Scan 12
Musical Courier 1901-11-27: Vol 43 Iss 1131, 1901
125 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 13. See the scan on archive.org.
1MADAME NEVADA, THE GUEST OF HONOR.
2The Manuscript Society Opens the Season with a Reception.
4WITH Mme. Emma Nevada as the guest of honor and a musical program of works by women composers, the Manuscript Society opened its twelfth season last Wednesday night at the National Art Club, on West Thirty-fourth street. The prima donna, occupying the seat of honor on the stage, shook hands with several hundred people, and did it all so graciously as to not even suggest the thought of fatigue. It was whispered that she would sing informally, and as a result many guests lingered until she herself departed, which was about midnight.
6But the prima donna did not sing, and let it be said here that the officers of the society were not responsible for the foolish rumor. Under one form and another there is altogether too much free music dispensed in this town, and the very thought that a singer of Nevada's rank would sing gratis at a function so crowded and public as that of last Wednesday evening was highly absurd. Although announced as a "private meeting," the cards of admission were not required upon entering, and thus the easy access resulted in the usual discomforts for many of the guests who were there because they had the right to be. The reception to Madame Nevada was brilliantly successful, but for the rest—the least said the better.
8Because THE MUSICAL COURIER believes in the Manuscript Society and its purpose, and wants to see it fulfill its mission, we point out here some of the mistakes of the first private meeting last Wednesday evening. As delightful as are the rooms of the National Arts Club, no music can sound well in the place. The rooms, quite naturally enough, were not designed for music performances, but for the exhibition of art and entertainment of artists. The musical program last Wednesday night was at least one hour too long. It was 11:15 when the closing number was being sung. As THE MUSICAL COURIER representative assigned to report the event was crowded out in an outer apartment, where seeing and hearing were impossible, no criticism of the music can be given. We present the program:
10Songs for soprano—
11While Thou Wert By…………………Stella Prince Stocker
12A Sea Song…………………………..Stella Prince Stocker one of two readings
13A Sea Song……………………………Stella Prince Stocker one of two readings
14Miss Rebecca Mackenzie.
15The composer at the piano.
17Songs for baritone—
18Forget-Me-Nots……………………….Fanny M. Spencer
19Breezes………………………………..Fanny M. Spencer one of two readings
20Breezes……………………………….Fanny M. Spencer one of two readings
21The Player……………………………..Fanny M. Spencer one of two readings
22The Player…………………………….Fanny M. Spencer one of two readings
23Grant Odell.
24The composer at the piano.
26Suite for violin and piano, op. 10, Modern Dances…Clara A. Korn
27Egyptian Dance.
28Polish Dance.
29Bavarian Peasant Dance.
30Russian Dance.
31American Dance (Virginia Reel).
32Miss Ruby Gerard Braun.
33The composer at the piano.
35Songs for mezzo-soprano—
36Sans Amour…………………………..Chaminade one of two readings
37Sans Amour…………………………….Chaminade one of two readings
38Le Chevalier Belle-Etoile…………….Holmes
39Miss Marguerite Hall.
40Dr. Gerrit Smith at the piano.
42Songs for soprano—
43Fair Rohtraut………………………….Adele Lewing
44(Awarded first prize, Musical Record Competition, 1899.)
45Love Song……………………………..Adele Lewing
46Miss Kathryn Hilde.
47The composer at the piano.
49Romanza for 'cello……………………..Marie von Hammer
50Hans Kronold.
51The composer at the piano.
53Songs for tenor—
54Orpheus……………………………….Margaret Ruthven Lang
55In a Gondola…………………………..Althea Grant Jewell
56(Written for Mr. Smock.)
57Hobart Smock.
58Charles E. Wark at the piano.
60Songs for contralto—
61Red and White Roses………………….Marie Parcello-Bixby
62Sirenegesang………………………….Marie Parcello-Bixby
63A Doll's Lullaby……………………….Marie Parcello-Bixby one of two readings
64A Doll's Lullaby………………………..Marie Parcello-Bixby one of two readings
65The Nightingale and the Rose………….Marie Parcello-Bixby
66Sung by the composer.
68Songs for contralto—
69At Dawn……………………………….Mary Knight Wood
70Waiting (with 'cello obligato)………….Mary Knight Wood
71Miss Feilding Roselle.
72Obligato by Hans Kronold.
73Paul Ambrose at the piano.
75Soli for piano—
76Meditation……………………………..Adele Lewing
77Scherzino……………………………….Adele Lewing
78Played by the composer.
80Dramatic scene for soprano and baritone, Endymion….L. S. Collins
81The Voice of the Earth…………………Miss Charlotte Walker
82The Seer……………………………….Francis Walker
83The composer at the piano.
85MUSIC AND CHILDREN.
87Mrs. E. Fletcher-Copp Illustrates Her Kindergarten Method.
89THE teaching of music, to little children so that they may read it easily, distinguish notes and chords by ear absolutely, and become as familiar with the symbols, keyboards and instruments as they can be with anything else they try to learn, says the Hartford, Conn., Courant, of September 27, was illustrated at Jewell Hall by Mrs. E. Fletcher-Copp yesterday afternoon. The theory she presented was that music being the universal written language of all civilized nations, it ought to be and is easy for the mind to express itself through that medium. If children are trained logically in music, they can arrive at results that are equal to those attained after many years of hard work by the ordinary musical student. The training must be from within in the natural order, and the child would then learn music and be happy and enjoy the instruction. It was perfectly possible to teach the child notation so that reading music would be as easy to it as reading ordinary English was to the average person who speaks and thinks in the English language. It was also possible to train the ear of the child so that it could at once distinguish, absolutely, the note or the chord produced on the piano without having sight of the keyboard. These were simply the results of logical and natural training.
