Scan 33
Musical Courier 1899-10-11: Vol 39 Iss 1021, 1899
81 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1who had been invited to inspect their beautiful hotel. Madame Lehmann gave songs of Schubert, Wagner and Beethoven. Her voice, which still shows some signs of its former excellence, is cracked and worn now, and it is by her art alone that Lehmann at all holds the attention of her listeners. Signor Werner Alberti, who has made such a great furore in Warsaw recently, sang the grand air of the fourth act of "Trovatore," really in magnificent style. His voice is a full, sweet tenor, rarely heard nowadays; his diction is pure, and his temperament and dramatic force superb. He received a perfect ovation, and had to repeat the stretta finale, a tour de force which was really quite remarkable. The others who figured on the program were quite mediocre, but their numbers served excellently to pass away the time and as a background to the murmurs of admiration heard on all sides at the beauty of the new building.
3In a picturesque little village of the Ardennes, far away from the haunts of the adventurous tourist, the world of fashion and things in general, Ysaye, the violinist, chose to spend his summer. Here, after a winter of engagements, he came with his charming wife and lovely children, to rest and gather inspiration from the beautiful scenery, wherewith to thrill anew his audiences of this season, which promises to be a most busy one for him. Not only does he project a tournée of eighty concerts, including England, Germany, France, Russia and Austria, the biggest he has ever made in Europe, but he also directs two of his concerts in Brussels, the other two having Mottl as conductor.
5Besides these there will be two extraordinary concerts, of which one will be given by Mr. Ysaye, and devoted nearly entirely to the violin, and the other a tribute to the memory of Chanson, whose tragic death so rudely snatched him from art and friends. The soloists at these concerts will be Jaque Thibaud, whose début in Brussels last year created such a favorable impression; Raoul Pugno, the great pianist; Mme. Ellen Gulbranson, Bayreuth's beautiful Brünnhilde, and last, but not least, Scheidemantel, the celebrated baritone of the Dresden Opera and of Bayreuth. The first concert is fixed for October 29, when Thibaud will be heard in the concerto in F major, of Lalo, and Saint-Saëns' "Habanero."
7At the same concert fragments of Erasmus Raways' "Freia," which was so successfully received in Vervais, will be heard in Brussels for the first time. The program closes with Beethoven's "Egmont" overture and the symphonic poem "Lenore," of Dupac. Not only at these concerts will we hear good music, for the Concerts Populaires, of which there will be four, have secured famous artists the mention of whose names alone is a guarantee of merit. At the first one, which is fixed for November 5, we will have the pleasure of hearing Mr. Van Rooy, of Bayreuth. The second, under the direction of Hans Richter, takes place on December 3. At the third concert Ferruccio Busoni, the famous virtuoso, will be at the piano, while the fourth will be directed by Richard Strauss.
9All these concerts, not including the many recitals always given, assure music lovers that the musical season of 1899-1900 in Brussels will be an extraordinarily good one, and that little Belgium, wide awake in all things, is one of the first in appreciating and welcoming fine art.
11LILLIAN DOROTHY SAMUELS.
13STUDIO TO RENT.—A party having a very desirable studio, centrally located, between Forty-ninth and Sixtieth streets, Sixth and Madison avenues, will rent mornings, or portion, to desirable party, for teaching or practicing. Address B. E. M., care THE MUSICAL COURIER, New York.
15WANTED—Concert pianist of reputation, leading pianist in a large Western city, desires position as director or head of piano department, and teacher of theory at conservatory or college; position in a Southern city preferred. Address, "PIANIST," care Steinway Agents, 1313 Farnam street, Omaha, Neb.
17THE GUILMANT ORGAN SCHOOL
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20Patron: M. ALEXANDRE GUILMANT.
21Director: WILLIAM C. CARL.
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24FALL TERM BEGINS MONDAY, OCTOBER 9.
25CIRCULAR SENT ON APPLICATION.
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28For full particulars address THE GUILMANT ORGAN SCHOOL,
2934 West 12th St., NEW YORK.
31MUSIC GOSSIP
32OF GOTHAM.
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35NEW YORK, October 9, 1899.
37EMMA A. DAMBMANN had a large class in Baltimore a year ago at this time, teaching art and music both, and singing in the Roman Catholic Cathedral and the leading synagogue. This represented a good, solid income, but all the time friends were urging her to "go to the great city," where opportunities are greater and remuneration better. Along came a certain well-known, corpulent tenor from the metropolis, and hearing her sing, he urged her leaving all she had, a sure thing, for the unknown here. Now, to leave home, friends, a successful career and go to a strange city—this requires courage—and she had it. On January 4 she arrived here, and soon her voice and personality began to count. She became alto of the First Baptist Church of Yonkers, a position paying better than many New York churches; gave a concert under distinguished auspices, made some money that way, sang at musicales and concerts, and is now well on the way to a career. Under the patronage of the highest dignitaries of the Catholic Church of America, combined with an exclusive social set, she was heard in Baltimore in her farewell concert, and she will soon give a recital here in much the same manner.
39I recently heard her sing three things of widely different styles—" Lord, Have Mercy," Strelezki; "The Soldier's Bride," Murio-Celli, and aria, canzone, "Stride la vampa" ("Trovatore"), Verdi.
41The pleading religious feeling in the sacred number, the 'cello-like tone throughout, the low G, the wide range of the brilliant number by Murio-Celli and the vibrant tone, a prodigal wealth of voice, in very truth, throughout, as well as the very distinct enunciation and general style—all much impressed me, and surely this courageous girl, who left thirty-four pupils and a comfortable present for an unknown future, will get there in due time.
43She is studying with Murio-Celli.
