Scan 28
Musical Courier 1900-11-28: Vol 41 Iss 1079, 1900
72 lines. Read by computer on 23 September 2026. Printed page 29. See the scan on archive.org.
1Donnelly Organ Recital and Sacred Concert.
3N last Sunday evening the following program of organ numbers and sacred music was given at All Saints' Roman Catholic Church, at Madison avenue and 129th street, under the direction of Joseph P. Donnelly, who was also the organ soloist of the evening:
4Organ solo, Préludium de Resurrectione…………………….Donnelly
5Sanctus (Messe Pontificale)………………………………….Dubois
6Organ solos—
7Chorus of Angels……………………………………………..Clarke
8Toccata and Fugue, D minor……………………………….Bach
9Contralto solo, Inflammatus (Stabat Mater)………………Dvorák
10Tenor solo, Hosanna………………………………………..Granier
11Ave Maria, Women's Voices……………………………….Dethier
12Baritone solo, Bring Forth the Royal Robe (Prodigal Son)….Sullivan
13Soprano solo, Hear Ye, Israel (Elijah)……………………..Mendelssohn
14Gloria (Messe Pontificale)………………………………….Dubois
15Organ solos—
16Fantaisie on O Sanctissima…………………………………Lux
17Allegro…………………………………………………………………..Guilmant
18De Profundis (Psalm CXXX.)……………………………….Gounod
19(In memoriam deceased members of All Saints' congregation.)
20Organ, Prelude to third act of Lohengrin…………………..Wagner
22Mr. Donnelly is a competent and educated young organist, who came to New York in the winter of 1898 to take a prominent church in Brooklyn. His success there was so marked that his choir soon came to be known as among the best in that borough, and within one year after his coming to New York he received a direct offer from the Cathedral at Philadelphia, and was asked to make formal application for the position at the Cathedral in Pittsburg, to which Andrew Carnegie has donated a magnificent instrument. But Mr. Donnelly, preferring to remain in New York, accepted the position at All Saints', where he began his work on October 1.
24The work that he has accomplished there was in evidence in the rendering of the foregoing program. Not only were his solos rendered with a virtuoso-like and artistic finish, but his ability and magnetism as a director were evident in the finish displayed by the chorus under his charge. The Dubois numbers and the Gounod "De Profundis" were given with the required volume and delicacy of the score, a special feature being the close adherence to orchestral effects, in which the organist was ably supported by the grand Roosevelt instrument, which at all times seemed subservient to his slightest wish.
26In his work as a solo organist Mr. Donnelly combines, or rather contrasts, vigor with delicacy, a trait too seldom found with the devotees of the king of instruments. In his own composition he showed his thorough acquaintance with the instrument of his choice, displaying a solid and substantial style. In the well-known "Chorus of Angels," the theme proper was given a most delicate rendition on the vox humana of the chancel organ, while the obligato passages were played on light flute stops in the gallery organ, the effect being almost celestial. In the Bach number there was evident a certainty of technic, fast tempo and a beauty of registration seldom heard with this popular number.
28In addition to his duties as a church and concert organist, Mr. Donnelly devotes his time to teaching of the voice, his success in this line being displayed in the above program by the singing of his pupil, John F. Clarke, who is the tenor soloist at All Saints'. Appended are some opinions of Mr. Donnelly's ability as a performer and teacher:
30On the evening in question Mr. Donnelly appeared as solo organist in the following works: Toccata and Fugue, Bach; "Verset de Procession," Dubois, and "Préludium de Resurrectione," his own composition. The variety of registration put into the Bach piece gave it a unique tone color; indeed the writer has never heard it played in such fast tempo, coupled with absolute clearness, and so tastefully registrated.—MUSICAL COURIER.
32The organ recital given by the pupils of Joseph P. Donnelly on Saturday afternoon in Sinton Hall presented altogether a substantial test of their serious progress and artistic development. The performers were pupils of an advanced grade, and their playing showed training in the right direction. Especially noteworthy was their acquirement of the genuine organ style, without any affectation of piano playing; good judgment in the use and combination of stops and the proper use of the pedal.—Cincinnati Enquirer.
34Gabrilowitsch Plays Brahms.
36ABRILOWITSCH played the piano part of the F minor Quintet of Brahms at the last Kneisel Quartet concert in Mendelssohn Hall November 20. It revealed the brilliant young Russian virtuoso in the new and amiable light of a polished and musicianly chamber music artist. His interpretative faculty is peculiarly strong; he read the lofty and beautiful music of Brahms with intimate sympathy. Particularly strong were the first and third movements. The rhythmic sense of Gabrilowitsch is never at fault; so tonal balance and symmetry as well as deep musical feeling were the predominating features of a remarkable performance. Gabrilowitsch was greeted with the heartiest enthusiasm. He probably will be heard in another concert with the same organization.
38Ernst Bauer's Pupils.
40SOME of the more advanced pupils of Ernst Bauer, the violin teacher, assisted by two of William M. Semnacher's piano pupils, gave a concert in Carnegie Chamber Music Hall last Tuesday evening. The program, which already has been published in THE MUSICAL COURIER, was gone through without hitch or omission. The audience overflowed the hall, and many persons stood throughout the concert.
42The opening number, a Haydn quartet for strings, which was played by Willie Doenges, Alfred Manoli, Henry Christman and F. A. Eldred, was given smoothly and intelligently, the young men displaying refined taste as ensemble players.
44Several of Bauer's pupils possess uncommon talents, and already have made great progress in their art. Whatever they attempt they do well. That Bauer is a capable and most painstaking teacher is proved by the admirable work of his pupils. They play with good intonation, their fingering is correct and their bowing is graceful. The bow-arm of every pupil has been correctly trained. Some of these young violinists give great promise, and under Bauer's care will doubtless develop into superior performers.
46The piano playing of Miss Pauline Semnacher and A. Wechsler, two very talented pupils of William M. Semnacher, was most excellent and evoked great applause.
48This was the tenth annual concert by Mr. Bauer's pupils, and it was in every way successful.
50Augusta Cottlow.
52ON November 20, at the concert of the Milwaukee Musical Society—the fifty-first concert of its season—under the direction of Mr. Luning, Miss Augusta Cottlow was the soloist. She played the Grieg Concerto, and also Liszt's transcription of Schubert's "Lindentree." She also played Tausig's Military March. Miss Cottlow received continued applause after her performance.
54CHARLOTTE MACONDA
55America's Greatest Coloratura Soprano.
56Oratorios, Concerts, Recitals, Festivals.
57OF HER TRIUMPH AT THE MAINE FESTIVAL THE PRESS SAID:
58"Maconda Creates a Furore."
59—Portland News, October, 1898.
61"Strauss is a public benefactor, for he lifts people out of themselves and makes them young."—New York Herald.
63Farewell American Tour,
64COMPRISING THE PRINCIPAL CITIES OF THE UNITED STATES AND CANADA.
65DIRECTION RUDOLPH ARONSON,
66Astor Court Building,
6720 West 34th Street, New York.
69Eduard Strauss,
70K. & K. Austro-Hungarian Court Musical Director AND HIS UNRIVALLED ORCHESTRA.
71CHICKERING PIANO USED.
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