Scan 30
Musical Courier 1901-04-24: Vol 42 Iss 1100, 1901
191 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 31. See the scan on archive.org.
1Carl to Play at the Pan-American Exposition.
3WILLIAM C. CARL has been engaged to give a series of organ recitals at the Pan-American Exposition. These events will take place on October 10, 11 and 12, after the organist's return from Europe, and the brilliant programs will embrace compositions which have never before been heard in America.
5The above announcements will remind readers of THE MUSICAL COURIER that Mr. Carl has made many notable appearances of similar character. He gave recitals at the Edinburgh (Scotland) International Exposition; Stockholm (Sweden) Exposition; the Chicago World's Fair (three recitals arranged by the commissioners of the Fair); Nashville (Tenn.) Exposition, and at the Philadelphia Exposition of 1900.
7In addition to these engagements he has performed in Crystal Palace, London, and at the Queen's Hall promenade concerts, while among his prominent public appearances may be mentioned concerts given by such well-known organizations as the Paur Symphony Orchestra and the New York Symphony Orchestra. His remarkably successful recitals in the Old First Church, New York, have attracted large and appreciative audiences, the last event being the eighty-second in number.
9Mr. Carl is chairman of the organ committee of the New York State Music Teachers' Association, and his recital of French music will constitute an attractive feature of the convention to be held at Glens Falls in June. This week he is presenting comprehensive organ programs in Canada, and his forthcoming May tour in Ohio will be of an extensive nature.
11A list of fifty cities in which the American organist has played will be read with interest:
13New York. Chicago. one of two readings
14New York. Chicago. one of two readings
15Boston. Washington. one of two readings
16Boston. Washington. one of two readings
17Cleveland. Cincinnati. one of two readings
18Cleveland. Cincinnati. one of two readings
19Brooklyn. Buffalo. one of two readings
20Brooklyn. Buffalo. one of two readings
21San Francisco. Montreal. one of two readings
22San Francisco. Montreal. one of two readings
23Pittsburg. Chambersburg. one of two readings
24Pittsburg. Chambersburg. one of two readings
25Providence. Columbus. one of two readings
26Providence. Columbus. one of two readings
27Philadelphia. Leavenworth. one of two readings
28Philadelphia. Leavenworth. one of two readings
29Newark. Charleston. one of two readings
30Newark. Charleston. one of two readings
31Denver. Norfolk. one of two readings
32Denver. Norfolk. one of two readings
33Atlanta. Poughkeepsie. one of two readings
34Atlanta. Poughkeepsie. one of two readings
35Richmond. Princeton. one of two readings
36Richmond. Princeton. one of two readings
37Worcester. North Adams. one of two readings
38Worcester. North Adams. one of two readings
39Frankfort. Spartanburg. one of two readings
40Frankfort. Spartanburg. one of two readings
41Binghamton. St. Albans. one of two readings
42Binghamton. St. Albans. one of two readings
43Wilkesbarre. Zanesville. one of two readings
44Wilkesbarre. Zanesville. one of two readings
45Valparaiso. Salt Lake City. one of two readings
46Valparaiso. Salt Lake City. one of two readings
47Lynchburg. Nashville. one of two readings
48Lynchburg. Nashville. one of two readings
49Augusta. Colorado Springs. one of two readings
50Augusta. Colorado Springs. one of two readings
51Reading. Pueblo. one of two readings
52Reading. Pueblo. one of two readings
53Niagara Falls. Scranton. one of two readings
54Niagara Falls. Scranton. one of two readings
55Carlisle. London, Ont. one of two readings
56Carlisle. London, Ont. one of two readings
57Danville. Taunton. one of two readings
58Danville. Taunton. one of two readings
59Charlotte. Marietta. one of two readings
60Charlotte. Marietta. one of two readings
61Syracuse. New Brunswick. one of two readings
62Syracuse. New Brunswick. one of two readings
64Specifications, Pan-American Organ.
65Four manuals, and pedals. Compass of the manuals C. C. to C. 61 notes. Compass of the pedals C. C. to F. 30 notes.
