Scan 36
Musical Courier 1899-10-11: Vol 39 Iss 1021, 1899
142 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.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1The Closing Week.
3After a Successful Season of Fifteen Weeks the Kaltenborn Concerts End in St. Nicholas Garden.
5The last Kaltenborn concert in St. Nicholas Garden this season will take place next Sunday night. Every night for the past fifteen weeks Franz Kaltenborn and his orchestra have delighted a large audience of music lovers—artists, musicians, literary and society people. The success of this musical enterprise has been surprising—yes, unprecedented. No venture of like character has ever been supported in New York liberally enough to insure its financial success. These Kaltenborn orchestral concerts, however, have proved successful, not only in a musical sense, but from a monetary point of view. Franz Kaltenborn, who, when he began these concerts, was comparatively unknown as a conductor, plucked the flower Success from the nettle Failure, and triumphed where older and far better known directors had been defeated.
7Kaltenborn and his men began modestly, gained courage and confidence with experience, and developed gradually and surely until their power as a musical force received general and generous recognition. Kaltenborn was a surprise to even his closest friends. His latent powers as a conductor quickly disclosed themselves, and his men felt the influence of a strong and magnetic personality.
9The leader and the orchestra grew in public esteem, and the audiences increased nightly. The music loving public gave the stamp of its approval to the high enterprise. Kaltenborn had been for a long time closely associated with Anton Seidl, and is a loving disciple and diligent student of the lamented conductor. He insensibly absorbed many of Seidl's ideas of interpretation. Kaltenborn's ambition is now of the kind that overlaps itself, but the sort that means consistent advancement. Kaltenborn has done something in this series of concerts which no other orchestral conductor has even attempted. He has introduced the works of unknown American composers and pushed them consistently with their merits. A number of meritorious compositions have thereby been given a hearing and their authors brought before the public. These concerts have also introduced many hitherto unknown soloists, who have thereby quickly won reputation. Kaltenborn has accomplished many of other results worth mentioning.
11As a program maker Kaltenborn has shown uncommon tact. As far as was consistent with a due regard for the true, the beautiful and the good in music, he has popularized his concerts by giving a variety of light works, such as Strauss' waltzes, &c. On the other hand, the audiences have been fed liberally on a Wagnerian diet, which was relished keenly, judging by the avidity shown by the crowds which flocked to the garden every "Wagner night." Many novelties have been presented, and the standard orchestral works have been repeated at short intervals. It should be mentioned in this connection that Mrs. Kaltenborn has proved a helpmeet to her husband in more than the scriptural sense. Not only has she rendered him invaluable service in managing the finances and business details, looking after the advertising and doing the press work, but she has given him advice as to the make-up of the programs. Mrs. Kaltenborn mingled with the audience and noted carefully what reception was given to the various numbers on the program. She measured their popularity by the applause they elicited. In this way she ascertained the desires of the audiences and learned how to cater to them. She conferred with Mr. Kaltenborn frequently and co-operated with him in the arranging of programs.
13To-night there will be a "Wagner festival night" in St. Nicholas Garden. The soloists will be Payne Clark, tenor, and Ewald Stoly, trombone. The program will be:
15Parzival.
16Prelude.
17Good Friday Spell.
18Flower Girls' Scene.
19Transformation Scene.
20Lohengrin.
21Prelude.
22Lohengrin's Narrative.
23Mr. Clarke.
24Introduction to Third Act.
25Wedding Chorus.
26Bridal Procession.
27Tannhäuser.
28Overture.
30Bacchanale.
31Introduction to Third Act.
32(Tannhäuser's Pilgrimage.)
33Evening Star.
34Trombone Solo, Mr. Stoly.
35March.
37The program for to-morrow (Thursday) night will be:
38Soloists—Miss Katherine Pelton, mezzo contralto; Franz Kaltenborn violin.
39Flying Dutchman.
40Overture.
41Sailors' Chorus.
42Spinning Chorus and Ballad.
43Senta—Miss Pelton.
44Die Meistersinger.
