Scan 23
Musical Courier 1898-06-22: Vol 36 Iss 955, 1898
76 lines. Read by computer on 21 September 2026. Printed page 24. See the scan on archive.org.
1Martha Pilcher, Lexington, Ky., certificate; Miss Anna Peters, Cincinnati, Ohio, certificate.
2Rev. Dr. Baker pronounced the benediction.
3The board of examiners were the following: William H. Sherwood, Mrs. Anna N. Hartdegen, Pier A. Tirindelli, Mrs. Lily H. James, Sidney C. Durst, Charles A. Graninger.
5* * *
7The Odeon was crowded to its capacity an Wednesday evening, June 15, by the annual commencement exercises of the College of Music. President William McAlpin presided, and on the stage were seated members of the board of trustees, the faculty, Rev. J. C. Smith, who was the representative of the clerical committee in aid of the college, and those prominent citizens who participated in the program. The invocation was pronounced by Rev. Dr. C. L. Work. Addresses were delivered by Rabbi Isaac M. Wise and Rev. Frank Woods Baker, D.D. The venerable rabbi spoke to the subject of "The Importance of Song and Music in the World's Culture." He began by using the old saying that the pen is mightier than the sword. Yet the living word—the logo—of the Greeks, the expression of a soul under conviction, is mightier than the pen. And song and music are mightier even than the sword, pen and the living word. The rabbi showed how even the wonderful creations in Genesis were surrounded with the sentiments of music and song. Man sings before he speaks. He sings out an expression of his emotions to which he cannot give utterance in speech. A musical language is inborn in every man. In this connection of thought Rabbi Wise developed the truth that song and music are necessary to the world's culture. Rev. Frank Woods Baker, D. D., took the practical side of music. He held that music ought to be considered and treated as an art, not merely as an accomplishment. He next treated of music as a language to express the emotions. Thirdly, he spoke of the responsibility of the musician and his relation to the moral effects of music. Finally he treated of music as finding its widest field in religion.
8The musical exercises were of a high order of merit and reflected the admirable results of Mr. Van der Stucken's régime. George Ralf Kurtz played admirably the prelude and fugue in D major by Bach. Miss Helen M. Corbin was heard in the Mendelssohn Concerto, G minor, Frederick J. Hoffmann playing the orchestral part on a second piano, as he did in the succeeding piano numbers. Miss Corbin played with good conception, showing technical development as well as a poetic side. She has acquired a singing quality in her tone. In the last passages of the concerto she lacked in certainty and force. Mr. Hoffmann did all his work with thoughtfulness and discrimination. Miss Agnes Cain sang Liszt's "Mignon," and to the applause of the audience gave it da capo. It was not well suited to the temperament of her voice, but she did herself much honor, nevertheless. With a wide range, she has a remarkably even scale, and her lower notes, under Mr. Mattioli's training, are developing. Miss Clara Stephenson was a credit to the 'cello department, playing the concerto in D minor by Jules de Swert. The high tone pervading the class of elocution was fitly illustrated by the recitation of Eugene Fields' "The Local Editor," by Miss Sue M. Harder. Two of the most intelligent and advanced representatives of Albino Gorno's piano teaching presented themselves in the persons of Miss Genevieve Seymour Lincoln and Miss Aline Fredin. The former played a romanza from concerto in G minor by Sgambati and allegro from concerto in C minor by Pirani; the latter, a Hungarian fantaisie for piano and orchestra, by Tausig. Both are earnest in their art work and their talent is indubitable. Miss Gretchen McCurdy Gallagher sustained the high repute of the violin department in the first movement from Rode's concerto No. 1.
10President Wm. McAlpin made the presentation of gold medals and conferred the diplomas and certificates as follows: Post Graduate medallion, Frederick J. Hoffmann; Springer gold medal, Miss Eva Crawford, Dayton.
