Scan 28
Musical Courier 1902-01-01: Vol 44 Iss 1136, 1902
32 lines. Read by computer on 23 September 2026. Printed page 29. See the scan on archive.org.
1CINCINNATI, December 28, 1901.
3THE third Symphony concert in Music Hall Friday afternoon and Saturday night offered an agreeable variety of the classics and modern school. The program embraced Beethoven's overture "King Stephan," Schubert's Unfinished Symphony, and Herbert's "Suite Romantique." The violin solo numbers were the Concerto, D minor, of Vieuxtemps, and a Caprice, by Guirard.
5The Beethoven overture was given a finely contrasted, well-accented reading. The orchestra was in fine form, and all its divisions were well knit together. The contrasts were good, and the attack was at all times prompt. In the reading of the Symphony, Mr. Van der Stucken's control of the orchestral forces appeared at its best. Its consummate beauty was revealed in every thread and fibre. In both movements the woodwind plays an important part, and in this respect the orchestra did itself proud. The tone quality was smooth, even and refined. The different choirs played together with a unanimity of purpose and understanding that brought out all the force and character of the work. The expression of life prevailed in the coloring, and the shading was of that nature which suggests the poetic. It is not saying too much that this great torso of Schubert's genius was given a finished performance, and that it left the desire to have it rounded out with a third and fourth movement. The solo of the 'cellos was particularly beautiful; the strings played together with the precision of clockwork.
7The "Suite Romantique," of Herbert, made a fine impression of the composer's ability. In the use of orchestral resources to a modern standard Victor Herbert is not behind anyone of the present time. He has not only appropriated the modern orchestra dress, but knows how to invest it with ideas. The second movement, which he characterizes as the "Triumph of Love," is intensely worked out, revealing a depth of thought as well as complex treatment in the orchestration that can only be compared to that of Wagner. In fact, the impress of Wagner is plainly upon it. The last movement, in great contrast and greater versatility, is a nuptial feast, which, in its expression of mirth and exuberance, could not be excelled by a Spanish dance. But it is largely in the coloring that this resemblance is borne out. The themes are worked out regularly, and lead to a beautiful, consistent climax.
9In the reading of this suite Mr. Van der Stucken was particularly happy, and Mr. Herbert owes him a debt of gratitude. The buoyancy and swing imparted to the movements were delightfully insinuating.
11Hugo Kupferschmid, violinist, was the soloist. It will be remembered that Mr. Kupferschmid achieved quite a success last season in London, England. He left Cincinnati over four year ago and quietly continued serious study in Europe, principally under Wilhelmj. Considerable local interest attached to his appearance, as his musical career and professional life up to the time of his studies abroad were identified with this city. He found before him a sympathetic audience, who after both numbers called him out several times. The improvement of Mr. Kupferschmid lies principally in the sustaining of a uniformly musical tone and the unfailing, consistent musicianship with which he plays. His bowing is excellent and his technic of a finished character. He invariably aims for artistic results, and makes everything subservient to that point of view. But he lacks distinction and the impression of greatness. His work smells of the "midnight oil"—of great labor in the rounding out and finishing process. It is without inspiration, and his tone is not big enough to admit of striking contrasts in the expression. His best reading was in the second movement (andante religioso) of the concerto, which was given in a pure and lofty style. The caprice was daintily played, although with lack of spirit and poetry.
13H. T. Hanmer, manager of The Cable Company, who, by the way, has a genuine tenor voice of considerable lyric beauty, gave his employees and friends an elegant banquet at the Grand Hotel on Thursday night, December 26. Mr. Hanmer sang several solos and acted as tosatmaster. Congratulations were read from President Cable and others of the company in Chicago. Mr. Hanmer stated it had been the most prosperous year in the local history of the firm. The feast of reason and flow of soul was enjoyed by the following guests: H. T. Hanmer, H. G. Miller, Dr. F. E. Kugler, J. C. Harper, C. E. Jones, R. D. Jones, J. A. Homan, Dr. A. D. Murphy, B. Faulconer, B. Wiggins, W. O. Black, F. E. Nichols, G. C. Drouillard, F. M. Hunter, C. C. Cannon, Jos. Herr, K. J. Fox, A. E. Schmalzigar, M. B. Byron, Wm. Cholmondeley, A. Morgenschweiss, J. A. Miller, M. J. Keefe, Louis Heister. J. A. HOMAN.
