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Musical Courier 1898-06-15: Vol 36 Iss 954, 1898
65 lines. Read by computer on 21 September 2026. Printed page 9. See the scan on archive.org.
1and a symphonic overture, entitled "Hiawatha," composed by Mr. Kroeger.
3AMERICAN MUSIC DAY.
5As has been said, it is the intention to devote this congress particularly to the advantage of American music and musicians. Omaha is a typical American city; it is situated almost in the centre of the country; its Exposition is for the purpose of bringing the people of every State in the Union to a fuller realization of the vastness of our natural resources and of the immense field for expansion and development which only the years are needed to consummate. No more fitting opportunity will ever be presented than this one for the advancement of Americanism in musical art, and the generous co-operation of the leading musicians of the whole country, as exhibited above, insures its fulfillment. Monday, July 4, will be called "American Music Day," and will be devoted especially to a discussion of the various phases of American music—past, present and future. The programs will be made up of compositions by Americans, and an earnest effort will be made to so celebrate our national holiday that it will mark an epoch in the history of music on this continent.
7GREAT COMPOSITIONS.
9Among the principal works to be performed at the congress, besides those already mentioned, will be a piano concerto by Saint-Saëns, played by Mr. Sherwood; a symphony for organ and orchestra by Guilmant, played by Dr. Gerrit Smith and the Thomas Orchestra; a violin concerto by Fritz Listemann, played by Bernhard Listemann; an original piano concerto by Ernest Kroeger, played by the composer; a new suite for full orchestra, composed especially for this congress by Ad. Foerster, and probably conducted by the composer, and a selection of works for orchestra by George W. Chadwick, to be conducted by the composer.
11ADMISSIONS.
13As is the rule with all congresses held under the direction of the Bureau of Education, the purely educational features will be absolutely free to the public, no charge for admission being made. These will include all the essays, addresses and discussions. For the recitals and evening concerts a small charge will be made, from which it is expected to derive an income sufficient to pay the expenses of the congress. A local reception committee will be ever at hand to minister to the comfort and pleasure of visiting musicians, and a bureau of information, conducted by the Omaha Bee, will furnish strangers with all directions concerning hotels, boarding houses, trains, street car lines, places of interest, expenses, &c.
15The Trans-Mississippi and International Exposition stands for the advancement of the culture and refinement of the country, as well as for its material prosperity, and it recommends this great congress of musicians to the cultured and refined of every State, confident that its influence for good will be felt far and wide during the years to come.
17Persons desiring information concerning the National Congress of Musicians are cordially invited to address Homer Moore, chairman of the executive committee, Sheely Block, Omaha, Neb.
19A lovelier day never dawned than June 1, 1898, which ushered in the opening of the Trans-Mississippi and International Exposition at Omaha. Thousands of people in the Mississippi Valley had anticipated the day with great expectations, and it is safe to say that they were all realized. The procession was formed in the city, which included the speakers of the day, including Governor Holcomb and staff, and was headed by Marshal T. S. Clarkson and his aides. Following came the University Cadets, 300 in number, and preceded by the State University Cadet Band. Following these came the Trans-Mississippi troopers and the Knights of Ak Sar Ben, on gaily caparisoned steeds, followed in turn by a long line of carriages and civilians and bands galore. The great White City being reached, the opening ceremonies soon took place, being opened by the United States Marine Band in the "Jubal" Overture by Weber. An important feature of the opening music was the original composition by Mrs. H. H. A. Beach, the "Song of Welcome," and the words written by Henry Blossom, of St. Louis. This work was sung by a chorus of 200 voices with an instrumentation for brass and reed instruments which was quite novel, and it is predicted that this is not the last time that this latest composition of the famous composer will be heard in this country. The style of the music is broad and inspiring and on the choral order, and brings out with great force and power stirring harmonies which emanated from the mind of the writer. This was followed by another number from the band, and with the singing of "America" and the pressing of the button by President McKinley, the greatest of modern expositions, with only one exception, was opened amid the cheering and unconfined delight of the multitudes present. It is estimated that 65,000 people were on the grounds on this day.
21The program of music was under the direction of Willard Kimball, director of music of the exposition, and who holds the chair of music in the University of Nebraska.
23The music of the exposition is certainly a novel and attractive feature. As a basis for the musical structure the Theodore Thomas Orchestra was engaged for five weeks, with Arthur Mees as conductor. Their concerts have proven most attractive, and the programs given, although not too severely classical, have been such as to be most elevating to all listeners, both professional and amateur. The concerts have been made absolutely free, and this feature, added to the fact that this is the first time in the thirty-five years of the history of the Thomas Orchestra that they have accepted in a body a continuous engagement in the summer, speaks volumes for the energy and persistence of the management and the confidence of appreciation from the inhabitants of the great West.
25Z. T. Lindsey, who has labored indefatigably as manager of the ways and means department, deserves great credit for the manner in which he has aided the bureau of music in its efforts to place before the people the very best of music and at great expense, and his untiring zeal is felt in many ways.
