Scan 5
Musical Courier 1898-06-01: Vol 36 Iss 952, 1898
205 lines. Read by computer on 23 September 2026. No printed page number was found. 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.
1SOME CHICAGO ADVERTISEMENTS.
3J. H. KOWALSKI,
4Celebrated Vocal Studio,
5Suite 54 and 55, Kimball Hall,
6CHICAGO, ILL.
8MAX BENDIX,
9VIOLINIST,
10801 Steinway Hall,
11CHICAGO, ILL.
13Mme. JOHANNA HESS-BURR,
14Voice Coaching—Repertoire.
15FRANK S. HANNAH,
16Business Manager.
17Suite 1015-1016 Steinway Hall, Chicago.
19Mme. RAGNA LINNÉ,
20MARCHESI METHOD.
21ORATORIO—CONCERT—SONG RECITAL.
22Limited number of pupils accepted.
23Kimball Hall, Wabash Avenue,
24CHICAGO, ILL.
26HERMAN L. WALKER,
27Pupil of SHAKESPEARE and SBRIGLIA.
28TENOR.
29Concert, Oratorio, Song Recitals.
30Chicago Conservatory, Auditorium Building,
31CHICAGO, ILL.
33FRANK T. BAIRD,
34THE ART OF SINGING.
3534 Monroe Street, CHICAGO, ILL.
37Eliodoro de Campi
38School of English and Italian Opera.
39Steinway Hall Building, Suite 308.
40CHICAGO, ILL.
42FREDERICK W. CARBERRY,
43TENOR.
44STEINWAY HALL,
45CHICAGO, ILL.
47SHERWOOD PIANO SCHOOL.
48WILLIAM H. SHERWOOD, Director, Steinway Hall, Chicago.
49Special inducements are offered to beginners, who may be assured when commencing their studies here that they will never have to retrace their steps, but that their progress will be steady and certain. Mr. Sherwood's methods of technic, touch, phrasing, interpretation, etc., which have produced wonderful results, are exclusively used. Send for prospectus.
50WALTON FERRINS, Secretary and Manager.
52ESTABLISHED 1867.
53Chicago Musical College,
54College Building, 202 Michigan Boulevard,
55CHICAGO, ILL.
56Dr. F. ZIEGFELD, President.
57Dr. F. ZIEGFELD,
58LOUIS FALK,
59HANS VON SCHILLER,
60WILLIAM CASTLE,
61BERNHARD LISTEMANN,
62Musical Directors.
63Catalogue giving full information mailed free upon application.
64SIXTEENTH YEAR,
651896-1897.
66MRS. REGINA WATSON'S SCHOOL
67FOR THE
68HIGHER ART OF PIANO PLAYING.
69297 Indiana Street,
70CHICAGO, ILL.
72MR. AND MRS. BICKNELL YOUNG,
73Lecture recitals on Opera, its Origin and Development; illustrated by vocal examples from the earliest epoch.
75A. J. GOODRICH,
76Theorist,
77Lock Box 976, Chicago.
78Author of "Goodrich's Analytical Harmony."
79"Complete Musical Analysis."
80"Music as a Language," etc.
81Personal or correspondence lessons in Harmony, Composition, Orchestration, Analysis and Theory of Interpretation.
83Genevra-Johnstone Bishop,
84… SOPRANO.
85Oratorio, Concerts and Recitals.
86Address
87KIRBY CHAMBERLAIN PARDEE, Manager.
8870 State Street, Chicago, Ill.
90WALTER SPRY,
91Director of Conservatory of Music,
92QUINCY, ILL.
93Piano and Organ Recitals…
95KATHARINE SPEAR GORNELL,
96… CONTRALTO.
97Hyde Park Hotel,
98Chicago, III.
100Chicago Conservatory of Music.
101SAMUEL KAYZER, Director.
102Auditorium Building, Chicago, Ill.
103SEND FOR CATALOGUE.
104MUSICAL DIRECTORS.
105LEOPOLD GODOWSKY, Piano.
106ARTURO MANESCALCHI, Vocal.
107CLARENCE EDDY, Organ.
108S. E. JACOBSON, Violin.
109FREDERIC GRANT GLEASON, Harmony, etc.
111Henry B. Roney,
112CONCERT ORGANIST—TEACHER.
113Organist and Choirmaster of Plymouth Congregational Church.
114The training of Boys' Voices for Church and concert work is a specialty. (Last Organist of the Church of Grace Episcopal Church, Studio: 2506 Indiana Ave., CHICAGO.)