15HARRIET WARE'S SONGS.—Elsewhere in this issue detailed mention is made of the four new songs by Harriet Ware, and these songs are being sung considerably by our leading soloists. Several were sung at Mrs. Babcock's Carnegie Hall studio recently; tenor Edward Strong sang a number of them in Wisconsin on his recent trip, and Mrs. Minnie Fish Griffin has recently sung them in Montgomery, Ala. Concerning this the Advertiser, of that city, said:
17"A number which would especially appeal to the hearers in any Southern audience was the beautiful setting of Sidney Lanier's poems by Miss Harriet Ware, of New York, dedicated to Mrs. Griffin. They were recently sung for Mrs. Lanier, who asked that they be repeated."
19A letter received by Miss Ware from a well-known professional, says:
21"Although I recently wrote you, I must tell you how cordially your songs have been received here. I have introduced them in two of the prominent studios, and Miss Gertrude M. is working them up to sing. She is one of the best church singers here, and sings them very well. I am working with Madame de A., and she, too, is delighted with them. I had quite a conversation with G. S., Jr., and I told him I thought he would do well to have them on hand."
23ENTRANCE EXAMINATIONS AT THE NATIONAL CONSERVATORY.
25THE semi-annual entrance examinations at the National Conservatory, 128 East Seventeenth street (founded by Mrs. Jeannette M. Thurber), will be held at the Conservatory, Monday, January 6, as follows: Singing, opera, piano, organ, violin, 'cello and all orchestral instruments, from 10 a. m. to 12 m., from 2 to 4 p. m. and from 8 to 9 p. m. On Tuesday, January 7, there will be a general examination of pupils in the Conservatory in these branches: Solfeggio, theory, harmony and counterpoint. January 10, Henry T. Finck will conduct the examinations in the history of music. The National Conservatory of Music begins the new year with great prosperity. Many students from good families are to be found in the crowded classes. This class of students came for the musical and agreeable atmosphere. Mr. Joseffy has a very large class this year. Miss Margulies has room only for one more pupil. With her six assistant teachers and their coming Margulies pupils she is kept fully occupied. Students at the Conservatory whose aim it is to be only amateurs are beginning to understand that there is no difference in the training for them and for those studying more ambitiously for professional careers. The training is thorough in all departments, and talented pupils have an opportunity to appear at the monthly concerts.
27M. Eugene Dufriche, whom the Conservatory engaged as head of the opera class, will preside at the examinations next Monday, and enter upon his duties two days later, on January 8. The opera class will meet Wednesdays and Saturdays from 9 to 11 a. m. For six seasons, Monsieur Dufriche has been a member of the Grau Opera Company. He is an artist of long and varied experience and one whose training admirably fits him for the important duties of his new position.
29M. Dufriche was born in Paris. He was a first prize pupil of the Paris Conservatory. In 1875 he made his début in opera at the Comique and for six years sang at that theatre the principal basso roles. He created the part of Zuniga in "Carmen." New Yorkers have often seen him in this role. From Paris M. Dufriche went to Italy, and in that country made his first appearance at the Carlo Felice in Genoa, singing the baritone part in Massenet's "King of Lahore" and he continued singing leading baritone parts in many operas. M. Dufriche has sung the roles of Figaro and Don Bartolo in "The Barber of Seville" over 100 times. He traveled extensively and made his mark singing in opera in Spain, Russia and South American countries. For ten seasons M. Dufriche sang at Covent Garden, London, and during these years he made tours through England, Scotland and Ireland, singing with brilliant success in all of the principal cities of the United Kingdom. In 1891 M. Dufriche returned to the Opéra in Paris and sang there the baritone parts, and it was while filling that engagement that the artist became a reigning favorite at the French capital. As already stated, seven years ago M. Dufriche became a member of the Grau company.
31Like other operatic artists, M. Dufriche began his career as a singer in the church choir. In 1856, when he was only seven years old, he took his first vocal lessons. Before singing in grand opera he had established his reputation for artistic singing, having filled engagements in some of the leading churches in Paris. M. Dufriche has had a lifelong acquaintance with Bizet, Ambroise Thomas, Gounod, Reyer, Massenet, Saint-Saëns, Ponchielli, Mascagni and Puccini.
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