Scan 37
Musical Courier 1901-12-25: Vol 43 Iss 1135, 1901
91 lines. Read by computer on 26 September 2026. Printed page 38. See the scan on archive.org.
1in A flat, Chopin; Miss Margaret Root, Schumann's "Faschingschwank"; Miss Schieb, Grieg's A minor Concerto, and Miss Murphy, G minor Ballade, Chopin. Between the piano numbers, Miss Bertha Kaderly sang two groups of songs by Schumann, Schubert, Grieg and Jensen. An artistic atmosphere pervaded the entire program, as is always the case with musical events at Mrs. Watson's residence. Among her pupils are many brilliant performers and sympathetic interpreters.
3On Wednesday evening, December 18, the Schumann Club met in the rooms of the Sherwood Music School, Fine Arts Building. An interesting program, devoted to Scotch music and its influence, was presented by Mr. and Mrs. James Gill, of Kimball Hall. The next meeting of the Schumann Club will take place on January 3.
5Mrs. Annette R. Jones, Leon Marx and Robert Ambrosius will be heard this season in a series of Trio Evenings at Highland Park.
7Activity prevails at the American Violin School, Kimball Hall, where Joseph Vilim, the director, and his associates are preparing talented students for the concert stage.
9At Mrs. Stacy Williams' studio in the Auditorium Building, on the afternoon of December 20, Mrs. Charles Seeberg, of Milwaukee, one of Mrs. Williams' most talented pupils, delighted a number of critical listeners.
11In view of the fact that Madame Maconda did not sing "Ah, Fors e Lui," from "Traviata," at the Mendelssohn Club's concert here on December 17, the following comparative estimate, which appeared in one of the Chicago dailies on December 18, is, to say the least, somewhat amusing: "Her singing of the aria, 'Ah, Fors e Lui,' from 'Traviata,' stood out in sharp contrast to the recent work of Suzanne Adams in the same number at the Auditorium. If the latter is a light, coloratura soprano, what, then, is Madame Maconda?"
13And then, strangest of all, this critic wrote in the next paragraph: "We know when we hear, if we are Westerners."
15In reply to questions regarding the name of a novel by a very estimable author, referred to in these columns last week: It is understood that the work has been dramatized. But the name remains a mystery.
17Second Concert by the Spiering Quartet.
19An essentially musical audience attended the Spiering Quartet's second concert in the Music Hall, Fine Arts Building, on Tuesday evening, December 17. Eugen d'Albert's quartet, No. 2, in E flat, was the first feature, and the Andante con Moto, Allegro Vivace, Adagio ma non troppo e con moto espressione, and Allegro were full of interesting themes cleverly developed. Theodore Spiering and his associates interpreted the four movements with characteristic finish and artistic insight. In the Adagio a beautiful melody was heard to the accompaniment of a dainty rhythmic figure. The effect was original and pleasing. The treatment admirable.
21Beethoven's quartet in A, op. 18, No. 15, also was played for the first time at these concerts. Exquisite tone, accurate phrasing and musicianly interpretations were once again displayed in the work of the quartet.
23About chamber music there is a refining and elevating influence. Programs devoted to such music, well performed, are deserving of Chicago's liberal support and encouragement. Advocates of orchestral concerts should not lose sight of the great artistic and educational value of this special series of chamber music events.
25At this recital Schubert's Rondo Brillante, op. 70, in B minor, was acceptably played by Walter Spry and Otto Roehrborn.
27Bertha M. Kaderly, soprano, contributed the following group of songs: Schumann, "Schoene Wiege meiner Leiden," "Mignon," "Der Knabe mit dem Wunderhorn"; Grieg, "Lichte Nacht"; Theodore Spiering, "Nicht sing ich Lieder laut und hell Der Schmied." Miss Kaderly sang with much expression, and displayed a thorough musical understanding. There are a great many praiseworthy points about her singing, though certain of her tones are occasionally somewhat forced.
29Have you seen the Spiering Quartet bow?
30Their bow is irresistible—like their playing.
31In both cases the ensemble is perfection.
33Interviewers on musical journals sometimes meet with difficulties.
34It is learned that a humble writer ventured the other day to secure the opinion of a distinguished and learned pedagogue.
35The pedagogue expressed his views very brilliantly.
36The interviewer, in ecstasies, said: "May I write down and ask the editor to publish what you have said to me?"
37"No," said the distinguished pedagogue, "but if you will send me a list of questions I shall endeavor to express my views in answer to them."
38In fear and trembling the interviewer wrote out the list of questions, and sent them to the distinguished pedagogue.
39She heard nothing in response.
40So in about three weeks she called on him.
41He was very busy, of course, when she called.
42"What about my questions?" she gasped.
43"I found that some of them were not of the least importance," he replied.
44So her spirits began to fall, and she likewise began to go down—in the elevator.
46You think the above is "not sufficiently serious"?
47Really, that is too bad.
48Your opinion disagrees with that of the interviewer—
49Who felt like the defeated heroine of a journalistic tragedy.
