Scan 32
Musical Courier 1898-10-17: Vol 37 Iss 971, 1898
56 lines. Read by computer on 21 September 2026. Printed page 33. See the scan on archive.org.
1mezzo soprano; with Miss Groebel, the three form the Saint Cecilian Trio. Miss Marion sang at a Waldorf concert last spring with emphatic success, and is the soprano of the Flatbush Dutch Reformed Church, Brooklyn. The trio gives a concert to-night at Villa Linta, Linden, N. J., assisted by Bologna, baritone, and others, singing trios by Salter and other well-known composers.
3Lillian Littlehales, cellist, is to be here for the season. Those who saw and heard the excellent artist two seasons ago missed her last year, when, by the doctor's advice, she remained in Syracuse to recuperate from a long illness. She has in the meantime been very busy, and is filling many dates for mid-winter work. On the 10th inst. she played at the Kanatenah Club, Syracuse, and on the 12th, with Adolf Frey, of the University, she gave a recital program in Crouse College Music Hall. Miss Littlehale's picture will be found in a group of artists from Central New York, in the forthcoming National Edition of THE MUSICAL COURIER. Of her playing at Crouse College the Standard said as follows:
5All recitals given within recent years in Syracuse at which that famous cellist Miss Lillian Littlehales has appeared have, as a rule, been largely attended, and in every instance this distinguished performer has been shown, by most cordial receptions, the high esteem in which she is held by the local musical fraternity, comprising those who see in chamber music the most intellectual form of musical art. It is almost needless to say that her artistic skill has seldom been more conspicuously displayed than in these selections. In technic, complete artistic phrasing, proper appreciation of dynamic values, clarity and tonal beauty her work was beyond criticism.
7Louise Hood, violinist, the teacher of Mrs. Grover Cleveland, tells me that the latter's daughter Ruth will soon begin study with her. Miss Hood has taken a new studio at 114 West Thirty-fourth street, where she may be found on Tuesday and Friday. She will lease this studio on other days, when she is busy in New Jersey, to a vocalist, pianist or elocutionist. The studio has a parlor grand piano, and is accessible, near Sixth avenue. Here is a good opportunity for someone who sings, pounds the piano or elocutes!
9One of the most pleasant affairs of the week was the reception given by Miss Mundell at her new studio, 276 McDonough street, Brooklyn, on Friday, October 14. Notwithstanding the very inclement weather, the spacious and beautiful room, which is in one of the most aristocratic neighborhoods, was filled with professional and social friends from 3 until 5 o'clock. Miss Mundell was assisted by Miss Bertha Clarke, a charming young violinist, who plays with much grace and ease.
11Mrs. G. Milton Selleck, soprano soloist of Embry M. E. Church, a pupil of Miss Mundell's, sang a song by Moir very effectively, also Miss Irene Van Tine, contralto soloist of St. Peter's Church, New York, both with piano accompaniment by Robert A. Gayler, who always proves himself an able accompanist.
13Miss Mundell sang the following songs in a most charming manner, showing her to be an artist: "A Dream," Bartlett; "The Violet," Albert Mildenberg; "If I but Knew," Wilson G. Smith, and "Thy Beaming Eyes," MacDowell.
15Julia Ettie Crane, of the Potsdam State Normal School, sends me her "Music Teachers' Manual," of which the first edition was published in 1887; this is the fifth edition. This very comprehensive title means in this case a manual for teachers of singing in the public schools. It is the result of years of experience in this specialty and is commended to those interested. A few of the many interesting passages in the book are quoted:
17One has argued that music is the expression of emotion, and that any puzzling and laborious efforts at note reading only interfere with the play of the emotions, and hinder the real work of learning to sing. Such a teacher reaches charming results, as all can testify who have heard Mr. Tomlins' classes in Chicago.
19Another opposes this plan, saying: "Such results may be very pleasing, but they represent no intelligent independence on the part of the pupils. Appeal to the intellect and through its development reach equally musical results, with the added advantage which the ability to read music at sight gives."
21The system embodied in this manual recognizes the fact that both these statements are true in the main, and is carried on with the idea of making use of all the good of both plans.
23Through the assistance which music lends, the discipline of the school no longer occupies the greater portion of the teacher's time and attention. The superintendent of a reform school, who kept the boys singing at their work, explained: "The devil never comes where good music is."
25Miss Crane's paper on the subject, and the bright and interesting picture in this journal of the lady herself, after the meeting of the New York State Music Teachers' Association, will be recalled—issue of July 13.
27Louis Arthur Russell's school, the Newark College of Music, is a flourishing institution. In order to gain more commodious quarters the location was recently changed to Music Hall, 631 and 633 Broad street, where the school begins the fourteenth season. The programs presented at this school are most eclectic and only good music used. Mr. Russell himself is widely known as a magnetic conductor, whose choruses do amazing good work, the result of belief in and love for the man, and also as an experienced vocal teacher, an interesting writer—and the subscriber to this also knows him to be a level-headed business man and fine fellow combined!