91Mrs. Fletcher-Copp, while not being a disciple of Froebel, had been surprised to learn that she had evolved the system of musical instruction, which she claims for her own, after the general line of natural methods that the great kindergarten founder brought to light. Her plan of teaching music is much on the line of kindergarten work, although it seems to be a little more definite in securing immediate results. By means of materials, such as the symbols of the notes, the staff, the various modifying symbols, flats, sharps, rests and the like, which she has made in large size, she has the children play games in which they make little compositions in music by placing the symbols on the staff, being instructed as they do so, in the pleasantest method of play. Just what the symbols mean, and, by the voice or the piano, at the same time, being taught their value. There are fourteen of these games, referring to the teaching of notation, and the children learn the position of the notes absolutely, instead of relatively, and are able at a glance to tell what they are and their meaning, thus making sight music readers before they are six years old, and accurate sight readers, at that.
93In the matter of time and rhythm the material she uses is simply representations of notes by means of wooden strips, the longest being a whole note and all the others fractional parts of a whole note. The children thus become familiar with the value of the note, its place in the time and rhythm of the composition, while scarcely knowing that they have been trying to learn anything, the entire system being one of pleasant occupation and play.
95For becoming acquainted with the piano the instructor has a model of a keyboard which is made in an attractive form. The keys being removable, the child is taught to remove any note, chord or series of harmonies from the board, and insert them in proper place again, thus becoming thoroughly familiar with the positions. The scale is taught in a similar manner by symbols. At the piano the child is equipped with many things that, by the old system of learning from books, it could not have mastered. As to practice on the piano, the speaker did not believe that half as much was necessary as is commonly given to a child. A simple process of gymnastic exercises for fifteen minutes, morning and evening, would keep the muscles used in piano playing in fine condition and the body healthful. The technic would much more easily care for itself than it would under the old methods. Mrs. Fletcher-Copp carries the same concrete system into teaching music to children of the higher grades, but in much less of the game or play system. She is an attractive speaker, and, with a table full of the material she uses in her classes, gave the members of the Motherhood Club and the Froebel Club an attractive, instructive and thoughtful address.
97An Invitation.
99THE American School of Opera gives to all teachers and those directly interested a cordial invitation to call at the school, No. 23 West Forty-fourth street, any day between 10 a. m. and 1 p. m., and watch the work being done by the pupils. A special invitation is also offered to the "make-up" class, which takes place each Tuesday from 12 to 1 p. m., when an hour's performance can be seen with costumes. At all times thoughtful criticism is solicited, as the school must work hand in hand with the vocal teachers to insure the ultimate success of that long cherished project, opera in English.
101The American School of Opera does not claim to be the only place where English opera is being cherished, as several of our best known managers are doing all within their power to promote such an end, but it is contended that these same managers are very much handicapped by not having acting singers—there are plenty of great singers—and the American School of Opera is trying in its humble way to overcome this deficiency. Hence this invitation, as honest criticism by those who have real English opera at heart will be of immense value to the faculty of this school. It is requested that cards be presented, and all criticisms be in writing to be used for reference.
103Ernest Hutcheson and the Mason & Hamlin.
105ERNEST HUTCHESON recently gave a recital in Baltimore at which he used, as he always does, the Mason & Hamlin piano. In the criticism of the recital, which appeared in the Baltimore News, written by O. B. Boise, the eminent theorist, musician and critic, the following paragraph appeared:
107"The concert grand (Mason & Hamlin) upon which Mr. Hutcheson played responded to his every demand in a manner reassuring to the player and delightful to the listener. Its singing quality and elastic power were apparently inexhaustible."
109Mrs. Stocker's "Sea Song."—Mrs. Stocker's "Sea Song" was sung as an encore at Columbus Hall last Thursday evening. It was received with so much enthusiasm that Miss McKenzie, the soloist, after repeatedly answering the applause with a bow, was compelled to repeat the song. This number and "While Thou Wert By" were sung at the Manuscript Society concert on Wednesday night. Miss McKenzie is delighted with the songs, and means to make them a feature in her recital work.
111Madame Von Klenner to Direct.—Mme. Evans von Klenner will direct the program at a musicale to be given at the residence of Mrs. Esther Hermann on Thursday evening, December 5, for the benefit of the Mary Fisher Home. This is one of the truly deserving institutions of the city, devoted as it is to the care of aged people of culture and education.
113MR. JOSEPH SMITH HAS THE HONOR TO ANNOUNCE THAT HE HAS ARRANGED FOR A TOUR IN THE UNITED STATES, CONSISTING OF A LIMITED NUMBER OF CONCERTS ONLY, DURING JANUARY AND FEBRUARY, 1903, OF THE CELEBRATED
115Kaim Orchestra of Munich,
116DIRECTED BY
117FELIX WEINGARTNER.
119THE FAME OF MR. WEINGARTNER AND OF THE ORGANIZATION WHICH HE HAS UNDER HIS PERMANENT DIRECTION DISPENSES WITH ANY COMMENT WHATEVER AS TO THE ARTISTIC IMPORTANCE OF THIS ANNOUNCEMENT.
121Kindly address all communications to
122Concert and Theatrical Direction JOSEPH SMITH,
1235 Via Rondinelli,
124Florence, Italy.
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