Scan 5
Musical Courier 1898-08-15: Vol 37 Iss 962, 1898
129 lines. Read by computer on 21 September 2026. No printed page number was found. See the scan on archive.org.
1SOME CHICAGO ADVERTISEMENTS.
3J. H. KOWALSKI,
4CELEBRATED VOCAL STUDIO.
5Suite 54 and 55, Kimball Hall.
6CHICAGO, ILL.
8FRANK T. BAIRD,
9THE ART OF SINGING.
1034 Monroe Street, Chicago, Ill.
12Frederick W. Carberry,
13TENOR.
14Steinway Hall, Chicago, Ill.
16Mme. JOHANNA HESS-BURR,
17Voice Coaching—Repertoire.
18FRANK S. HANNAH,
19Business Manager.
20Suite 1015-1016 Steinway Hall, Chicago.
22Mme. RAGNA LINNÉ,
23MARCHESI METHOD.
24ORATORIO—CONCERT—SONG RECITAL.
25Limited number of pupils accepted.
26Kimball Hall, Wabash Avenue,
27CHICAGO, ILL.
29D. A. CLIPPINGER,
30Voice Production and the Art of Singing.
31Room 40 Kimball Hall, Chicago, Ill.
33ESTABLISHED 1867.
34Chicago Musical College.
35College Building, 202 Michigan Boulevard,
36CHICAGO, ILL.
37Dr. F. ZIEGFELD, President.
38Dr. F. ZIEGFELD,
39LOUIS REINER,
40HANS VON SCHILLER,
41WILLIAM CASTLE,
42BERNARD LISTEMANN,
43Musical Directors.
44Catalogue giving full information mailed free upon application.
46SIXTEENTH YEAR.
471896-1897.
48MRS. REGINA WATSON'S SCHOOL
49FOR THE
50HIGHER ART OF PIANO PLAYING.
51297 Indiana Street,
52CHICAGO, ILL.
54MR. AND MRS. BICKNELL YOUNG,
55Lecture recitals on Opera, Its Origin and Development; illustrated by vocal examples from the earliest epoch. 67 Kimball Hall, Chicago, Ill.
57A. J. GOODRICH,
58THEORIST,
59Lock Box 976, Chicago.
60Author of "Goodrich's Analytical Harmony," "Complete Musical Analysis," "Music as a Language," &c., &c.
61Personal or correspondence lessons in Harmony, Composition, Orchestration, Analysis and Theory of Interpretation.
63WALTER SPRY,
64Director of Conservatory of Music,
65QUINCY, ILL.
66Piano and Organ Recitals…
68SHERWOOD PIANO SCHOOL.
69WILLIAM H. SHERWOOD, Director, Steinway Hall, Chicago.
70Special 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 method of technic, touch, phrasing, interpretation, etc., which have produced wonderful results, are exclusively used. Send for prospectus.
71WALTON PERKINS, Secretary and Manager.
73KATHARINE SPEAR GORNELL,
74… CONTRALTO. …
75Hyde Park Hotel,
76Chicago, Ill.
78HERMAN L. WALKER,
79Pupil of SHAKESPEARE and SBRIGLIA.
80TENOR.
81Concert, Oratorio, Song Recitals.
82Chicago Conservatory, Auditorium Building,
83CHICAGO, ILL.
85THOMAS TAYLOR DRILL,
86BASSO.
87Oratorio, Concerts, Song Recitals.
88VOCAL INSTRUCTOR.
89Studio: No 57 Kimball Hall,
90CHICAGO, ILL.
92Mr. HARRY J. FELLOWS,
93TENOR.
94Oratorio, Concert and Song Recitals.
95Address, 81 Fifth Avenue, New York.
96On tour to Coast with Mme. Bishop Concert Company till January, 1898.
98ANNA WEISS,
99Late of Vienna Conservatory,
100Concert Pianist and Teacher.
101Suite 96 Steinway Hall, Chicago, Ill.
103HARRISON M. WILD
104CONCERT ORGANIST.
105Piano and Organ Instruction.
107WILLIAM H. SHERWOOD,
108CONCERT AND RECITAL PIANIST.
109MR. SHERWOOD created a furore 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.
111Schumann's First Love.
112"THIS summer romance is the most remarkable of my life," are the words of Schumann in a letter to his mother, dated September 5, 1834, where he speaks of his love for the "noble, womanly being" whom he had met early in that year in the musical circle of Wieck. "Ernestine," he writes, "is the daughter of a rich Bohemian, Baron von Fricken; her mother is a Countess Zednitz; a nobly pure, childlike disposition, gentle and ingenuous, with the deepest love for me, devoted to everything artistic, extraordinarily musical—in brief, just such a wife as I wish for, and if the future were to put to me the question 'Whom would you choose?' I should firmly answer 'This!'"