51Electa Gifford's recent success at Duluth has thus been described:
52Duluth has probably never heard a more attractive singer than Electa Gifford, who sang before the Matinee Musicale yesterday afternoon. It was one of the finest treats for the musical people of the city. Her voice is a soprano, pure, clear, penetrating and magnificently developed. Her technic is astonishing, and one gains a new realization of the possibilities of the human voice from hearing her. Especially noticeable was the beautiful quality of her sustained tones, and in this her fine control of the breath was strikingly manifest. Throughout her work there is the calm ease and repose of the thorough artist. The Mad Scene from "Hamlet" presented the marvelous technic of her voice, and was the heaviest of her selections. It was splendidly given. "Fruhlingsnacht," by Schumann, was delightful. Another very charming number was Godard's Berceuse. The program included a variety of numbers by Händel, Schubert, Cowen, Nevin and others.
53The Matinee Musicale is certainly to be congratulated upon bringing such a delightful artist to Duluth.—Duluth Evening Herald, December 14, 1901.
55Bruno Steindel's brilliant performance of the d'Albert Cello Concerto has not been confined to the recent orchestral concert in Chicago. On Monday night his musicianly playing of this exacting composition aroused great enthusiasm when Mr. Steindel appeared with the Chicago Orchestra in Indianapolis.
57The Theodore Spiering Orchestra.
59THE Theodore Spiering Orchestra, of Chicago, is now to be a permanent organization. It has been reorganized on a large scale, and the regular orchestra will hereafter consist of sixty musicians, with Theodore Spiering as conductor. The orchestra will play regular weekly concerts in Chicago next season, make tours and play for a limited number of May festivals. It has been placed under the personal management of Dunstan Collins.
61Glenn Hall.
63THE press continues to give enthusiastic accounts of Glenn Hall's singing, as the following notices illustrate:
64Glenn Hall, the soloist of the evening, is an artist. He possesses a tenor voice rich and sweet, and sings with so much of the true heart ring that one almost overlooks his perfect enunciation, splendid execution and fine tone production in the pure pleasure of listening to songs sung as songs, not as vocalises.
65The first encore, "To Mary," by Maude V. White, was a gem, while his interpretation of "I'm Wearin' Awa', Jean," was as fine as one may ever hope to hear.
66The time has passed when a performer might please by mumbled adaptation of a melody, for clear enunciation is to-day one of the first requirements.
67The excellence of Mr. Hall's pronunciation of foreign languages, especially German, brought about many discussions as to his nationality. When quizzed by a reporter Mr. Hall said: "I get credit for every nationality except the right one; my claims on being an American date back to revolutionary times."—Wisconsin State Journal, Madison, December 6, 1901.
69Glenn Hall, of Chicago, the soloist of the evening, pleased the audience from the very first by his genial manner and sympathetic voice. His songs were all beautiful old ballads, into which he put a great deal of soul. The sympathetic quality of his voice came out best in Schubert's "Serenade" and the "Irish Love Song." Frequent encores testified to the appreciation of the audience.—Madison Democrat, December 6, 1901.
71PHILHARMONIC CLUB, OF MINNEAPOLIS—"MESSIAH."
72Glenn Hall, the tenor, has made marked improvement since his last appearance in this city.
73His voice has broadened, and he is an artist. He, too, was a favorite with the audience, and sang his solos with sympathetic and intelligent meaning.—Minneapolis Times, December 10, 1901.
75ST. PAUL CHORAL UNION—"MESSIAH."
76Glenn Hall, the tenor, sang most satisfactorily the small role entrusted to him. Mr. Hall possesses a tenor voice of exceptionally fine quality, and his interpretations possessed a dignity that promises much for Mr. Hall's future as an interpreter of oratorio work.—St. Paul Globe, December 11, 1901.
78Glenn Hall, tenor, sang his various solos with true spirit, and proved his right to the place he holds among the best oratorio singers.—St. Paul Daily News, December 11, 1901.
80Mr. Hall's immediate engagements are as follows: December 25, Handel and Haydn Society, of Boston, "Messiah"; December 27, New York Oratorio Society, Frank Damrosch, conductor, "Messiah"; December 30, recital, Philadelphia; January 6, private recital, Chicago; January 8, Eurydice Club, Toledo, Ohio; January 14, Handel So-
82Jan Kubelik
83An Overwhelming Success.
84MORE THAN 26,000 PEOPLE
85Attend the First Eleven Concerts.
86"If ever there were a soul speaking out from the body of a violin, it is when Kubelik plays."—Boston Transcript.
87"Approached the miraculous."—World.
88"His playing of the Bach air was alone sufficient as something set apart by Divine Gift, not only marvelous talent but extraordinary genius."—H. E. Krehbiel, in Tribune.
89Carnegie Hall, Saturday, Dec. 28, at 2:15, and Dec. 31, at 8:15.
90Management of DANIEL FROHMAN and HUGO GORLITZ.
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