Scan 32
Musical Courier 1898-06-15: Vol 36 Iss 954, 1898
89 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 31. See the scan on archive.org.
1New Music.
3E. SCHUBERTH & CO. have just issued a new prelude and fugue for the organ in G minor, composed by H. W. Nicholl, and dedicated to the distinguished organist, M. Alex. Guilmant. In a letter addressed to Mr. Nicholl accepting the dedication, M. Guilmant says that "it is a very serious work, and worthy of the instrument for which it is written, and that he shall take pleasure in playing it." Saint-Saëns also writes that "it is a highly interesting though difficult fugue, and will be delighted to have No. 6 dedicated to him." Before speaking of the fugue critically, it may here be stated that Mr. Nicholl's Op. 30 will consist of seven preludes and fugues, the mere titles of which will be of interest to organists here and abroad. They are as follows:
4No. 1. G minor, single fugue, dedicated to Alex. Guilmant.
5No. 2. A minor, single fugue, dedicated to W. C. Carl.
6No. 3. C major, double fugue, counterpoint in the octave.
7No. 4. E minor, double fugue, counterpoint in the tenth.
8No. 5. A major, double fugue, counterpoint in the twelfth.
9No. 6. F major, fugue on four subjects (quadruple counterpoint), dedicated to C. Saint-Saëns.
10No. 7. C minor and major, grand fantaisie and free fugue.
11No. 1, just issued, is a colossal work, displaying the highest contrapuntal knowledge and, as S. P. Warren writes, also virile fantasy. The different themes are so interwoven in both the prelude and fugue that only a careful study of the work as a whole by good musicians can enable one to appreciate the profound learning therein displayed. Even the subject of the fugue is more than ordinarily interesting, as the phrases that it contains are both regular and inverted, an unusual device even in fugues of the strictest character. Then on page 16 is an augmentation of the subject (in conjunction with the subject in the first note-values) extending no less than eight complete measures, an unparalleled exhibition of skill. Generally, augmentation and diminution, together with the subject in original note-values, must be of necessity comparatively very short; e.g., Vol. II., "The Well Tempered Clavier," fugue 2, bars 14 and 15; Vol. II., fugue 9, bars 26, 27, &c., although here the theme in the original note-values does not appear; however, the introduction of the main theme of the prelude in the fugue, page 14, bar 10, is highly effective. A novel connection of chords (quite modern) in connection with the diminution and inversion of this same theme is exhibited on page 6, bars 6, 7, 8. The coda of this fugue is highly effective and quite brilliant.
12Of the sixth fugue, dedicated to Saint-Saëns, it needs only here be said that no other fugue has ever been written of a like learned and extraordinary character. For the purpose of making the work of lasting usefulness to students, the whole of the twenty-four inversions of the "quadruple counterpoint" will be issued on a separate sheet, forming a most curious, valuable and extraordinary survey of the infinite variety there is in quadruple counterpoint. By the composition of this fugue Mr. Nicholl has earned the right to be considered not only the most learned contrapuntist in this country, but one of the chief contrapuntists now living. The prelude to this fugue contains two pages of "real five-part" writing, based upon the theme of the first subject, together with other themes of melodic and symphonic value. We shall refer to these seven preludes and fugues in a later issue.
13A "Salve Regina," based upon the third prelude from the second volume of Bach's "Well Tempered Clavier," has been also recently published by E. Schubert & Co. in three keys, for high, medium and low voice. In this work Mr. Nicholl has endeavored to construct a melody suitable to the beautiful harmonies of Bach, and there is no doubt that it will become in time a companion piece to the Bach-Gounod "Ave Maria." It is not quite so sentimental a melody, but perhaps more musicianly, and highly effective for the combination for which it has been arranged, viz.: voice, organ, violin and piano. The original key is C, soprano or tenor; the other keys, A flat, mezzo-soprano; F, alto or bass. Editions are also published for piano and voice alone.
14Fred. Brandeis, the well-known and capable composer, has just completed a set of Vespers (op. 92) for use in the Roman Catholic Church. The various movements are melodious and not difficult, the "Dixit Dominus" being especially well written. The section on page 9, in five sharps, "De torrente in via," is especially melodious and flowing, and must become a favorite with Roman Catholic choirs. The "Laudate Dominum" contains some excellent and effective modulations, while the "Magnificat" embraces a singable baritone solo and other features of interest. We recommend these new Vespers to Roman Catholic choirs throughout the country, for Mr. Brandeis writes nothing which is not musicianly and interesting.
16Elson Lectures in New York.
