Scan 41
Musical Courier 1899-11-29: Vol 39 Iss 1028, 1899
106 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 42. See the scan on archive.org.
1belongs to Indianapolis. This is encouragement to the local musicians and to students as well, for there are quite a number of instruments in the making of an orchestra which this city has to borrow. After an intermission the orchestra played a bright, effective overture, "Rousland et Ludmilla," by M. J. Glinka.
3Mrs. Bloodgood's first song was the aria from "Jeanne d'Arc," by Tschaikowsky. This gave her ample opportunity to show her unusual range of voice, for it not only requires an alto singer, but one whose tones command the register of the mezzo-soprano. Her voice is full, rich, flexible, and she uses it easily and with much taste. So well did it gratify the audience that the singer was recalled three times, and finally she graciously responded with a ballad, "Ashes of Roses," for which Mrs. S. L. Kiser played the accompaniment.
5Mr. McGibeny was given a cordial welcome when he appeared to play the allegro from the First Concerto for the violin, by Paganini-Bezekirski. Mr. McGibeny has not only talent, but genius for his instrument. He plays with feeling, sympathy and warmth. He has his technic literally, and also figuratively, at his fingers' ends. The concerto, with its tremendously difficult cadenza, was artistically accomplished, and he, too, was recalled three times. For an additional number he played the "Moto Perpetuo," by Franz Ries. It was a whirlwind of scintillating, sparkling tones, given at wonderful speed and yet with the most perfect control. To many in the audience it was a revelation in violin playing, its mental and physical accomplishment being almost incredible.
7Mrs. Bloodgood sang two ballads, the first that tragic verse of Sidney Lanier's, "The Trees and the Master," set to peculiar music by George W. Chadwick, and the other the dainty nocturne of the "White Rose," by Ethelbert Nevin, for which Mrs. Kiser played artistic accompaniments. The last two numbers were given by the orchestra. One, a "Komarinskaja," by Glinka, sounded like a village pastorale, in which the Norse melody was introduced and held in a most peculiar setting of a single phrase, which was repeated again and again, now loud, now soft, by a few instruments, and then by many, over and over again. The other was "Scenes de Ballet," op. 5. No. 3, by Glazounow, also a pleasing composition. It was the decided expression of the audience, as it left the theatre, that the concert was a remarkable advance over any yet given, and all were enthusiastic over the entire program.
9It is now announced that the third concert of the Sunday night series will have Clementine de Vere as the chief soloist, and takes place December 3 at Central Music Hall. Ten concerts have already been arranged by Florence Hyde Jenckes, and with the privilege of extension if desired.
11Miss Woods has made immense progress during the past year, and is one of the most promising young singers of Chicago. Mr. Liebling's program consisted of fifteen well selected numbers.
13A Bach recital will be given by the American Conservatory Saturday afternoon, December 2, at Kimball Hall. Mrs. Gertrude Murdough, Wm. Eis and Miss Clara Heuer will take part.
15The Mendelssohn Club's first concert will be held at Central Music Hall on Thanksgiving Evening, November 30. The club announces that its subscription list (all admissions being by subscription only) is very much larger than ever before, and it is expected the associate membership limit will be reached before the season opens, certainly a very gratifying thing both for the club and for Chicago, which thus takes its place with Eastern cities in making very fine Mannerchor music the object of special favor.
17FLORENCE FRENCH.
19Italian Language.
21An Italian who can give Italian lessons and who understands the grammar of the English language can secure two pupils in this city in return for advertising in this paper. Address "Italy," care of THE MUSICAL COURIER, 19 Union square.
23Music in the South.
24ATLANTA, November 24, 1889.
26I HAVE just received the list of engagements made to date by the Atlanta Concert Association. To my regret, and to the loss of our whole public, no orchestra is there enrolled.
28October 24, Vladimir de Pachmann, the great Russian pianist.
29November 21, Arthur Van Eweyk, baritone; Helen Buckley, soprano; Glenn Hall, tenor.
30December 27, Frances Saville, soprano; George Hamlin, tenor.
31January 30, Leonora Jackson, violinist; Katherine Bloodgood, contralto; Mr. Jackson, pianist.
32February 26, Petschnikoff, violinist; Lachaume, pianist.
33March 10, Hambourg, pianist.
35Some surprise has been expressed at the limited number of concerts given, but with general admission $1 and reserved seats in ascending scale according to location, even with only six concerts the holder of a season ticket still profits greatly. Two season tickets cost $5—with some seats reserved for entire course only $7.50—making a single reserved seat cost about 65 cents. That is reasonable enough, considering the quality of music offered and the great expense necessary to include in a concert circuit a city so far South.
37Besides few of the ticket holders are catholic in their musical taste; many limit their presence to one or two concerts, selling the remaining tickets at good profit to themselves and reducing their expense to fairly nothing. By this arrangement the audiences constantly vary in size and personnel, and in neither respect was the audience on the 21st equal to that which had greeted De Pachmann.
39However, De Pachmann is world renowned, and it was "the thing" to be present at his recital, and the Teachers' Convention gave many visiting musicians an opportunity to profit by our benefit.
41To the second concert I had looked forward with peculiar interest. Thanksgiving Night, eight years ago, we drove through the wondrous stillness of the Northern winter over streets deeply packed with snow, through brilliantly lighted Berlin to the Kaiserhof, and there in the ballroom, with Kaiser Wilhelm and George Washington facing each other in marble coldness and silent ivory; with American friends, American toasts and American turkey all softening the heart into tender and patriotic sentiments it was my good fortune to hear Arthur Van Eweyk the first time. The acquaintance formed that night ripened into friendship as his magnificent voice ripened under careful culture.
