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Musical Courier 1901-01-23: Vol 42 Iss 1087, 1901
60 lines. Read by computer on 21 September 2026. Printed page 9. See the scan on archive.org.
1Concerts at the Michigan Conservatory of Music.
3At the Michigan Conservatory of Music, located at Washington avenue and Park street, Detroit, large audiences have attended the faculty concerts and recitals this season. To give the readers of THE MUSICAL COURIER an idea of the good work accomplished at this institution it seems only necessary to republish reports from the Detroit daily papers:
5The Michigan Conservatory of Music is slowly but steadily revolutionizing things among concert-going people in the city. When they first announced that an admission of 25 cents would be charged for their faculty concerts, everybody predicted that they would play and sing to empty seats. The seventh concert, given last evening in the Church of Our Father, was attended by an audience that pretty well filled the ground floor of the church, and that included several well-known society people.
7The disposition of Detroit audiences to get their money's worth and a little over is well known to all artists who appear here, and as a general thing the encore fiend reigns supreme. Against this the directors of the conservatory set the rule that no encores would be given at their concerts, and, what is more, they carry it out. Several persistent attempts to break it were made last night, particularly after Henri Ern had played the "Airs Russes" and Alberto Jonas the Liszt "Campanella," but these artists, though they were each recalled half a dozen times, contented themselves with simply bowing their thanks.
9There were several pleasing and unique features about the fine program. Perhaps the most notable was the rendition of a manuscript composition by Adolf Reichel, father of Henri Ern, for the voice, piano, 'cello and violin. As given by Maurice De Vries, Alberto Jonas, Henri Ern and F. L. Abel, it was an altogether delightful effort and was received with much enthusiasm.
11Both Mr. Jonas and Mr. Ern gave splendid performances, both in their solo numbers and in the Beethoven Quartet, op. 16, which has always been considered one of the most difficult Beethoven compositions. In this Mrs. May Leggett-Abel made her first appearance as a viola player, and both she and F. L. Abel sustained their parts in the quartet admirably.—Detroit Journal.
13A more enjoyable concert has not been given this season than the faculty affair given by the Michigan Conservatory of Music last night in the Church of Our Father, before as fashionable an audience as ever gathered there for a similar event. The conservatory's rule is no encores, but that did not prevent the prolonged applause of the delighted listeners, who, in the case of Henri Ern, demanded seven recalls, and quite as many for Alberto Jonas after his rendition of Liszt's "Campanella."
15Mr. Jonas played two Chopin numbers and the Liszt composition, the latter one of the best in his repertory, and which, as he plays it, never fails to create the greatest enthusiasm. The violin playing of Henri Ern grows in favor at his every appearance, and the beautiful, smooth, sweet quality of the tone which his splendid bowing produced in the "Russian Air" last night proves his right to the name "artist." Mr. Ern's father is a composer of note, and a song of his called "An den Mond," with an accompaniment for violin, 'cello and piano, was sung by Maurice De Vries. The song is very beautiful and one which will not become hackneyed from the fact that it is yet in manuscript form and thus beyond the reach of the concert singer. The program closed with Beethoven's Quartet for piano, violin, viola and 'cello, played by Alberto Jonas, Henri Ern, May Leggett-Abel and Fred. L. Abel, introducing Mrs. Abel as a viola player for the first time. The quartet was rendered with a fine ensemble, and the lovely allegro was given with exquisite feeling.
17These faculty concerts of the Michigan Conservatory are becoming a feature of Detroit's musical life, and the directors of that institution are to be congratulated on their enterprise and the appreciative response of the public.—Detroit Evening News.
