After singing at the Connecticut Festival, May 17, Mr. Baernstein will go to Cincinnati, thence to Baltimore, returning to New York early in June.
47The honors of the evening were divided by Miss Trebbelli, who sang the part of Marguerite in a manner above criticism, and Mr. Baernstein, who made an ideal Mephistopheles.—Newark (N. J.) News, May 7, 1898.
49The selections of these artists was a happy one, especially that of Mr. Baernstein, whose clear, well-modulated and resonant voice was charmingly effective in the songs allotted to the arch fiend. * * * With his "Song of the Flea" he made a great hit, and in his entrance with the Will-of-the-Wisps in Scene XII., as well as in his serenade immediately following, he sang with much force and dramatic effect. So in the scene where Mephistopheles calls upon the sinful doctor to fulfill his part of the contract and descend into hell with him, the basso put much effective color into his work.—Newark (N. J.) Daily Advertiser, May 7, 1898.
51The soloists were very good, Mr. Baernstein in particular giving an exceedingly finished and dramatic delivery of his part. * * * His splendid bass voice told in the sonorous phrases the composer has given to the mocking fiend. In the "Song of the Flea" and the serenade, especially, he was very good.—Newark (N. J.) Sunday Call, May 8, 1898.
53Few singers of the present day have come to the fore as rapidly as this popular basso. * * * There are few singers in the country that are in as active demand. * * * Mr. Baernstein's services this season have been sought by concert givers in the presentation of new and difficult works that were in the repertory of none of the American singers and which required hard study to grasp. In all instances he has proved adequate to the task, and has appeared with great success under the batons of the best directors of the country.—Binghamton Chronicle, May 7, 1898.
55The vocal soloist of the evening, Mr. Baernstein, was cordially received. He possesses a wonderful basso voice, rich, powerful, sympathetic. He sang an aria from Haydn's "Creation," "Der Doepgelanger" by Schubert, "Don Juan Serenade" by Tschaikowsky and English songs as encores.—Brooklyn Standard Union, April 18, 1898.
57Mr. Baernstein has an exceptionally good bass voice, and it is safe to say that Brooklynites would like to become better acquainted with him.—Brooklyn Times, April 18, 1898.
59Never have we heard a voice of such richness—smooth, vibrant and melodious throughout, a wonderful capacity, intense musical feeling and understanding. Never have we heard such a combination of talents; every phrase seems to have received careful preparation, each word is clear and distinct, every sentiment is brought out to its fullest extent.—Chicago (Ill.) Israelite, April 23, 1898.
61CORRESPONDENCE.
63MINNEAPOLIS.
65MINNEAPOLIS, Minn., May 28, 1898.
67DURING the recent visit of the Crown Prince of Belgium to the "Twin Cities" he was the guest of J. J. Hill, the railroad magnate. Mr. Hill has a palatial home in St. Paul, and in his spacious picture gallery is a fine pipe organ.
69As part of the entertainment provided for his distinguished guest Mr. Hill gave a musicale, engaging the services of J. Warren Andrews, organist at Plumbmont Church, Minneapolis, and Claude Madden, the talented violinist, of Minneapolis. These gentlemen gave an entire program of duets and solos. Among their selections was the Rhineberger suite for organ and violin, as also some new and intensely interesting numbers heard here for the first time. It is scarcely necessary to comment upon the delight of the prince to find such highly cultured musicians as a part of the belongings of this "wild and woolly West." His appreciation of their performance was frequently expressed, and in a most gracious manner, for he is a lover of music.
71Although deeply engrossed in large business interests Mr. Hill is a generous patron of music, and Mr. Andrews and Mr. Madden are frequently called upon to furnish a musical program for the entertainment of the many notables sojourning beneath the hospitable roof of Mr. Hill's beautiful home.
73AUTON HORTON.
75Special Musical Service.
77Sunday evening, June 5, there will be a special musical service, under the direction of Emanuel Schmauk, the organist, at the Evangelical Lutheran Church of the Holy Trinity, 45 and 47 West Twenty-first street.
79Federation of Women's Music Clubs.
81It was anticipated that a meeting of the New York women interested in this association would be held to welcome Mrs. Uhl, wife of the Ambassador to Germany and president of the Federation, as she passed through the city last week. Such a meeting was arranged under the official sanction of Mrs. Chandler Starr, of Rockford, Ill., acting president, and notices were sent by the corresponding secretary, Mrs. James Pedersen, of this city, but the plans were unavoidably frustrated by illness in Mrs. Uhl's family, which obliged her to go directly home.
83Concert in Quebec.
85A brilliant farewell concert, under distinguished patronage, was tendered to Mme. Camilla Urso at the Academy of Music in Quebec May 20. Madame Urso's playing is too well-known to require comment at this late day beyond mention of the final number, "Airs Russes," by Wieniawski, a remarkable example of virtuosity and appreciated by the listeners.
87The artists who assisted were Mme. L. O. Cornethaut, pianist; Miss Adrienne Couture, soprano; Howard F. Pierce, pianist.
89Two songs by Mr. Peirce, which had their first hearing, attracted much attention from musical connoisseurs present. They were sung by Miss Adrienne Couture, to the accompaniment of the composer. Mr. Peirce has chosen for his text two beautiful poems of Johanna Ambrosius, "Ich habe geliebt" and "Sommernacht."
91WANTED—Vocalist for concert company; duties not incompatible with a church position. Call room 1635, No. 150 Nassau street, New York, bringing photograph or cut.
93A FIRST-CLASS Concert Pianist and Teacher, who has had both European and American experience, will be free to accept a position by next September. Address "Pianist," care THE MUSICAL COURIER, New York.
95A INSTRUCTOR of piano, theory and composition, with great experience and educated in Europe, desires position in some Conservatory or College; at present director of a Conservatory, but desires change to a larger field; highest testimonials and references. Address S. B., care MUSICAL COURIER, New York.
97A LADY (musician) of first-class antecedents and superior education, speaking fluently German, French and English, also in close acquaintance with musical and art circles in Vienna, offers a refined home and chaperonage in one of the best localities of Vienna to a young American or English lady wishing to pursue her studies there. Special advantage for next season. Address "Vienna," care of the Bureau of Information, MUSICAL COURIER. References exchanged.
99SUMMER SCHOOL.—Piano, organ, harmony; F. W. Riesberg, director (organist Rutgers Presbyterian Church and secretary-treasurer New York State Music Teachers' Association), at Cooperstown, N. Y., on Lake Otsego, beginning July 1, eight weeks. Third season. Weekly concerts, free classes in sight reading, four and six hands. Fine organ for students' practice. Good board and room $5 to $7 per week. 1,200 feet above the sea; cool always. Address F. W. Riesberg, 9 West Sixty-fifth street, New York.
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