Scan 5
Musical Courier 1898-08-22: Vol 37 Iss 963, 1898
183 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.
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-BURK,
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.
33SHERWOOD PIANO SCHOOL.
34WILLIAM H. SHERWOOD, Director, Steinway Hall, Chicago.
35Special 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, tone, expression, interpretation, etc., which have produced wonderful results, are exclusively used. Send for prospectus.
36WALTON PERKINS, Secretary and Manager.
38ESTABLISHED 1867.
39Chicago Musical College.
40College Building, 209 Michigan Boulevard,
41CHICAGO, ILL.
42Dr. F. ZIEGFELD, President.
43DR. F. ZIEGFELD, LOUIS FALK, HANS VON SCHILLER, WILLIAM CASTLE, BERNARD LISTEMANN, Musical Directors.
44Catalogue giving full information mailed free upon application.
46SIXTEENTH YEAR.
471886-1897.
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…
68KATHARINE SPEAR CORNELL,
69• • • CONTRALTO. • • •
70Hyde Park Hotel,
71Chicago, Ill.
73AMERICAN CONSERVATORY,
74Kimball Building, 243 Wabash Avenue, Chicago.
75ALL BRANCHES OF MUSIC. DRAMATIC ART. TEACHERS' TRAINING DEPARTMENT.
76ADOLPH WEIDIG, Composition, and thirty other superior instructors.
77JOHN J. HATTSTAEDT, ALLEN H. SPENCER, GERTRUDE MURDOUGH, Piano; KARLENT HAECKEL, NOVES B. MINER, RAGNA LINNÉ, WILHELM MIDDELSCHULTE, Organ; JOSEF VILIM, Violin; 243 Wabash Avenue, care of American Conservatory.
79GOTTSCHALK LYRIC SCHOOL,
80Incorporated.
81Musical and Dramatic Art.
82L. GASTON GOTTSCHALK, Director.
83Kimball Hall, Chicago.
85MARIE LEWANDOWSKA,
86Only teacher in Chicago representing GIRAUDET.
8772 Auditorium Building, Chicago, Ill.
89JEANNETTE DURNO,
90Concert Pianist, Teacher.
91Three years with Leschetizky. Management Mrs. G. B. Carpenter, Steinway Hall, Chicago.
93HOLMES COWPER, TENOR,
94220 Wabash Avenue,
95CHICAGO, ILL.
97HARRISON M. WILD
98CONCERT ORGANIST.
99Studio 6, 241 Wabash Ave., CHICAGO.
100Piano and Organ Instruction.
102HERMAN L. WALKER,
103Pupil of SHAKESPEARE and SBRIGLIA.
104TENOR.
105Concert, Oratorio, Song Recitals.
106Chicago Conservatory, Auditorium Building, CHICAGO, ILL.
108THOMAS TAYLOR DRILL,
109BASSO.
110Oratorio, Concerts, Song Recitals.
111VOCAL INSTRUCTOR.
112Studio: No 5; Kimball Hall, CHICAGO, ILL.
114HARRY J. FELLOWS,
115TENOR.
116Oratorio, Concert and Song Recitals.
117Address, 81 Fifth Avenue, New York.
118On tour to Coast with Mme. Bishop Concert Company till January, 1898.
120ANNA WEISS,
121Late of Vienna Conservatory,
122Concert Pianist and Teacher.
123Suite 906 Steinway Hall, Chicago, Ill.