114This gushing schwärmerisch tone runs through a series of his letters, becoming more and more glowing, till all at once her name ceases to be mentioned, and Ernestine vanishes from his published correspondence. Love for her inspired many of his works, especially the "Carneval," which he composed in the key of B, because she lived at Asch, the German name H of that key. Why the engagement with her was broken, Schumann's biographers do not explain. Baron Prochazka, in his "Arpeggien," informs us that there are still living in Asch those who still remember Ernestine von Fricken. From them he derived the following information:
116Christiana Ernestine Franzeska, was born at Neuberg, September 7, 1816, and spent her early years in the house of the childless Captain Ferdinand Ignaz von Fricken, who legally adopted her on December 13, 1834, as is proved by the church register, seen by Prochazka. The date given in the edition of Schumann's Letters (Leipsic, 1866, 11, 36) is therefore wrong. She was a graceful, intelligent, charming girl, known to all as "Fricken-Tiai," and her adopted father, whose love for art and artists Schumann extols, had her carefully educated in music. At first he thought of sending her to Weimar to take lessons from Hummel, but this teacher asked too high a price, three thaler a lesson, and so she went to Leipsic to the Weick's house. Schumann, then twenty-four years old, at once fell desperately in love with the stranger, a love which did credit to his taste, for Ernestine is always described as a fascinating and lovely girl. She was an excellent pianist, might be called a virtuoso, although Prochazka finds hints that technic sur-passed her conception and delivery. She played in public, and appeared in a concert at Asch where eight pianos, with four hands each, delighted the audience. She also appeared once in Vienna.
118Schumann's love for her was no secret. Old Wieck approved, and in a letter to her, dated July 27, 1834, shortly after the pair had been godfather and godmother for one of the little Wiecks, he expresses his longing for union with his ideal. In a letter to Clara Wieck he calls Ernestine his "friend in joy and sorrow, a jewel that could not be overestimated." When she was at home he wrote to her father about her music: "She must play scales every day, but not for more than a quarter of an hour, and with moderate speed. She must not neglect singing; her voice is very soft and flexible." On September 5 he announces his engagement, and is delighted to find that all the letters of the little town's name occur in his own. He is convinced of Ernestine's love for him. "How she loves me," he writes; "it is heaven's blessing!" He writes to one of her friends about "Ernestine with her Madonna head," her devotion to him, how she is "like an eye of heaven which shines blue through the clouds." Hitherto the old Baron seems to have withheld his approval of the engagement, for he writes November 27: "Ernestine has spoken to her father, through her mother's mediation, and he has given her to me. Think what that means!"
120There seemed now no obstacle to the union of the lovers, and to this period belongs the legal adoption of Ernestine by the baron. Next year the happy lover goes to Asch, where he found things different from what he expected. The engagement was broken off; Schumann left in a few days with the declared conviction that "he had been deceived." He returned to Leipsic and began his love-making to Clara Wieck. Old Papa Wieck was bitterly opposed to the engagement with his daughter, and applied to Ernestine to put in a claim for Robert, but she laughed at the idea and refused. Moreover she had married in the meantime. After the success of "Paradise and the Peri," Wieck became reconciled to Schumann's proposals, and Ernestine, who had been keeping up a correspondence with Clara, congratulated her on her marriage.
122Ernestine married November 5, 1838, William Count Zedtwitz, of Asch-Schönbach, but was left a widow in two years. Schumann and she still remained friends, and in 1841 he dedicated a volume of Lieder, op. 31, "To the Countess Ernestine von Zedtwitz." She died in her twenty-seventh year on November 13, 1844, at a time when Schumann was down with a nervous attack.
124"Although," writes Baron Prochazka, "this early love may have not taken deep root in Schumann's heart, yet Ernestine was too long and too closely connected with his thoughts and work to be regarded as a mere episode in his life. Schumann's first love, the Estrella of the 'Carneval,' gives her greeting to the master's friends and admirers; in his works of that period."
126Verdi Home for Musicians.
128The house of rest for musicians which is being provided and endowed by Signor Verdi at Milan in nearly completed. It stands outside the Porta Magenta in the Piazzale Michelangelo Buonarroti. The exterior of the building is unpretentious, but not inartistic in its architecture. The building is worthy of the object for which it is intended, yet more labor and care have been bestowed on the interior, to secure the comfort of the musicians, who will find in it a rest from their labors and misfortunes. Accommodation is provided for 100 musicians—60 men and 40 women. The total area is about 5,000 square yards, and it contains a large garden for the men and a smaller one for the women. The central court is about 600 square yards. On the right of the entrance hall are the quarters of the director, on the left the porter's room and administrative offices. One side of the building is set aside for the men, the other for women. Near the two vestibules are the rooms for receiving strangers. A marble staircase leads to the separate dining rooms and to a central room for meetings and concerts. This room is about 65 yards long by 22½ wide. There is also another common room and two open terraces where the residents may enjoy the fresh air in summer and look on the summits of the distant mountains. A private chapel and an infirmary are provided. This generous gift of the greatest living Italian musician will secure not merely a retreat, but a home for those who have devoted their efforts to the service of music. The followers of no art are more called on for aid toward charitable and artistic objects than musicians. From the highest to the lowest ranks they are usually ready to render deserved aid, especially when it is to be used on behalf of members of their own profession.—London Musical News.
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