Scan 30
Musical Courier 1900-11-28: Vol 41 Iss 1079, 1900
102 lines. Read by computer on 23 September 2026. Printed page 31. See the scan on archive.org.
1THE MUSICAL COURIER.
3'Adele Margulies
4To Appear at Four Chamber Music Matinees.
6MISS ADELE MARGULIES will re-enter the concert field. It is well known that she is one of the distinguished piano teachers of the country, having a number of private pupils in addition to her work at the National Conservatory of Music.
8While her work as instructor is pre-eminent, she is rarely gifted as a performer. Her sympathetic and musicianly style is especially suited to ensemble playing, and therefore at her first reappearance next month as a public pianist Miss Margulies will be assisted by Leopold Lichtenberg, violinist, and Leo Schulz, 'cellist.
10The circular issue by Miss Margulies announces four chamber music matinees at the residence of Mrs. Thurber, 49 West Twenty-fifth street, on the following Wednesday afternoons: December 5, January 9, February 6 and March 6.
12These will be the programs for the four afternoons:
14DECEMBER 5.
15Sonata, piano and violin, op. 13, G major………….Rubinstein
16E minor…………………Brahms
17First movement.
19Trio, "Dumky, op. 99……………………………Dvorák
20"Dumky is a Russian word, and means a kind of national poetry, chiefly melancholic in character, often appearing in Russian literature."
22JANUARY 9.
23Sonata, piano and 'cello, op. 58, D major………….Mendelssohn
24Violin solo—
25Romance………………………………………Wierniawski
26Fantasietück……………………………Sjögren
27Trio, D major, op. 70, No. 1…………………Beethoven
29FEBRUARY 6.
30Sonata, piano and violin, cp 77, E flat major………..Rheinberger
31'Cello solo—
32Adagio………………………………………Bargiel
33Am Springbrunnen……………………………Davidoff
34Trio, op. 15, No. 2, G minor…………………Rubinstein
36MARCH 6.
37Sonata, piano and violin, op. 24, F major………….Beethoven
38Rondeau Brillant, piano and violin, op. 70………….Schubert
39Trio, op. 32, D minor………………………..Arensky
41Other information desired concerning this series of chamber music matinees may be secured at the studio of Miss Margulies in Carnegie Hall.
43Baernstein Captures Indianapolis.
45JOSEPH S. BAERNSTEIN added to his laurels by his appearance before the Amphion Club, of Indianapolis. The following criticisms speak for themselves:
47The first concert of the Amphion Club's fourth season was given last night at the German house.
49The club was seriously and unexpectedly handicapped yesterday morning by the receipt of a telegram announcing that Miss Charlotte Maconda, the famous coloratura singer, who was to have contributed to the program, had been delayed at Utica, N. Y., by a railroad wreck, compelling her to cancel her engagement.
51Fortunately Joseph S. Baernstein, the marvelous young basso, arrived yesterday morning, and with a graceful and kindly spirit, not usually characteristic of artists of his note, he assumed the task of adding to his own numbers enough more to correspond to the original arrangement and render unnecessary the abridgment of the program.
53Baernstein, to those who had never before heard his phenomenal voice, came as a positive revelation. Karl Formes, the great German basso, was a wonder to American audiences thirty years or more ago. His voice was one of almost limitless power.
55Joseph Baernstein, not yet thirty years of age and only three years before the public, came repeatedly before his audience last night with the unassuming dignity and splendid ease of a thorough artist, and his was infinitely better than Karl Formes' profound bass, for, with abundant voice material, it was of the most perfect musical quality. Well modulated and resonant, it was displayed with the most charming effect along the wonderfully varied line of his sixteen numbers. Whether in his singing of the tender and sympathetic "Ich Liebe Dich," a Grieg number, to the obligato solo in the "Faust" Serenade, with its mocking laugh of the devilish Mephisto, it was just the same—the voice of Baernstein was superbly equal to every demand, his keen conception was apparent, his soul was in his singing, he was the absolute master of his voice. His audience bestowed upon him an immeasurable ovation.—Indianapolis Sentinel, November 23, 1900.
