Scan 5
Musical Courier 1898-06-22: Vol 36 Iss 955, 1898
209 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 6. See the scan on archive.org.
1SOME CHICAGO ADVERTISEMENTS.
3J. H. KOWALSKI,
4Celebrated Vocal Studio,
5Suite 54 and 55, Kimball Hall,
6CH' AGO, ILL.
8MAX BENDIX,
9VIOLINIST,
10801 Steinway all,
11CHICAGO, ILL.
13Mme. JOHANNA HESS-BURR,
14Voice Coaching—Repertoire.
15FRANK S. HANNAH,
16Business Manager.
17Suite 1015-1016 Steinway Hall, Chicago.
19Mme. RAGNA LINNÉ,
20MARCHESI METHOD.
21ORATORIO—CONCERT—SONG RECITAL.
22Limited number of pupils accepted.
23Kimball Hall, Wabash Avenue,
24CHICAGO, ILL.
26FRANK T. BAIRD,
27THE ART OF SINGING.
2834 Monroe Street,
29CHICAGO, ILL.
31FREDERICK W. CARBERRY,
32TENOR.
33STEINWAY HALL,
34CHICAGO, ILL.
36D. A. CLIPPINGER,
37Voice Production and the Art of Singing.
38Room 40 Kimball Hall, Chicago, Ill.
40HOLMES COWPER,
41220 Wabash Avenue,
42CHICAGO, ILL.
44SHERWOOD PIANO SCHOOL. one of two readings
45WILLIAM H. SHERWOOD, Director, Steinway Hall, Chicago. one of two readings
46Special inducements are offered to beginners, who may be assured when commencing their studies here that they will never have to retrace their steps, but that their progress will be steady and certain. Mr. Sherwood's methods of technic, touch, phrasing, interpretation, etc., which have produced wonderful results, are exclusively used. Send for prospectus. one of two readings
47WALTON PERKINS, Secretary and Manager. one of two readings
48(no line here) one of two readings
50ESTABLISHED 1867.
51Chicago Musical College.
52College Building, 202 Michigan Boulevard,
53CHICAGO, ILL.
54Dr. F. ZIEGFELD, President.
55Dr. F. ZIEGFELD,
56LOUIS LK.
57HANS VON SCHILLER,
58WILLIAM CASTLE,
59BERNHARD LISTEMANN,
60Musical Directors.
61Catalogue giving full information mailed free upon application.
63SIXTEENTH YEAR,
641896-1897.
65MRS. REGINA WATSON'S SCHOOL
66FOR THE
67HIGHER ART OF PIANO PLAYING.
68297 Indiana Street,
69CHICAGO, ILL.
71MR. AND MRS. BICKNELL YOUNG,
72Lecture recitals on Opera, its Origin and Development; illustrated by vocal examples from the earliest epoch.
7367 Kimball Hall Chicago, Ill.
75A. J. GOODRICH,
76Theorist,
77Lock Box 978, Chicago.
78Author of "Goodrich's Analytical Harmony."
79"Complete Musical Analysis."
80"Music as a Language," &c., &c.
81Personal or correspondence lessons in Harmony, Composition, Orchestration, Analysis and Theory of Interpretation.
83WALTER SPRY,
84Director of Conservatory of Music,
85QUINCY, ILL.
86Piano and Organ Recitals.
88ANNA WEISS,
89Late of Vienna Conservatory,
90Concert Pianist and Teacher.
91Suite 98 Steinway Hall, Chicago, Ill.
93(no line here) one of two readings
94SHERWOOD PIANO SCHOOL. one of two readings
95WILLIAM H. SHERWOOD, Director, Steinway Hall, Chicago. one of two readings
96Special inducements are offered to beginners, who may be assured when commencing their studies here that they will never have to retrace their steps, but that their progress will be steady and certain. Mr. Sherwood's methods of technic, touch, phrasing, interpretation, etc., which have produced wonderful results, are exclusively used. Send for prospectus. one of two readings
97WALTON PERKINS, Secretary and Manager. one of two readings
99KATHARINE SPEAR CORNELL,
100CONTRALTO.
101Hyde Park Hotel,
102Chicago, III.
104Chicago Conservatory of Music.
105SAMUEL KAYZER, Director.
106Auditorium Building, Chicago, Ill.
107SEND FOR CATALOGUE.
108MUSICAL DIRECTORS.
109LEOPOLD GODOWSKY, Piano.
110ARTURO MARSCALCHI, Vocal.
111CLARENCE EDDY, Organ.
112S. E. JACOBSSON, Violin.
113FREDRICK GRANT GLARASON, Harmony, &c.
115Henry B. Roney,
116CONCERT ORGANIST—TEACHER.
