Scan 25
Musical Courier 1898-06-22: Vol 36 Iss 955, 1898
103 lines. Read by computer on 21 September 2026. Printed page 26. See the scan on archive.org.
1Apel.
2Lillian Apel has decided to spend the summer months in Detroit in preparation for the concert work of the coming season. Miss Apel will assist her father, Franz A. Apel, in the direction of his summer school for teachers and advanced students.
4Charles A. Fisher.
5Charles A. Fisher, teacher of singing and chorus director, of St. Paul, Minn., who has been in the East for several weeks, on his way to Europe, sailed from Baltimore June 15 on the Norddeutscher Lloyd steamer Willehad for Bremen. Mr. Fisher will resume his work in St. Paul on October 1.
7Townsend H. Fellows Now.
8The firm of Thomas & Fellows has been dissolved by mutual consent and from this date will be continued by Townsend H. Fellows at the same address in Carnegie Hall.
10Mr. Fellows will extend all the courtesies and facilities of the late firm to past and prospective patrons.
12Nellie S. Hyde.
13Miss Nellie S. Hyde, the possessor of one of the most beautiful contralto voices, who coached with Mme. A. Lankow of New York, sang with great success in Alliance, Ohio, at the concert of Ernest Gamble, the well-known basso. Miss Hyde sang two groups of songs, one, "O, Love, Thy Help," Saint-Saëns; "Serenata," Tosti; "Ici-bas," Duprato; the other, "Lucia," Luzzi; "Dreams," Bartlett; "My Heart Is the Shore," Farmer.
15Alumni Association Meeting.
16The annual meeting and banquet of the Alumni Association of the Broad Street Conservatory of Music was held at the Conservatory, No. 1331 South Broad street, Philadelphia, on last Wednesday morning at 11 o'clock, when the following officers were elected for the ensuing year: President, Miss S. Lelia Bowers, of Washington; vice-president, Miss M. Rudy, Philadelphia; secretary, Miss Ella O. Manning, Camden, N. J.; treasurer, Miss Gertrude Slemmer, Philadelphia. Speeches were made by the director, Gilbert Reynolds Combs; Miss Gertrude Perkins, of Salem, N. J., the retiring president; Preston Ware Orem, on behalf of the faculty, and Miss Gertrude Humphrey, of Jamestown, N. Y. of the class of '98.
18Arthur L. Manchester.
19At a recent recital in Camden, N. J., Arthur L. Manchester took part, as did also one of his pupils, Miss Maud Heisler, whose beautiful mezzo-soprano voice was highly appreciated. The teacher and pupil sang "Calm as the Night," as a duet, and Miss Heisler gave as one of her numbers a "Cradle Song," by Mr. Manchester. The whole program was excellently arranged, Mr. Manchester's composition being particularly interesting.
21The annual musical evening by the pupils of Smith N. Penfield and Arthur L. Manchester was given at the chapel of the Livingston Avenue Baptist Church, New Brunswick, N. J., on the evening of June 15.
23Hanchett.
24The recitals and Beethoven readings that Dr. Henry G. Hanchett is giving this month in Syracuse, N. Y., continue to elicit the warmest encomiums of the local press. The Daily Courier devotes half a column to the recital of June 16, which presented Schumann's "Etudes Symphonique," part of a Schubert Sonata, a Liszt Rhapsody and other pieces, in the course of which it says:
26His present work in all its phases is far superior to that of the many so-called artists and long-haired musi-
27cians imported from abroad. It proved to be one of the most enjoyable recitals given here by a pianist in a long time. The tours de force and the technical facility which he exhibited in playing the Liszt Rhapsody and the Finale from Schumann studies were astounding to those fancied that Dr. Hanchett was more of a good all-round musician than a virtuoso. Delightful as was his playing, his prefatory comments were fully as enjoyable, because they showed the deep insight that results from exhaustive study.
29By means of these illuminating analyses, Dr. Hanchett enables one who is not technically proficient in music to grasp more fully the beauties contained in serious musical works. Those who seek to know the true inwardness of a great composition will derive a great satisfaction from attending these recitals, and others who care only for the pleasure of the moment in listening to a musical entertainment will find his brilliant as well as solid performances very enjoyable.
31Joseph S. Baernstein.
32The following notices earned by this successful artist should be read in conjunction with those published recently:
34Mr. Baernstein was both a surprise and a pleasure. His voice seems limitless in quantity and its richness in melodious passages, together with its dark metallic quality where tragedy or gloom are required, make a most unusual combination. To indicate him by comparison, he is more like Plançon than anybody else, and the comparison is not at all to the disfavor of the younger singer. He has the same quick dramatic appreciation which makes Plançon's singing satisfying and he has fully as much power and richness of tone.—Brooklyn Daily Eagle, New York, April 26, 1898.
36The star of the performance was Mr. Baernstein, the basso. He has a glorious voice, well placed, powerful and its great compass enables him to sing the tender baritone passages as well as the basso parts in which the "Curse" was sung last night. Mr. Baernstein is blessed, too, with great dramatic power.—Standard Union, Brooklyn, April 26, 1898.
