Scan 43
Musical Courier 1899-11-29: Vol 39 Iss 1028, 1899
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1The Liederkranz Concert.
3THE German Liederkranz, of New York, signalized the beginning of its season last Sunday night with a concert which enlisted the services of a galaxy of talent and attracted an audience that overflowed the society's hall. Many persons were content to stand in the doors and aisles during the entertainment. Paul Klengel, the director, was determined that the first concert of the season should be an exceptionally brilliant one, and so it proved. This generous offering was made for the delectation of an audience composed almost entirely of true lovers of music:
5Fest Overture …………………………………………..Reinecke
6Male chorus and orchestra.
7Aria for baritone, from Faust……………………………Ch. Gounod
8Andreas Schneider.
9Concerto for violoncello………………………………..Haydn
10Elsa Ruegger.
11Aus der Jugendzeit………………………………………R. Radecke
12Prinzesschen……………………………………………..Carl Wendl
13Baritone solo, E. W. Reuling.
14Röslein im Wald………………………………………….C. Ludwig Fischer
15Male chorus.
16Scherzo from Midsummer Night's Dream…………..Mendelssohn
17Vom Pagen und der Königstochter…………………Fritz Volbach
18For chorus, solo and orchestra.
19Soloists: Miss Eisen, Miss Britting, George Hamlin, Andreas Schneider.
20Male chorus.
21Solos for violoncello—
22Le Cygne…………………………………………………Saint-Saëns
23Elfeantze…………………………………………………David Popper
24Elsa Ruegger.
25Lieder for tenor with piano accompaniment—
26Liebeslied……………………………………………….Ant. Dvorák
27Ständchen……………………………………………….Rich. Strauss
28Drinking Song…………………………………………..Mascagni
29George Hamlin.
30Frau Sonne am Himmel herauf………………………..C. Attenhofer
31For Männerchor, baritone solo and orchestra.
33The specially engaged soloists were Elsa Ruegger, the beautiful young violoncello virtuoso; George Hamlin, the tenor, and Andreas Schneider, the baritone. Incidental solos were given by Mrs. Eisen, Miss Britting and E. W. Reuling, members of the society.
35The most important number was a new cantata for mixed voices, solos and orchestra, "Von Pagen und der Königstochter," which is the latest work of Fritz Volbach. It had its initial presentation at the last meeting of the Society of German Musicians. The cantata is replete with melody, is joyous and flowing. It is bright and gladsome from beginning to end. Some of the solos are strikingly beautiful. Mr. Klengel, who is a stickler for thoroughness, had drilled the singers so well that the work was given in an unexceptionable manner. This same thoroughness of preparation was manifest in all that the society did. All this demonstrates that the present conductor is a musician of sterling qualities and a most excellent disciplinarian. Mr. Klengel showed positive ability, too, in the way he controlled the orchestra.
37Miss Ruegger fully justified all the praise she has received from the critics since she came to New York. She selected as the medium of her introduction to the Liederkranz an old-fashioned yet delightfully melodic composition, one rarely heard these days—a concerto by Haydn. The difficulties with which this piece abounds were brushed aside with easy grace by the winsome young woman from Switzerland, the performance verifying the truth of the maxim, "Art is to conceal art." Miss Ruegger's success was unequivocal. Later she contributed two numbers—one by Saint-Saëns and the other by Popper—examples of the more modern school. These she played with surpassing elegance and surprising force. Although an embargo is placed upon encores in these concerts, Miss Ruegger was forced to add another number to the list.
39Mr. Schneider's singing was a pleasant surprise. Here is a young man who will make his mark as a concert singer. Mr. Hamlin's reputation preceded him, and expectation was raised high. The tenor fully sustained his reputation, and gave the audience unalloyed pleasure.
41Martha Miner.
43Miss Martha Miner, the soprano, has been away again, singing last Monday night in Virginia and at the Ridgewood (N. J.) Opera House last Wednesday. There was a large attendance in that rich suburban town, and they were delighted with her work.
45Opera in New Orleans.
47NEW ORLEANS, November 24, 1899.
49THE opera opened here last night to a crowded house with "Faust." The performance was a very brilliant one. The tenor, M. Bonnard, has a remarkably sympathetic voice; it is pure and clear, his shading in the duo of the third act being admirable. He is a real "tenor lyric."
51He was well supported by Madame Clément, who has a strong, fine voice and a very good method. She is very dramatic, and was at her best in the last act. Bouxmann's rich bass was heard here last year. His interpretation of Mephistopheles differs from the generality. Mr. Layolle, the baritone, has a lovely mellow voice, and was particularly good in the death scene; also in the Romance (so seldom sung) of the second act.
53After New York, New Orleans is the only city that supports all opera. Mr. Charley, the best of managers, has succeeded in bringing here the very best artists, and this troupe is superior to any that has been here in years.
55Apart from the opera, we are going to have Paderewski for two concerts and Madame Calvé and De Pachmann will make their first appearance here in February. M. S.
57Musical Matters in Brooklyn.
