Scan 33
Musical Courier 1900-11-28: Vol 41 Iss 1079, 1900
49 lines. Read by computer on 23 September 2026. Printed page 34. See the scan on archive.org.
1ST. LOUIS, November 23, 1900.
3THE Castle Square Opera Company opened the second season of Grand Opera in English at Music Hall last Monday evening.
5Homer Moore has opened a new studio on the ground floor of the Odéon Building, just to the right of the entrance, which for musical purposes and as an artistic spectacle surpasses anything in this city. At great expense Mr. Moore has fitted up a room large enough to seat comfortably at least 100 people, and he will give a number of recitals in his studio during the winter. He is making a business of teaching this year, and already has so many pupils that he is pushed for time to give them all lessons. A class proposing to study the criticism of music in general has been organized under his direction, holding meetings three times a week in his studio, and analyzing the great operas, oratorios and other masterpieces. This class will study harmony, musical form, orchestration, acoustics, program making, musical criticism, ear training and musical history. Mr. Moore is singing more in public during the present year than in the past, owing to the fact that he has more time to give to that branch of his work than before.
7The concerts on Sunday afternoon at the Odéon under the direction of Alfred G. Robyn, continue to grow in popularity each week. The concerts have found a place in the public heart, and the full attendance at each performance proves that they fill a much needed demand for inexpensive recreation Sunday afternoons. On the afternoon of November 18, 1900, Mr. Robyn played "Im Walde," by Herder; "The Adoration," from "The Holy City," by Gaul; "Priests' March," by Mendelssohn. "Adoration" is an organ number of great beauty and depth of feeling, and Mr. Robyn's interpretation of it, employing the wonderful effects of which he is capable, was an artistic triumph. He was recalled with great applause. Mr. Robyn was assisted by Miss Nina Martin and Edward Gay Hill.
9Miss Martin has only been in the city a short time, and proposes to carry on her musical career here. She has been studying in Germany for some years. She is possessed of a soprano voice having some very admirable qualities. She has considerable power and sweetness of tone, and sings with a good deal of intelligence. Mr. Hill is the young tenor who made such a great success a few weeks ago at one of Mr. Robyn's concerts. He repeated his good fortune by singing "Let Me Like a Soldier Fall," by Wallace, and "Tis All I Ask," Mr. Robyn's recent successful song.
11Harry J. Fellows, tenor; Milton B. Griffith, tenor, and James T. Quarles, pianist, have opened studios in the Odéon. Mr. Fellows, who has been the tenor soloist in the First Presbyterian Church for over a year, is a singer possessed of great ability, and has won many artistic triumphs since he has been in the city. Mr. Griffith is the tenor soloist at the Lindell Avenue Methodist Church. Mr. Griffith's voice is lyric in quality and he has gained considerable reputation as a ballad singer. Mr. Quarles is a pianist and organist of surprising ability for so young a man, and it may be predicted that he will rapidly reach a high place in the musical profession.
13ROCKWELL S. BRANK.
15First Liederkranz Concert.
17THE New York Liederkranz made a brilliant opening of the musical season with its concert at the clubhouse on East Fifty-eighth street last Sunday night.
19Besides the Maennerchor, the Ladies' Chorus appeared, and these choral bodies were assisted by Gwilym Miles, baritone; Miss Edith Chapman, soprano; Max Karger, violinist, and a fragment of the New York Philharmonic Orchestra. Dr. Paul Klengel conducted with his usual zeal a program of considerable interest. There were four novelties, three choral and one orchestral. As the latter, a "Prelude" by a composer who signs himself Tcherepnine, was of the least importance, it may be well to dispose of it first and that briefly. The composition, which the composer has entitled "La Princesse Lointaine," is a combination of claptrap and Tschaikowsky. The few themes are taken bodily from works by the great Russian composer.
21The Maennerchor sang a new song by Hagar, the Swiss composer, "Die Blüthenfee," and in this Hagar showed his skill as a maker of melodic effects. The music of the new song sung by the Ladies' Chorus, "Christnacht der Seelente," by Chaminade, was worthy of that gifted Frenchwoman's genius. The first presentation made a more than favorable impression. The other new choral work heard at the concert, "Der Milchbrunnen," by A. von Othegraeven, is for mixed chorus, with orchestral accompaniment. This work, too, has merits, and these were shown to excellent advantage by the singers under Dr. Klengel's direction.
23The Ladies' Chorus sang Galuppi's beautiful "Qui Tollis," and the Maennerchor churchly number for the evening was "Abendfeier," by Altenhofer. Mr. Miles, who was in excellent voice, sang the Prologue from "Pagliacci." Miss Edith Chapman's solo numbers were "Sonnet d'Amour," by Thome, and "Nicht der Thau," by Moszkowski. This young singer possesses a sympathetic voice and an attractive stage presence. Both her French and German enunciation proved to be excellent. Dr. Klengel played her piano accompaniments for the two songs with rare artistic skill, and this doubtless made it all the easier for the young singer to do her best.
25For the second part of the concert the Liederkranz presented scenes from the dramatic cantata, "Frithjofsage," by Max Bruch. The story of "Frithjofsage," founded on one of the Norse legends, is moving in its unfolding and Bruch's beautiful music is equally stirring. The role of Frithjof was taken by Mr. Miles, and right royally did this manly singer deliver the telling passages. Miss Chapman proved almost as successful in singing the music allotted to Ingeborg, the heroine. Four members of the Liederkranz, Jacob Graff, Uhl. Graff, Adam Keller and Gustav Drobegg, sang the solo quartet at the opening of scene fourth. The work of the orchestra in the cantata was remarkably well done. It is rarely that a part orchestra acquits itself so as to call forth universal commendation. The scenes from the Bruch cantata as presented under Dr. Klengel were worthy of all praise and equal to a performance by professionals.
27Mrs. Elizabeth Hazard.
29IN a concert in Jersey City, November 16, Mrs. Elizabeth Hazard, soprano, sang with great success. The Jersey City Journal, of November 17, gave Mrs. Hazard an appreciative notice, a part of which follows: "Mrs. Hazard sang Schubert's 'Serenade' and gave 'Marguerite' as an encore. Both were excellently rendered. Later in the evening Mrs. Hazard sang 'Merry, Merry Lark,' by Nevin, and 'Captain,' by Rogers. In these she gave evidence of an excellent knowledge of the use of the voice."
31A few evenings later she sang in Tarrytown, and the Mirror, of that town, had this to say about her singing: "Mrs. Hazard possesses a beautifully sweet and smooth soprano voice, which she has under perfect control. Her enunciation and phrasing are excellent, and her conception of the songs heard last night showed a musical nature rarely met with."
33Mrs. Hazard is a pupil of George Sweet.
35Harry J. Fellows.
37HARRY J. FELLOWS has a large class this season at his new studio in the Odéon, St. Louis. This excellent singer has just been engaged as soloist at the Temple Shaare Emeth, one of the leading synagogues in the West. Concert engagements before and after the holidays will also take up some of Mr. Fellows' time.
39ENRICO TOSPELLI
40The Young Italian Piano Virtuoso
41TOUR OF THE UNITED STATES BEGINNING IN JANUARY, 1901
43MANAGEMENT:
44BERNHARD ULRICH
45Music Hall – Baltimore
46Knabe Hall – 5th Ave. and 20th St., New York
48KNABE PIANO USED
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