117Organist and Choirmaster of Plymouth Cong. Reg. Nat. Church.
118The training of Boys' Voices for church and concert work a specialty. (Late Organist and Chorister of Grace Episcopal Church, Chicago.) one of two readings
119The training of Boys' Voices for church and concert work a specialty. (Late Organist and Chorister of Grace Episcopal Church, 1887 to 1890.) one of two readings
120Studio: 2300 Indiana Ave., CHICAGO.
122VICTOR HEINZE,
123Concert Pianist and Piano Teacher.
124Leschetizky Method.
125Studio: 1014 Steinway Hall, Chicago.
126THE HEINZE TRIO:
127VICTOR HEINZE, Piano
128EMIL BARE, Violin.
129BRUNO STEINDL, Violoncello.
130Can be engaged for Concerts, Musicales, &c.
131Address: Victor Heinze, 1014 Steinway Hall, Chicago.
133MRS. GEORGE BENEDICT
134CARPENTER,
135Director of MUSICAL ARTISTS.
136Season 1897-98.
137Representing the Wolfsohn Bureau of New York in Chicago and the West.
139HERMAN L. WALKER,
140Pupil of SHAKESPEARE and SBRIGLIA.
141TENOR.
142Concert, Oratorio, Song Recitals.
143Chicago Conservatory, Auditorium Building,
144CHICAGO, ILL.
146GOTTSCHALK
147LYRIC SCHOOL,
148INCORPORATED.
149MUSICAL AND DRAMATIC ART.
150L. GASTON GOTTSCHALK, Director
151Isabella Building,
15246 & 48 Van Buren Street, Chicago.
153Catalogues sent upon application.
155THOMAS TAYLOR DRILL,
156Basso.
157Oratorio, Concerts, Song Recitals.
158Vocal Instructor.
159Studio: No 5, Kimball Hall,
160CHICAGO, ILL.
162AMERICAN CONSERVATORY,
163Kimball Building, 243 Wabash Ave., Chicago.
164JOHN J. HATTSTAEDT, Director.
165ALL BRANCHES OF MUSIC, DRAMATIC ART.
166TEACHERS' TRAINING DEPARTMENT.
167Catalogue mailed free.
168JOHN J. HATTSTAEDT, ALLEN H. SPENCER,
169GERTRUDE MURDOUGH, Piano; KARLETON HACKETT, NOYES B. MINER, RAGNA LINNÉ, MME DE NORVILLE, Singing; CLARENCE DICKINSON, Organ; JOSEF VILIM, Violin; ADOLPH WEIDIG, Composition, and thirty other superior instructors.
170GERTRUDE MURDOUGH, Piano.
171JOHN KALAS, 'Cello.
172243 Wabash Ave., care of American Conservatory
174HARRISON WILD
175CONCERT ORGANIST.
176Piano and Organ Instruction.
178WILLIAM H. SHERWOOD,
179CONCERT AND RECITAL PIANIST.
180MR. SHERWOOD created a furor by his wonderful playing at the meeting of the M. T. N. A in New York City last June. His playing in other large cities this season has aroused the utmost enthusiasm. He has been acknowledged by critics, the public and musicians to be the greatest American pianist. Mr. Sherwood will teach and give recitals as usual at the Chautauqua (N. Y.) Assembly from July 11 to August 13.
182heard superior ones both in this country and in the United States.
184* * *
186The greater part of the third day's program was, notwithstanding the very prominent portion which the soloists absorbed of it, given over to the works of the modern school, beginning with Wagner. He was orchestrally represented by his Vorspiel to "Die Meistersinger," which once upon a time, in my younger days of superabounding Wagner enthusiasm, I likened to the Cologne Cathedral. It lost some of its inherent and overwhelming power and dignity through the fast tempo in which Professor Wuellner conducted it. On the other hand, Richard Strauss' wonderfully worked and cleverly conceived "Till Eulenspiegel" was excellently reproduced and with rare plasticity. It is one of the battle horses of the Cologne orchestra and its renowned conductor, who after the performance of this virtuoso piece was overwhelmed with applause and was the recipient of several laurel wreaths, an orchestral fanfare and other well deserved ovations.