59IT was natural and expected for some residents of Brooklyn to be displeased with some of the statements made in last week's MUSICAL COURIER on musical matters in Brooklyn. The writer of the article coddled no one, and what was said was truthfully and rather emphatically stated. Neither was the writer of that article a resident of Manhattan (as is supposed in some quarters) sent over to Brooklyn to investigate and then "roast" the place. Not at all. The writer of that article is a resident of Brooklyn, and is happy to state belongs to the optimistic prophets referred to, who believe that Brooklyn will regain all its former prestige as a musical centre. Since the trolleys began to cross the Bridge Brooklyn, it is estimated, has gained 150,000 in population. These new residents of Brooklyn belong mainly to the "two-story people," as Dr. Oliver Wendell Holmes described the army of comfortably off middle class families. By and by the children in these families will be musical, and they will be willing to support concerts—and willing to support Brooklyn concerts—if someone begins now to do some missionary work. The children who are growing up to manhood and womanhood in these thousands of new Brooklyn families will not be anxious to travel from Flatbush or the Twenty-sixth Ward of Brooklyn 'way over to Carnegie Hall or the Metropolitan Opera House when there is no need in this fatiguing journey. Next to a better water supply Brooklyn wants a new music hall more than anything else. There has been talk for years about building one, but so far no plans have materialized and no Brooklyn millionaire has offered to give money for the purpose. The Academy of Music is an excellent building and conveniently reached by trolley from all sections of Brooklyn. But the directors and stockholders are not all philanthropists, and no one ought to blame them for wanting a legal interest on their investment. When they began to rent the Academy of Music out for fairs, political meetings, balls and for other unmusical purposes the artistic "atmosphere" of the building was destroyed for those music lovers who venerate art. There is no doubt that the music department of the Brooklyn Institute is hampered by the lack of a suitable hall for its concerts. Some of the members of that department are foolishly sensitive to the least word of criticism against their management or mismanagement. The department must expect to be criticised for the present musical conditions in Brooklyn, for it is the only organization in Brooklyn now that gives public concerts. Since the death of Anton Seidl the Seidl Society has ceased its activities, and despite the withdrawal of that society from the field the number of high-class concerts under the auspices of the Institute has been reduced.
61This season there are to be only five concerts in Brooklyn by the Boston Symphony Orchestra. Previous seasons ten were given. The prospectus, also, shows a reduced number of chamber music concerts. But, as was stated last week, the fault for the reduction does not rest with the music department of the Brooklyn Institute, but with the Brooklynites, who prefer to patronize concerts and operas in Manhattan. But the reaction will come.
63The Brooklyn Philharmonic Club, an organization composed of forty amateurs, gave a concert at Wissner Hall last Wednesday (November 22) evening. The soloists were Mrs. Walker-Lowe, soprano; J. B. Zellman, basso; Carl Fiqué, pianist, and Chr. Rothemund, violinist. Mr. Rothemund is also the conductor of the club. The orchestra played, con fuoco, at times, rather with too much fire and animation. But the members of the club should be commended for their zeal in devoting one night each week to rehearsal. Perhaps the most enjoyable feature of the concert was the singing of Mr. Zellman, whose rich, well-trained voice captivated all in the Toreador Song and "Le Tambour Major," from "Le Cid."
65G. Waring Stebbins, the organist of Plymouth Church, is giving a series of free organ recitals on the fine organ which the late Emma Abbott presented to the church.
67August Walther, the Brooklyn composer, pianist and teacher, has issued invitations for a chamber music concert of his works at Mendelssohn Hall, Friday evening, December 1. The Kaltenborn String Quartet and Miss Josephine A. Biggs will assist Mr. Walther.
69The Brooklyn Arion will give a grand concert at the Academy of Music under the auspices of the Brooklyn Institute, Wednesday, December 6. Madame Moran-Olden, soprano, will be the soloist.
71Mme. Ada Heine.
73The funeral of Mme. Ada Heine, who died October 26, at Pensacola, Fla., was held in the First Universalist Church on the 29th, Rev. R. P. Ambler conducting the service.
75A quartet, composed of Mrs. J. C. Pebley, Miss Nellie Burrow and Messrs. Hayes and Cresap, sang two hymns and rendered the touching arrangement of "Rock of Ages," by Dudley Buck.
77Madame Heine was a native of England, having been born in London, where she was married to Joseph Heine, the blind violinist. Her maiden name was Ada Marion Thomson. Her whole life was devoted to music, and at different times during her career she was a pupil of Liszt, the famous composer, and of Mrs. Hunt, Creveli, Gorria and Henry Holland.
79Madame Heine leaves a daughter, Miss Evelyn Heine, who resides in Pensacola.
81Charles Bohner.
83Prof. Charles Bohner, a German musician, who has lived in Toronto for many years, died a few days ago of heart failure. He expected to play an accompaniment in Bracondale, a village near there, but the effort of climbing a hill on his way to the concert proved too much for his feeble constitution, and death occurred very suddenly at the house of a Mr. Dinwoodie.
85Aschenbroedel Concert.
87The eighth season of the chamber music matinees of the above began Sunday afternoon with a concert at Aschenbroedel Hall.
89It proved to be a most pleasant and interesting entertainment, and the attractive program was enjoyed by a large and appreciative audience.
91Carl Dufft.
93An error was made in the advertisement of Carl Dufft, the basso, in our last issue. His address is 113 West Eighty-fourth street.
95Prof. LUDWIG BREITNER,
96Piano Lessons,
97Steinway Hall, NEW YORK.
99S. G. PRATT'S
100West End School of Music,
101176 West 86th Street, New York.
102Free Scholarships: Special Class for Teachers on Methods of Teaching the Piano.
103SATURDAYS FROM 1 TO 2 P. M. COMMENCE NOVEMBER 18. SIX LESSONS, $10.
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