Scan 10
Musical Courier 1898-06-22: Vol 36 Iss 955, 1898
79 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 11. See the scan on archive.org.
1of Th. Dubois, director of the Conservatoire Les Myrtilles.
3An interesting musician whom this big city scarcely knows yet, but will love one day, is a timid, modest flower of an artist pianist and composer named Paul Puget. Like a flower that is born to blush unseen this rare man up in a modest "cinquième" of a distant quarter with the inspiration of an adoring wife and devoted bonne, is writing away constantly the most ravishing and masterly little gems of song. As he is one of these men who imagine that creation of a piece of work is all that is necessary in regard to it, it goes without saying that his "collections" are not objects of international search as yet.
5He has written much dramatic work besides, which makes the adoring wife and bonne turn pale and tremble with admiration. By some chance it occurred to the little party recently that it would be a good joke to present one of them, "Beaucoup de bruit pour rien," to the Opéra Comique. Not only was the piece accepted, but accepted "quick," and not only so, but, if you please, is to be played in the new Opéra Comique, which opens next fall. Imagine if you can the joy in that little household. Paul Puget is a Prix de Rome. It is now, I believe, some fifteen years that he has been writing away without ever thinking of offering himself for recognition. We hope for a grand success for M. Puget's opera.
7Edward B. Hill, pianist, of Boston, is in Paris to look into the French school of piano work, and to study composition and harmony.
9Mlle. Minnie Tracey, a well-known American singer in Europe, won great applause at the Continental Hotel this week for her admirable singing of the grand "Aida" aria, the Balcony aria from "Lohengrin" and an aria from "Iphigénie en Aulide." Miss Tracey ought to be singing in America. She is a beautiful woman and intelligent musician, besides having a beautiful voice.
11Mrs. Williams, a pianist from Toledo, Ohio, who is in Europe studying the schools and coaching with composers, has been in Paris recently playing for M. Moszkowski his compositions, which she much admires. She has left for London to perfect herself in sight reading, indispensable in accompaniment playing, which is her chosen branch of piano work. In Berlin she was pupil of the brilliant young German-American Mr. Schirmer, who has been so fortunate in establishing himself in the best ranks in Berlin.
13Miss Electa Gifford, who has been studying so seriously in Paris for the past two years, has left for Southampton to meet her friend Miss Anna Millar, who arrives this week for London. They pass the opera season there and then come to Paris to rest.
15Mme. Yoeling Rambaud gave another of her charming concerts at the Salle Journal this week.
17On Wednesday Henry Danvers gave a very interesting concert with the assistance of Mlle. Kireevsky, Paul Seguy and other artists. Riva Berni was the accompanist. M. Danvers played Brahms' Fourth Ballade, Paderewski's Menuet, a Mendelssohn Etude, a Liszt Rhapsody, and in the Schumann trio for piano, 'cello and violin ("Fantasiestuck"). one of two readings
18On Wednesday Henry Danvers gave a very interesting concert with the assistance of Mlle. Kireevsky, Paul Seguy and other artists. Riva Berni was the accompanist. M. Danvers played Brahms' Fourth Ballade, Paderewski's Menuet, a Mendelssohn Etude, a Liszt Rhapsody, and in the Schumann trio for piano, 'cello and violin ("Fantaisiestuck"). one of two readings
20Paul Seguy added to his many laurels by singing in his inimitable manner an air from Diaz's "Benvenuto," some charming French songs, which he sings as few can sing them, and in a duo from "Mazeppa."
22Miss Helen Koelling, an American girl last year in Paris, now in London studying, has been fortunate enough to have already found favor in the latter city. She sang this week at an "at home" given by the Baroness de Reuter in her mansion at the Kensington Palace Gardens. Her "sweet, sympathetic voice and artistic singing" were spoken of and the "first appearance" was highly satisfactory, especially so as she sang with artists of experience and position.
24Mrs. Alma Ribolla is another American-Paris-London artist of whom one frequently hears, and always favorably. She leaves soon with her husband for a visit home, returning to London for the winter season.
26Mr. Eddy has been invited to return to Turin to play before the Queen.
28A concert will be given this week at the Theatre Lyrique Galerie Vivienne under the direction of Ambroselli. Bernhard Pappelsdorff, contrebassiste virtuose, will be the centre of the performance, with the assistance of Mme. Claus, a singer, and Mlle. Seidlitz, pianist. Mr. Pappelsdorff will play a concertino of his own composition, an andante by Gounod and the "Tannhäuser" romance.
30An extremely valuable and interesting book is out by Mme. Andre Gedalge, "Les Gloires Musicales du Monde." It is a survey of music and musicians the world over from the times of Grecian and Roman music to the present day. It contains also essays on contrepoint, vocal, instrumental composition and a catalogue of standard reference works on music. Details later.
