Scan 13
Musical Courier 1900-04-11: Vol 40 Iss 1046, 1900
91 lines. Read by computer on 22 September 2026. Printed page 14. See the scan on archive.org.
1CINCINNATI, March 31, 1900.
2(Continued from last week.)
3N Thursday evening, March 27, a testimonial concert was given to Miss Nora K. Schoemer, violinist, in the Odeon.
4Miss Schoemer is a pupil of Signor Pier A. Tirindelli, of the Conservatory of Music. Previously she had studied under Leandro Campanari and José Marien at the College of Music. She is decidedly talented. Her technic is good, and she already shows a great deal of finish, backed by musical intelligence. She showed grasp of the subject matter in the Bruch Concerto. The assisting talent was drawn from the Conservatory of Music. Mr. Bohlmann's playing was characterized by breadth and fine scholarship. His conception of the Rubinstein numbers was especially happy.
5In Romeo Frich, baritone, a genuine interpreter was recognized, one who grows on the listener at each and every hearing. His earnestness is always in evidence with his art. He endeavors to bring out the very soul of the music he sings. A help in this direction is his enunciation, which is always distinct. His voice material meets interpretative demands, and his interpretation means something definite. This was plainly felt in his singing of Beethoven's "Erlkoenig," which, by the way, is not often heard. Mr. Froelich is a 'cellist of much merit. His tone has a rich musical quality.
6Miss Schoemer leaves for Europe soon, where she will spend some time under Carl Halir and other instructors.
7* * *
8The musical event of the present week was a novelty chamber concert, arranged by Theodore Bohlmann and given in the Scottish Rite Cathedral, Friday evening, March 30. Mr. Bohlmann was assisted by Mrs. Fanny Polk Hosea, harp; Pier Adolfo Tirindelli, violin; Romeo Frick, baritone; Louis Weber, flute; Carl Schutt, clarinet; Herman Woest, bassoon; Michael Brand, 'cello; William Ross, oboe; S. Hofer, French horn, and G. A. Barbour, organ.
9Mr. Bohlmann has offered novelty programs before, which were of extraordinary interest; but this one excelled them all. The aim was distinctly for an unusual combination of instruments. The wind instruments, such as the flute, clarinet, bassoon and horn, are all more or less at sea and scanty when they are heard, detached from the orchestra, even in quintets and sextets. But their combination with the piano is always interesting, if nothing else. In this category we have, for instance, the Beethoven and Saint-Saëns Septuors and the Sextet of Rubinstein. But even with these restrictions they are decided novelties, which are seldom heard in a concert program singly, let alone bunched together. And their presentation presupposes a great deal of preparation and previous rehearsals.
10* * *
11Mrs. Mamie Hissem De Moss, soprano, one of the soloists for the May Festival, who will sing the soprano parts in "St. Paul" on the opening night, May 8, has closed an engagement to be the soprano of the solo quartet in the Fifth Avenue Presbyterian Church, New York city. Her salary will be $1,500 per year, and in addition to this amount she expects to sing in one of the great synagogues, which will bring her an additional annual sum of $1,500. She will be entitled to two months' vacation in the summer. She expects, also, to appear in concert. Recently she sang at a concert in Asheville, N. C., and on Monday night of last week at Chattanooga, Tenn. Mrs. De Moss received her entire musical and vocal training from Signor Lino Mattioli, of the College of Music.
12* * *
13An operatic evening was given by pupils of Mrs. Zilpha Barnes-Wood on Thursday night, March 29.
14The performances were creditable, and reflect credit on teacher as well as pupils. The choruses were well sung.
15* * *
16The third and last chamber concert by the Marien String Quartet of the College of Music, on Wednesday evening, March 28, in the Odeon, presented the following program:
17Quartet in A major………………………………………Tartini
18Trio, op. 49, D minor………………………………….Mendelssohn
19Piano, violin and 'cello……………………………….Brahms
20There was much in the program to recommend it. Surely enough of contrast between the simple forms of the Tartini member of the old Italian school and the modern intricacies of Johannes Brahms. And they were well played. The quartet's work was of a finished character, showing careful preparation and high art endeavor. The blending of the instruments made up an unswerving ensemble. Between the quartets was sandwiched the Mendelssohn Trio, which, with all its beauty of symmetrical form, proved to be the most interesting. Ernest W. Hale, who played the piano part, proved himself an artist of sterling quality. He is a beautiful ensemble player, whose sense of values is based upon the artistic proportion as well as the mathematical measure. There is poetry in his interpretation and his technical equipment is of the best. Both the Scherzo and Finale were brilliantly played.
21* * *
22A Bach evening it was called last Wednesday night and it was given at the German Literary Club rooms. The affair was arranged by Dr. N. J. Elsenheimer, of the College of Music faculty. The exclusively Bach program was interpreted by the following local talent: Messrs. T. Bohlmann, Romeo Gorno, Ebert Buchheim and Dr. N. Elsenheimer, piano; Messrs. B. Ebann and Henry Froehlich, violin; Max Froehlich, viola; Miss Rose Pitton, Mr. and Mrs. Lerch, vocal; Mrs. Hosea, harp.
23Dr. Elsenheimer read a masterful essay on the great father of modern music—the fountain head of subsequent development and inspiration—which showed research and wide and profound knowledge of the subject. At its close a good program was carried out.
