Scan 39
Musical Courier 1899-11-29: Vol 39 Iss 1028, 1899
47 lines. Read by computer on 21 September 2026. Printed page 40. See the scan on archive.org.
1CHICAGO OFFICE THE MUSICAL COURIER,
2224 Wabash Avenue, November 25, 1899.
4AFTER this season Chicago will know opera no more, Alas for Grau and his organization, a discriminating public has decided the question of opera at exorbitant prices in a summary manner—by not attending. Consequently Mr. Grau has announced his intention of giving Chicago a very wide berth. The second week of the season ended disastrously, the audiences being small and yet smaller. Now it remains to be seen what attitude New York will take in the matter.
6Theodore Thomas is the latest Paris Exposition boycottter on account of the Dreyfus case verdict. He announces himself an American citizen too deeply imbued with love of justice and liberty to consistently countenance by taking his Chicago Orchestra to the great Exposition of 1900. Alas for Paris; will the Exposition be postponed, or does Mr. Thomas voice his own opinions only instead of expressing the sentiments of the Chicago Orchestra directors?
8The second concert of the Sunday night series under the direction of Florence Hyde Jenckes passed off equally as well as the one preceding and attracted a large audience, the soloists being Signor Campanari and Nellie Sabin Hyde, with the Bunge Orchestra, rechristened "The Metropolitan." It cannot be said the program was well chosen, either on the part of the soloists or the orchestra. Campanari in the first part of the concert sung two songs by M. de Nevers, which are very worthy in their way, but not of sufficient importance to warrant Campanari introducing them at his one concert appearance in Chicago. For encore he sang also a new song by Signor Arturo Buzzi Pezzia.
10This little composition is very musically refined and original, albeit the composer was somewhat uncertain of the accompaniment. The story goes that the night preceding the concert Campanari found himself without the music of any songs save those announced on the program, and that finding himself in what might prove a dilemma he asked Buzzi Pezzia to write one. This request was acceded to, hence the new song. In the second part of the concert Campanari sang "Dio Possente," from "Faust," programed as "Prayer," by Gounod. The necessity for such a scruple was not plainly apparent, seeing that the program partook decidedly more of the popular and secular than the sacred. Of course Campanari was encored in the "Faust" selection, and for which he deserved exceeding credit, seeing that the accompaniment as played by the orchestra was execrable.
12As his concluding number to the entertainment Campanari gave us the Toreador Song, from "Carmen," accompanied from memory by Pezzia. The last named is an imitable artist in his way, but it is not fair to require him to improvise some makeshift accompaniment to as well known a song as the Toreador.
14Miss Nellie Sabin Hyde created a most favorable impression and was encored after both numbers. Her voice is contralto, of beautiful timbre, and shows much training. Miss Hyde sings in a thoroughly artistic manner and should make a superb oratorio artist. There was too much orchestra in the program. A little less of the Bunge organization would have been a great improvement.
16The series of Sunday night concerts which, contrary to expectations, became very popular, has been interrupted, owing to the Amphion Society, which several months ago had secured the Studebaker Hall for to-morrow night. An extraordinary announcement has gone the rounds of the press, stating that the concerts would be in future held at Central Music Hall, as it was larger. This is simply ridiculous, as the audiences did not test the capacity of the Studebaker.
18A series of concerts will be inaugurated Thursday afternoon, December 7, which should advance the musical interests of the city materially. This series will be modeled after the Boosey ballad concerts in London, and will introduce the new publications of the Clayton F. Summy Company. Among these are "Song Thoughts of Neidlinger," perfect gems in construction and musical workmanship, the words and melody being equal to any yet given to the public by this talented writer.