188Between these two orchestral numbers took place the first solo of Mrs. Bloomfield-Zeisler, who was heard in her well-known bravura display piece, the Saint-Saëns C minor piano concerto. It is not a very deep, but an effective work, and as it was brilliantly played from a pianistic viewpoint, our clever countrywoman was able to score a big success with the audience. Her further selections in the second half of the program consisted of the slow movement from the F minor concerto of Chopin and the ephemeral so-called fantastic scherzo in D minor from Litolff's piano concerto. Why Mrs. Bloomfield-Zeisler chose two excerpts and Saint-Saëns' weakest piano concerto for just a Netherhenish Music Festival program I cannot understand, but she evidently misjudged the character of these the highest class and oldest of Germany's musical festival organizations. Mrs. Bloomfield-Zeisler, who replaced Paderewski on this occasion again, was much applauded after these fragments, and for an encore upon a double recall she gave the Mendelssohn "Spinning Song." The orchestral accompaniments were not at all as perfect as they might have been, but this fact is accounted for in some measure through Mrs. Bloomfield-Zeisler's spasmodic shifting of tempi and nervous, jerky rhythms. I have heard her play much better and decidedly more musically and with more temperament than she did at this festival, when she seemed bent upon nothing else but to captivate the audience through a display of technic.
190Frau Marie Wittich's solo consisted of the recitative and aria of the Countess from Mozart's "Nozze di Figaro," which she sang with excellent artistic results.
192The festival chorus did not shine to quite as good advantage in Brahms' important "Song of Fate" as it had done on the previous days, but still the reproduction was more than a merely respectable one.
194Very well received was Concertmaster Willy Hess, who is a great favorite in Cologne, and who performed the Spohr "Gesangsscene" with sweet, noble, but not very big tone and with absolute cleanliness of execution as well as intonation. The orchestral accompaniment in this number was as discreet and precise as could be wished or imagined.
196The second half of the program, which on this third "artists' evening" of the festival consumed altogether four hours and a quarter, opened with old standby, the "Oberon" overture of Weber, which proved another big success for Prof. Dr. Wuellner and the orchestra. Then came "Siegfried's Farewell" and "Siegfried's Rhine Journey," two of the most beautiful episodes from "Die Göttterdammerung." The duet was very tellingly sung by Frau Wittich and Herr Kraus, and the orchestral postlude with verve and quite adequately performed, despite the fact that toward the close the first trombone made a premature entrance.
198Of the piano soli in this part of the program I spoke above, and they were followed by three Lieder sung by Herr Theodor Bertram. The first was the group from "Tartarus," one of the greatest of Schubert's and of all existing Lieder literature. It was forcefully sung, but the Schubert "All Souls' Litany," a very heavy and slow song, was unmercifully dragged by Herr Bertram, thereby making its lengthiness felt even more strongly than was necessary. The singer scored a cheap success, however, with Loewe's "Prince Eugene," one of the master's weaker creations, and as an encore he sang Schumann's "The Two Grenadiers."
200The festival closed quite appropriately and with a good final climax, reached in a fine interpretation of the last finale from Beethoven's only opera, "Fidelio," which was rousing sung by the chorus as well as the soloists, and after which Prof. Dr. Wuellner was recalled to the concert platform many times amid the peltings of flowers, which the young ladies of the chorus showered upon him.
202* * *
204Thus ended the seventy-fifth Netherhenish Music Festival at Cologne. A festive supper united the conductor, soloists, committee and some invited guests as well as a few of the prominent people of the hospitable and joyful town until the wee hours of the morning, and on the next day those who had been wise enough not to mix champagne with their pure Rhine wine (the French and German elements do not always agree with each other) journeyed to Barmen to enjoy the first of three performances of Hector Berlioz's Requiem Mass, which Chorusmaster Karl Hopfe produced there under peculiar circumstances. This very energetic as well as enterprising conductor has gathered together a body of amateur singers, which he calls Volkschor (the people's choir), and which is virtually composed for the greater part of factory and shop girls and working men, a good many of whom do not even know notes. Altogether they amount to over 500 voices, and with this big body of people Chorusmaster Karl Hopfe has studied Berlioz's difficult work, and so drilled his people that on last Wednesday night he was able to give the first public performance of it in the newly built, very spacious Stadthalle, a square concert hall situated in the beautiful promenade a few minutes' walk outside the town. The concert was only sparsely attended, as the admission fee on the first evening was four and five marks a seat, which is a little steep here in Germany and under the circumstances. The first repetition, which is planned for to-day, will unquestionably be largely frequented, as the price of admission is to be two marks (about 50 cents), and on next Sunday I expect pandemonium will reign in the Barmen town hall, as the admission for the third performance is set at the low fee of one mark.
206The orchestra, formed of the combined city orchestras of Barmen and Elberfeld, was ninety strong, and the brass for the four side orchestras, thirty-eight men, was taken from the band of the 159th Infantry Regiment at Dusseldorf. It was not a first-class orchestra, but it sufficed for the purpose. The chorus is made up for the greater part of young, fresh folks material, entirely uneducated vocally, but sonorous in tone quality.
208The original thing about the reproduction was that
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