57When the members of the Amphion Club arrayed themselves in front of their leader preparatory to introducing the first number on the program, "The Death of Mighty Pan," they faced an audience made up of the city's most intelligent and discriminating devotees of music. The young men never sang with such delightful effect before. As the closing words of Mitterer's wonderful composition died away into an echo of what had been a thrilling burst of triumphant melody, applause broke forth such as seldom greets the ears of artists in their native city. Happily the audience's demand for an encore was refused in the interest of artistic effect. The next number was "The Monk," by Meyerbeer, by Herr Joseph Baernstein. The exact cause or causes by which this foreign artist, who had never before set foot in Indianapolis, completely captured an audience with one selection, would be difficult to analyze. For one thing, Herr Baernstein possesses a bass voice of range, clearness, purity and power such as are rarely found combined in one singer. But, above all, he has that quality of personal magnetism technically known as artistic temperament, which instantly draws into a common brotherhood all the eligible ones upon whom rests its subtle influence. The whole charming program, item by item, cannot be described, nor can anything like an adequate idea be given of the triumphs won by both club and soloist. Herr Baernstein's selections, with the exception of the last, were grouped into vocal bouquets, each containing a quartet of songs. The first comprised Gounod's "Vulcan Song," Stenhammar's "Love's Rosary," Van der Stucken's "The Sweetest Flower that Blows" and Hatton's "To Anthea." The second included Mozart's "In Diesen Heilgen Hallen," Franz's "Aus Meinen Grossen Schmerzen," Grieg's exquisitely dainty "Ich Liebe Dich" and Ries' "Am Rhein und Bein Weim." At the end of his third appearance a most unusual thing happened. Although Herr Baernstein had been heard in nine selections, the audience had become so carried away with the charm of his voice that it demanded and received an encore, a pleasing little German song, "In Tiefen Heller" ("In the Deep Cellar"). When Herr Baernstein had given further demonstration of his talent in Fisher's "Falstaff Song" (with its great laughing chorus), the same composer's "Under the Rose," Seechi's "Love Me or Not" and Schumann's "The Two Grenadiers," the greed for more of this new artist broke out of all reasonable bounds, and two encores instead of one were claimed.—Indianapolis Journal, November 23, 1900.
59Faculty Concert at the Classical School for Young Ladies.
61DIRECTOR ALBERT MILDENBERG, of the music department of the Classical School for Young Ladies; Hobart Smock, vocal instructor, and Miss Josephine Mildenberg, also of the vocal department, gave the first concert of a series to be given at the school this winter. About 400 of the patrons of the school attended. Mr. Mildenberg's piano numbers were thoroughly enjoyed. His authoritative reading of the Liszt number was particularly interesting to his pupils, many of whom were present. Mr. Smock was in good voice and was recalled after each group; his rendition of Mr. Mildenberg's new song, "The Ivy Leaf," was demanded over again after the close of the program.
63Miss Mildenberg captured a large share of the enthusiastic applause by her beautiful sympathetic voice. Her Schubert songs and the "Serenade du Passant," of Massenet, showed her command of style and variety of color.
65The program follows:
66Awake, Beloved (from Hiawatha's Wedding Feast)………..Taylor
67Hobart Smock.
68Rhapsodie Tragica (three parts in one)…………………Mildenberg
69Arabian Night (three parts in one)…………………….Mildenberg
70Ecstasy…………………………………………..Albert Mildenberg.
71Life……………………………………………….Beach
72Serenade du Passant………………………………Massenet
73Miss Josephine Mildenberg.
74Dreaming and Waking……………………………….Fairlamb
75Lady, Let Me Believe……………………………..Tosti
76The Ivy Leaf…………………………………….Hobart Smock.
77Mon Desir………………………………………..Nevin
78The Swallows…………………………………….Cowan
79Miss Mildenberg.
80Allegro de Concert………………………………..Liszt
81Albert Mildenberg.
83WILLIAM C. CARL
84Organ Concerts.
85Elmira, N. Y., Nov. 12; Corning, N. Y., Nov. 13; Morristown, N. J., Nov. 16; New York, Nov. 20, 27—Dec. 4, 11.
86For Particulars and Terms address
8734 WEST 12th STREET, NEW YORK.
89F. W. RIESBERG, ACCOMPANIST
90"Thank you most sincerely for your reliable and artistic accompaniments at the Music Teachers' Convention at Saratoga. I should like very much to have you as my accompanist always."
91Martha Miner
92INSTRUCTION.
93Piano, Organ, Harmony.
94With THE MUSICAL COURIER.
95Organist Roseville Avenue Presbyterian Church, Newark.
96Secretary-Treasurer New York State M. T. A.
97Residence-Studio: 954 Eighth Ave., cor. 56th St., NEW YORK
98TELEPHONE: 459 COLUMBUS.
99MRS. Carl Alves
100Has Resumed Vocal Instruction at her Home Studio:
1011146 Park Ave., near 91st Street, New York.
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