17Louis C. Elson, of Boston, lectured in this city on Monday night at the Florists' Club, the subject being "Flowers and Music."
19A Harp Scholarship.
20MRS. JEANETTE M THURBER, the president of the National Conservatory, has been offered a scholarship for harp playing at the National Conservatory. This graceful instrument, which has been sadly neglected of late, has too much inherent musical value to be relegated to the limbo of archaic and dimly remembered instruments.
21It is not only an important adjunct in the orchestra—being a great favorite of modern composers like Berlioz, Liszt, Wagner, Tschaikowsky and Richard Strauss—but it is eminently an instrument for the drawing room. Time was when every girl of musical taste displayed the graces of her slender figure at the harp.
22Its literature is large, and the idea of founding a scholarship for it is an excellent one. We hope soon to give more news of this charming departure from the conventional.
24Columbia, S. C.
25The music department, under the direction of August Geiger, of the Presbyterian College for Women, plays a prominent part in the graduation exercises. On Friday, June 3, a graduate piano recital was given by Miss Agnes Corrinne Gray, assisted by Miss Ella Alderson, violinist. The program, of a better character than those usually listened to on such occasions, was interpreted with taste and technical skill by Miss Gray, who gives evidence of more than ordinary talent. She expects to continue her studies in New York.
27A Von Klenner Pupil.
28At a large concert given in Scranton, Pa., recently, under the direction of J. T. Watkins, the singing of Miss Alice J. Burke was the feature of the evening. Miss Burke, who is a pupil of Mme. Katharine Evans von Klenner, has a beautiful contralto voice of great power and nearly three octaves in range, and possesses much musical temperament. One of the Scranton daily papers says of her singing:
29Miss Burke's full, deep, clear contralto voice was heard to fine advantage, and proved a revelation to most of those present. She responded to an enthusiastic encore with "Chant Hindu" of Bemberg.
30Another paper says:
31Miss Alice Burke, who came from New York, sang a selection, with violin obligato, and responded to an encore with a French song. Miss Burke possesses a very pronounced contralto voice, smooth and effective and of great range. She also has a most commanding stage appearance.
33Clementine De Vere in Verdi's Requiem.
34It was a pleasure to again hear Madame De Vere, whose vocal accomplishments are of a high order. She has a charming stage presence, and in expression, phrasing, musical intelligence and taste she is a thorough artist. In the "Recordare" she exhibited commendable dramatic fervor and intensity, and in the entire Requiem her vocal gifts gave genuine delight to the audience.—New Haven Evening Register, May 19, 1898.
36Madame De Vere was easily the star. Her wonderful technic and beautiful tonal quality made her by far the favorite, and the audience very soon manifested its feeling. The last number and the most impressive is "Libera Me." It is written for soprano and chorus, and Madame De Vere performed it magnificently.—The New Haven Morning News, May 19, 1898.
38Madame De Vere's voice is of unusual volume and breadth. The middle register is particularly smooth and rich, and the upper notes were well sustained. She sings easily and with much dramatic fire and artistic genius.—New Haven Palladium, May 19, 1898.
40E. C. Towne.
41E. C. Towne's brilliant tenor voice won for him a glittering success at the recent Music Festival in Dover, N. H. He made himself so much of a favorite that he is re-engaged for another New Hampshire festival this summer. Of his performances the local press said:
42E. C. Towne, the celebrated New York tenor, was the first soloist to appear on the program, and he has certainly taken the city by storm. He is entirely new to most Dover people, but it is safe to say that no finer tenor has ever been heard in this city. His tones are remarkably pure and clear, and withal his is a pleasing personality. He sang Gounod's "Lend Me Your Aid," and was obliged to respond to an encore.—Dover Daily Democrat, May 13, 1898.
44There is no doubt that this festival has a great tenor in Mr. Towne, of New York. He was warmly received, and won much favor by his work. He figures quite prominently to-night.—Dover Daily Republican, May 13, 1898.
46E. C. Towne took the tenor part of Obadiah, and sang his solos well. Especial mention should be made of Mr. Towne's "Man of God," "If With All Your Hearts" and "Then Shall the Righteous Shine Forth."—Dover Daily Democrat, May 14, 1898.
48The tenor has one or two good chances in "Elijah," and it was Mr. Towne who sang the numbers put down for the tenor with artistic skill and taste, displaying remarkable control of the notes in his upper register. "If With All Your Hearts" is due particular mention. In the concerted parts he was especially good. He is a great tenor.—Dover Daily Republican, May 14, 1898.
50The Castle Square Opera Company.
