Scan 36
Musical Courier 1901-11-27: Vol 43 Iss 1131, 1901
89 lines. Read by computer on 22 September 2026. Printed page 37. 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.
1THE LIEDERKRAHNZ CONCERT AND FANNY RICHTER.
3THERE exists a German proverb which maintains that "he who sayeth A must also utter B." A practical demonstration of it Mr. Blom used to give in a little family game of poker in which I had the pleasure of participating many years ago. He was in the habit of strolling into an opened jackpot with a little pair of deuces and did not object to stand a couple of raises on them, muttering to himself: "Wa ye dam, wa ye dam, wa ye rutten dam," as he made good what was put up after he went in. What these enigmatical words mean, or to what language they belong, I never was able to fathom, but I noticed that Mr. Blom chipped in and that not infrequently he was rewarded for his persistency and courage by drawing to his lonely pair of deuces maybe a triplet of aces or some other fortunate conglomeration of cards that would in the end suffice to gain him the pot inclusive of all emoluments put up by the raisers and owners of pat straights, flushes or smaller full hands, not to speak of the bluffers who had nothing to do with the showing up at the end. Just such a nice and comfortable family game I missed last Sunday night, when through rain and storm I wended my way to the well-known and formerly much beloved hall of the New York Liederkranz, in order to attend the society's first concert of the present season, simply because I had been present at that of the Arion on the previous Sunday.
5That I did not regret the change of entertainments, and, in fact, greatly enjoyed the concert, with its many sided and variegated musical offerings, shows you that they must have been of superior merit, and such was indeed the case. The singing of the male chorus especially elicited my admiration, and in the handling of his forces the conductor, Dr. Paul Klengel, who was new to me, showed himself not only an efficient leader but also a musician of taste and a drillmaster of superior command or commanding superiority, just as you like to put it. All three of the a capella four part songs were redeemed by the enthusiastic audience, whose attention did not seem to flag from beginning to the end of a program which consumed two hours and a half in its performance, and which was suffering from an embarras de richesse. Of the three choruses Franz Leu's "Standchen" is of the cloyingly sweet Liedertafel denomination, while Klengel's own setting of Baumgartner's humorous text, "Froehliche Armut," is clever and effective.
7Then there were two male chorus quartets, with orchestra, of which Rheinberger's "Johannisnacht" sounded academical, despite Klengel's fine instrumentation of the accompaniment, while a new German Reiterlied, by Fritz Neff, is very stirring and modern in spirit and harmonization, being influenced strongly by Wagner's "Kaisermarsch."
9As was the case formerly it still seems to be to the present day, viz., that the mixed chorus is the weak side of the Liederkranz. The entrance of the Ewig-Weibliche did not strengthen, it made a tame appendix to the male chorus, and their joint effort at mastering the Brahms "Schicksalslied" was a lamentable failure. I do not blame Dr. Klengel for this, for he cannot be expected to perform miracles with a poor woman's chorus, but he ought to have known that the Brahms work, one of his most transcendental ones, was too ambitious a selection in every respect.
11There were three soloists—one or two less would also have been a sufficient supply—at this concert. Of them Emil Fischer, the veteran bass, needs no further mention, except to state that he sang his Händel aria and his two Loewe ballads in the artistically still remarkable, but vocally rather remnant style, to which he is reduced now. His audience was delighted, and after the "Archibald Douglas"—Fischer calls him Dooglas—an encore was insisted upon.
13Miss Helen Niehbur much more deservedly shared the same fate. She is a pupil of Bouhy, and sang her well-known "Samson and Delilah" aria as well as a plaintive song by Alessandro Scarlatti, with a sympathetic and well trained alto voice and with commendable clearness of delivery.
15Of considerable interest to me proved the piano playing of Mrs. Fanny Richter, a former pupil of Liszt, Barth, D'Albert and Stavenhagen, of whom I had heard a good deal of praise before I had the pleasure of hearing her. That so many masters did not spoil her playing shows that the lady has talent of her own, and in fact a certain amount of strength, originality of conception and a clean, neat style of phrasing were the distinguishing features of Mrs. Richter's interpretation of the Beethoven C minor Concerto. The old and nowadays but rarely performed work did not sound a bit antiquated under her supple fingers, and I greatly enjoyed the cadenza by Clara Schumann as well as the sprightly, humorous and genial way in which the lady ripped off the rollicking final rondo.
17Of course she was applauded to the echo, and of course she was encored.
19O. F.
21Mrs. Fanny Richter.
23Richter is a distinguished name in the art world of Germany, and, William Shakespeare notwithstanding, there is a great deal in a name sometimes. Here in New York we have a pianist who belongs to the honored family of Richters, Fanny Richter, who in private life is Mrs. Albert Fuchs. As one having studied with Liszt, Barth, d'Albert and Stavenhagen, no one would ever think of charging Madame Richter with playing the works of one composer better than another. She is a serious artist always, and with it all she is poetic and emotional to a high degree.
25As a child Fanny Richter played in public in Germany. When she first came to this country, she played here with orchestras and in recitals, and then devoted some of her time to teaching among wealthy families. But loving her art as she does, it was unreasonable to suppose a woman of her comparative youth would retire to private life.
27The pianist returned only last Saturday night from filling an engagement in Milwaukee with the A Capella Club of that city. This is always the way with genius. No sooner does a gifted woman or man make it known that she or he will enter or re-enter (as happens to be the case here) public life, but engagements come pouring in. Always when the merits equal the claims engagements will follow.
