Scan 10
Musical Courier 1898-08-15: Vol 37 Iss 962, 1898
67 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 11. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1THE MUSICAL COURIER.
3SAN FRANCISCO
5139 Kearny Street,
6SAN FRANCISCO, Cal., August 10, 1898.
8THERE is just enough movement in musical circles to show that teachers are beginning to return from the summer outings, and although they have scarcely begun active work they are all laying plans.
10It would be impossible to state as yet what the outlook is; yet, taking into consideration that the grand opera season is now on, the Tomlins work is to begin August 12, the Symphony Society is electing its officers and Aus der Ohe is expected about the middle of September, it looks as though things might be lively this season.
12The teachers are always busy, for there is a large number of students, and most of San Francisco's important teachers have the advanced work in out-of-town points, so that the San Francisco teacher is literally worked to death, for the seasons are long here, being in full sway by September and hardly dead until July.
14Mills College opened August 1 with the usual corps of teachers which makes the music department of this college so notable, and which, indeed, is the strongest point of attraction to those who come from Washington, Idaho and Montana for the benefits to be derived from this school. It is satisfactory to think that there is no better instruction available than that to be had in Mills College, where Louis Lisser is director and piano teacher, Giulio Minetti violin instructor, and H. B. Pasmore teacher of voice. In addition to the instruction of these men, the pupils have the benefit of hearing their teachers in frequent recitals, for not alone is each one a pedagogue but an artist capable of holding the interest of any audience.
16Besides Mills College, each of the aforesaid teachers has an enormous class of pupils in San Francisco, and the pupils bear the stamp of their teachers' work.
18San Francisco is the home of a man who has accomplished more for the technic of the Coast than might be expected of one man. Hugo Mansfeldt, who was a co-student of Rosenthal and Sauer under Liszt, has written a work on piano technics, which, after thorough, deliberate and intelligent examination, must elicit as much admiration as any method that has ever been presented to the musical world, and that which has seemed weak and incomplete in other methods has been thoroughly strengthened and rounded out in this.
20Mansfeldt claims that equality can never be brought about by uniformity of work between the naturally strong fingers and the naturally weak ones, so that everything has been scientifically studied out to this end. He also believes that entirely too much time is consumed in studies, scales and mechanical work, and makes this do the work in less than half the time required by other courses. Every exercise in the book is given with the intention of securing practical results.
22Over six thousand copies of the "Mansfeldt Technics" are in use in California, and the greatest results are being obtained from them. A revised edition has just been put upon the New York market, and there is little doubt of its being successful if brought under the notice of the right people.
24Pierre Douillet has resumed work at the University of the Pacific, and has taken residence in San Francisco, where he has a class that is steadily increasing. Douillet will also give some recitals this season, and as he is a pianist of unusual ability he will doubtless draw large audiences—at least he ought to, because in the present day it is unpardonable to be unfamiliar with piano literature, and Douillet's interpretations are both interesting and valuable, and he has a very large repertory.
26Wm. Piutti, the talented pianist and teacher of whom I have spoken before, has just concluded a series of piano recitals given every Saturday afternoon during June and July, during which time he presented admirable programs admirably. The following clippings will show how he is regarded locally:
28On Saturday afternoon at Kohler-Chase Hall William Piutti gave the second of a series of classical piano recitals which will be enjoyed weekly through June and July by students and lovers of music. The rendition of the interesting program, consisting of several gems from Mr. Piutti's large repertory, proclaimed him an artist in the highest sense of the term. Dignified and unassuming in bearing, he possesses the power of gaining upon his hearers as he progresses, for he lends himself to the style and mood of the composers with unusual intelligence, power and grace, playing so easily that the listeners scarcely realize his magnificent and masterly handling of the technical difficulties, but are lost in admiration of the warmth and color thrown into his interpretations, which seem like the voice of a noble, strong spirit revealed through the agency of the keys. He has a fine left hand, which does telling work, while his trills and brilliant runs and delicate shading and expression are like flowers of beautiful thought. Mr. Piutti's program comprised: Toccata and fugue (D minor), Bach-Tausig; sonata (G minor), Schumann; Berceuse, Grieg; Valse (C sharp minor), Chopin; Nocturne (F sharp major), Chopin; "Tambourin," Raff; "Gondoliera," Liszt; "Waldersauchen," Liszt. The Chopin and Grieg numbers and Raff's brilliant "Tambourin" were especial favorites, and with the closing Liszt composition, rendered with fiery strength and character, the audience, like Oliver Twist, was tempted to wish for "more."—Town Talk, June 13. one of two readings
29On Saturday afternoon at Kohler-Chase Hall William Piutti gave the second of a series of classical piano recitals which will be enjoyed weekly through June and July by students and lovers of music. The rendition of the interesting program, consisting of several gems from Mr. Piutti's large repertory, proclaimed him an artist in the highest sense of the term. Dignified and unassuming in bearing, he possesses the power of gaining upon his hearers as he progresses, for he lends himself to the style and mood of the composers with unusual intelligence, power and grace, playing so easily that the listeners scarcely realize his magnificent and masterly handling of the technical difficulties, but are lost in admiration of the warmth and color thrown into his interpretations, which seem like the voice of a noble, strong spirit revealed through the agency of the keys. He has a fine left hand, which does telling work, while his trills and brilliant runs and delicate shading and expression are like flowers of beautiful thought. Mr. Piutti's program comprised: Toccata and fugue (D minor), Bach-Tausig; sonata (G minor), Schumann; Berceuse, Grieg; Valse (C sharp minor), Chopin; Nocturne (F sharp major), Chopin; "Tambourin," Raff; "Gondoliera," Liszt; "Walderauhen," Liszt. The Chopin and Grieg numbers and Raff's brilliant "Tambourin" were especial favorites, and with the closing Liszt composition, rendered with fiery strength and character, the audience, like Oliver Twist, was tempted to wish for "more."—Town Talk, June 13. one of two readings