45Nora Maynard Green has just arrived after a four months' trip in England and the Continent with her sister and mother, and reports a most restful time of it. She arrived in London in time for the end of the opera season, bicycled through Leamington, went to Paris, where she obtained many unknown songs, some forty in number, for use here; was in the midst of the Dreyfus affair, and incidentally painted a few water colors, notably of Kenilworth Castle, for like Miss Dambmann, Miss Green is also an artist of ability.
47Marie Seymour Bissell is so well known here that nothing I can say is needed to spread her renown; her pupils' concert last spring was a revelation to me, such was the uniformly good work done; indeed, it was a most artistic affair all round. A recent interview was most interesting, as showing this teacher's pronounced opinions on matters vocal, and especially in the field of the teacher who teaches, but is incapable of showing how to do a thing—who is, in other words, no singer. A prominent singer herself, with years of that best of all things, experience, behind her, Miss Bissell is able to demonstrate every one of her ideas, to correct faults, showing the how and whyfore, and as all of us are at best but children, who learn by imitation, it stands to reason that of such a teacher one must learn quickest. The gratifying success of these Bissell pupils, when they come in competition with other singers, is evidence of something which requires no elucidation. Many of them occupy prominent positions in church and concert, and among the number of those who have recently attained New York positions are Miss June Detweiler, who goes to the Madison Avenue Presbyterian Church, and Miss Bond, to the Roman Catholic church known as St. Agnes, of Brooklyn. Another singer who will be heard of in the near future is Miss Ayres, who has had several offers from opera companies, and who will be remembered as one of the successes of the Mendelssohn Hall concert referred to above.
49J. Warren Andrews, organist and choirmaster of the Church of the Divine Paternity, is happy in the final knowledge that his choir is now constituted as it will be for this season, the quartet of last year being retained, with the exception that Miss Estelle Harris, of Easton, Pa., is the new soprano, engaged last May. The octet consists of the following singers: Madge S. Whitman, Auguste Schiller, sopranos; Grace Almy, E. de C. Bracher, altos; F. P. Measschaert, G. Woodhouse, tenors, and Maurice Weishoff and W. H. Prindle, basses. With these forces, twelve singers in all, Mr. Andrews expects to do some good work this winter, and is planning a series of five Sunday evening services, co-operating with Dr. Eaton in the selection of music to fit the theme "Scottish Literature." By this do not imagine that J. Warren will give his hearers the "Campbells Are Comin'" or bagpipe imitations, but you can expect to hear a movement from Mendelssohn's Scottish Symphony, &c. Mr. Andrews has also begun the regular quarter hour organ introduction to the evening service, playing many well-known and standard compositions.
51How many readers know the name of Dr. James Pech? Not many, I will warrant, and those only of the older generation, for this man was a power here years ago. Your Gossiper had the pleasure of an interview with him this week, and would fain have lingered longer of such interest was all he said. A born Hanoverian, he yet became in early youth Anglicized, so that he was customarily referred to as an Englishman. A pupil of Czerny, also of Henselt and Doehler, this man has lived a life of stirring interest, and of weight here in the long years gone by. From 1862 to 1872 organist and choirmaster of Old Trinity, he founded the Church Music Association, prominent at that time, giving for the first time in America the difficult and famous mass in D by Beethoven (given last year at Cincinnati, under Thomas); this was in 1872, on May 2, and of the solo singers of that time all the names are now unknown save that of Franz Remmertz, the bass. This production was preceded, on February 13, 1872, by the first performance in America of the Mozart Requiem Mass, with a grand chorus, orchestra &c., the whole under Dr. Pech's direction.
53Of his earlier years in England, when he co-operated with Sir Julius Benedict as conductor of opera, of various tours, &c., the doctor talked at length, and all in most interesting vein. He is by no means "on the shelf," but is blessed with an abundance of youthful vigor and spirit. As evidence of this, he treasures his copy of the last National Edition, in which the history of music in America makes mention of his valuable service, although the printer-man did spell his name Peck. No doubt old friends will be glad to hear of the comfortable position and youthful capacity for enjoying all things of this life so evident in this kindly gentleman.
55I was particularly struck with the fine collection of Bach's works in his library, and, as evidence of his up-todateness, on the table there lay a Kaltenborn concert program. one of two readings
56I was particularly struck with the fine collection of Bach's works in his library, and, as evidence of his up-to-dateness, on the table there lay a Kaltenborn concert program. one of two readings
58This letter was received this week:
60DEAR SIR—Kindly let me know of any vacancy that you may know of, either in your own choir or elsewhere, for a soprano singer. I can give the best references as to voice training, &c., and I expect to sing gratis, as compensation for the position, for a time, if so desired. Trusting to hear from you soon, I remain,
61Sincerely yours,
63I print this as showing what a serious condition of affairs exists, when the new singer here is willing to give her services gratis to obtain a position. The writing is that of a refined person, and there is no doubt the singer would
65From the introduction of . . .
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68TECHNIC AND NOTATION
69As applied to the Pianoforte, by JOHN W. TUFTS, we quote the following:
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72"Its chief aim is to diminish the number of rules which should govern the player in the interpretation of musical notation, and to define through the representation the particular action of finger, wrist or arm necessary to produce the result desired by the composer; for this, sign language is the only medium between him and his interpreter."
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75TECHNIC and NOTATION, by JOHN W. TUFTS, is a work of standard value, and certainly one of the most important upon these subjects that has ever been published. It is a book of 136 pages, large quarto, well gotten out. Price, $1.25.
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78Published by
79CLAYTON F. SUMMY CO.,
80220 WABASH AVE., CHICAGO.
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