12Post Graduate—
13Frederick J. Hoffmann, Cincinnati, Ohio………..Piano
14Graduates—
15Miss Mabel Kelly, Cincinnati, Ohio………..Elocution
16George Ralf Kurtz, Shelbyville, Ill………..Organ
17Miss Genevieve Seymour Lincoln, Cincinnati, Ohio..Piano
18Miss Bertha J. Teal, Glen Este, Ohio………..Elocution
19Miss Ruth Marx Waldenberg, Cincinnati, Ohio.Elocution
20Certificates—
21Miss Corinne Cone, Rushville, Ill…Public School Music
22Miss Eva Crawford, Dayton, Ohio………..Piano
23Alfred F. Denghausen, Cincinnati, Ohio……..Voice
24Miss Nettie Downey, Winchester, Ohio……..Public School Music
25Miss Gretchen McCurdy Gallagher, Cincinnati, Ohio………………………..Violin
26Miss Grace A. Hollenbeck, Perrysville, Ohio……..Public School Music
27Miss Florence E. Horsley, Cincinnati, Ohio……..Public School Music
28Henry F. Kamp, Richmond, Ind…Public School Music
29H. Raymond Loder, Covington, Ky………..Piano
30Miss Lizzie Mathias, Cincinnati, Ohio……..Voice
31Miss Bessie Nelson, Oakland, Md………..Voice
32Miss Marie Lowry Parrish, Paris, Ky……..Voice
33Miss Sadi S. Pfister, Cincinnati, Ohio……..Public School Music
34Mrs. Belle King Redd, Marion, Ala………..Organ
35Miss Ada Rust, Lockland, Ohio..Public School Music
36Miss Pearl Schoonover, Cincinnati, Ohio……..Piano
37Miss Clara Williams, Cincinnati, Ohio……..Voice
39* * *
41Pier A. Tirindelli, the distinguished violinist and composer, who for the past year has been associated with the Auditorium School of Music, Friday handed in his resignation to Charles A. Graninger, director of the school. Mr. Tirindelli says that for some time past he has had grievances, believing that he was not treated with the consideration his position deserved. Among other things, he states, that his identity was completely swallowed up by the school. A recent instance of this he recites in the make-up of the commencement program, where the four first recipients of honors, Miss Emma Kolinky, Cincinnati teachers' diploma; Mathias R. Oliver, Lexington, Ky., certificate; Miss Clara Andrews, Yokohama, Japan, certificate; Miss Martha Pilcher, Lexington, Ky., were all pupils of his class, and yet neither his name nor the classification of "violin" was there to show to the audience that they had the slightest connection with his teaching. Mr. Tirindelli claims that such treatment was all the more unfair because the Auditorium School is conducted on the co-operative plan, where he, as well as every other teacher, paid rent for his room individually and contributed his share in the general expenses. As to the future movements of Mr. Tirindelli, he will remain in the city and associate himself with Miss Tecla Vigna next year. An eminent piano teacher is also to be engaged and the three will conduct a school of their own, probably in the Rawson Building. Mr. Tirindelli is a graduate of the conservatories of Milan and Vienna. Subsequently he completed his studies under Massart, in Paris. While in Vienna, under the instruction of the celebrated Professor Grun, he was a fellow student with Franz Kneisel, concertmeister of the Boston Symphony Orchestra. For ten years he was director and first professor of the violin of the Lyceum, in Venice. He is a composer of great versatility, having written many beautiful songs, chamber music and grand opera. His last opera, "Blanc et Noir," was given its first performance in this city last winter.
43* * *
45Wm. H. Sherwood, of Chicago, gave a recital on Saturday, June 4, in Assembly Hall, for the Auditorium School of Music. Mr. Sherwood is to be classed among the foremost American pianists of the present day. He is favorably known here, although it has been Cincinnati's regret not to have heard him for some twelve years or more. Previous to that time he had appeared frequently, and on the last occasion played under the auspices of the Ladies' Musical Club. Mr. Sherwood presented an interesting program, with some flavor of novelty besides the standards which go to test a pianist's ability. Mr. Sherwood combines the virtuoso and musician adequately. He has enormous wrist power, and his technic is wonderfully developed. But the musician ever comes to the surface and he never becomes dry or uninteresting. He gave the "Etudes Symphoniques," by Schumann, an intensely Schumann character in his reading.
47The last movement was a fine test of his virtuosity. A brilliant rendering he gave of "La Campanella," Paganini-Liszt. Three Chopin numbers were presented—mazurka, B major; prelude, B flat minor, and nocturne, C sharp minor. His tempo rubato was in the right proportion and he imparted to his playing delicacy as well as strength. The piano arrangement of Guilmant's Fugue in D major was given with rhythmic terseness. Mr. Sherwood played two compositions of his own, "Exhilaration" and "Ethlinda." There were also two numbers of especial interest, toccata, by Arthur Foote, and a gavot in canon form, by S. N. Penfield. Mr. Sherwood is a pianist who deserves to be oftener heard in this city. There is some reason to hope that he will be one of the soloists of the Symphony concerts next season.
49Mr. Sherwood came here on a dual mission—to give a recital and conduct, with Charles A. Graninger, the annual examination at the Auditorium School of Music.
51J. A. HOMAN.
53A Wagner Letter.
55A letter by Richard Wagner, dated January 31, 1871, thus replies to a question put to him by the singer Johannes Schleish:
57"In reply I bear witness that a catarrh, duly certified by a doctor, renders a tenor incapable of singing Lohengrin and I express also my opinion that a man who requires such a performance from a tenor in such a condition is in a wrong place as a theatre director. Under the circumstances he ought to be recommended as a director of a penitentiary."
59"RICHARD WAGNER."
61Nikisch.
63On June 4 the comic opera "Beggar Student" was performed at Leipsic by a grand opera cast for the benefit to the Actors' Fund and conducted by Arthur Nikisch. Musically speaking, such a performance is quite perfect in its way and Millöcker's graceful music was given with all refinement and detail, such as is to be expected from an ensemble and a conductor of the first rank. It is questionable, however, if such performances are of any importance as far as real enjoyment is concerned, for all things considered, the comic element was not in evidence, as singers like Moers and Greder are all too fine in their touches of humor, and therefore the verve and general hilarity demanded in a comic opera were only forthcoming when the low comedians of the Müller type had a bit to say. A comic opera cannot be stretched into anything else even under a Nikisch, and allowing a few units for local pride and "Unser Theatre" there was little real enthusiasm. Between the acts the orchestra under Nikisch gave a rousing performance of Liszt's Rhapsodie No. 1.
65K.
67CARL E. DÜFFT, BASSO.
68Concert and Oratorio—Festivals.
69For Terms, Dates, &c., address
70317 East 51st Street, New York.
72Mrs. Elizabeth Northrop, SOPRANO.
73Tour of Europe after May 1
74PERSONAL ADDRESS:
75338 W. 56th St., New York.
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