Scan 40
Musical Courier 1900-11-28: Vol 41 Iss 1079, 1900
107 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 41. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1Pittsburg Symphony Orchestra and Other Concerts.
3YOUNGSTOWN, Ohio, November 24, 1900.
5LAST night and this afternoon the fourth of this season's concerts of the Pittsburg Symphony Orchestra took place at Carnegie Music Hall, Pittsburg. The same program is given at both concerts, and Henri Merck, the leading 'cellist, was soloist. The program was as follows:
7Overture, Oberon……………………………………………..Weber
8Concerto for violoncello and orchestra, in A minor, op. 33……………………………………………..Saint-Saëns
9Tone poem, Death and Transfiguration………………Richard Strauss
10(First time in Pittsburg.)
11Suite, Coppelia……………………………………………..Delibes
12For 'cello solo—
13Andacht……………………………………………..Popper
14At the Fountain……………………………………………..Davidoff
15Rakoczy March……………………………………………..Berlioz
17Mr. Herbert and his men really deserve credit for the reading of the "Oberon" overture. There was rhythmic precision, a good attack and release, the whole being clean cut, the strings positively distinguishing themselves. From reports of concerts last year we were somewhat prepared for the Strauss work; mere words, however, cannot convey even a small conception of what this music really is. Personally, I like it, although I can see that my feeling in this might not be universally shared. But here it seems to me we have the concomitants of real musical production—i. e., intellectuality, romantic color, scholarly polyphony, and, above all, pulsing, surging life.
19The reproduction by Mr. Herbert and his men was not wholly satisfactory. For instance, the wind choir was slovenly in attack, and did not blend well. Some of the crescendos were not properly poised, and I am sorry to say that this was the fault of Mr. Herbert himself. I hope that he will learn to hold himself more in check. I realize that it is a personal hobby, but I would rather hear properly balanced music than an overstepping into the wilds of harshness.
21Some individual bowing was also noticeable, and these things taken together show that notwithstanding the reiterated statements of the local press, the work of this orchestra is not quite perfect yet.
23By the way the Pittsburg Dispatch, in speaking of this concert, says: "Strauss' 'Death and Transfiguration,' in a setting of dainty music." Ye gods forbid! This serves as an illustration of the musical senility of the local press! Dainty. The very last word a sane person who had heard this music would apply to it!
25All who know Mr. Herbert are aware that he has at command certain (and in some cases unusual, if not original) means for obtaining results. The Times relates that in rehearsing the Strauss work he stopped his men and said: "You do not seem to understand what the composer meant in writing this. This music is intended to represent the feelings of a man who is dying and who expects his soul to go to heaven. From the way you are playing you fellows seem to think he is going to the other extreme!"
27(To tell the truth I am unable to decide whether the men were not nearer correct than the program.)
29But to return: In the "Coppelia" suite there was only an imitation of spontaneity and the "tempo rubato" was somewhat improved upon, the effect sounding exaggerated. It was like a man explaining a good point he may have made. The "Rakoczy March" is well known to you and was given with proper dash and fire.
31Of the soloist not much need be said. He was nervous, and it may not seem just to notice weak points. In addition, Mr. Herbert was at times indiscreet in his accompaniment. This was all the more surprising as Mr. Herbert was at one time a 'cellist, and an excellent one at that, and should know the value of a subdued accompaniment. Be this as it may, the evident smoothness of some "bravura" passages in the solo instrument were quite lost. The audience applauded, and the soloist responded with Bach's air for the G string, violin, arranged for his instrument, and accompanied by strings. The orchestra has now a fine body of strings, an exception being one of the basses; the horns and trumpets being good, while the woodwind is still inferior, with one or two not too notable exceptions. As noticed in our last letter, the tympani are better. Keep it up!
33Here in Youngstown, Ohio, we have recently had the privilege of hearing two big artists. The first, Miss Leonora Jackson, created a sensation by her marvelous musicality and evident sincerity. As you of New York heard her last year, it would be superfluous for me to add my little meed of praise, but it certainly is unusual to find in one so young about all the requisites of a great reproductive artist.
35On Monday, November 19, Frederic Archer gave an organ recital here. There is not a doubt in my mind but that Mr. Archer is intellectually one of the greatest musicians living. His knowledge is not confined to organ or organ works, either. Therefore, he is capable of reproducing on this "king of instruments" most marvelous effects, whether they be orchestral or purely in the organ line. I say he is capable of doing all this; and this is all the more reason why he should do it always. There were times during the recital when Mr. Archer relaxed his vigilance and diligence and from pure carelessness distorted not only phrases but sometimes whole pages, and in one case an entire number. In my opinion this is not right. "Every man should do his best all the time."
37A. SHARP.
39Mrs. James Lawrence Blair.
41Mrs. James Lawrence Blair, a leader in musical and social circles in St. Louis, Mo., has just returned to her home, after spending two weeks in New York as the pupil of Francis Fischer Powers. For the past five years Mrs. Blair has come to New York for about two weeks during the musical season to get the benefit of Mr. Powers' instruction, and so faithfully has she studied that to-day she is recognized as one of the leading artists in her part of the country. Mrs. Blair possesses a rich, full contralto voice and is always in great demand. Enjoying wealth and the highest social station, Mrs. Blair is free to utilize her art to the noblest ends, and her name often appears on the program of entertainments that have the furtherance of charity as their object.
43Dedicated to De Zielinski.
45The Nocturne in D, by Brounoff, played by him at the meeting of the New York State Music Teachers' Association at Saratoga, as well as in the course of his lecture on Russian music, has just been issued by Luckhardt & Belder. It will be found an original and most effective piece, good for solo players and for teaching purposes, of beautiful melody and interesting harmony; unconventional throughout. No doubt the well-known pianist, teacher and litterateur, Jaroslaw de Zielinski, of Buffalo, N. Y., will make it widely known, both among his many pupils and as a pianist.
