Scan 32
Musical Courier 1901-04-24: Vol 42 Iss 1100, 1901
92 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 33. 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.
1byterian church, Greenwich, Conn.; she is a pupil of J. Warren Andrews.
3Calvary M. E. Church choir will have as solo quartet Miss Rena Atkinson, soprano; Miss Henriette Wilson, contralto; Vernon Hughes, tenor, and Edward Bromberg, baritone. A. Y. Cornell is conductor and organist.
5F. W. RIESBERG.
7Maud Powell Delights Boston.
9MISS MAUD POWELL is another artist who has had a phenomenally successful season. All Americans are proud of their superbly gifted countrywoman, of whom it may be said she deserves her honors. Following are the criticisms from three of the Boston papers on her recent recital and performance at the symphony concert:
11It was some years since I had heard Miss Powell play. I had remembered her as an excellent violinist, but hardly as the distinguished artist I heard on Saturday afternoon. Miss Powell is now distinctly a virtuoso on her instrument, in the fullest sense of the term; moreover, she plays with a vehemence of emotional expression that is almost sui generis. Its intensity does not seem to be in the least factitious, it is not merely a matter of grand style; it is genuine emotional heat, applicable to the grandest as well as to the less noble music. There were passages in he Tartini sonata that fairly made you quake. Note, too, that this expressive vehemence is not applied at random; its employment is governed by a very sure musicianship, by perfect good taste. Neither is it all of the same unvarying sort; there was an intensity in Miss Powell's delivery of Coleridge-Taylor's very lovely Gypsy Melodies which was of a very different sort from the profounder passionateness shown in parts of the "Didone abbandonata."—Boston Evening Transcript.
13Miss Powell has grown steadily in artistic stature until few of her sisters can claim reasonably to be her peer.
15Of women who have visited us of late years only Lady Hallé is to be named with her in the same breath. Miss Powell has reached the goal by honest and honorable means. Her own natural gifts, her genius for indefatigable and intelligent work have placed her in this proud position. She has not put her strength in press agents with sackbut and psaltery and high sounding cymbals; she did not use her sex or her nationality to boost her into a place she did not deserve. Her one great friend and helper has been her indisputable talent. It would be an idle compliment to say that she plays like a man, for she plays better than many men. It would be misleading to say that she plays like a woman, even though the possession of the finer sentiments and gentler emotions was thus implied. Miss Powell plays like a true artist, who knows all emotions and passions, but is not mastered by them, for she realizes that sentiment is not effeminacy, sensuousness is not caterwauling, and passion even at its height is not hysteria.—Boston Journal.
17Miss Powell played Tchaikovsky's Concerto in D major, a splendid composition for displaying the virtuosity of a performer. Miss Powell read the work with intelligence and appreciation, and she interpreted it in a broad and convincing style that could have been surpassed by very few of the most distinguished violinists of the stronger sex. Her tone is large and pure, and delightful in quality. She phrases exquisitely, and her command of technic is equal to every demand.
19In the exacting cadenza of the first movement Miss Powell exhibited singularly faultless execution, and her performance of the second movement was also thoroughly artistic. The theme of this movement is marked by the pathos of the Slav, simple in its development, but when interpreted by so sympathetic an artist as Miss Powell it is capable of wonderfully pleasing effects. The finale movement is a brilliant haunting creation, with a climax of dramatic melody. There is an extreme weirdness in the entire composition, an exaltation of the wild songs of the Steppes, and Miss Powell succeeds admirably in preserving the spirit of the work.—Boston Globe.
21Nelson Searles, Jr., Pupil of Francis Fischer Powers.
23IT would seem that various organizations vie with each other in saying fine things of Mr. Searles, and it is small wonder, for he is without doubt one of the best of our bass singers. Mr. Searles sang at Grace Methodist Episcopal Church the other evening, and the Grace Church Herald had this to say of his work:
25W. N. Searles, Jr., baritone soloist, sang two numbers and was very cordially received. Mr. Searles has a magnificent voice and completely captivated the audience. By request he sang for encore "Resurrection," which was one of the finest solos we have ever listened to.
27… JUST PUBLISHED …
28BY
29G. SCHIRMER,
30NEW YORK.
31RUDYARD KIPLING'S
32Barrack-Room Ballads.
33Set to Music by ARTHUR WHITING.