19Maurice De Vries sang charmingly at the concert of the Michigan Conservatory of Music last Thursday night. His song from "L'Africaine" was recognized as being one of the most artistic performances heard in Detroit for a long time. His perfect method of voice production, the volume and quality of the voice itself and the stage presence which De Vries possesses, combined to make his singing of the aria memorable. In the composition by Adolf Reichel, in which he was accompanied by piano, violin and 'cello, he was heard with great pleasure. Naturally Mr. Ern was thoroughly familiar with the score, and its interpretation as a whole was a delight; but De Vries' singing had quite as much to do with the applause with which the composition was received as did its own merits. His practical experience of twenty years gives him a thorough knowledge of the finer points of singing as an art, and his own voice is a medium through which his knowledge is given to those who hear him.—Detroit Free Press.
21The faculty of the Michigan Conservatory of Music gave its last concert before the holidays at the Church of Our Father last night.
23A large audience of music lovers gathered to hear it, and it was a thoroughly enjoyable affair. Miss Mary Dickinson played three piano solos, notably the "Papillons," op. 2, by Schumann, and Leschetizky's Octave Study. She also played accompaniments for Mr. Abel's solos in excellent taste. Mr. Abel appeared as a 'cello solo for the first time in some months, and pleased the audience immensely, showing his customary broad, sure technic and strong, full tone. He rendered Popper's "Tarantelle," op. 33, and a cantilena of Goltermann. He showed his versatility by playing the piano accompaniment to Mrs. May Leggett-Abel's violin solos, Wieniawski's "Legende" and "Mauret." Mrs. Abel's playing was entirely satisfying. Mrs. Inez Parmenter sang three songs by modern composers, and succeeded in greatly pleasing her audience. Her selections, by Ries, Kjerulff and Mackenzie, were those in which she scored her greatest successes in her tour with Ovide Musin. The audience was chiefly made up of musicians, amateurs and music lovers, and it showed its critical spirit in the manner in which it gave its applause to the compositions selected by the artists.—Detroit Free Press.
25The recital given last night by Miss Helena Stone, assisted by Henri Ern and Mary Dickinson, in the Michigan Conservatory, was a very successful affair. Miss Stone proved again that she is a harpist of the highest standard. Her playing combines grace and virile strength; her tone is full and resonant; her technic perfection. She was loudly applauded and had to respond to an insistant encore. Henri Ern created, as he always does, the greatest enthusiasm by his sensuous and beautiful tone and his admirable technic. Miss Dickinson asserted herself as a brilliant concert pianist, endowed with an extremely fine technic and an agreeable touch. She was heartily applauded. The audience was large and fashionable, and standing room was at a premium. Following was the program: 1. (a) "Consolation," No. 6 (Liszt); (b) "Serenata Napoletana" (Seeböck); (c) "Am Springbrunnen" (Schuecker), Miss Stone. 2. (a) "Minuet Sentimental" (Eller); (b) "Le Cygne" (Saint-Saëns), Mr. Ern and Miss Stone. 3. (a) "Impromptu" in F sharp (Chopin); (b) "Barcarolle" in G major (Rubinstein); (c) Etude, op. 10, No. 5 (Chopin), Miss Dickinson. 4. "Impromptu" (Schuecker), Helena Stone.—Detroit Journal.
27Fletcher Music Method.
29VELYN ASHTON FLETCHER has just returned from Canada, where she went partly for a holiday and partly for business. While in Toronto she had a meeting of teachers on the 3d at the Metropolitan School of Music. Quite a number were there, coming from different points and cities in Canada—London, Hamilton, Guelph, Galt, &c.
31Miss Fletcher says: "It is intensely gratifying to meet these teachers and to hear successful accounts of their work. So many of them tell me how delighted they are with their work, and that the interest and success it brings to them has given them a new aim in life. As to the accounts we are having all the time of the children—I suppose some people would hardly believe them, not knowing how natural and interesting the method is by which the results are obtained. One teacher wrote to me of her sister's little boy, who is not yet quite two years old, and who, of course, has not studied the Fletcher method, but who, she considered, had accomplished wonders already by playing with the materials." To quote from her letter: "He loves it better than anything, and each day comes and asks to see the notes and the little piano. He knows perfectly the whole, half and quarter notes, bass clef and treble clef, the leger lines and block bars. He knows what a flat and a sharp do to a note. As to ear training, he is equal to a six year old. For he knows the D below the five lines in the treble; G below the second leger line in the treble; D on the fourth line in the treble, and C on the ninth leger line absolutely by ear, and knows how to place them on the staff!"