24A. J. Gantvoort went to Logansport, Ind., during the week to address the music teachers of Northern Indiana.
25CINCINNATI, April 7, 1900.
26A song recital was given by Hans Seitz, baritone, on Monday evening, April 2, which was of considerable interest. He was assisted by Mrs. Harrie B. Breed, accompanist, in the following program:
27In Questa Tomba Oscura……………………………….Beethoven
28Der Atlas…………………………………………………Schubert
29Gruppe A. D. Tartarus…………………………………Schubert
30Das Fishermädchen…………………………………….Schubert
31Old English songs by Horatio W. Parker—
32He that Loves a Rosy Cheek……………………………Carew (1589-1639)
33Once I Loved a Maiden Fair……………………………Time of James I.
34The Complacent Lover…………………………………Selby (1639-1701)
35The Lark Now Leaves His Watery Nest………………Davenant (1605-1668)
36Der Schatzgraber………………………………………Schumann
37Der Spielmann…………………………………………Schumann
38Aus Alten Marchen……………………………………Wagner
39Schmerzen……………………………………………….Bunger
40Das Trauergewand…………………………………….Rubinstein
41Die Drei Zigeuner…………………………………….Jensen
42Niemand Hat's Gesehen……………………………….Löwe
43Der Liebe Melodien……………………………………Geier
44Childe Harold…………………………………………..Lassen
45The Lass of Norwichtown……………………………..Field-Bullard
46Mr. Seitz possesses the faculty of song interpretation. He was particularly at home in the portrayal of the pathetic. He imparts to his singing a warm, sometimes impassioned delivery. The Schumann group of songs were particularly effective and he did himself justice in Löwe's "Niemand Hat's Gesehen."
47* * *
48Edmund Jahn, baritone, assisted by Ernest W. Hale, pianist, gave a song recital in the Odeon on last Tuesday evening. The program, which was attractive, was as follows:
49Aria, Thy Glorious Deeds………………………………Händel
50(With organ accompaniment.)
51Creation Hymn…………………………………………Beethoven
52(With organ and piano accompaniment.)
53Prelude, op. 3, No. 2…………………………………Rachmaninoff
54Etude in D flat major…………………………………Liszt
55Aria from Hans Heiling……………………………….Marschner
56Aria, O, Thou Sublime, Sweet Evening Star, from Tannhäuser……………………………………………..Wagner
57Preludes, A major and C minor………………………..Chopin
58Polonaise in A major, op. 40, No. 1…………………..Chopin
59Elieland: Cycle of Ten Songs………………………….Von Fielitz
60Silent Wo. Frauenworth. Roses. Secret Greetings.
61On the Shore of the Lake. Child Voices. Moonlight Night. Dreams. Anathema. Resignation.
62Mr. Jahn has not a big voice, nor one that would meet great dramatic requirements. But it is splendidly schooled and held under good control. His singing of the "Cycle of Ten Songs" showed decided intelligence. There was something of the poetic in his singing of the "Tannhäuser" Aria.
63Mr. Hale is to be congratulated upon his playing. His reading of the C minor Etude of Chopin was deeply thoughtful and comprehensive. The Polonaise was not without brilliancy. With taste and discerning intelligence he played the Prelude of Rachmaninoff. The Liszt Etude seemed best suited to his style of playing, which combines delicacy with strength.
64* * *
65On Thursday evening the first of the concerts closing the academic year of the College of Music was given in the Odeon. It was a violin recital by Miss Bertha N. Roth, assisted by Miss J. Calla De Moss and Mrs. Emily Wipper McCash, vocalists. The program was carried out as follows:
66Concerto No. 24, in B minor…………………………..Viotti
67Maestoso. Andante sostenuto. Allegretto. (Cadenza by Leonard.)
68Miss Bertha N. Roth.
69Summer Night…………………………………………A. Goring Thomas
70Spinning Song………………………………………..Cowen
71Fantaisie, Souvenir de Bade, op. 39……………………Leonard
72Miss Bertha N. Roth.
73Ecstasy……………………………………………………Mrs. Beach
74Summer…………………………………………………..Chaminade
75Miss Emily Wipper McCash.
76Etude No. 23 (march for violin alone)………………Kreutzer
77Miss Bertha N. Roth.
78Miss Roth is a Southern girl, from Knoxville—just sixteen. For the past four years she has studied under José Marien, and her playing gives much promise. She has temperament beyond a doubt, and technically she is developing fast. Her execution in the Kreutzer Etude showed the foundation of a vigorous tone, and it was clean. The vocalists did creditably.
79* * *
80This seems to have been a favored week for violin recitals. On Friday evening, April 6, Miss Cora Mae Henry, a pupil of P. A. Tirindelli, gave a recital at the Conservatory of Music. The program was as follows:
81La Folia……………………………………………….Corelli (born 1653, died 1713)
82(Variations. Cadenza by Leonard.)
83With Thee…………………………………………….D'Hardelot
84Airs Hongrois………………………………………..Tirindelli
85Romance……………………………………………….Wieniawski
86Twilight……………………………………………….Massenet-Hubay
87The Bee……………………………………………….Schubert
88Aria……………………………………………………..Saint-Saëns
89Concerto, G minor……………………………………Bruch
90Miss Henry has a very bright future before her. She plays with a warmth that is sometimes passionate. In her bowing, her tone, and her technical equipment she possesses a great deal of preparation and previous rehearsals.
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