34Danny Deeveer, Mandalay, Soldier, Soldier, Fuzzy-Wuzzy. one of two readings
35Danny Deever, Mandalay, Soldier, Soldier, Fuzzy-Wuzzy. one of two readings
36Price, $1.00 net.
37Without a doubt the best musical setting of these popular ballads.
38Send for Catalogue of SCHIRMER'S LIBRARY
39EDITION of Musical Classics.
41Matja Von Niessen-Stone.
43M. E. MATJA VON NIESSEN-STONE, whose picture accompanying this article was printed two weeks ago, was born in Moscow and brought up in Germany. She went to the private school of the late Grand Duchess of Saxe-Weimar, and her first singing lessons were received at the Dresden Conservatoire, where she remained for three years. After that she studied with Mme. Lilli Lehmann, and later on studied with Prof. Souvestre Paschal, a pupil of the late Professor Lamperti, of Milan. one of two readings
44ME. MATJA VON NIESSEN-STONE, whose picture accompanying this article was printed two weeks ago, was born in Moscow and brought up in Germany. She went to the private school of the late Grand Duchess of Saxe-Weimar, and her first singing lessons were received at the Dresden Conservatoire, where she remained for three years. After that she studied with Mme. Lilli Lehmann, and later on studied with Prof. Souvestre Paschal, a pupil of the late Professor Lamperti, of Milan. one of two readings
46Her first concert took place at Dresden, and was a great success. It was shortly followed by successful appearances in Berlin, Vienna, Budapest, Frankfort-on-the-Main, Stuttgart, &c. In February, 1895, she was commanded to sing for the German Emperor at a court concert in Berlin. She has also sung before the King of Saxony, the King of Wurtemberg, the late Grand Duchess of Holstein, and various other royal personages.
48In the autumn of 1896 Mme. Von Niessen-Stone went to St. Petersburg, where she gave recitals and sang at the symphony concert with the greatest success. At her first recital there she sang in English, French, German, Italian and Russian. These concerts were followed by successful appearances in Moscow, Odessa, Kief and other large towns in Russia. Upon her marriage with W. E. Stone she retired for two years, but last year she gave a successful recital in Beethoven Hall, Berlin. Subsequently she toured through the south of Germany, afterward proceeding to England, where she appeared with the greatest success at one of Mr. Chappell's celebrated "Pops" at St. James' Hall, in company with Ysaye and others. She was warmly complimented, and Mr. Chappell offered her other engagements, so that Mme. von Niessen-Stone can be assured of a warm welcome at the best concerts in England whenever she chooses to return.
50Here are some of her press notices:
51The singing of a new vocalist, Mme. Matja von Niessen-Stone, was much admired, especially her rendering of the "Erl King," which, by the way, is not a woman's song. She is evidently an accomplished artist, whose natural means are supplemented by all that training can do.—Daily Telegraph, Monday, Feb. 11, 1901.
53Mme. Matja von Niessen-Stone, a newcomer at these concerts, made a favorable impression by her intelligent singing of Brahms' "Von ewiger Liebe," "Vergebliches Standchen" and Schubert's "Erlking."—The Standard, Feb. 11, 1901.
55Mme. Matja von Niessen-Stone sang Schubert's "Erlking" and two songs by Brahms in an effective manner.—The Morning Post, Feb. 11, 1901.
57A highly favorable impression was made by Madame von Niessen-Stone, a new singer, with a pleasant, though not powerful mezzo-soprano voice, who sang two Brahms songs in first rate style.—The Daily Graphic, Feb. 11, 1901.
59Eine Sängerin von ungewöhnlicher Begabung ist Frau Matja von Niessen-Stone. Ihrer Stimme ist ein warmes und ergreifendes Klanggepräge eigen, und sie vermag nicht nur durch die Lebhaftigkeit ihres Vortrages zu fesseln, sondern sogar vielfach den Hörer ganz in die Stimmung zu bannen, die Dichter und Komponist geschaffen haben. Es ist ihr also die höchste Aufgabe des Sängers überhaupt löshar.—Allgemeine Musikzeitung, Berlin, 2 März, 1900.
