Scan 15
Musical Courier 1900-10-31: Vol 41 Iss 1075, 1900
120 lines. Read by computer on 21 September 2026. Printed page 16. See the scan on archive.org.
1H. Whitney Tew.
3THIS week the front page of THE MUSICAL COURIER presents the portrait of H. Whitney Tew, basso, of London, England, a record of whose successful career may be found in our issue of October 10, 1900.
5During the past month Mr. Tew has been filling important engagements in England. Next week he returns to this country, where he will be available for oratorio performances, concerts and recitals from November 10, 1900, to January 10, 1901, after which date the singer will sail for Great Britain, appearing on February 1 with the Belfast Philharmonic Society in Rossini's "Stabat Mater," and taking part later in Mr. Vert's "In a Persian Garden" tour.
7As the following notices indicate, eminent critics have written very favorably concerning this musician:
9QUEEN'S HALL.—A very interesting recital of vocal music for solo and concerted voices was given in the smaller hall on Tuesday afternoon by H. Whitney Tew, an American bass-baritone, who thus introduced himself to the amateurs of this country. * * *
10After taking part in a selection from the "Liebeslieder," of Brahms, our visitor introduced a group of songs, comprising Ferdinand Hiller's "Be Thou With Me" and two of the "Bible Songs" of Dvorák. These were not hackneyed examples, and the artist's fine voice and cultured style gave them all requisite advantage. Mr. Tew excels in works of this class. His expression of devotional music is very convincing, and he imparts to sacred strains unusual breadth and dignity. The concert giver was subsequently heard singing songs by Tchaikowsky, Salvator Rosa, Brahms and other masters, in all of which the favorable impression made at the outset was confirmed. He is a singer of high quality, and a musician of broad sympathies and wide research.—Daily Telegraph, April 28, 1898.
12He manifestly is an experienced vocalist, endowed with a voice of agreeable quality; while that he is a linguist was exemplified by his singing of various songs in four languages. His artistic taste and judgment were also demonstrated by his excellent choice of program.—Daily News, April 28, 1898.
14* * * "The King of Thule" and "For a Dream's Sake," both of which are well written for the voice, effective and altogether musical and artistic. These last two songs were well sung by Whitney Tew.—Times, May 3, 1898.
16On Tuesday afternoon H. Whitney Tew (yes, another American!) gave his first recital, and displayed a resonant low baritone voice and fine method in a well chosen selection of pieces.—Sunday Times, May 1, 1898.
18At his first recital Whitney Tew, an American baritone, introduced himself to the London public as a singer of exceptional qualities. His voice is well trained and powerful, and his style is refined and intellectual, but not, as is sometimes the case, to the exclusion of expressive warmth. The program was of more than ordinary interest.—London Musical Courier, May 5, 1898.
20Whitney Tew gave some German and French songs and Mr. Hawley's setting of a couple of English ballads with a hearty, straightforward delivery, which was all the more charming because of his admirable diction and pure intonation.—London Musical Courier, May 5, 1898.
22Mr. Tew has a good bass voice, which he uses always with finished art and discretion; that he possesses an extensive repertory, culled from the best music written for the bass voice, was evidenced by the profuse examples from the compositions of Brahms, Ferdinand Hiller, Dvorák, Tchaikowsky, Salvator Rosa, Saint-Saëns, Liza Lehmann and others; each in its way was good, the "Star Vincino al bel Idol" of Salvator Rosa, Brahms' "Ständchen," Hartmann's "Mir Träumte von einem Königskind," and "My Little Love," by Charles B. Hawley, notably so, the artist's best achievement of all being "Le Pas d'Armes du Roi Jean" (Saint-Saëns).—The Musical News, London, April 30, 1898.
24The bass, Whitney Tew, sang superbly. The characteristic feature of Mr. Tew's voice is its grand rolling quality, free from the exaggeration of the portamento, yet smooth and connected like a good organ diapason.—South Durham Mercury.
26Miss Dorothea Hollins accompanied the noted American bass, Whitney Tew, in "Der Nebel," a beautiful study of her own composition, and the artistic singer gave a magnificent rendering of "Le Pas d'Armes du Roi Jean," by Saint-Saëns.—Hearth and Home, December 29, 1898.
28"Creation."
30Whitney Tew impressed his hearers most favorably with his masterly rendering of "Rolling in Foaming Billows."—Derby Reporter, October 11, 1899.
32Tchaikowsky's "Nur wer die Sehnsucht kennt" was beautifully delivered by Whitney Tew, who also sang two other compositions with great finish.—Whitehall Review, October 22, 1898.
34"The Messiah."
36Too great praise cannot be given to Mr. Tew for his singing. He possesses an exceedingly deep and powerful voice.—Aberdeen Free Press.
38Since this basso is an American by birth his forthcoming appearances in the United States should claim special interest. That his ability has already been recognized in his native city the following comment, made by the Jamestown (N. Y.) Evening Journal of September 21, 1900, illustrates:
40It is very gratifying to a community when one of its members climbs up the ladder of success and fame, be it in the field of letters and science, of business or of art; still, strange to say, the adage is true that the prophet counts for nothing in his own fatherland, or with other words, that one's own townspeople are the hardest to convince of one's greatness. It is therefore doubly pleasant to be able to state that Mr. Tew in his concert last night absolutely and irrefutably convinced his large and unusually intelligent audience that he is a truly great artist, of whom our city has reason to be very proud.