27Choral societies from various parts of the West will give complete works during the month of June, among the most notable of which are the Apollo Club of Chicago, under William L. Tomlins, with 200 voices, which will give "The Elijah" and "The Messiah," and will also present an al fresco program on the lagoon on the evening of the 22d. The chorus, under the direction of Willard Patten, of Minneapolis, will present the oratorio of "Isaiah," the composer's own masterpiece, with a chorus of 300 voices. The exposition chorus has been working hard since February, and will give several lighter works and numerous excerpts from the great choral compositions during the month, among which are "Fair Ellen," the "Daughter of Jairus," the "Rose Maiden," "By Babylon's Wave," and others. The Dubuque, Ia., Choral Association will give "The Creation" under William H. Pontius, and it is hoped that the well-known male chorus, the Apollo Club, of St. Louis, under Alfred G. Robyn, will give a concert of miscellaneous numbers before the close of the month.
29The music for the masses has not in the least been overlooked, for the United States Marine Band, which has leave of absence from Washington for several weeks, will continue the delightful character of music for which it is so justly celebrated, and no more inspiring sight is seen upon the grounds than the interested crowds which nightly congregate in the Grand Plaza before the chief music pavilion, which, by the way, is a gem of beauty, and artistically as well as scientifically built at a cost of $4,000. The space in front of this pavilion will accommodate 20,000 people, beyond which are the immense restaurants with their three stories of colonnades where the inner man finds satisfaction and the troubled soul may find solace in the sweet strains of the band.
31Among the soloists who have been engaged for the various works mentioned are Mrs. Katharine Fisk, of New York; Anna Metcalf, of St. Louis, and among the Chicago artists Charles W. Clark, Frederick Carberry, Mabelle Crawford, Jennie Osborn and Frank King Clark; and also Mrs. Katherine Bloodgood, contralto, and Mrs. Hadden-Alexander, the charming pianist, both of New York. Mrs. Hadden-Alexander will play the F minor concerto by Chopin and a group of MacDowell's.
33The Congress of Musicians, which meets June 30, should interest the entire profession, as an exceedingly interesting program has been outlined, consisting of essays, recitals and concerts, which will prove very attractive to all musicians who have an ambition to excel, and will be far reaching in its results in uniting the profession in an effort to advance the art in America and to purify the musical atmosphere. It is hoped that the efforts which have been put forth to please and edify visitors at the exposition during this month will prove so successful that during the months of September and October still greater programs may be presented and artists of international reputation may be heard.
35Thomas Kelly deserves much praise for the manner in which he has held together the local exhibition chorus in the face of many discouragements and annoying circumstances which, to a less decided and persevering conductor, would have been utterly discouraging.
37The COURIER will be kept posted from week to week regarding the good things, musically, at the exposition, and readers may be assured that it will be given in the most concise manner.
39The Articulating Organs.
41An Intelligent Adjustment and Control of the Articulating Processes an Absolute Necessity.
43BY WARREN DAVENPORT.
45ARTICLE IV.
46(Concluded.)
48IN concluding this series of articles let me again warn the student against accepting the conclusions of scientists, the conceit of many of whom concerning the supposed reliability of their own statements, as well as the stupidity which is shown by them as regards a reasonable amount of intelligence concerning the subject of voice production, renders it impossible for some of these wise men to even comprehend the use of the English language when applied to a consideration of any process of development not founded upon their scientific basis.
50No matter how clear and convincing may be your argument in the estimation of others interested, with these secluded scientists it nevertheless fails of comprehension.
52You receive in response to something you have written the most complimentary communications, assuring you that you have treated the subject in a clear and logical manner, expressing thanks for the information imparted, acknowledging its valuable aid in enabling them thereby to remedy errors of long standing in their vocal efforts, and assuring you how helpful the contribution has been in disabusing their minds of many false principles, the practice of which has well nigh brought ruin to their vocal powers.
54With evident sincerity and gratitude you are informed that the light furnished has stimulated them to renewed efforts after their labors with scientific processes have failed of good results and their ambition had about departed.
56And yet the very article that has excited this favorable comment from those practically interested in the vocal art, both singers and students, would on the contrary call forth from one of these scientists a voluminous contribution in the attempt to expose your ignorance upon the subject.
58The non-comprehension exhibited by these scientists regarding the proper means of acquiring normal action in the sound-producing processes is surprising in many instances.
60It is useless to reply to their contributions and indulge in a controversy, for it would fail of good results, because of their ignorance of what is right and wrong, in every case, nearly, their own statements proving that they cannot discriminate between a corrupt sound and a correctly produced tone.
62Every scientist whom I have heard attempt to illustrate his theories through a practical demonstration has shown results that would prove conclusively to any critical ear that he had no idea of how to command correct emission of the voice.
64Pay no heed to these scientific speculators, my dear student, for to contemplate their theories even courts disaster, and may prevent you ever gaining the ability to normally employ your vocal powers, to say nothing of the
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