116VICTOR HEINZE,
117Concert Pianist and Piano Teacher.
118Leschetizky Method.
119Studio: 1014 Steinway Hall, Chicago.
120THE HEINZE TRIO:
121VICTOR HEINZE, Piano.
122EMIL BARE, Violin.
123BRUNO STEINDEL, Violoncello.
124Can be engaged for Concerts, Musicales, etc.
125Address Victor Heinze, 1014 Steinway Hall, Chicago.
127MRS. GEORGE BENEDICT
128CARPENTER,
129Director of MUSICAL ARTISTS.
130Season 1897-98.
131Steinway Hall, Chicago, Ill.
132Representing the Wolfsom Bureau of New York in Chicago and the West.
134MARIE L. COBB,
135Concert Pianist and Teacher.
136Hans Von Bilow, Herr Von Wieck and Sgambati.
1373 AUDITORIUM BUILDING,
138CHICAGO, ILL.
140D. A. CLIPPINGER,
141Voice Production and the Art of Singing.
142Room 40 Kimball Hall, Chicago, Ill.
144GOTTSCHALK
145LYRIC SCHOOL,
146INCORPORATED.
147MUSICAL AND DRAMATIC ART.
148L. GASTON GOTTSCHALK, Director
149Isabella Building,
15046 & 48 Van Buren Street, Chicago.
151Catalogues sent upon application.
153THOMAS TAYLOR DRILL,
154BASSO.
155Oratorio, Concerts, Song Recitals.
156VOCAL INSTRUCTOR.
157Studio: No 5; Kimball Hall,
158CHICAGO, ILL.
160ANNA WEISS,
161Late of Vienna Conservatory,
162Concert Pianist and Teacher.
163Suite 905 Steinway Hall, Chicago, Ill.
165AMERICAN CONSERVATORY,
166Kimball Building, 243 Wabash Ave., Chicago.
167JOHN J. HATTSTAEDT, Director.
168ALL BRANCHES OF MUSIC, DRAMATIC ART.
169TEACHERS' TRAINING DEPARTMENT.
170Catalogue mailed free.
171JOHN J. HATTSTAEDT, ALLEN H. SPENCER,
172GERTRUDE MURDOUGH, Piano; KARLETON HACKETT, Noyes B. Miner, Ragna Linne, Lila De Noville, Singing; CLARENCE DICKINSON, Organ; JOSEF VILIM, Violin; ADOLPH WEIDIG, Composition, and thirty other superior instructors.
173GERTRUDE MURDOUGH, Piano
174VILIM TRIO: JOSEF VILIM, Violin.
175JOHN KALAS, Cello.
176243 Wabash Ave., care of American Conservatory
178HARRISON M.
179Studio 6,
180241 Wabash Ave.,
181CHICAGO.
182WILD
183CONCERT ORGANIST.
184Piano and Organ Instruction.
186WILLIAM H. SHERWOOD,
187CONCERT AND RECITAL PIANIST.
188MR. SHERWOOD created a furor by his wonderful playing at the meeting of the M. T. N. A in New York City last June. His playing in other large cities this season has aroused the utmost enthusiasm. He has been acknowledged by critics, the public and musicians to be the greatest American pianist. Mr. Sherwood will teach and give recitals as usual at the Chautauqua (N. Y.) Assembly from July 11 to August 13.
190has heard that Hungarian magnate perform the Schubert "Erlking" with his left hand only will have no doubt that if fate had not deprived him of his right hand Count Zichy would have become one of the very greatest of pianists that ever lived.
192But also as a musician the Count has had a training, and possesses a cultivated talent which places him above the suspicion of being an amateur of the sort who have their works composed for them. The very weaknesses apparent in the score of this his first opera, especially the frequently apparent lack of polyphonic writing and the comparative failures in several places where attempts of the sort are made, prove conclusively that the opera is the real work of the composer. Much better and quite characteristic is his orchestration, which, however, shows the strong influence of Richard Wagner. Who could or would escape it nowadays? More strongly felt it is also in the formation and use of the few themes that could be construed as being Leitmotive in the Wagnerian sense of the term, such as the descending diminished fifth in the brass, which is boldly cribbed from "Fafler" and the "Erda" slumber harmonies, which the Count does not take the trouble to alter or disguise in the slightest manner. A few more Wagnerian reminiscences might be cited, but these are the most striking and the boldest. Otherwise "Alár" has nothing Wagnerian, either from a dramatic or from a musical point of view, and of this fact nobody seems to be better aware than the composer himself; hence the reactionary designation of his work as a romantic opera. "Alár" really is no music drama; it is, in spite of its Wagnerian harmonies and orchestration, an opera of the old type in closed forms, with even a sextet of the "Lucia" order (but not of its exquisite beauty or fine part writing), and with some ensembles of the Meyerbeerian school, while the Wagnerian weaving of the Leitmotive is not extant, or only occasionally attempted in the orchestra.
