Scan 34
Musical Courier 1899-10-11: Vol 39 Iss 1021, 1899
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1fit nicely in some choir, but there's the rub—the getting in. Oh, the many weary rounds made, to church music committees, to organists, singing, singing all the time, and never a place for the singer. Every little while I run across young and capable singers, who have neither capital enough to remain here until they obtain a position, as no doubt many would in time, nor with sense enough to go inland, where competition is not so severe.
3I remember the case of a singer, experienced, capable, who hung 'round here all winter, unable to obtain a place in a choir, and finally went to St. Louis, where she is most comfortably fixed, with $1,200 a year, teaching possibilities, &c., all of which were simply impossible here.
5Now all these young folks I would most earnestly and sincerely advise not to come here unless they have resources sufficient to keep them going until they finally land. A good time to come is now, before the choir changes, provided the means are at hand; then when the annual choir rumpus occurs they will have learned by experience what to do, where to go, and many little useful things to be learned only in that way. They will also, no doubt, be able to do some little substituting, and this spreads knowledge of their capacity, and serves as a possible wedge for future permanent engagement. In my own choir, for instance, the alto is a young woman who did substitute work for the former alto; and, lo and behold, time landed her there as a fixture. So, come to New York, young singer, if you are able, having enough $$$ to "grin and bear it" for a while—although you won't do much grinning.
7Felix Lamond, the organist and choirmaster of Trinity Chapel since May, 1898, was found busily engaged in sorting music for his boys, of whom there are twenty, with ten men. He has daily rehearsal, as is the case with all the Trinity branches, and devotes practically all of his time to the service of the church. An assistant of Le Jeune, at St. Paul's, some years ago, he was subsequently called here from Detroit, Mich., where he had a fine place. As city editor of The Churchman he does considerable literary work, of agreeable kind, and is now engaged in the usual choirmaster's occupation, of selection of music suitable for his singers. His order of music for this month includes some famous anthems, such as the Calkin Te Deum in G, Wareing's "My People," Field's "Lord of Our Life," Mendelssohn's "Judge Me, O God," Travers' "Ascribe Unto the Lord," &c. There is a daily service at this church at 9 A. M., with choir and organ, and it attracts many people.
9Miss Drew Donaldson, a pupil of Parson Price, the teacher of many well-known professional pupils, i.e., pupils who are on the stage, is making a great success of her part in Sousa's "Bride Elect." When she sang it in Newport the Herald said:
11"Miss Donaldson, both in singing and acting, was easily superior to the other members of the cast. Her voice is as charming as it is rare in quality, and her gestures and mannerisms delightful and graceful. Her success was emphatic, her solos being enthusiastically encored."
13This is not so bad for a singer who, when she came to Mr. Price, was supposedly an alto, and with a voice over which she had no control whatever, much to her dismay.
15Last June, at the New York State M. T. A. meeting at Albany there was a young singer on the program who made a most pronounced success. This paper at that time said many complimentary things of him, and this was only the echo of the people's verdict—Francis Carrier, baritone. He was formerly an Albanian, but has now a nice position here, and expects to devote his entire attention to concert singing. With Hans Kronold and Ferdinand Dunkley, the latter of Asheville, N. C., he will in November go on a concert tour, arranged by Dunkley, in Southern cities. Later he is booked with the Wilczek Concert Company for a tour, and, last but not least, he made such a success at the Round Lake Festival this year that he has been re-engaged for next.
17Mr. and Mrs. L. Massy-Howard have established a new studio at 8 East Seventeenth street. Having the personal acquaintance of many leading artists, and being successful teachers and singers, with many fine voices in charge, they should do well in their new quarters. Mr. Howard is a physiologist of no mean capability, and a chart he showed me, of his own design and drawing, was indeed a creditable thing. They have a young daughter at present in New England with an opera company, who is said to be doing well on the stage; the picture represents a pleasing young person, of intelligent mien.
19Mrs. Howard was some time ago soprano of Rutgers Presbyterian Church, and devotes herself especially to ballad singing, coaching, &c.
21E. Heywood Winters has a pupil worth having—so it struck me on hearing a young, fresh and altogether unusual voice at his studio, that of Miss Cope. She sang for me Denza's "May Morning," and, really, it reminded me of Blauvelt's singing this same thing at a Powers musicale, some time ago. Winters has other pupils occupying prominent positions, at Stamford, Conn.; at Ascension Church here (Heinroth's), &c.
23Max Bendheim, the teacher of some well-known young singers now before the public, announces his removal to more commodious quarters, 332 West Fifty-sixth street, where he has the whole parlor floor at his disposition. He is planning to give four or five pupils' recitals there the coming season.
25Alfred J. McLean, the young tenor of Ascension P. E. Church, will appear at Bruno S. Huhn's concert at the Hotel Majestic late this month. His recital at Delmonico's last spring is remembered as a very pleasant affair.