38Mr. Baernstein had little opportunity throughout the week to show himself to real advantage. What we have heard would justify us in the belief that he is a reliable, thorough and painstaking artist with a good voice which is always agreeable.—The Musical Age, June 1, 1898.
40Staats Piano School Recital.
41This was the very attractive program given at the annual recital last Saturday afternoon:
43Tonbilder, op. 51, Nos. 8 and 11………….Loeschhorn
44Misses Josephine Chapin and Gladys Wardlaw.
45Dornröschen………………………………….Bendel
46Master Harry Anspacher.
47Amami…………………………………………..Denza
48Miss Edith Heywood.
49Airs de Ballet—
50Scarf Dance………………………………….Chaminade
51Callirhoë………………………………………Chaminade
52Miss Constance M. Barber.
53The Flatterer………………………………….Chaminade
54Hungarian Dance…………………………….Brahms
55Miss Frances B. Lynch.
56First movement from Sonate in F………….Mozart
57(With second piano accompaniment by Grieg.)
58Master Harry Anspacher and Mr. Staats.
59Since First I Met Thee……………………..Rubinstein
60The Shoogy Shoo…………………………….Mayihew
61Witches' Dance……………………………….MacDowell
62Miss Frances B. Lynch.
63Polonaise, op. 22…………………………….Chopin
64Miss Clara L. Moore.
65Orchestral accompaniment on second piano, Mr. Staats.
66Overture. Euryanthe…………………………..Weber
67Misses Andrews, Barber, Moore and Sandford.
68Miss Hanna Louise Saxer, accompanist.
70Misses Chapin and Wardlaw played their little pieces nicely, Master Anspacher his solo correctly and later the Mozart sonate with good taste. Miss Barber did well with the two Chaminade pieces, sans notes, and Miss Lynch displayed grace and temperament in her brace of pieces, likewise played without notes. The tempo in the "Witches' Dance" was too slow too make it effective. Miss Moore was clearly overweighted with the Chopin Spianato Polonaise; however, she played conscientiously and did her best, and that is all anyone can do. Miss Heywood's voice is pleasant and was displayed to best advantage in the fervid Denza song. Mayihew's "Shoogy Shoo" is not for grown people. A bit more rehearsal with her accompanist would have been an improvement.
72Virgil Piano School
73June 25, Saturday, at 1 o'clock, at the Music Teachers' National Association the Virgil Piano School have arranged, in addition to the piano numbers, a display of technic on four claviers and four pianos. As the school's work is always interesting and instructive, the reader will no doubt be glad to know of this opportunity to see technical work well demonstrated and ably handled.
75The following subjects will be given:
77Rapid chord playing.
78Heavy chord playing with combined motion.
79Heavy chord playing, staccato.
80Crescendo and diminuendo scales. Rate of velocity 576 notes per minute.
81Scales in thirds, sixths and tenths. Rate of velocity 576 notes per minute.
82Octaves in skips of fifths. Legato and staccato. Hands together, contrary motion. Rate of velocity 480 notes per minute.
83Octaves for velocity. Scale of C. Rate of velocity 640 notes per minute.
84Arpeggios—Hands together; similar and contrary motion. Rate of velocity 640 notes per minute.
85Arpeggios—Hands separately. Rate of velocity 800 notes per minute.
87This school has established a standard of excellence that the old methods find impossible to reach, and although it is a radical change from the old way of study, one cannot help but admit, upon seeing the technical feats accomplished, that they possess the secret of knowing how to play the piano.
89The piano numbers will be as follows:
91Spinning Song……………………………….Wagner-Liszt
92Ballade, op. 47……………………………….Chopin
93Revolutionary Etude, op. 10, No. 12………….Chopin
94Butterfly Etude, op. 25, No. 9………………Chopin
95Chant Polonaise……………………………..Henselt
96If I Were a Bird……………………………..Moszkowski
97Caprice……………………………………….Moszkowski
99The recital will take place in the Astor Gallery of the Hotel Waldorf.
101Johanna Bayer-Lee's Concert.
102Six months since Mrs. Bayer-Lee opened a studio in Sherburne, N. Y., for the purpose of giving to such as might desire lessons in voice culture. That her time might be fully occupied, she visited Waterville one day in the week, but this was soon abandoned owing to the growth of the Sherburne class. The material which came to her was, as might be expected, decidedly in the raw state, some of it even in an injured condition. The work was of the uphill order, but the earnestness brought into it by the teacher soon found response in the hearts of the pupils and they quickly settled down into a conscientious endeavor to make the most of the opportunity. In every single case it was found necessary to commence at the very rudiments and lead up successively through notes, time, sight reading, education and development of the ear and voice registers, technic, &c., until the later matters of phrasing and expression could be made applicable in the interpretation of a few of the composers. It is not the purpose of these lines to give credit to the teacher; her previous work with professional singers is too well known. It is the pupils who are to be congratulated upon a knowledge they have by diligent application acquired, and which is in no case superficial. No apology is made for those who have been less fortunate and have
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