Scan 6
Musical Courier 1898-08-15: Vol 37 Iss 962, 1898
210 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1SOME CHICAGO ADVERTISEMENTS.
3HARRIET DEMENT PACKARD,
4SOPRANO.
5Address Musical Courier, 224 Wabash Ave., Chicago.
7ESTELLE ROSE, Contralto,
8Oratorio, Concert, Recital.
9Steinway Hall, Chicago, Ill.
11WILLIAM L. TOMLINS,
12Public Lectures. Training Courses for Teachers Children's Vocal Classes.
13Address: Central Music Hall, Chicago; 3 West 18th St., New York.
15BEESIE O'BRIEN,
16MEZZO SOPRANO.
17(no line here) one of two readings
18MARCHESI. one of two readings
19ORATORIO, RECITALS, MUSICALES.
20Address care MUSICAL COURIER office,
21226 Wabash Avenue, Chicago,
22or 130 West Mason Street. Springfield, Ill.
24CLARA MURRAY,
25HARP SOLOIST AND INSTRUCTOR.
26Care of Lyon & Healy, Chicago. one of two readings
27Care of Lyon & Healy, – Chicago. one of two readings
29MARIE L. COBB,
30Concert Pianist and Teacher.
3113 Auditorium Building, Chicago, Ill.
33MRS. GEORGE BENEDICT CARPENTER, one of two readings
34MRS. GEORGE BENEDICT one of two readings
35CARPENTER, one of two readings
36Director of MUSICAL ARTISTS.
37Fine Arts Building, Chicago, Ill.
39MARY M. NEVIN one of two readings
40PIANIST and TEACHER. one of two readings
41MARY M. one of two readings
42PIANIST and one of two readings
43TEACHER. one of two readings
44NEVIN one of two readings
45STEINWAY HALL, CHICAGO.
47MAURICE ARONSON,
48Pianist—Teacher—Lectures.
49Chicago Conservatory Auditorium, Chicago.
51FRANK KING CLARK,
52BASSO
53Management Mrs. GEO. B. CARPENIER,
54Fine Arts Building, Michigan Avenue, CHICAGO, ILL.
56ANNA GROFF BRYANT, Contralto.
57CHAUNCEY EARLE BRYANT, Tenor.
58ORATORIO & CONCERT & RECITAL.
59Studio 403 HANDEL HALL,
60CHICAGO, ILL.
61Where Mrs. BRYANT receives pupils
63AUGUST
64HYLLESTED
6544 Kimball Hall, Chicago, Ill.
67LUCILLE
68STEVENSON
69SOPRANO,
70243 Wabash Ave., Chicago.
72W. W. LEFFINGWELL,
73Violin Soloist and Instructor.
74For terms, dates, &c., address
75Suite 47, Kimball Hall, Chicago, Ill.
77FREDERIC LILLEBRIDGE,
78PIANIST;
79Mrs. Charlotte Lachs-Lillebridge,
80SOPRANO.
81Available for Concerts, Recitals, &c.
82For terms and dates address
83THE MUSICAL COURIER,
84224 Wabash Avenue,
85CHICAGO, ILL
87MARY WOOD CHASE,
88Concert Pianiste.
89Piano Lecture Recitals.
90For terms, dates, &c., address
91FRANK S. HANNAH, Manager,
92Steinway Hall, Chicago, Ill.
94GLEN P. HALL, Tenor.
95ALLEN H. SPENCER, Pianist.
96Kimball Hall, Chicago, Ill.
97Manager Mrs. G. B. Carpenter,
98Fine Arts Building, Chicago, Ill.
100THE SPIERING QUARTET.
102Oscar Saenger's Huge List.
104OSCAR SAENGER, the distinguished singing teacher, is now enjoying a vacation. His last season, which began September 10, 1897, and closed July 15, 1898, was an exceptionally successful one, and during that time Mr. Saenger was one of the busiest men in New York. Few teachers can marshal so formidable a list of pupils as that given below. And this list—it should be remembered—does not include the names of a considerable number of professional singers who studied with Mr. Saenger. The list is one of which any teacher should be proud. Here are the names:
106(no line here) one of two readings
107Mrs. Emma Aron.
108Miss Armstrong.
109Miss Sara Anderson.
110Miss N. D. Adams.
111Mrs. Nina Norman Adams.
112W. V. Abel.
113Miss Elizabeth K. Brown.
114Miss D'Arcy Buck.
115Mrs. J. H. Banton.
116Joseph S. Baernstein.
117Joseph Ballantyne.
118Sol. Baum.
119Mrs. Lillian F. Cross.
120Miss Kathryn Cowen.
121B. Frank Croxton.
122Miss Mary E. Cook.
123Mrs. Charles E. Davis.
124Miss Nancie M. Dreyer.
125Miss Else Dehls.
126Miss Mona Downs.
127Miss Durker.
128Barclay Dunham.
129Charles E. Davis.
130Miss Elsie Ray Eddy.
131Miss Josephine Eckert.
132F. S. Fairchild.
133B. S. Ferguson.
134Albert W. Fisher.
135Ernest Fils.
136Miss Lily Gross.
137Miss Alice Goldthwaite.
138Mrs. Bessie Galloway.
139Mrs. S. R. Guggenheim.
140Eric Goodwin
141W. C. Hoerrner.