33Miss Fletcher's normal class in New York opened on the 15th, after which she went to Chicago for a class. There has been a demand for a class of teachers in Memphis, Tenn., and Miss Fletcher may open a class there in April.
35Henri G. Blaisdell.
37Henri G. Blaisdell, of Concord, N. H., was the conductor at the thirty-third annual musical convention in Littleton, N. H., which began on Monday, January 14, continuing through the week, closing on Friday evening. This is Mr. Blaisdell's third year with this convention.
39Letter from Rome.
41ROME, January 1, 1901.
43THE Quirino, a few days before Christmas, closed its doors on grand opera to make room for an operetta company, just as though Rome were not already satiated with comic opera. During the grand opera season, which was fairly successful, all the old-timers were given, the only novelties being "Le Virgini," by A. Lozzi, and "Varsavia."
45The first of these two essays at opera is the best effort of the two, and that is saying very little, as there is not a single piece of real music in the whole score, reminiscences being the order of the day. The public, which comprised many friends, was very indulgent, and the opera was repeated several evenings. Of "Varsavia" the less said the better. Isabella Wicher, a so-called celebrity, gave several performances of—of—"Lucia"! A few very pretty high notes, especially when sung a mezza voce, and a sweet voice are what constitute her celebrity, for a more unintelligible interpretation of the role and a more uninteresting personality cannot be found.
47The other day I heard some Americans exclaim: "These people over here never know what they want!" and so it is. One day it is rumored the Costanzi will be closed for the season, next day you hear the Costanzi will soon put up their posters announcing the opening of the season. Now what then?
49Finally, the Costanzi impresa has decided to give a carnival season, and the posters appeared yesterday with repertory and names of artists. Among these I notice Belincioni for "Fedora," by Giordano, which she created at the Lirico in Milan two years ago; also the tenor Bonci, who is the best mezzo carattere tenor in Italy now. His singing of "Sonnambula," "Puritani," "Mignon" and others is simply wonderful. The old people say he recalls to mind the old celebrities like Rubini, Donzelli, &c. The operas to be given are "Maschere," "Fedora" (first time in Rome), "Lorenza" (new), by Mascheroni, who is also one of the directors with Mascagni; "Sonnambula," "Barbiere," with Maria Bariertos, a young Spanish singer, and others of the old school. In the meantime a very fine operetta company, with Sylvia Marchetti at the head, is doing a fine business. Staging and scenery are superb, and the singers and orchestra good all round.
51At the Nazionale a good operetta company is enjoying the sight of full houses, thanks to the charming and most talented Juanita Many. She is brimful of chic—of verve. She is worth seeing.
53A few concerts are promised in the near future. The two or three that have taken place are so insignificant they are not worth mentioning. Rome is indeed an unmusical town. Enorma.
55At the Scala, of Milan, "Tristano ed Isotta" has created a sensation, not only for the magnificent interpretation, but the music—that most powerful of all passion music. It seems the public was absolutely taken by storm. The sensation of the evening was the tenor Borgatti. All the critics are unanimous in saying that Germany surely never saw or heard such a Tristan! The Isotta and Brangaene both were superb, and, strange to say, both are pupils of St. Cecilia in Rome.
57New Compositions by Carl Venth.
59At the private meeting of the Manuscript Society held on the evening of the 15th in the Carnegie Chamber Music Hall, three new compositions by Carl Venth were played. They were entitled "Character Pieces," and were "Christmas Adoration" (adagio), "Madame Pompadour" (menuet) and "The Brownies" (scherzo). They were all interesting and received enthusiastic applause from the audience present. The pieces were arranged for piano, two violins, viola and 'cello, and those who assisted Mr. Venth were Joseph Henius, Charles Moerenhout, Philip Herford and Franz Listemann.
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