61In Frau Matja Niessen-Stone lernten wir am Freitag im Beethoven-Saale eine hervorragende Sängerin kennen. Sie ist eine vollkommene Künstlerin, die sicherlich ihren Weg machen wird. Die Stimme, ein umfangreicher Mezzo-Sopran, ist ausserordentlich biegsam und in ungewöhnlich hohem Masse fähig, den seelischen Affekten Ausdruck zu verleihen. Man fühlt im Tone gleichsam die Vibrationen des Herzens; er ist in des Wortes weitestem Sinne seelenvoll. Mit einem starken Temperament verbindet die Sängerin eine starke Intelligenz, die sie vor Fehlgriffen bewahrt. Sie trifft stets das richtige im musikalischen und im allgemein geistigen Ausdruck.—Vossische Zeitung, February 24.
63Frau Matja von Niessen-Stone gebührt ein erster Platz unter den Liedersängerinnen. Sie singt wie aus Herzensbedürfniss mit warm quellender Empfindung und dabei so selbstverständlich verständig, wie sich nur intelligente Menschen zu äussern vermögen, die eben keine besondere Anstrengung zu machen brauchen, um verständig zu sein.—Berliner Börsen-Zeitung, February 25.
65Als eine beachtenswerthe künstlerische Erscheinung, erwies sich die Sängerin Matja von Niessen-Stone, die ich im Beethoven-Saale hörte. Hier fand man in Hülle und Fülle Temperament, Wärme des Ausdrucks und ein lebendiges, inneres Erfassen dessen, was sie zum Vortrag brachte. Dabei besitzt die Sängerin ein sympathisch klingendes, gut geschultes Organ und eine unverkennbare gesangliche Begabung. Ihre Vorträge, die aus Beethoven's Liedercyclus "An die ferne geliebte," sowie aus Liedern von Schubert, Schumann, Brahms und einigen Andern bestanden, fesselten denn auch durchweg das Interesse in nicht geringem Grade. An warmen Beifallsbezeugungen liessen es die Hörer während des Abends nicht fehlen.—Berliner Börsen-Courier, Feb. 24, 1900.
67MME. MATJA VON NIESSEN-STONE.
69Harry J. Fellows.
71A short notice, Harry J. Fellows, the St. Louis tenor, was called upon to fill the place of Charles Humphrey at the performance of Gounod's "Redemption" at the concert of the St. Louis Choral Symphony Society. He succeeded in pleasing both the public and the critics. The following extract is from the St. Louis Globe:
73Harry J. Fellows, of this city, had the tenor part, and he achieved a fine success. Although he undertook the study of the part only a couple of weeks ago, being substituted for the late Charles Humphrey, Mr. Fellows has never sung to better effect since he came to St. Louis. He, too, had an embracing conception of the spirit of the work and expressed it masterfully.
75Mr. Fellows has received two fine offers from St. Louis churches, but thus far he is undecided, as he is very busy with his concert engagements and teaching.
77Eleanor Broadfoot.
79M. ELEANOR BROADFOOT, the contralto, assisted by Vahram Sevadjan, the pianist, and Emilio de Gogorza, baritone, gave a concert before a large and fashionable audience at the Waldorf-Astoria on Thursday April 18. Madame Broadfoot was in splendid voice, and her singing fully merited the many recalls she received. M. Sevadjan, who is comparatively unknown in this country, is a pianist of no mean ability. He possesses musical temperament in abundance, a flawless technic and a wonderfully delicate touch. His interpretation of Chopin's compositions reveals the true artist. M. Sevadjan returns to Europe in May, but will tour this country next season. one of two readings
80ME. ELEANOR BROADFOOT, the contralto, assisted by Vahram Sevadjan, the pianist, and Emilio de Gogorza, baritone, gave a concert before a large and fashionable audience at the Waldorf-Astoria on Thursday April 18. Madame Broadfoot was in splendid voice, and her singing fully merited the many recalls she received. M. Sevadjan, who is comparatively unknown in this country, is a pianist of no mean ability. He possesses musical temperament in abundance, a flawless technic and a wonderfully delicate touch. His interpretation of Chopin's compositions reveals the true artist. M. Sevadjan returns to Europe in May, but will tour this country next season. one of two readings
82Mrs. Laurence Weakley,
83CONTRALTO.
85ADDRESS:
86610 N. 8TH STREET,
87ST. JOSEPH, MO.
89Anton Kaspar
90VIOLINIST.
91Now Touring the South. Address care Musical Courier.
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