47LOUDON G. CHARLTON
48has the honor to announce a SPECIAL TOUR of
49GEORGE
50HAMLIN
51TENOR
52In Concert, Oratorio and
53RICHARD STRAUSS RECITALS.
54TOUR NOW BOOKING.
55Eastern and Southern Territory—Exclusive Management, LOUDON G. CHARLTON.
56Western Territory—Exclusive Management, HANNAH & HAMLIN, CHICAGO.
57For Open Dates and Terms address
58LOUDON G. CHARLTON,
59Carnegie Hall, NEW YORK.
61CORRESPONDENCE
62Elmira.
63ELMIRA, November 22, 1900.
65THIS is a town where the musical demagogue is at large. He is both diverse and accomplished, and sometimes he is a lady. To the admiring court it makes but little difference what the demagogue does; whether he plays a Bach fugue or turns a double somersault, his retainers are equally entranced. All very fine for the demagogue, but misleading to the public, and of little assistance toward discrimination in artistic affairs. Does there come a pianist or singer in our midst bearing the marks of approval of two continents, the demagogue has but to look bored, his retainers immediately take the cue and the public's education goes on by being told that the demagogue can play or sing "all around him." How difficult for all of us to eliminate personal feeling in artistic matters, or in anything for the matter of that?
67On the 12th William Carl inaugurated the new organ at the First Presbyterian Church, playing an exacting program in a thoroughly masterly way. During his stay in the city Mr. Carl was the guest of Mr. and Mrs. John Curtis, who gave a dinner in his honor.
69Mr. Carl was assisted at his concert by the regular soprano and contralto of the church, Miss Mary Donovan and Mrs. John B. Wentworth. Miss Donovan was at her best, and that is saying much, for she is always charming in concert. The possessor of a warm, vibrant voice, which she uses with much dramatic intelligence, a gifted personality and temperament, Miss Donovan has a force at her command of which to be proud. Mrs. Wentworth, too, sang well, it being generally conceded that "Quis est homo," which she gave with Miss Donovan, has never been better done here. There was not a waver in that last run!
71Last Thursday afternoon Miss Donovan, Miss Anna L. Johnson and Seth Winner, with Mr. Hallock at the piano, gave an attractive program at the Gleason Sanitarium. Those present were the guests of Mr. and Mrs. Edward B. Gleason and Mrs. John Fisher. Miss Johnson has been engaged to sing a solo part in "Pinalore," soon to be given by amateurs in Corning.
73Miss Roberts tells me that she is exceptionally busy, teaching a large number of piano pupils, also having two very successful classes in musical theory. She has adopted Boise's textbook and is most enthusiastic over its lucidity. On next Tuesday evening Miss Roberts is to give a talk on "The Troubadours and Their Art," before the Browning Club, the illustrations to be sung by Miss Hoffman and Mrs. George Sergeant, Jr. one of two readings
74Miss Roberts tells me that she is exceptionally busy, teaching a large number of piano pupils, also having two very successful classes in musical theory. She has adopted Boisé's textbook and is most enthusiastic over its lucidity. On next Tuesday evening Miss Roberts is to give a talk on "The Troubadours and Their Art," before the Browning Club, the illustrations to be sung by Miss Hoffman and Mrs. George Sergeant, Jr. one of two readings
76Tuesday evening, the 20th, a successful concert was given by the choir of the Centenary Church, Mrs. George A. Palmer, conductor. Miss Georgianna Palmer, one of Miss Roberts' piano pupils, also one of the best of our younger pianists, gave Grieg's "Wienclied" and Moszkowski's Scherzino, her brilliant reading creating much enthusiasm.
78This evening we are anticipating a concert at the College, the program to be given by Miss Broughton, Miss Verrill, pianists; George Morgan McKnight, baritone (the College music faculty), assisted by Miss Donovan, soprano, and Miss Allen, reader. C'EST VOUT.
80Grand Rapids.
81GRAND RAPIDS, Mich., November 19, 1900.
83THE St. Cecilia Society has arranged some very pleasing, as well as instructive, programs for the winter and spring, also some valuable artists' recitals.
85Friday, November 16 (Schubert Day), was celebrated in a fitting way by the ladies of the St. Cecilia Society. Henry C. Post has inaugurated a series of lecture recitals which is proving very popular.
87Mrs. Janet McDonnell gave her twenty-eighth pupils' recital at the Y. M. C. A. auditorium on the 14th.
89Clarence Pease gave his first students' recital at his studio in the Gilbert on the 12th.
91To-day, November 19, the Chicago Symphony Orchestra gives a concert at the Auditorium under the auspices of the Y. M. C. A. of this city.
93It was my good fortune to be able to attend the Earl Gulick concert given in the St. Cecilia auditorium last Thursday evening, November 15. I record this for the benefit of the many warm friends of Earl Gulick, who are always anxious to read of his whereabouts and the pieces he sings.
95It is needless to say that those who assisted at this concert, Miss Alice Edwina Uhl, R. A. Wellenstein and F. A. Wurzberg, all carried out their part of the program with their usual fineness and thorough understanding of their respective parts.
97E. D. SHEDD.
99Enid Brandt.
101The little child pianist, Enid Brandt, who plays Schumann, Chopin, Schubert and Mendelssohn, which is a test of absolute pitch, has been playing at Sherman-Clay Hall in San Francisco, under the management of S. H. Friedlander. The child has made a tremendous impression among musical people and is a remarkable study in psychology.
103HEINRICH MEYN
104BARITONE.
105Vocal Studio: THE SHERWOOD, 58 West 57th Street.
106Management: R. E. SQUIRE, 125 East 24th St., New York.
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