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Musical Courier 1901-12-11: Vol 43 Iss 1133, 1901
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1tion, requiring great technic and skill. Miss Johnston played this number magnificently, and the audience gave her close and appreciative attention during its rendition.
3Gratifying to themselves and their instructor is the success of a large number of Maurice Aronson's pupils, some of whom have studied with him since they came to Chicago five years ago. It should be remembered also that Mr. Aronson's pupils are as loyal as they are successful.
5At Mrs. Regina Watson's School for the Higher Art of Piano Playing an interesting children's program was presented on December 7 at 3 p.m., sixteen talented young performers taking part. On Wednesday afternoon, December 11, pupils of Mrs. Regina Watson will hold an informal musicale at her residence on Indiana street.
7Many people were turned away from Music Hall, Fine Arts Building, in a state of disappointment on Tuesday evening, December 3, for so large was the audience that seats were at a premium. The event was a song recital, given under the auspices of the American Conservatory by Madame Ragna Linne, soprano, and Glenn Hall, tenor, with Allen Spencer as assisting pianist.
9Mr. Spencer opened the program with compositions by Haydn, Schubert and van Westerhout, his interpretation of "Momento Capriccioso," by the last named musician, being particularly brilliant. Later he played Grieg's "Wedding Day at Troldhaugen," improvisation on Walther's "Prize Song" (Wagner), Schuett, and, as a final contribution, Leschetizky's Tarantelle in E minor. Though he received a well deserved ovation, Mr. Spencer could not be prevailed upon to give an encore.
11Madame Linne sang "My Rest Is Gone," Graben-Hoffman; "Woodland Serenade," Mascheroni; "When the Land Was White With Moonlight," Nevin; Schumann's "The Lotus Flower"; "My Heart is in Bloom," Brahms; Schubert's "Mine" and a duet with Mr. Hall, "Neath the Stars," Goring-Thomas. Madame Linne's singing was finished in style and artistic in conception. On one or two occasions her voice showed signs of fatigue. She was enthusiastically encored.
13The tenor, Glenn Hall, who is one of the most prominent singers in the West to-day, was heard in contrasting numbers, extending from "Who Is Sylvia?" to French, Irish, Scotch and German songs. Mr. Hall's interpretation of Foote's "I'm Wearing Awa', Jean" was exquisite. His first selections were somewhat lacking in repose, but this gifted tenor is always artistic. Full of beauty and strength as his voice is now, it will continue to develop. Leoncavallo's C'était un Rêve" was admirably sung. One of his encores, "Drink to Me Only with Thine Eyes," was a memorable feature. "Si mes vers avaient des ailes" also is deserving of special mention.
15Mrs. Karleton Hackett and Miss Julia Caldwell were the efficient accompanists.
17The second event in the series of ballad concerts under the auspices of the Clayton F. Summy Company will take place on Thursday afternoon, December 12, at Music Hall, Fine Arts Building. Artists announced for this occasion are Mme. Ragna Linne, soprano; Miss Elaine de Sellem, contralto; Claude Cunningham, baritone, and Mr. Seeboeck, pianist. Several Chicago composers will be represented on the program.
19Under the capable direction of Louis Evans, Gaul's sacred cantata, "The Holy City," was given on the evening of December 5 at the Normal Park Baptist Church. Mr. Evans was fortunate in securing for this occasion prominent soloists, including Charles W. Clark, Mrs. Stevenson Tewksbury, D. V. Key and Adah Bryant. Miss E. Humphreville, the accompanist, played in a sympathetic and musicianly manner. The chorus was well balanced, and its phrasings and shadings were praiseworthy.
21MAY HAMILTON.
23BRUNO STEINDEL.
24[By Wire.]
26CHICAGO, December 9, 1901.
28BRUNO STEINDEL, the 'cellist, sustained his high reputation and won an ovation at the Chicago Orchestra concerts here December 6 and 7.
30MARY HEALY-MULLETTE.
32MARY HEALY-MULLETTE, dramatic mezzo soprano, whose picture accompanies this article, created a most favorable impression at St. Vincent's Church, Chicago, recently. The occasion was the organ dedication, and Mrs. Mullette sang the "Laudate Dominum" from Mozart's Vespers with so much taste and finish, fine interpretation and facility of execution that she called forth encomiums of praise from a number of the best musicians and critics of the city. In consequence she has received excellent offers for church, concert and recital engagements. Last month she sang at a musicale given by the Alumnae Association of the Sacred Heart Convent in Chicago. Before the large and cultured audience Mrs. Mullette interpreted Schubert's "Erl King" with dramatic intensity and expressive tone coloring. She assumed in turn the descriptive, pathetic, graceful and tragic; her emotions and facial expression changing with the music, and so distinct was her enunciation and so vivid the picture she portrayed that the audience was held spellbound. Responding to an enthusiastic encore she sang a Chopin waltz.