45Prelude.
46Act III.—Prelude, Dance of the Apprentices, Procession of the Meistersingers.
47Walther's Prize Song.
48Piano Solo, Mr. Kaltenborn.
49Tristan and Isolde.
50Act II.—Prelude, Meeting, Love Scene.
51Act III.—Introduction, English Horn Solo.
52Joseph Eller.
53Tristan's Visions.
54Prelude und Liebestod.
55The program for Friday night will be:
56Soloist—Hobart Smock, tenor.
57"Der Ring des Nibelungen."
58Das Rheingold.
59Prelude.
60Song of the Rhinedaughters, arrival of the Giants, song of Fricka, arrival of Loge, passing through Niebelheim, entrance of Gods into Walhalla.
61Die Walküre.
62Siegfried's Love Song.
63Mr. Smock.
64Ride of the Valkyries.
65Wotan's Farewell and Magic Fire Scene.
66Siegfried.
67Siegfried's Forge Song.
68Mr. Smock.
69Waldwehen.
70Die Göterdämmerung.
71Morning Dawn.
72Siegfried's Rhine Journey.
73Song of the Rhinedaughters.
74Siegfried's Death.
75Funeral March.
77The program for Saturday night will be:
78Soloists—Kaltenborn String Quartet, Franz Kaltenborn, violin; Hermann Beyer-Hané.
79Symphonic Poem, Mazeppa………………………………………Liszt
80Violin Solos—
81Traume………………………………………………………..Wagner
82Albumblatt…………………………………………………….Wagner
83Mr. Kaltenborn.
84String Quartet, op. 96 (American Quartet)…………………Dvorák
85Lento. Finale—Vivace ma non troppo.
86Kaltenborn Quartet.
87Overture, Romeo and Juliet………………………………………Tschaikowsky
88Waltz, Freuet euch des Lebens………………………………….Strauss
89Ballet Suite, Korovane…………………………………………Widor
90Prelude, Mazurka, Valse Lente. Finale.
91'Cello solo, Nocturne…………………………………………..Miersch
92Mr. Beyer-Hané.
93Overture, Orpheus……………………………………………..Offenbach
94Second Polonaise……………………………………………..Liszt
96Exhibitions of Sight Singing and Musical Stenography.
98Miss Mary Fidelia Burt will open the season of 1899-1900 with a series of exhibitions, demonstrating her development of the French method of Rousseau-Galin-Paris-Chevé. They will take place at her Carnegie Hall studios Thursday afternoons, October 12 and 19, at 3 o'clock, and Saturday afternoons, October 21 and 28, at 3 o'clock. Her classes, under the auspices of the Brooklyn Institute of Arts and Sciences, will open with an exhibition at Wissner Hall, Brooklyn, Monday evening, October 16, at 8 o'clock. Her Institute classes, beginning October 17, will meet successive Tuesdays and Fridays during the season at 4 p.m. and 8 p.m. Miss Burt will also appear in New Haven, Conn., October 14 at 3 p.m., and Newark, N.J., the last week in October. Her little pupils will give conclusive demonstrations in singing at sight major, minor and chromatic intervals, improvised duets and trios, difficult time work of 2, 3, 4, 6, 9 notes to a beat, as well as actual songs. All the work is then taken down in musical stenography, of which Miss Burt is the author. one of two readings
99Miss Mary Fidelia Burt will open the season of 1899-1900 with a series of exhibitions, demonstrating her development of the French method of Rousseau-Galin-Paris-Chevé. They will take place at her Carnegie Hall studios Thursday afternoons, October 12 and 19, at 3 o'clock, and Saturday afternoons, October 21 and 28, at 3 o'clock. Her classes, under the auspices of the Brooklyn Institute of Arts and Sciences, will open with an exhibition at Wissner Hall, Brooklyn, Monday evening, October 16, at 8 o'clock. Her Institute classes, beginning October 17, will meet successive Tuesdays and Fridays during the season at 4 p.m. and 8 p.m. Miss Burt will also appear in New Haven, Conn., October 14 at 3 p.m., and Newark, N. J., the last week in October. Her little pupils will give conclusive demonstrations in singing at sight major, minor and chromatic intervals, improvised duets and trios, difficult time work of 2, 3, 4, 6, 9 notes to a beat, as well as actual songs. All the work is then taken down in musical stenography, of which Miss Burt is the author. one of two readings
101Offenbach's "La Belle Helene" will be revived in Paris in splendid style. The directors of the Variétés have acquired the original manuscript, which contains many numbers that have never yet been performed.
