Scan 32
Musical Courier 1900-04-11: Vol 40 Iss 1046, 1900
101 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 33. See the scan on archive.org.
1cipally in the South. Yesterday the series of concerts was renewed with a program which brought out a larger attendance than usual. Unless the Auditorium is well filled it looks what Albert Chevalier describes as a "dreary, dreary desert." And no matter how meritorious the program is, unless the hall is well filled an air of coldness prevails during the entire performance. It was the more gratifying to witness the increased attendance at this concert which, if not so alluring as some during the first half of the season, was yet full of interest. The soloist was Mrs. Katharine Fisk, who made her reappearance after a year's absence. The handsome contralto never looked better and was warmly welcomed by her loyal legion of friends and admirers, who retain a strong regard for this Chicago woman. She has won fame for herself wherever she has been heard. Her first selection, "O Ma Lyre Immortelle (Gounod) was enthusiastically applauded, but she refused the encore. Mrs. Fisk, in the second half of the program sang "Fair Spring Is Returning," from "Samson and Delilah," and in response to the demand, as encore, sang "My Heart at Thy Dear Voice," from the same work. It was generally remarked that Mrs. Fisk's voice has wonderfully broadened since she was last heard here, and she retains the same charming style in her singing that always endeared her to the Chicago audiences.
3FLORENCE FRENCH.
4(To be continued.)
6Becker Lecture-Musicale.
8GUSTAV L. BECKER'S regular lecture-musicale was given on Saturday morning, April 7, at his home, 1 West 104th street. The general subject of the series is "Music as a Representative Art," and the subject for the day was "Music Representing Elemental Nature."
10The lecturer said that music could represent the phenomena of nature in two ways—the lower and more obvious by direct imitation, as of thunder by trills and descending chromatics in the bass. The higher method is through suggestion. It is impossible for music to represent the view from the top of a mountain as definitely as by a picture, but certain music can produce in the mind of the listener something very like the same emotional impression as that produced by a mountain view, and so can be considered as representative of it in the best sense. The lecturer quoted from the series of tests made by Mr. Becker, to show how this had been done.
12The following program was played by Mr. Becker and several of his pupils: "Mountain Climbing," Raff; "Thunderstorm," from the "Pastoral Symphony"; "Sandstorm in the Desert" (two pianos), David; "Murmuring Breezes," Jensen; "Magic Fire Scene," Wagner-Brassin; "Waldesrauschen," Liszt; "At the Spring," Piutti; "Etincelles," Moszkowski. The assisting artist was Griffith Griffith, the Welsh baritone, who sang with pronounced success Schubert's "Aufenthalt," and by especial request a folk song in his own language, "Ar Hyd y Nos."
14"Gamble in 'The Messiah.'"
16Ernest Gamble has just been engaged by the Bay View Assembly to give a recital on August 7, and to sing in the "Messiah" August 8: This follows his engagement at Chautauqua, N. Y., during July.
18Mr. Gamble has just closed a big season in the West. This week he is in Oil City, Pa., 16; Hamilton, N. Y., 17; Norwich, N. Y., 18; Canandaigua, N. Y., 19; Geneseo, 20.
20E. PRESSON MILLER,
21VOICE CULTURE,
22METROPOLITAN COLLEGE OF MUSIC,
2321 East 14th Street, New York.
25MADELINE
26SCHILLER,
27Concert Pianist.
28272 West 86th Street, NEW YORK.
30Mme. Murio-Celli Dead.
32At the moment of closing the last pages of this issue, late yesterday afternoon, comes the news that Mme. Murio-Celli is dead. She expired at 10 o'clock a. m. She was one of the best known vocal teachers in the est part of the works to be rendered will be those of living composers. Composers cannot have more than one of their published operas or operas not belonging to the current repertory can be executed.
34Works when once admitted cannot be withdrawn before the close of the Exposition. The composers whose unpublished compositions have been admitted will retain their entire copyrights.
36Expense of printing musical pieces which are rendered in the official concert will be charged to the special budget of the musical renderings.
38Organists who desire to be recognized by the Exposition should address their communications to the commissariat-general of the bureau of arts before April 15.