27Mrs. M. Beardsley, whose Knapp Mansion musicales in Brooklyn are always notable events, has returned, and her new studio in the same building is most artistic. Newly decorated, with fine light, it is a place for hard work under pleasant environment. As soon as possible she will announce her monthly days for musical receptions, and she also expects to resume the public musicales later.
29F. W. RIESBERG.
31Edward Grieg.
33In reply to a request to conduct one of the Colonie concerts in Paris, Grieg wrote a letter stating that after the result of the Dreyfuss process he could not resolve to come to France: "Like every foreigner, I am so indignant at the contempt with which justice is treated in your country that I do not feel disposed to come in relation with a French public!"
35Ferdinand Hiller.
37An interesting contribution to the history of German music in this century may be expected from the remains of Ferd. Hiller. After his death (May 3, 1885), the large collection of letters addressed to him was presented by his legatees to the city of Cologne and placed in its archives. These letters are not confined exclusively to music; together with letters from Mendelssohn, Schuman and Wagner and almost all the musicians of his day, there are many from poets and authors. They thus give a picture of the whole spiritual life of Germany, after Goethe's death.
39Emil F. Hofmann.
41THE MUSICAL COURIER has adverted recently to the conspicuous successes won by Emil F. Hofmann, the young American baritone, who has been distinguishing himself as a member of the Royal Opera Company in Altenberg, Saxony. Mr. Hofmann has been singing in "The Creation," "The Messiah," "Elijah" and other big oratorios, and the music critics have united in extolling his work.
43The subject of this sketch is a native of Newark, N. J., and was "discovered" by Dr. Carl Dufft, who recognized his exceptional talent and directed his musical studies. Mr. Hofmann pursued industriously a course of study under Dr. Dufft and made astonishing progress. Afterward he went abroad to take a finishing course with the most distinguished voice builders in Germany. In Leipsic he had the advantage of the friendship and counsel of Albert Goldberg, of the Leipsic Opera House, who gave him valuable instruction. His master recognized the remarkable quality of his voice and his pronounced talents, and gave them proper direction.
45Mr. Hofmann made his debut January 20, 1898, as the Herald, in "Lohengrin," and his success was instantaneous and decisive. The critics praised his voice and excellent method, laying stress upon his distinct enunciation. His dramatic abilities were praised, too. The success of this first appearance brought the singer a number of important engagements, and he subsequently sang in some of the musical centres of Europe with equal success.
47Mr. Hofmann will be heard in New York next January. He is engaged to sing with the New York Liederkranz, under Dr. Klengel. Other engagements have been offered him in New York and elsewhere.
49How highly this American singer is esteemed in Germany the following press notices show:
51Herrn Hofopernsänger Emil F. Hofmann had been secured by our esteemed kapellmeister as soloist. Herr Hofmann sang the "Sänger Krieg" aria from "Tannhäuser"; "Der Doppelganger," Schubert; "Feldinsamkeit," Brahms, and "Geküsst," by Hofmann. The singer at once won the sympathy of the audience with his soft, rich baritone. There is no doubt that Mr. Hofmann promises to become one of the most eminent "Lieder singers," and he can safely afford to appear with a Kraus and Wüllner. His voice has a faultless ring, in connection with a delightfully clear enunciation. There is a sincerity in his style which is as rare as it is delightful. In the Wolfram Aria from "Tannhäuser" Mr. Hofmann had a fine opportunity to display his pleasing delivery and masterly schooling, which never in the pp. or ff. passages lost its carrying quality. His powerful voice gained with every song, so pleasing his audience that three encores were demanded. The enthusiastic applause accompanied by a laurel wreath were tokens of the young singer's complete success.—Zeiter Anzeiger.
53Herrn Opernsänger Emil F. Hofmann sang Wolfram's Aria from "Tannhäuser" and followed with six classical Lieder with piano accompaniment. Mr. Hofmann's voice is rich and powerful—a genuine baritone—thoroughly well trained, disclosing an effective ff. as well as a mellow piano. His enunciation is clear. In his singing of Schubert's "Doppelganger" and Brahms' "Feldinsamkeit" he evinced moments of deep and emotional powers. His great range enables him to deliver lyric as well as dramatic songs with equally artistic effect. The applause seemed never-ending.—Glauchaur Zeitung.
55At the well-known German Spa, Bad Elster, Mr. Hofmann appeared with the Royal Orchestra, under Woldert's direction, with signal success. He sang "Czaren Lied," from Lortzing's opera, "Czar und Zimmermann," with orchestral accompaniment; "Abendstern," from Wagner's "Tannhäuser," and four songs. His style is declamatory, but not like Franz Wüllner, in that Hofmann has big voice material and broad musical conception, which Wüllner has not, as his voice is too small. Hofmann responded to three encores, and if he should decide to sing again in Bad Elster he can rest assured of receiving a warm welcome.—Vogtländische Anzeiger.
57Elberfeld, Barmen.
59The new director Mikorey opened the season at the City Theatre, Elberfeld, Barmen, on September 15, with a performance of Weber's "Freischütz."
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