51THE 200th performance of the Castle Square Opera Company took place Monday night. The company presented "Madeleine" in superb style, with the cast given below. The opera went with a vim, and the crowded house enjoyed a delightful evening.
52During the intervals between the acts the audience took advantage of the American Roof Garden, which is a delightful spot. The fair patrons of the audience received handsome souvenirs of the 200th night.
53Baron de Grim, a centenarian………….William G. Stewart
54Dr. Gourmet, his physician……………..Oscar Girard
55Jules Le Meagre, his scribe…………….Frank Moulan
56François, his steward…………………..Chas. Campbell
57Emile, his major domo…………………Charles Scribner one of two readings
58Emile, his major domo………………….Charles Scribner one of two readings
59Auguste Deutch, alias Frederic Ribeau, William Broderick
60Madeleine, the Baron's ward…………..Louise Eissing
61Matrimonial Mary, a sextette widow……Bessie Fairbairn
62Margot. / Gourmet's daughters………….Maude Burke
63Vivette. / daughters…………………..Cecil Lorraine one of two readings
64Vivette. / daughters…………………….Cecil Lorraine one of two readings
65Chorus of villagers, courtiers, &c.
67Hanchett.
68Dr. Henry G. Hanchett is engaged this month on a series of recitals in Syracuse, N. Y., which is meeting with glowing appreciation in the columns of the local papers. The Syracuse Standard writes of one of Dr. Hanchett's Beethoven readings:
69It is to be doubted whether a more instructive and thoroughly delightful entertainment of its kind was ever given here. Dr. Hanchett's analysis was most able and instructive, and his performance of the E flat sonata was a splendid exhibition of virtuosity, combined with a most thorough comprehension of the composer's meaning. The enormously difficult allegro, and the minore of the scherzo in particular, received a rendition which proved Dr. Hanchett to be one of the ablest pianists in the country, while in the largo and rondo his exquisite touch and sympathetic quality of tone were displayed to perfection.
71Recent Dates of Saenger Pupils.
72Mme. Josephine S. Jacoby, contralto—Boston Symphony Orchestra, Boston; Troy Vocal Society, New York Liederkranz, Indianapolis Festival, Cincinnati Festival.
73Joseph S. Baernstein, basso—Chicago Orchestra, Chicago; "Damnation of Faust," with Schubert Society, Newark; "Manasse," Brooklyn Academy; "Elijah," Mt. Vernon; "Creation," Englewood; "Hora Novissima," Bridgeport; "Swan and Skylark," Binghamton; Verdi's "Requiem," New Haven; Cincinnati Festival.
74E. Leon Rains, basso—With Melba Opera Company.
75Miss Bernardine Sargent, soprano—Solo soprano Temple Emanu-El; "Elijah," Mt. Vernon; New York Liederkranz concert; Musurgia concert, Waldorf-Astoria; Oratorio Society, Bridgeport; Hempstead Glee Club concert; "Holy City," Montclair; Choral Union concert, Carnegie Hall.
76Mrs. Elizabeth D. Leonard, contralto—Solo contralto Madison Avenue Reformed Church and Temple Beth-El; Chickering & Sons recital, Chickering Hall; New York Maennerchor concert; Mrs. Joseph S. Knapp's musicale, Hotel Savoy; concert in Englewood.
77Barclay Dunham, tenor—Solo tenor Lafayette Avenue Presbyterian Church, Brooklyn; "Crusaders," with Madrigal Society, Bloomfield; Oxford Club, Brooklyn.
78Miss Sara Anderson, soprano—Song recital, Mendelssohn Hall; Concert for Young People, Lyceum Theatre; musicale at Mrs. Fred. Vanderbilt's; Press Club concert, Academy of Music.
79Miss Belle Newport, contralto—Solo contralto Madison Avenue M. E. Church and West End Synagogue; Arion Society, Newark; Y. M. H. A., Lenox Lyceum.
80Miss Hildegard Hoffmann, soprano—Solo soprano Grace M. E. Church, Brooklyn; Schumann's "Paradise and Peri," Brooklyn; Brooklyn Institute concert; Germania Club concert, Brooklyn; song recital, Memorial Hall, Brooklyn; New York Maennerchor concert; "Manasse," Brooklyn.
81Madame de Pasquali, soprano—With Scalchi Concert-Opera Company.
82The above group embraces some of the leading singers of America to-day. The admirably equipped and always consistent product of Mr. Saenger's studio has become a matter of wide recognition and appreciation wherever vocal art is known artistically throughout the continent.
84A 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.
86AN 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.
88SUMMER 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.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.