125WILLIAM H. SHERWOOD, one of two readings
126CONCERT AND RECITAL PIANIST. one of two readings
127MR. 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. one of two readings
128oncic as well as vocal, which made us all believe that Tasca was a composer of superabundant temperament. In this new work, however, it becomes apparent that the real dramatic blood does not pulsate in his veins. His Pergolesi lacks pregnancy and power, his music has no big traits, no grand phrases, nothing that can carry the listener by sheer force or enthusiasm over the many long and weak spots of the score. one of two readings
130Tasca surely is not without talent; he has, on the contrary, the sense of forming decent melodies; he writes very cleverly and effectively also for the voices, and he gives you an occasional new harmonic surprise without ever becoming brutal à la Puccini. one of two readings
132But his invention is not at all original, and his workmanship all too simple and homophone. Especially apparent and distressing is this homophony in the orchestration, where almost throughout the melodies sung by the voices are merely duplicated and thus the very sweetness of the melodic invention is made doubly sweet and soon becomes nauseating. But what is still more tiresome than this eternal sweetness is the lack of all characterization, which, since Wagner, we are wont and desirous of finding in all musico-dramatic art. Even the very near at hand device of characterizing Pergolesi through some music in the style of that composer was left almost unused by Tasca. In the close of the opera he uses a few bars from Pergolesi's "Stabat Mater," and once before a short motive from "Serva Padrone." I do not, of course, mean that Tasca should have copied from Pergolesi's scores, but inasmuch as he was quite unable to compose in the style of Wagner, he should at least have tried his hand at contrapuntal thematic workmanship of the old type. one of two readings
134Tasca's talent is best demonstrated in his ensembles, which he brings in at the close of each act and which are quite effective in spite of the above mentioned shortcomings. Taken as a whole, however, Tasca's "Pergolesi" lies outside of the pale of those works which can be considered as of importance for the art. But as Tasca's music, although neither original nor powerful, is at least melodious, it is not unlikely that "Pergolesi" will for a short period interest and amuse the Berlin public. All the more so, as the representation of the work at the Theatre des Westens is in every respect a very satisfactory one. one of two readings
136Herr S. Kraus, up-to-date chorus master at the Budapest Royal Opera House, has been engaged in like capacity by the Berlin Royal Opera in place of Herr Kapellmeister Schuster, lately deceased. Herr Kraus owes his engagement to the recommendation of Arthur Nikisch.
138* * *
140The Stavenhagen case is taking on bigger dimensions from a legal viewpoint. Not only has Stavenhagen sued General Intendant von Vignau for libel, but the Grand Ducal Cabinet has sued quite a large number of Thuringian papers for libeling the said intendant. They published an entirely unfounded paragraph to the effect that Herr von Vignau gave orders to shut off the gas prematurely in order to prevent the audience from bringing ovations to the departing artists (Kapellmeister Stavenhagen and his wife) on the occasion of their final appearance at Weimar.
142* * *
144I did not trust my ears when passing by the Hochschule building the other day. I happened to hear Tschaikowsky's last symphony rehearsed by the orchestra of the Royal High School. In order to satisfy my curiosity, which was eager, I took the liberty of peeping in, and really there was Josef Joachim swinging the baton in his own quite Herculean fashion over the march from the Pathetic Symphony! Truly wonders will never cease, and as long as there is life there is soap.
146* * *
148As a result, direct or indirect (I don't know which and I don't care) of my candid exposures of the shortcomings of Herr Prof. Dr. Karl Klindworth as teacher and conductor, that gentleman has now withdrawn for good (really for good) from the staff of directors and pedagogues of the Klindworth-Scharwenka Conservatory.
150* * *
152The Berlin Royal Opera Intendency has made arrangements with Mme. Sigrid Arnoldson for her appearance "as guest" also during the coming season.
154* * *
156The Dresden Royal Orchestra will on September 22 of this year celebrate the three hundred and fiftieth anniversary of its existence. On that day a jubilee commemorative concert will be given, the proceeds of which, with consent of the King of Saxony, will be devoted to the fund for the erection of a Wagner monument at Dresden. Wagner's birthplace, Leipsic, has done nothing so far toward a step in the direction of honoring the memory of her greatest son through the erection of a statue.
158* * *
160The symphony of Richard Strauss, of which I spoke in a previous budget, is to be dubbed by the composer "Heldenleben" (Hero's Life), and is in the usual four movements. The score is now nearly finished, and the work will be first brought out under the composer's direction at one of the Frankfort Museum's concerts.
162It is quite a peculiar coincidence that Weingartner is also busy upon the composition of a symphonic work of an heroic character.
164* * *
166Last Wednesday night the four hundredth Berlin performance of Wagner's "Tannhäuser" was given. This is an extraordinary record. The representation took place at Kroll's and Herr Zeller, from the Weimar Court Opera, impersonated the title role.
168* * *
170The pianist, Ella Pancera, who was heard here repeatedly with success, made a new engagement last week. This time it is one for life, as she has engaged herself matrimonially to Max Bluethner, the son of the great Leipzig piano manufacturer of that name, and himself an amateur pianist of more than average skill and talent. Congratulations are in order.
172* * *
174Another matrimonial engagement of a celebrated piano manufacturer's son is the one of Herr Max Ibach, of Barmen, junior member of the firm of Rudolf Ibach Sohn, to Miss Elma Preetorius, of Mayence.
176* * *
178Richard Langenhau, of Lausanne, in Switzerland, will divide with Felix Weingartner, the honor of conducting next season's series of Kaim concerts at Munich.
180* * *
182Emil Senger writes to me from Bayreuth: "I expected to see you this summer in Berlin, but was called to Bay-
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