42In addition to his musical talents this artist possesses rare histrionic gifts, and future columns of this paper will contain accounts of the distinction which he has gained in grand opera roles. His American engagements are under the direction of H. M. Hirschberg.
44Important Engagement.
46RICHARD HEARD, well known as having been associated with various important public enterprises in musical affairs in Boston and in the West, has accepted an engagement to represent the musical bureau of Loudon G. Charlton on the road, and he has left the city on an important trip for the purpose of placing a number of artists in the larger cities in the West. Mr. Heard has been known by the musical world for the last twenty years as an accomplished business man and a gentleman, a man of high standing and character, and all those who meet him will be delighted with his personality.
48Wienzkowska and Rubinstein.
50MADAME DE WIENZKOWSKA, the Leschetizky representative in this country, has issued a handsome new circular about her career and School of Piano Playing.
52The following sketch about this accomplished artist will be found interesting at this time:
54Madame de Wienzkowska's First Meeting with Anton Rubinstein.
56Wienzkowska's musical talent manifested itself at an early age, and when but twelve years old she was already a promising pupil of Joseph Wieniawski, brother of the great violinist, a fine pianist and a teacher of great repute in Warsaw. In this city an orchestral concert had been arranged by a musical society, at which Saint-Saëns, the great French pianist and composer, was to play his G minor Concerto. At the date set for the rehearsal the artist, through other engagements, was unable to be present. Wieniawski, who was to conduct, knowing the capabilities of his youthful pupil, asked her assistance, and gave to her the piano part of the concerto. The orchestra had assembled, and was nearly ready to begin, when in walked Rubinstein, who, passing through Warsaw, had heard of the rehearsal and stopped, hoping thus to meet Saint-Saëns.
58Somewhat disappointed, he asked: "Who is that little girl at the keyboard?" On being told of her talent, he said: "I will stay a few minutes." After a few bars had been played his interest increased, and he remarked: "Ah! I will stay longer." He waited until the close, taking a position where he could closely watch the young pianist, and singing to himself the melody of the concerto, and when the last notes were played he joined heartily with the orchestra in applauding the soloist, and taking her by the hand, said: "Your playing interested me greatly, my dear child; you have a career before you. This is not the last time I shall hear you."
60And it was not, for on many subsequent occasions Wienzkowska, at the master's request, had the honor and pleasure of playing to him and the delight of receiving from him the warmest praise.
62Eppinger Conservatory of Music.
64SATURDAY afternoon of this week, from 1:30 until 5 o'clock, Samuel Eppinger, the orchestra conductor, accompanist, ensemble player, pedagogue and director of the Eppinger Conservatory of Music, will be in attendance at the conservatory building, No. 718 Lexington avenue, to receive applications from pupils of private teachers in music for the purpose of forming classes in harmony, counterpoint, composition, &c.; also to receive committees of privately organized classes of three or more individuals who desire to study under Mr. Eppinger's professors. The spirit of this conservatory is purely educational. To be an instrumentalist without the knowledge of harmony is to be a mere mechanic. It is the aim of the Eppinger Conservatory to help remove this blemish in American musical education.
66Persons doing other work during the day and who practice at night can form Sunday morning classes at the same advantageous rate. On Sunday, from 9 till 11 a. m., Mr. Eppinger will be in attendance to receive applications for membership in the orchestra forming at the Conservatory for the advantage of persons engaged in other pursuits the rest of the week.
68Emma E. Johns.
70Miss Emma E. Johns, the talented and brilliant pianist who played in New York several times last season, will return to this city early in November, having spent a busy but pleasant summer at her home in Carthage, Mo.
72ERNST … VON DOHNANYI
73The Hungarian Pianist.
74NOVEMBER UNTIL MARCH, 1901.
75Direction: VERT & WOLFSOHN, 131 E. 17th St., New York.
77… JUST PUBLISHED …
78BY
79G. SCHIRMER, NEW YORK.
80Shepard's Organ Book:
81A COLLECTION OF FAVORITE MOVEMENTS FROM THE WORKS OF OLD AND MODERN CLASSICAL COMPOSERS.
82Selected, Arranged, Transcribed for the Organ
83By THOMAS G. SHEPARD.
84Price, in Paper, net, $1 00; in Cloth, net, $2.00.
85Send for Catalogue of
86SCHIRMER'S LIBRARY EDITION OF MUSICAL CLASSICS.
88PLATON G. BROUNOFF
89Voice Culture.
90PIANO.
91HARMONY
92SINGERS COACHED FOR
93Opera, Oratorio, Concert and Church.
94Formerly Coaching Master of the Imperial Russian and Italian Opera, St. Petersburg.
9510 East 17th Street, NEW YORK.
97KALTENBORN
98STRING QUARTET,
99Recognized as New York's Leading Quartet.
100FRANZ KALTENBORN, Violin Soloist.
101Address: 78 West 85th Street, New York.
103Transcontinental Tour (NOW BOOKING)
104AIULF HJORVARD,
105The Eminent Scandinavian Pianist,
106And His Concert Company.
107Sig. Giacomo Quintano,
108The Renowned Italian Violin Virtuoso.
109Miss Mary Mansfield,
110The Well-Known Dramatic Soprano,
111Miss May Harte,
112Accompanist.
113Address all communications to
114M. S. HARTE, 29 W. 64th St., New York.
116A Grand Piano in an UPRIGHT CASE.
117SMITH & NIXON,
118Cincinnati, Ohio,
119Manufacture this instrument for MUSICIANS.
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