67GREAT ORGAN.
6816 ft.—Open diapason, metal…………………61 pipes
698 ft.—Open diapason, large scale, metal……..61 "
708 ft.—Open diapason, medium scale, metal……61 "
718 ft.—Doppel flote, wood……………………61 "
728 ft.—Gross flute, wood……………………..61 "
738 ft.—Viol di Gamba, metal………………….61 "
744 ft.—Octave, metal…………………………..61 "
754 ft.—Flauto traverso, wood…………………61 "
763 ft.—Twelfth, metal…………………………..61 "
772 ft.—Fifteenth, metal……………………….61 "
78Mixture 4 ranks, metal………………………244 "
7916 ft.—Bombarde, metal……………………….61 " one of two readings
8016 ft.—Bombarde, metal………………………61 " one of two readings
818 ft.—Trumpet, metal…………………………..61 "
824 ft.—Clarion, metal…………………………..61 "
84SWELL ORGAN.
8516 ft.—Lieblich bourdon, wood………………..61 pipes
868 ft.—Open diapason, metal……………………61 " one of two readings
878 ft.—Open diapason, metal…………………..61 " one of two readings
888 ft.—Salicional, metal……………………….61 " one of two readings
898 ft.—Salicional, metal………………………61 " one of two readings
908 ft.—Aeoline, metal…………………………..61 "
918 ft.—Stopped diapason, wood…………………61 "
928 ft.—Quintadena, metal……………………….61 " one of two readings
938 ft.—Quintadena, metal………………………61 " one of two readings
948 ft.—Vox celeste, metal………………………49 " one of two readings
958 ft.—Vox celeste, metal……………………..49 " one of two readings
964 ft.—Flute harmonique, metal………………..61 "
974 ft.—Violin, metal…………………………..61 "
982 ft.—Flautino, metal…………………………..61 "
99Dolce cornet, 3 ranks, metal…………………183 "
1008 ft.—Cornopean, metal………………………..61 " one of two readings
1018 ft.—Cornopean, metal……………………….61 " one of two readings
1028 ft.—Oboe with bassoon, metal………………61 "
1038 ft.—Vox Humana, metal………………………61 "
105CHOIR ORGAN.
10616 ft.—Double dulciana, metal…………………61 pipes
1078 ft.—Open diapason, metal……………………61 " one of two readings
1088 ft.—Open diapason, metal…………………..61 " one of two readings
1098 ft.—Geigen principal, metal………………..61 "
1108 ft.—Dulciana, metal…………………………..61 "
1128 ft.—Lieblich Gedackt, wood…………………61 pipes
1138 ft.—Melodia, wood…………………………..61 "
1144 ft.—Fugara, metal…………………………..61 "
1154 ft.—Flute d'Amour, wood……………………61 "
1162 ft.—Piccolo harmonique, metal………………61 "
1178 ft.—Orchestral oboe, metal…………………61 "
1188 ft.—Clarinet (with bells), metal…………..61 "
120SOLO ORGAN.
1218 ft.—Tuba Mirabilis, metal…………………..61 pipes
1228 ft.—Stentorphon, metal………………………61 " one of two readings
1238 ft.—Stentorphon, metal……………………..61 " one of two readings
1248 ft.—Philomela, wood…………………………..61 "
1254 ft.—Fugara, metal…………………………..61 "
127PEDAL ORGAN. (Augmented.)
12832 ft.—Contra bourdon, wood………………….30 notes
12916 ft.—Double open diapason, wood…………..30 "
13016 ft.—Double open diapason, metal…………..30 "
13116 ft.—Bourdon, wood…………………………..30 "
13216 ft.—Violin, wood…………………………..30 "
13316 ft.—Trombone, wood…………………………..30 "
13410 ft.—Quint, wood…………………………….30 "
1358 ft.—Violoncello, metal……………………….30 " one of two readings
1368 ft.—Violoncello, metal………………………30 " one of two readings
1378 ft.—Flote, wood……………………………..30 "
1388 ft.—Gedackt, wood…………………………..30 "
140COUPLINGS, &c.
141Swell to great unison.