31William Piutti was greeted by a larger audience last Saturday afternoon than enjoyed his two previous piano recitals of the series given in Kohler-Chase Hall, a fact not only gratifying to the artist, but speaking better for the taste of our city. The gem of the program was Beethoven's "Moonlight" sonata. Had Mr. Piutti played that only the audience might have confessed they had enjoyed a treat, for his interpretation was poetical in the extreme. All true lovers of music are familiar with the exquisite light and shade, the alternating pathos and happy inspiration in this rare work. It is sufficient to say that in each movement Mr. Piutti was master, and was listened to with rapt attention, for even those who lacked musical training were able to guess much that was beautiful and uplifting, as one lovely strain followed the other, and as he played the slightest movement, even to the rustle of a program, seemed to jar upon the quiet which prevailed. What higher compliment? Other numbers were Chopin's ballade in G minor, Schubert's "Moment Musical" and Weber-Knutzak's "Tutzow's Wild Chase"; but the favorites with the audience were Kontski's "Polish Patrol" and Beethoven's "Turkish March." The spirited style and clear accenting seemed to catch the ear, and Mr. Piutti received generous applause. The writer was more deeply stirred by the rendition of Schumann's aria, which seemed infinitely sweet and soothing, and was played with sympathy and elegance. The closing number was Schumann's difficult etudes symphoniques, after which Mr. Piutti found several outstretched hands and congratulations awaiting him.—Town Talk, June 25.
33Piutti has a large class which is unanimous in pronouncing him as most sincere and conscientious in his work. He has turned out some fine pianists already, and has several more that will be in good condition before being rushed before the public. Piutti has the advantage of being a clever lecturer upon musical topics, so that his pupils enjoy this phase of his work immensely.
35Robert Tolmie came back from the country looking well and healthy. Tolmie's enthusiasm is tempered by the deliberation with which he studies all sides of his work, and this study is not in vain, for when one speaks of the great teachers of San Francisco Tolmie's name is always early in the list. He has plans and serious ones, more detail of which will be given later. At the present time he is trying to find hours for his pupils in and out of San Francisco.
37The Pianists' Club, under his direction, will begin work at once.
39Oscar Weil, an old Californian, has returned to San Francisco to remain. Notwithstanding the fact that Weil was most prominent in musical life here in the early days, he has come back with a reputation reaching into the other Continent. Some of the songs which have given Weil this reputation were written here, notably the "Spring Song," which figures on every program from Nordica's down, was written for Helen Dingeon, "and the way I rushed that out was a caution," said Weil.
41Again his name graces the columns of the Argonaut, and he will follow the musical profession in general, especially giving himself to instruction in harmony and composition. Weil has been closely identified with the Bostonians for some years, and is now working on an opera.
43Mrs. Ernest Lent has arrived from Washington, D. C., and will remain in San Francisco. Mrs. Lent is said to be a pianist of importance, as also a clever teacher. Associated with her husband, the 'cellist, she will give attention to pupils, and I believe other musicians in different branches will also be connected with this enterprise.
45Miss Hilda Newman has arrived home from a course of study in Vienna under Leschetizky, and she is planning to receive pupils. Many friends are also hoping to hear her in concert, as she had a great amount of talent and is said to have accomplished a great deal during her absence.
47W. J. McCoy has just forwarded to the publishers a group of beautiful songs which will be dedicated to a charming Californian singer who can certainly do them justice. McCoy is a clever writer, and his work always carries the stamp of dignity and of knowledge.
49The nuptials were celebrated August 8 of Miss Alice G. Friedlander, daughter of S. H. Friedlander, the well-known manager, and Emmanuel H. Lauer, of Portland, Ore.
51The wedding service was most beautiful, and was attended by a very few of the most intimate friends of both families. The walls of the rooms were entirely covered with foliage and flowers, and a small string orchestra furnished the wedding music. The ceremony was performed by Dr. J. Voorsanger.
53Mrs. Lauer is a beautiful young woman and a beautiful character. She is highly literary, her articles appearing in many of the papers of the East as well as the West. It is certainly a fact that she will be a distinct gain to Portland, and she will leave a vacancy in San Francisco that will not be filled.
55The Musical Courier extends cordial congratulations.
57EMILIE FRANCES BAUER.
59Opera, Concerts and Song Recitals
60MAUD PRATT-CHASE, Dramatic Soprano.
61HARRY LUCIUS CHASE, Baritone.
62DIRECTION: VICTOR THRANE, 33 Union Square, West, New York.
64WM. H. RIEGER, ORATORIO, CONCERT and SONG RECITALS. TENOR. For Terms, Dates, &c., address 18 East 22d St., NEW YORK. or Western Manager, BERNHARD ULRICH, 240 Roscoe St., Chicago, Ill.
66GUSTAV HINRIGHS, with the National Conservatory. Formerly Conductor of National Opera Company. Director of Hinrichs Opera Company. VOCAL INSTRUCTION Prepares and finishes for CONCERT and OPERA 145 East 62d Street, New York.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.