142Miss Hildegard Hoffmann.
143Miss Loie A. House.
144Mrs. Berthold Hollander.
145Miss Holley.
146Mrs. F. Byrne Ivy.
147Mrs. Josephine S. Jacoby.
148Norman G. Johnson.
149Miss Clara Aline Jewell.
150Miss Sadie de Kraft.
151Miss A. Kayton.
152Miss Florence Klein.
153Mrs. C. Kalden.
154Mrs. Elizabeth Leonard.
155Mrs. Albert Lilienthal.
156Miss Rosalie Loewi.
157Miss Ronella Lesser.
158Miss Eva Lasser.
159Miss Mabel F. Leaman.
160Miss Elise Lathrop.
161Miss Helen Lathrop.
162Paul Leipziger.
163Miss Elise Landis.
164Miss Estelle Lawrence.
165Miss Marie Lounsbury.
166Mrs. George Seymour.
167Charles F. Shaw.
168Louis Springer.
169William M. Sullivan.
170M. H. Taylor.
171Mrs. A. B. Tremaine.
172Miss Clara Turnbull.
173Miss Camille Weinstein.
174Miss Clara Wolfsohn.
175Miss Louise Widmayer.
176Miss H. T. Wight.
177Mrs. Chas. Royal Wight.
178Mrs. Madge W. Watson.
179Mrs. Annie E. Whiting.
180W. H. Wildey.
181Adolf Witmark.
182John I. Young.
183William Young.
184William Zevy.
186Dresden Royal Conservatory.
188The annual report of the Royal Conservatory of Music, Dresden, Germany, for last season has just been issued, and constitutes a most interesting pamphlet. Among the pupils we notice a number from the United States. The book is introduced this year with a great defense of Christoph G. Schröter as the inventor of the piano. We shall probably reproduce the article at an early date.
190New Oratorio.
192The oratorio "The Resurrection of Lazarus," by the Rev. Don Lorenzo Perosi, was performed at the Fenice Theatre, Venice, on July 28, with great success. It forms the concluding part of his trilogy, "The Passion" and "The Transfiguration" being the preceding parts. They had pointed out the Abbé Perosi as the great master of sacred music in Italy, and his latest work confirms the opinion formed on its predecessors. Perosi, when he took his place, was received with infinite applause, and the close attention, emotion and admiration of the cultured audience showed what an impression had been created. During the brief interval between the two parts nothing but favorable comments were heard, especially on the fugue that closes the first speech of the Narrator. The enthusiasm increased in the second part, from the first notes of the "Lament of Christ" to the words "Jesus wept," and was shared by the executants as well as the audience. The performers were Rescigian, Narrator; Amalia Fasco, Martha; Franchi, The Servant; De Pol, Mary, and Kaschmann as Christ.
194HELEN BUCKLEY, Soprano.
195MARY LOUISE CLARY, Contralto.
196ARTHUR BERESFORD, Bass.
197ADOLPH ROSENBECKER, Violinist.
198WM. H. RIEGER, Tenor.
199HUGO FREY, Accompanist.
201The Birth of Chopin's Funeral March.
203THE inspiration came to Chopin in the studio of M. Ziem, in the Rue Lepic, and was suggested by a story told him by that artist. M. Ziem had been one evening to the studio of Prince Edmond de Polignac with Comte de Ludre and M. de Valdrome. There was a skeleton in the studio, and among other Bohemian whimsicalities Prince Edmond placed the skeleton on a chair in front of the piano and guided its fingers over the keys. "Some time later on," says M. Ziem, "Chopin came into my studio just as George Sand depicts him, the imagination haunted by the legends of the land of fogs, besieged by nameless shapes. After frightful nightmares all night, in which he had struggled against spectres who threatened to carry him off to hell, he came to rest in my studio. His nightmares reminded me of the skeleton scene, and I told him of it. His eyes never left my piano, and he asked, 'Have you a skeleton?' I had none; but I promised to have one that night, and so invited Polignac to dinner and asked him to bring his skeleton. What had previously been a mere farce," continued M. Ziem, "became, owing to Chopin's aspirations, something grand, terrible and painful. Pale, with staring eyes, and draped in a winding sheet, Chopin held the skeleton close to him, and suddenly the silence of the studio was broken by the broad, slow, deep, gloomy notes. The 'Dead March' was composed there and then from beginning to end."—London Morning Post.
205Pupils of d'Arona.
207Mme. Florenza d'Arona, who is now in Europe, has among her pupils a young girl with an exceptionally promising voice. Miss Lillie Heidelbach is scarcely eighteen years old, and of German parents, who are good, sensible people, realizing that a girl with a voice will always sing, and that it is better to sing correctly than to ignorantly cultivate obstinate faults which will give her trouble in later years.
209So a year ago they determined to place her under the best tuition that could be obtained, and to the renowned d'Arona she went, and is spoken of in the highest praise by that famous teacher, who predicts for Miss Heidelbach a place in the small group of really fine artists. "She is possessed of voice, talent, temperament, an excellent memory, and last but not least, good common sense. Mme. d'Arona will take her to Berlin when ready to make her début and place her for a year's experience in opera with a manager who brought out Mlle. Hovelli (d'Arona pupil), and always receives pupils from the d'Arona studio without question.
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