142Swell to great super octave.
143Swell to great sub octave.
144Swell to choir unison.
145Choir to great unison.
146Solo to great unison.
147Great to pedal.
148Swell to pedal.
149Solo to pedal.
150Swell tremolo.
151Choir tremolo.
153COMBINATION MOVEMENTS.
154Three adjustable combinations to act on the great organ, all double acting. One zero piston.
155Three adjustable combinations to act on the swell organ, all double acting. One zero piston.
156Two adjustable combinations to act on the choir organ, both double acting. One zero piston.
157Three adjustable combinations to act on the pedal organ, all double acting. One zero piston.
158Two adjustable combinations to act on the solo organ, both double acting. One zero piston.
160PEAL MOVEMENTS.
161Balanced swell pedal.
162Balanced choir pedal.
163Balanced crescendo pedal.
164Full organ pedal.
165Reversing pedal. (Great to pedal.)
167Mme. De Vere in England.
169MME. CLEMENTINE DE VERE has captured the English musical public, as the following criticisms will show:
170Madame De Vere-Sapio made an excellent appearance as Rachel, the refined grace of her acting, the pureness and sweet quality of her voice, and her perfect vocalization charmed the house.—Cork Examiner, December 1, 1900.
172Madame De Vere-Sapio made her one and only appearance during the engagement. The lady comes from Covent Garden with a good reputation, and all that has been written in her praise is deserved. She has considerable charm of manner, and her method is exceedingly cultivated. Her voice is rich and flexible, and she sings with great ease and care. There is no straining after effect, so common a fault among dramatic sopranos, and what she does is done simply and well. In the air "He Will Return" ("Il va venir") the sweet quality of her voice and her finished style of singing were clearly revealed. Madame De Vere-Sapio is an accomplished lyric artist.—Cork Constitution, December 1, 1900.
174The character of Rachel was naturally the one in which most interest was centred. Madame De Vere-Sapio excelled in the part. As a stranger, she made her bow to a Cork audience last night as a tremendous and popular favorite—one who in a few short hours had won her way into our hearts. This eminent artist did more than sing the part with sympathy, with brilliancy and with ability. She acted the part as well as looked it.—Cork Daily Herald, December 1, 1900.
176Madame De Vere-Sapio appeared as Marguerite, and achieved a great success. Vocally she was brilliant, while histrionically she acquitted herself with infinite credit.—Daily Post, Liverpool, December 5, 1900.
178* * * A prima donna of whom it is impossible to speak too highly. She was from first to last listened to with rapt attention, and after her superb effort in the prison scene ("Faust") she was conceded by the large audience present to be an artist endowed with rare vocal abilities.—The Liverpool Courier, December 5, 1900.
180Madame De Vere-Sapio was a successful Marguerite. Her voice is of fine resonance and an accompanying sweetness. She looked the part, and played it with nervous force.—Liverpool Mercury, December 5, 1900.
182Madame De Vere-Sapio achieved a brilliant success, her superb vocalism and unusually distinct enunciation serving to make her impersonation of the Jewess one of transcendent excellence.—Liverpool Courier, December 8, 1900.
184Asheville Summer School and Concerts.
186PLANS for holding the fourth session of the Asheville Summer School were recently perfected, the stockholders meeting and electing the following officers: F. Stikeleather, president; W. E. Collins, vice-president; George L. Hackney, secretary; J. P. Sawyer, treasurer, these same men, with Archibald A. Jones and T. S. Morrison, being elected directors. Adrian P. Babcock and F. W. Riesberg were then elected the musical directors of the school, which will open July 14, and close August 24.
188The directors have engaged the following artists as faculty and for the concerts: Miss Estelle Harris, soprano; Percy Hemus, baritone; Claude Trevlyn, violinist, with the directors, Messrs. A. P. Babcock and F. W. Riesberg, as solo organist and pianist.
190An alto and tenor will be engaged as necessity requires. Two hundred and fifty season tickets have already been sold. The advertising committee, under W. E. Collins, is moving vigorously, and the outlook for great success, both financial and musical, is excellent.
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