29Madame Richter is a most sympathetic artist, with a technical equipment that astonishes even musicians. A beautiful Schumann player, a finished Beethoven, an astonishing Liszt player. Need more be said of her skill. In Europe Madame Richter is known to many people of rank and influence. Members of the royal families are among her friends and patrons. She has been decorated by Queen Marguerita of Italy and the Grand Dukes of Saxe-Weimar and Schaumburg-Lippe. New York society received Madame Richter cordially when she came to this country. As she brought letters from the elect of Europe it could not be otherwise. Many of Madame Richter's friends and admirers are hoping that she will give a recital in New York this winter. It would be interesting to hear her in one of her programs.
31Edward Strong.
33AMONG the younger singers who have recently scored marked success is Edward Strong, tenor of the Fifth Avenue Presbyterian Church, New York.
35He commenced the study of music when a mere lad. Starting with the piano, he gradually extended his work, taking up successively both the violin and the organ. Obtaining in this way a thorough musical education, when later his voice developed, he had already acquired a musical culture which well equipped him for the position he wished to fill two years ago on coming to New York.
37His voice is a clear lyric tenor, of unusually fine quality and extended range. One of the features of his singing is his clear enunciation, which is always an added pleasure.
39The repertory of this young artist is both large and varied, and has won him unqualified praise in concert and oratorio work.
41Here follow a few press notices from different parts of the country:
43In his first song, "Alas! that Spring Should Vanish," Mr. Strong revealed a resource of musical feeling that gave the full pathos of the lines, and won him a clamorous encore, but in his final song he reached a plane of vocal interpretation rarely heard at Chautauqua.—Chautauqua Daily Herald, July 13, 1901.
45BUFFALO, N. Y., PAN-AMERICAN EXPOSITION CONCERT.
47One of the favorite soloists is Edward Strong, who comes from Dr. Hall's Presbyterian Church, Fifth avenue, New York. He has a tenor voice of rich quality and takes his high notes easily. His pure, sympathetic voice showed to special advantage in the duet "Oh! that We Two Were Maying." All his numbers were delightful.—Buffalo Express, July 17, 1901.
49He is the fortunate possessor of a high tenor voice of great sweetness and power, which he uses in a thoroughly artistic manner. His solos, "Behold and See" and "Thou Shalt Dash Them," are perhaps particularly worthy of mention. The first was sung with exquisite tenderness and finish, the latter with a force and fire that electrified his audience. Faultless rendition and sympathetic interpretation were characteristic of all his work. An unusual repose of manner and an attractive personality gave added pleasure.—Northfield News, December 15, 1900.
51Mr. Strong deepened the favorable impression which he made on the music lovers of the Oranges at the Randall concert some time ago. He sang his numbers with fine musicianly feeling, excellent method and a wide range of expression. For response to an encore after his first group of songs he sang "If I Were a Star," by Chapman, and after his third program number was again recalled and sang the dainty little ballad, "A Thousand Thoughts."—Orange Chronicle, June 4, 1901.
53Edward Strong, of New York, who has lately attracted attention by his fine tenor voice, gave great pleasure by his rendering of songs by Chaminade, Chadwick, MacDowell and others.—Jersey City Evening Journal, May, 1900.
55Mr. Strong, who is the tenor of a Fifth avenue church, has a voice of fine volume and rich tone.—Narragansett Daily Times, August 16, 1901.
57Edward Strong, a young New York tenor, made a splendid success at Miss Chamberlayne's school last week, where he sang.—Boston Exchange.
59Edward Strong is a rare tenor; a magnificent voice, sympathetic and powerful. His enunciation is well-nigh perfect and his singing excellent.—Scranton Republican.
61Mr. Strong has this season sung at Port Chester, in Scranton, Pa.; at the R. R. Y. M. C. A., and gives a recital at Wooster, Ohio, December 12, following it with singing in "The Creation" in Northfield, Minn., the next week. This is a short Western tour, extending to Minnesota. He sang at Roseville Avenue Presbyterian Church, Newark, N. J., last Sunday evening.
63Mme. TORPADIE-BJÖRKSTEN
64Vocal Instruction,
65839 Carnegie Hall,
66New York.
68R. WATKIN MILLS
69England's Eminent Basso.
70In America, April, May, June, 1902.
71CAN BE SECURED FOR
72ORATORIO AND RECITALS.
73Under the Sole Direction of
74W. SPENCER JONES,
75BROCKVILLE, CANADA.
77ALMA STENCHEL, PIANIST,
78Will appear in New York this Season after her remarkable Berlin debut.
80CHARLES W. CLARK
81BARITONE.
82Under Exclusive Management
83THE HAMLIN COMPANY,
84514 Kimball Hall,
85CHICAGO, ILL.
87Conservatory of the "Gesellschaft der Musikfreunde" in Vienna.
88The new conservatory established in Vienna by the "Gesellschaft der Musikfreunde" (Society of Music Lovers) will be opened on January 2, 1902, under the direction of Dr. Salzer. Applications for admission should be made before December 15, 1901, at latest to the "Direction des Conservatoriums," Vienna. Applicants must produce a certificate of their musical training up to date, a baptismal (birth) certificate, and, on demand, a certificate of health. The charge for entrance fee is 10 Austrian crowns, annual tuition fee 600 crowns, the latter to be paid in advance in three equal parts. The committee's examinations for admission will take place from January 2 to January 5, 1902. Candidates are required to play from memory a prelude and fugue from J. S. Bach's "Well-Tempered Clavichord"; a self-selected classical piece of some length and a modern composition for the piano. The pupils accepted must bind themselves to at least one school year. Further particulars will be found in the Statute to be obtained at the office of the Conservatory, where all other information relative to the courses is likewise given.
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