32A pupil of Mme. Lurig, of Paris, was the last American to sing at the Dr. Paxton services in Paris. She sang Gounod's "Divine Redeemer," an air from "Eli" and a Prayer by Sullivan. Mme. Lurig is fast coming to the front as an earnest, modern, wide-awake professor, who is not going to allow her work to run into ruts or shut her eyes to the march of musical events in other countries.
34A teacher of piano who makes a special study of solfège for her pupils and has classes in the study is Mme. Hazelton, 5 Rue Laperouse. As Americans particularly need this study in connection with their work, vocal and instrumental, it would be wise to remember this number. An audition of the pupils of Mme. Hazelton was recently given under the auspices of M. Marmontel.
36A young son of the lady is a student in violin of the Paris Conservatoire, and leaves this week for Berlin to continue his study there.
38Americans should sing Italian in France and French in Italy. Then no one will know how badly they do. The criticism through which they pass here in Paris (behind their backs) is something scathing.
40One of the first Casino returns of the season is from Enghien-les-Bains, a charming thermal resort fifteen minutes from Paris. Comedy is given twice a week, concert the rest. The Casino is now open.
42Mrs. Homer has been engaged for Antwerp after her season at Vichy.
44A pupil of Julianis, Miss Nelson, leaves Paris soon for America to sing in concerts, with a view of returning to complete her studies. A really earnest, studious girl, she should be helped and encouraged if found that her talent justifies it.
46Agnes Booth and Madame Litvinne are in the city.
48Mary Louise Clary.
50Miss Mary Louise Clary has been engaged as prima donna contralto for a tour of 100 concerts next season throughout the East and the Middle West.
52National Institute of Music.
54Wm. M. Semnacher, director, announces a special course of thorough instruction in piano, vocal culture, violin, harmony and composition. Piano department, Wm. M. Semnacher; vocal culture, Mlle. H. S. Corradi (member of the French Academy); harmony and composition, Daniel Wilson (former pupil of High School, Berlin, Germany).
56The foremost Music School of America,
57NEW YORK COLLEGE OF MUSIC.
58138-139 East 58th St., New York City.
59ALEXANDER LAMBERT, Director.
60The College offers unequaled advantages in all branches of music. Special department for beginners. Students received daily. Terms, from $15 upward per quarter. College open all Summer.
62SPECIAL NOTICE.
64The two next editions of THE MUSICAL COURIER following the present—those of June 29 and July 6—will be merged into one huge edition bearing the date of July 4, which will be known as the First Section of the National Edition of THE MUSICAL COURIER. That is to say, instead of publishing on Wednesday, June 29, and on Wednesday, July 6, there will be one edition on July 4, embracing more than any two regular editions of the paper and covering a larger and more extensive circulation.
66The next regular issue of THE MUSICAL COURIER will be published on July 13.
68The Second Section of the National Edition will be published in the autumn.
70"Critique" to Dr. Muckey.
72MY DEAR SIR—You say you are surprised that you should be accused of discourtesy in using the expression "A Spanish nuisance," for the reason that it was a quotation, and you are not yet prepared to agree with its originator. You will not deny that the expression is distinctly discourteous, and it can hardly be termed an act of courtesy to use someone else's discourteous expression as a heading for your own article. I am not, however, writing an essay on etiquette, and space is too valuable to be wasted in discussing so unimportant a matter. It is my opinion, as an American, that the expression in this discussion is one of extremely questionable taste; you do not agree with me, so we will simply waive the question. Apropos of this, you speak much of "concise descriptions;" can you dignify the title of your present article, viz.: "The War with Spain," as a "concise description" of its contents?
74You ask if I have given a concise description of the voice. I will frankly answer, no. I stated at the beginning of my article that it was written for the purpose of showing your illogical methods of reasoning, and the weakness of your arguments against Belari's position. This I did, without attempting to prove Belari's statements. I showed your limited understanding of certain words, union, for example, and your absurd conclusion that Belari meant the same as you did in regard to there being but one register.
76It would have been more satisfactory had you used the first column of your present article in answering some of the statements made by Belari regarding the use of intrinsic and extrinsic muscles, instead of writing a dissertation on truth, all of which is accepted and does not need proving. You have so much to say regarding concise and clear description that I cannot further forbear mentioning, in passing, that all you write regarding truth, clear thinking, the use of words, &c., is badly and clumsily expressed; but we are writing on "voice training," and I shall not discuss your rhetoric. Why not keep to the subject of voice training, and cease padding your articles with so many quotations on irrelevant subjects?
78My present article will be no more a concise description of the voice than my former, and I will tell you why further on. I will endeavor, however, to explain what is meant by the term "voice placement," although this I did in my former article. I will also show you the necessity for the use of certain terms in voice training, which are not absolutely correct from a scientific standpoint, but which serve an excellent purpose of conveying a description of the impression which the voice produces on the ear. I will also show how limited is your understanding of the English language. Perhaps after I have made these
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