20Neidlinger's Christmas song, too, will be introduced first at the Clayton Summy concerts. This is undoubtedly the song of the season, and is called "To Victory." In this Mr. Neidlinger has worked out many ideas with the usual good results. "To Victory" will appeal to church singers as one which will show the voices to advantage. Two new songs by Jessie Gaynor and some by less known writers will figure on the first of the Clayton Summy programs. The artists engaged are Miss Nellie Gertrude Judd, Charles W. Clark and Jeannette Durno. The last named will play Rogers' new suite, "Scenes de Bal," a collection of piano pieces which have proved very attractive and sufficiently meritorious for performance by even experienced artists.
22At the popular prices asked the Clayton Summy concerts should draw immense audiences at Central Music Hall.
24A persistent rumor, emanating doubtless from interested persons, has been circulated freely to the effect that Harrison Wild contemplated giving up teaching. Such a rumor is detrimental and is absolutely devoid of foundation; there are too few musicians unfortunately of Mr. Wild's calibre, and it would be a serious loss to the artistic world if he had such intention. From inquiries I find that Mr. Wild is still engaged with a large class of pupils for organ, piano and harmony.
26Harrison Wild has a unique position in Chicago. He is conductor of the Apollo Club, Mendelssohn Club and Grace Church, and all the scheming will not unsettle one of these positions. In addition to these duties he has a following second to none, a devoted clientele who respect Harrison Wild as an artist of superb attainments, and admire him for his many splendid personal qualities.
28"Succeeding beyond anticipation" is about the pleasantest statement that can be made about an artist, and succeeding beyond anticipation is Sydney Lloyd Wrightson, the young English baritone, who has come, sung and conquered, and is busily engaged teaching at the Fine Arts Building. As a choirmaster he is already making a name in Chicago, and at Fullerton Avenue has been chosen precentor at an excellent salary. His method and voice have made many friends for him, and it will not be surprising to find him filling the best engagements.
30In a letter with reference to Mr. Wrightson the pastor of the First Congregational Church, Appleton, Wis., writes:
31I know Mr. Wrightson intimately. He was the choirmaster of our men and boys' choir of 106 voices, at Appleton, Wis., for two years. I regard him as a chorus leader and organizer by far the best I have ever known in my pastorate of nearly twenty-five years. He has energy, enthusiasm and ability; he is a tireless worker and gets the good will and loyalty of his chorus.
33He took untrained boys and men in our parish and got them in that time so that they sang the most difficult music. As a soloist he ranks among the very first. His methods are the latest and best. He has had exceptional advantages in his profession, having been trained as a boy by Sir John Stainer and later was a pupil of William Shakspeare.
35In my judgment Mr. Wrightson is equal to any position that needs the very highest musical talent to fill.
37I shall be pleased to write you more fully if you desire.
39(Signed) JOHN FAVILLE,
40Pastor First Congregational Church, Appleton, Wis., for twelve years.
42No production by the Castle Square Opera Company in this city has evoked more genuine and spontaneous applause than the musically all brightness and absolutely mirth-provoking Strauss opera comedy, "Die Fledermaus," which crowded the Studebaker for every performance during the week just past. Rippling music, charming dancing, principals and chorus thoroughly rehearsed and evidently enjoying the situations as thoroughly as the audience explain the enthusiasm.
44In parts there may be a surfeit of the comedy and a dose administered that Vienna might find some occasion to frown upon, but "Die Fledermaus" has not one minute in its three acts that is not instinct with life, lightness and laughter. Gertrude Quinlan, who each week appreciably improves and develops new unexpected capabilities; William G. Stewart and Frank Moulan, the latter appearing only in the last act, are mainly responsible for the success, but are ably seconded by Reginald Roberts, who is in splendid voice; Eloise Morgan, always most capable; Belle d'Arcy and A. W. Fleming, so says the program, but everyone recognizes in the excellently handled Dr. Falke, the Castle Square Opera Company stage manager, A. W. F. MacCollin who is like many other of the company's members gifted with extraordinary versatility.
46Next week's production will be "Martha," so successful here last season, and in answer to many hundreds of letters requesting it should be regiven. It will introduce a soprano, Miss M. Berri, new here, but of whose capabilities much is
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