194Still less Wagnerian than the music is the text to "Alár." The libretto deals with a very complicated story which the Count himself has versified in Hungarian. The poetry may be very beautiful in the original; this I cannot say, for all the Hungarian I know is "Gulash," "Hunyady Janos," "O't Forint" and "Eljen," but the German version by Victor Leon, which was sung at the Royal Opera House and is printed in the piano score, is neither beautiful nor poetic. Moreover, the personages which Count Zichy introduces have very little of likeness and their actions lack logic as well as vraisemblance; hence they are unable to arrest our attention or to seriously interest us, and the whole plot seems more like a dramatized dime novel than like an action that could ever have happened, or could well be imagined to have happened. I forbear from an attempt at describing the stage proceedings, because they are just as complicated as they are illogical, but I must mention the skillful way in which the ballet is introduced into so serious a subject. A witch named Rumi who plays an extensive, bold, but not very comprehensible part in the plot, gives Alár a potion, and he dreams the three scenes of the ballet. This ballet contains actually the best and most piquant music in the entire opera, and as, moreover, it is staged in an absolutely matchless and beyond all description beautiful style this portion of the work alone suffices to prove an attraction for the public. Stage Manager Tetzlaff and Decorative Chief Director Brandt have done in this triple changing fairy scene the best and most tasteful piece of stage display I ever saw. In the middle section of this dream divertissements the hero also sees the impersonations of the following imaginary beings: Cupidity (Frau Globig), Kiss (Frau Gradl), Witticism (Miss Pohl), Ecstasy (Miss Reinisch), and Voluptuousness (Miss Cortese). They sang their short characteristic phrases in first-rate style, and they looked—volumes. If THE RACONTEUR had been here he would have jumped from the Fremdenloge upon the stage. In looks also Frl. Dell 'Erra, as the Queen of Flowers, and Frl. Urbanska, as the Queen of Nymphs, the latter in one of the most exquisite pale green costumes you can imagine, were indescribably attractive, and forced the baldheads to the strongest twist their opera glasses would yield.
196But what has a music critic to do with the description of looks? Let me return to the singers. First of all Sommer was vocally very good in the title part, and histrionically he was much better than he ever behaved himself heretofore. Even tenors are occasionally capable of improvement, and I state with pleasure that Kurt Sommer seems steadily to be gaining in action.
198The next important role is that of Elisabeth Dragialvi, a sort of "Tannhäuser" Elisabeth, whom Miss Hiedler represented and sang as well as she does the Wagnerian heroine. Frau Goetz assumed the very peculiar part of Rumi, a mixture of Azucena and Kundry and one of the queerest stage personages I ever encountered. Our great contralto did it justice in every respect, and this is saying a great deal. Praise must be bestowed also upon Miss Egli as Ilona Tocmoci and Miss Rothauser as her brother Beli Tocmoci, who dies in the Vorspiel. Why does he die so slowly and why is this male part written for a soprano? I thought modern opera had done away once and for all time with this heritage of the times of the artistically made tenors. Less excellent and generally satisfactory than the female representatives were the male ones, at least in the minor roles. Moedlinger was not in good voice; Stammer's voice also wobbled conspicuously, and Herr Bachmann acted and sang more like a young warrior than like a scribe, whom he was meant to represent.
200Chorus and orchestra and the whole performance as far as ensemble is concerned were beyond cavil, and this was due to the ever calm, but equally conscientious, sure and circumspect guidance of Dr. Muck.
202* * *
204A Nibelungen Ring cycle performance, with only members of the house personnel in the cast, is announced at the Royal Opera House. May 16, "Rheingold"; May 17, "Die Walküre"; May 19, "Siegfried," and May 21, "Die Göttterdammerung." Ernst Kraus will be the Siegfried, Frau Sucher Brünnhilde. Frl. Hiedler will sing for the first time Sieglinde, Sommer for the first time Loge and
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