103MR. VICTOR THRANE
105HAS THE HONOR TO ANNOUNCE
107HAMBURG,
109SEASON 1899-1900.
111J. V. GOTTSCHALK, Representative.
113KNABE PIANO USED.
115Address 33 Union Square, NEW YORK.
117MUSIC IN THE PUBLIC SCHOOLS.
119[This Department Is in Charge of Mr. Sterrie A. Weaver, Supervisor of Public Schools in Westfield, Mass.]
121ELEVATING THE MUSICAL TASTE.
123The controversy over church music, which began in the columns of the Springfield Republican and has been carried on by clergymen and musicians for the past six months, has, without doubt, attracted the attention of school music supervisors all up and down the land. With no design to quote from either side, or to enter into their controversy, I feel much inclined to have a private chat with school music supervisors as to the special interest that we have in this matter. It is not simply interest, but an enormous responsibility resting upon us, demanding activity and constant vigilance for the growth of musical culture in our fair land.
125Naturally, every educated supervisor is skeptical as to there being such a thing as a supervisor who stoops to pandering to the vitiated tastes of his school pupils, encouraging or even allowing them to indulge in the popular stuff of the day. Nevertheless, there are plenty of cases where this is done. No matter how anxious the supervisor to please his pupils, no matter how strong the appeal of pupils or teachers to indulge in the poisonous material, the supervisor who tolerates the slush must need a little self tinkering to be a leader in matters musical in our public schools. However, the popular songs of the day as sung at vaudeville shows all over the country are not as dangerous, not as retarding to the interests of true music, as the gospel hymns.
127The very cream of our young society, the children in whom we have the most hope, are not allowed to visit the vaudeville shows, but, almost without exception, they are regular attendants at some form of divine worship. Sunday schools, Christian Endeavor societies, Epworth leagues and countless other organizations are catering to the best element of our younger blood. Without doubt the real end and aim of these societies is the betterment of the young people whom they seek. The good judgment displayed in furnishing gymnasiums, evening classes in almost every line, including drawing, architecture and business courses, the innocent amusements so freely furnished to entice young people from places where the amusements are too coarse fibred, the deep study given to the problem of how to elevate and interest young girls are in strange contrast to the utter ignorance these managers and leaders display in the selection of music for the rising generation.
129The earnest school music supervisor finds it an easy task to shame his pupils (the best of them) out of singing the coarse, popular songs of the day, but any attempt to draw them away from the slushy stuff which they learn and constantly employ at the social meeting and in the Sunday school meets with a protest from pupil and teacher that shows conclusively what a long, strong pull is before the apostles of true art before the masses of this nation will get a good start in the desired uplift. The discussion of the matter, which has reached from ocean to ocean, has been championed on both sides by clergy and laity. Those who have pleaded for art have all expressed a hope, nay a belief, that art will sooner or later triumph, that the true will drive out the sham, but, so far as I have been able to discover,
131AMY FAY,
132Author of "Music Study in Germany." Seventeenth Edition Just Out.
133Originator of PIANO CONVERSATIONS.
134(Recitals with Explanatory Remarks.)
135PIANO INSTRUCTION.
13666 West 56th Street, New York.
138Miss Carroll Badham,
139TEACHER OF SINGING.
140Miss Badham has returned from her usual summer of teaching in Paris, and is ready to receive pupils at her new studio. She is experienced not only in training the voice, but in teaching style, diction and the interpretation of roles.
14156 EAST 54th ST., NEW YORK.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.