29Maud Roudebush's Buffalo friends will grieve with her in the following account of the loss of her mother on the steamer Mohegan, off the Lizard, England:
31"Further advices from St. Keverine say the panic on the Mohegan was terrible and that the cries of despair were heard on shore.
33"One passenger cut away the falls of a lifeboat with a razor and thus saved several lives.
35"Miss Roudebush and her mother, Mrs. Grandin, entered a ship's boat, which was capsized, and Mrs. Grandin was jammed between this boat and a lifeboat on one of the latter's trips. One of the lifeboat's crew, at great personal risk, jumped on board the steamer's boat after the latter had righted and pulled Mrs. Grandin from her dangerous position. But she was landed in a dying condition and all the efforts made to revive her were unsuccessful. One of Mrs. Grandin's feet was torn off. When Miss Roudebush landed later she anxiously inquired for her mother, whose body was identified by the vicar of St. Keverine from the description of a ring furnished to him by the daughter."
37WANTED—A position by a violinist, possessing excellent testimonials and references, pupil of Bott and of Hellmesberger (Vienna school), in a city not too far distant from New York preferable; will teach or organize quartets or play solos or conduct small orchestra. Address B. & H., care THE MUSICAL COURIER, New York.
39VOICE REPAIR.—A vocal expert of this city who has made special studies in that direction will repair voices that have been impaired either by false methods, strain or neglect.
41Vocalists who sing off pitch can have this defect remedied. No medicines, no diet, no operations of any kind. An easy, simple remedy, based upon the application of legitimate methods that apply equally to the young and inexperienced as well as to the trained singer. Address "Repair," care THE MUSICAL COURIER, 19 Union square.
43"Technic and Notation as Applied to the Piano."
45By JOHN W. TUFTS.
47A NEW work to which this may answer as a preface or prologue, though its name indicates the relation which the two subjects, technic and notation, bear to each other. The thing must be known before the name or sign. Many books have been written in which technic alone has received good and thorough treatment, but their use has been confined to a narrow limit. This limitation has had little or no reference to musical punctuation, and too often demanded but a higher or more forcible action of the finger, wrist or arm. It will be manifest to everyone that the thousand formulas of scales, arpeggios and octave passages are but means to the end, furnishing the student with little besides the two elements of force and rapidity. Quality has been too often unconsidered in the preparation of books for the piano.
49"The author, who was for several years of his student life initiated into the methods of Hummel, Aloys Schmitt, Kalkbrenner and Clementi, became fully acquainted with the at that time so-called new departure. Through personal acquaintance and intercourse with the composers themselves or their pupils, who were almost pioneers in the methods of piano instruction, he was led to follow out the changes which were gradually brought about through the methods of Czerny, Plaidy, Loeschhorn, Knorr and others. In still later years he became familiar with the various formulas and methods that have been brought up to the present time. He has found that to a large extent the peculiarities of piano technic have their origin in the older writers, and the revival of the works of Bach, Handel, Scarlatti and their contemporaries is a strong testimony of the excellence of the work done by the old composers.
51"A pupil of Moscheles and others during the years of Leipzig's musical glory and during the lives of Mendelssohn, Hauptmann, Robert and Clara Schumann, Gade, Liszt, David, Joachim and many others, he had unusual opportunities for hearing and becoming acquainted with the masters who are still held up as models in their work.
53"The memory of the performances of those who lived before the second quarter of the present century is a vague one and would hardly be reliable for those who desire to perfect themselves in the interpretation of the great masters. Each composer may have his own forms in the expression of musical ideas, and yet the writer believes that each and all may be subordinated to a clear and accurate reading to which little or no exception may be necessary. Music for the piano has been notated with care as to the questions of force and rapidity, and of late much has been written in revival upon the beauty of tone to be elicited from the instrument. Students and music lovers are to be congratulated that the last consideration, that of quality, has become so prominent a feature in the later years. This is an advance that was much to be desired. Yet the most finished tone may be void of musical suggestion; the greatest rapidity may merely excite wonder and admiration of a qualified character. They must be all united and brought to bear upon the motive, the section and the phrase in order to produce the effect desired by the composer. The first mechanical divisions must be fully attained before the higher elements of structure can be developed. This constitutes the punctuation of music and must be made clear to the executant. All vagueness of notation should be avoided.
55"If it should be thought that monotony would be produced by the uniform rendering by every one of the printed notes, it may be said that when this absolute accuracy is followed there will remain ample opportunity for the player to indicate his own individual estimate of the musical effect. "The author has endeavored to produce—and we think
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