43It has therefore been with peculiar interest that I watched his artistic career, and rejoice in his triumphal tour through his native land. He is somewhat stouter; but the same handsome, unaffected fellow, a man's man; and his virile voice appeals most to men. It is in the deep and stirring German songs—the patriotic songs of the Fatherland—that I like him most. I have never heard him in oratorio work, where he must be grand.
45It is useless to add my meed of praise to the laudation these artists have received through their whole tour. Besides, none of them was at their best here, owing to the accompaniment. This was in no way the fault of Professor Mayer, who assumed the thankless task at an hour's notice, without previous preparation or rehearsal and merely to oblige the committee. Mr. Van Eweyk especially sings in rapid tempo; takes all an artist's permissible liberties with his score, and carries his music in manuscript form; thus creating difficulties impossible to surmount without frequent rehearsal and entire familiarity with an artist's methods.
47Professor Mayer is a fine musician and a teacher of note; he carries his complaisance too far in subordinating himself as an accompanist, really imperiling his standing with our public and with the visiting artists. The management is to blame in not carrying an accompanist with the troupe, thus insuring against all petty hitches. The program is as follows:
48Prologue (Pagliacci)………………………………………Leoncavallo
49Recitation and Aria from Reg'nella………………………..Braga
50Air de l'Infante (Le Cid)…………………………………Massenet
51Mr. Van Eweyk.
52Mr. Hall.
53Miss Buckley.
55Hot! Fill Me a Flagon………………………………………Nevin
56Sweetheart, Thy Lips Are Touched With Flame………….Chadwick
57O, Listen to the Voice of Love……………………………Hook
58A Hunting Song…………………………………………….Weld one of two readings
59A Hunting Song…………………………………………..Weld one of two readings
60Neath the Stars……………………………………………..Thomas one of two readings
61Neath the Stars…………………………………………..Thomas one of two readings
62A Song of Sunshine……………………………………….Thomas
63Absence………………………………………………………Berlioz one of two readings
64Absence…………………………………………………….Berlioz one of two readings
65Fleur des Alpes…………………………………………….Weckerlin one of two readings
66Fleur des Alpes…………………………………………..Weckerlin one of two readings
67Thou Art So Like a Flower……………………………….Chadwick
68Thy Beaming Eyes……………………………………….MacDowell
69Liebeslied…………………………………………………Dvorak one of two readings
70Liebeslied……………………………………………….Dvorak one of two readings
71Trio, The Mariners……………………………………….Randegger one of two readings
72Trio, The Mariners………………………………………Randegger one of two readings
73Miss Buckley, Mr. Hall, Mr. Van Eweyk.
75On Thursday, November 16, in the German Centennial Hall, Herr Arnold Man, German lyric tenor, made his American début. He was assisted by Signor Frohsohlin, who gave, in his usual good style, two selections of Wieniawski, the "Legende" and the "Polonaise." Herr Man lacks stage presence, but he has a sweet, full tenor, with some cultivation. He was most unfortunate in his choice of location, his delicate organ having to compete with deafening noise from the rolling, shunting, shrieking locomotives in the adjacent railway station. We hope to hear Herr Man under more auspicious surroundings.
77The music section of the Woman's Club met Monday last. The study of Wagner was continued; many interesting papers were read upon Wagner's life, his personality and his works, bringing the study down to the period of his retirement to Triebschen.
79Mr. Barthe delighted the members with Liszt's arrangement of the "Spinning Song" from the "Flying Dutchman," which chorus the ladies are now studying.
81Mrs. John C. Bass sang with dramatic spirit and a sweet voice, "Ask Nothing More," Maziel; "Good-Bye, Sweet Day," Vahnal; "Good-Bye, Sweet Dreams," Bishop, as examples of modern American song.
83On Thursday, 23rd, at Cable Recital Hall, Miss Mary Adair Howell gave a recital with the following program:
84Sonate, op. 27, No. 2………………………………………Beethoven
85Moments Musical, op. 94…………………………………Schubert
86Octave Study, op. 48………………………………………Kullak
87Nocturne, op. 37, No. 2………………………………….Chopin
88Spinning Song, op. 2, No. 1……………………………..Stojowski
89Silver Spring, op. 6……………………………………….Mason one of two readings
90Silver Spring, op. 6………………………………………Mason one of two readings
91Tarantelle, op. 13, No. 1…………………………………Nicodi
92To a Wild Rose, op. 51…………………………………..MacDowell
93From an Indian Lodge, op. 51…………………………..MacDowell
94To a Water Lily, op. 51…………………………………..MacDowell
95Valse de Concert…………………………………………..Sieveking
97Miss Howell was very nervous and persistently refused to face her audience in recognition of their floral offerings or in making her adieus. This in no way interfered with her playing, which was far beyond the average amateur effort. Nos. 1 to 4 and 9 were played from notes, all others were memorized and played with much feeling and grace. Miss Howell evidently has true conception of music, as was evidenced in her shading of MacDowell's three little gems. The Schubert selection was charmingly rendered, the Tarantelle brilliantly. The young lady has supple fingers and a strong wrist, and a delicacy of touch that promises much for the future. The recital was altogether most interesting, and very creditable to Prof. I. M. Mayer, her teacher.
99The Symphony Club has been doing so much work and filling so many programs that my next letter must be devoted to full details.
101NEVA STRAUSS.
103From the Lankow Studio.
105ANDREAS SCHNEIDER, baritone, who was substituted for Clara Butt at the concert of the Liederkranz last Sunday night, is an American singer who received his training from Mme. Anna Lankow. She is his only teacher. As noted elsewhere in the review of that concert, Mr. Schneider sustained himself admirably, and astonished all by the excellence of his singing. From the Lankow studio have come many singers of high repute. This young man possesses a fine voice, which he uses with judgment and skill, thanks to his teacher.
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