34Her numbers last week at the St. Patrick's Church concert, Chicago, included "With Verdure Clad," from "The Creation," and a recitative and aria by Handel.
36Mrs. Mullette possesses not only a voice of exceptionally pleasing quality and much flexibility. She is gifted also with an artistic temperament.
38GLENN HALL'S SUCCESS.
40MUSIC critics continue to write in enthusiastic terms concerning Glenn Hall, tenor, of Chicago. The ensuing well merited estimates are of recent date:
42THRONG HEARS LOCAL SINGERS.
44Glenn Hall and Madame Linne Please Big Music Hall Audience. It is refreshing to hear improvement. A man so much before the public, and so capable, usually considers himself good enough. He takes to doing unheard of things.
46He becomes a graduate with "high honors," in his own estimation at least, and that usually settles him so for as genuine artistic progress goes.
48In so far as it is possible to prophesy, I predict eventual success of exceptional mold for Glenn Hall. He practically has his future before him, and his large circle of admirers are fully justified wishing him a brilliant career.
50Mr. Hall sang "I'm Wearing Awa', Jean" (Foote), and the "Irish Love Song" (Long), with real warmth and expressiveness. His lighter numbers were delicately done and artistic. The Vannini Serenade showed the voice in its best light, and was incidentally a good composition.—Chicago American, December 4, 1901.
52THE GLENN HALL CONCERT.
54Mr. Hall has a voice of fine quality and large service. It is big, almost baritone in its depth, yet capable of bringing out the most delicate effects. His personal style is also very pleasing, for in addition to good looks he has an authoritative assurance, which contributes to the comfort of any audience. He was especially effective in the recitative and aria, "Eugen Onegin," by Tchaikowsky, which he sang with expression and style. He gave a classic group, including Schumann, Brahms and Schubert numbers, with excellent taste and finish, and his ballads, which were perhaps more enjoyed than his other numbers, were well chosen and beautifully sung. Mr. Hall is one of the most interesting concert attractions that Kansas City has had. It is said to be more than probable that he will be heard with the Oratorio Society later in the season.—Kansas City Star, November 29, 1901.
56Mr. Hall in his solo work was thoroughly enjoyable. His German songs were perhaps the most profoundly musical, but the Scotch ballads won the audience by their exquisite pathos—"The Land o' the Leal" and "Mavourneen" being the favorites. The old English ditties were charming, "Drink to Me Only with Thine Eyes" being especially winsome in the romantic version so natural to his voice. "Love Has Eyes" and "Who Is Sylvia?" half playful, pretty concert, brought him much laughter and appreciation. He was tender and thoughtful in "Du bist wie eine Blume" (Schumann); happy in the "Standchen" (Brahms), and wistful in a free but lovely translation of the well-known Schubert Serenade. "Si mes vers avaient des ailes" (Hahn) was given with a bewitching coquetry. A very sad and beautiful effect was made in his rendition of "Thy Beaming Eyes" (MacDowell). Perhaps the severest artistic test was his opening number, the recitative and aria from "Eugen Onegin" (Tchaikowsky), in which his dramatic tenor come out in the eloquent German cadences of impassioned pleading and sorrow.—Kansas City Journal, November 29, 1901.
58GREGORY HAST IN GREAT DEMAND.—Gregory Hast, the distinguished English tenor, who has already proven one of the season's big successes, repeated his triumph of November 20 in Philadelphia by singing a return date there Saturday, December 7. He then presented a full recital program, and was indorsed by both press and public as cordially as upon his initial appearance.
60Mr. Hast has been engaged for a recital at Wells College, Aurora, N. Y., in celebration of "Founders' Day," and, among other dates in the near future, he will sing with the Chromatic Club in Troy, N. Y.; at a private musicale in Pittsburg; again with the Mozart Club in that city. Besides singing the tenor role in "Elijah," with the New York Oratorio Society in a special performance Monday night, Mr. Hast will also sing, with the same organization in the evening performance of "The Messiah," at Carnegie Hall, December 28. His brief season in America may have to be extended a few weeks, so great is the demand for this artist.
62JOSEPHINE MILDENBERG.—Josephine Mildenberg will sing at the Professional Women's League December 23, when a special program offering novel attractions suggestive of the season will be given.
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