40Musical societies, French as well as foreign, will meet during the day in the grand festival hall of the Trocadero and the musique de chambre in the small hall.
42The duration of each concert will be two and a half hours.
44Musical societies, French as well as foreign, will organize their own concerts at their own expense and risk. All the expenses, whatever they may be, involving the organ-works rendered, except as regards musique de chambre, or parlor and organ music.
46Concerning dramatic music, only fragments of unpub- lization of the concerts and their performance, as well as that which concerns the material outlay, will be supported by the interested parties. The only exception will be the expense of the general police, over which the French commissioner-general reserves the absolute control and direction, and for the maintenance of which a deduction of one-tenth of the gross receipts will be made.
48For each musical recital which will take place in the grand hall of the Trocadero 4,000 seats shall be reserved for those societies who have been granted the use of the hall under the conditions above stipulated.
50The societies who are granted the use of the halls are at liberty to fix and regulate the price of seats, said tariffs to be submitted to the commissioner-general for confirmation.
52The number of repetitions for the grand concerts is fixed at a maximum of three. No selection of music of a political character will be allowed to appear on the program.
54Musical societies from the United States will be admitted upon a guarantee of United States Commissioner-General Ferdinand W. Peck.
56One hundred reserved seats in the grand hall of the Trocadero will be placed at the disposal of the commissioner-general for each of the musical recitals. Musical societies from the United States and other countries except France will be restricted from giving any musical recitals in Paris.
58The festivals of the choral societies of France and foreign nations will take place during the month of July.
60The prizes will consist of crowns, palms, medals, of gold and silver.
62Steps will be taken with the railroad companies with a view to obtaining the customary reductions of transportation.
64The juries will be composed mostly of musical celebrities and persons whose appreciation and knowledge of music are well known.
66The fêtes of the harmony societies and the wind instrument societies will take place in July and will be followed by a festival. The Trocadero hall will also be placed at the disposal of the harmony and wind instrument societies both of France and foreign countries.
68Musical Works at Paris Exposition.
69[OFFICIAL.]
71From the official program, which is just from the press, it is learned that music will be represented from the point of view of both composition and execution.
73The musical works of all nations participating in the Exposition will be recognized and admitted.
75The conditions under which music participates in the Exposition are submitted to the consideration of the commissions of musical renderings and choral societies, musical harmony and wind instruments, instituted by decrees of the ministers of public instruction and fine arts, of commerce, of industry, of posts and telegraphs upon the report of the director of fine arts and with the approbation of the commissioner-general.
77The official renderings will consist of four concerts with orchestra and vocal soloists or instrumental soloists. Six concerts with orchestra, soloists and chorals. Recitals devoted to the organ. Instrumental and vocal salon music.
79The program offered by the commission of musical renderings will be exclusively of works and fragments of works of ancient and modern French composers. The larg-
81JOS. S. BAERNSTEIN,
82THE GREAT AMERICAN BASSO.
83EXCLUSIVE MANAGEMENT
84A. WILLIAMS FISHER,
8586 EAST 32d STREET,
86NEW YORK CITY.
88OVIDE MUSIN'S
89VIOLIN SCHOOL (Belgian School).
90STUDIO: 810-814 CARNEGIE HALL, NEW YORK.
92FACULTY:
93OVIDE MUSIN, Professor in Chief of the Violin Department of the Royal Conservatory at Liege, Belgium.
94CARLOS HASSELBRINK, Soloist and formerly Concert-master with Von Bülow, Max Bruch, Leopold Damrosch and Anton Seidel.
95GASTON DETHIER (Professor of Harmony), Golden Medalist of Liege Conservatory and Organist of St. Francis Xavier's Church, New York.
96INSTRUCTION FROM FOUNDATION TO FINISHING. one of two readings
97(no line here) one of two readings
98Pupils also prepared for entrance at the Royal Conservatory at Liege, Belgium.
99(no line here) one of two readings
100Celebrated exponents of the Belgian School: De Beriot, Wieniawski, Prume, Vieuxtemps, Leonard Hasselbrink, Marsick Thomson, Takyu Rusia. one of two readings
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