Scan 30
Musical Courier 1902-01-01: Vol 44 Iss 1136, 1902
113 lines. Read by computer on 22 September 2026. Printed page 31. See the scan on archive.org.
1CONCERT RECORD OF WORKS BY SOME OF OUR BEST AMERICAN COMPOSERS.
3Paul Ambrose.
4The Shoogy-Shoo. F. M. Marston, Braintree, Mass.
6Mrs. H. H. A. Beach.
7The Years at the Spring. Song. Ah, Love, But a Day. Song. I Send My Heart Up to Thee. Song. Song. Song. Miss Cordelia L. Reed, Albany, N. Y. My Star. Song. Miss Olive Pulis, Albany, N. Y.
9John Hyatt Brewer.
10The Angels' Christmas Song. Miss Edna Hall, Minneapolis, Minn. O Lamb of God! Anthem. Fifth Avenue Presbyterian Church, New York. O Jesus, We Adore Thee. Church of the Pilgrims, Brooklyn, N. Y.
12Charles Dennee.
13The Thought of You. Song. Mrs. Campbell, Davenport, Ia. The Thought of You. Song. Miss Margaret Wirtz, Cleveland, Ohio Tarantelle, in A minor. Miss Grace Dix, Cleveland, Ohio
15Arthur Foote.
16Bedouin Song. (Part song, men's voices.) Schubert Glee Club, Jersey City. Irish Folksong. Miss Anita Rio, Jersey City I'm Wearin' Awa'. Song. Marion B. Green, Burlington, Ia. Still, Still With Thee. Second Collegiate Church, Harlem, N. Y. Still, Still With Thee. Grand Avenue Congregational Church, New Haven, Conn. Still, Still With Thee. Winter Hill Congregational Church, Winter Hill, Mass.
18J. H. Hahn.
19Concert Polonaise. Miss Georgia Richardson, Detroit, Mich.
21E. W. Hanscom.
22The Homeland. Song. F. M. Marston, Braintree, Mass.
24N. Irving Hyatt.
25Beneath Thy Lattice. Song. E. H. Johnson, Cleveland, Ohio. Marguerite. Song. Mrs. Ella P. Kirkham, Evanston, Ill.
27Margaret Ruthven Lang.
28An Irish Mother's Lullaby. Song. Miss Olive Pulis, Albany, N. Y. An Irish Mother's Lullaby. Mrs. Ella P. Kirkham, Evanston, Ill.
30A. W. Lansing.
31The Angels' Christmas Song. Miss Mae E. Wiley, Wellfleet, Mass.
33Frank Lynes.
34Spinning Song. Piano. Miss Annie Longhead, Truro, N. S. Whispering Zephyrs. Piano. N. S. Song of the Woodman. Piano. Mazurka in A flat. E. R. Stuart, Truro, N. S. Bedtime Song. Dreams. Song. F. M. Marston, Braintree, Mass.
36Edward A. MacDowell.
37To a Wild Rose. Piano. Miss Kate Lewis, New Haven, Conn. Thy Beaming Eyes. Song. Edgar A. Smith, Cleveland, Ohio Dance of the Gnomes. (Part song, men's voices.) Schubert Glee Club, Jersey City.
39John Orth.
40Dance Characteristic. Piano. Miss Susie Kent, Truro, N. S. By the Brookside. Piano.
42Edna Rosalind Park.
43The Nightingale and the Rose. Mme. Kileski Bradbury, Newton Centre, Mass.
45P. A. Schnecker.
46Father, to Thy Kind Love. Song. Mrs. Mary Hoag-Haughey, New York.
48Charles P. Scott.
49Only a Ribbon. Song. F. M. Marston, Braintree, Mass. Robin Hood. Song. Father, in Thy Mysterious Presence. Anthem. First Church, Boston, Mass.
51F. N. Shackley.
52Great Is the Lord. Anthem. Magnificat in G. Nunc Dimittis in G. O Saviour of the World. Anthem Rejoice in the Lord. Soprano solo. Church of the Ascension, Boston, Mass. An Offertory, Te Deum in C minor. I Will Magnify Thee, O God. Anthem.
54Thomas G. Shepard.
55Me. A Cycle of Songs. F. M. Marston, Braintree, Mass.
57Mrs. Beach's sonata seems to have made a favorable impression in London. Says the Times of November 29: "The clever violinist Sigmund Beel gave an interesting and attractive concert in St. James' Hall on Wednesday, when a sonata of remarkable beauty for violin and piano by Mrs. H. H. A. Beach, one of the most remarkable of American composers, was admirably played by Mr. Beel and Mr. Bird. It is a scholarly and dignified composition, conforming closely to the classical type, and having many beautiful and striking passages. Among these may be mentioned the whole of the first movement in A minor, the impressive trio of the scherzo, the deeply felt largo and the well constructed fugal passages of the finale." The following is from the Graphic of the same date: "A good, new sonata for violin and piano is something of a rarity, and Sigmund Beel is to be congratulated most heartily on having produced one at his concert at St. James' Hall on Wednesday evening. It is the work of Mrs. H. H. A. Beach, and it is both pleasing and original. The first movement is a fine, broad piece of writing, founded on good melodies, the second theme being particularly charming. The slow movement, too, is very beautiful, and full of very real feeling, forming an admirable contrast to the vivacious scherzo which precedes it. The work is one which might very well be added to the repertories of violinists, for it is certainly worth playing. The performance which Mr. Beel and Henry Bird gave of it was excellent in every way, and the violinist's fine tone and real musicianship have never been displayed to better advantage."
59Nordica.
61ONE of the most effective and successful numbers which Madame Nordica is presenting on her programs during the transcontinental recital tour she is now making under direction of Manager Loudon G. Charlton is a great dramatic aria from Erkel's Hungarian opera, "Laslos," in which the climax depicts the grief of a mother upon the loss of her child.
63The infinite care as to details and scrupulous devotion to the perfection of her art, which are among Madame Nordica's most notable characteristics, were brought to bear in her study of this aria. She was finally more or less satisfied with all but the burst of grief—that eluded her. One day, however, while driving in the country, near her summer home, she was startled by a wail of anguish from a nearby cottage. Jumping from her carriage she ran to the door and there found a young peasant mother, whose child had just died in her arms, giving way to the first passion of her woe.
65Madame Nordica did what she could to help the poor, bereft mother—but she knew at the same time that chance had placed in her grasp what she had tried so hard to accomplish. The following days and weeks she worked until she could perfectly imitate that frenzied cry—there was the climax, and all who have ever heard Madame Nordica sing the Erkel aria know that the effect is nothing less than electrifying.
67Stella Hadden-Alexander.
69MRS. STELLA HADDEN-ALEXANDER passed the Christmas holidays with her parents, at Catawba Island, Ohio, and writing to a friend from there she describes the delights of seeing her old home once more.
71A few days before leaving New York Mrs. Alexander gave her closing pupils' recital at her studio in Carnegie Hall. "Critical classes" is what Mrs. Alexander calls these regular fortnightly recitals. No one but pupils are invited and the teacher leads the discussion, in which something more than the mere playing of the music is considered. The program presented at the recital follows:
73Prelude, C major. Bach
74Scherzo, B flat. Schubert
75Der Schmetterling. Spindler
76Melody. Miss Josephine Grant.
77Wild Rider. Schumann
78Bluette. Mrs. J. D. Higgins.
79Etude, C major. Heller
80Etude. Miss Hilda Gardiner.
81Feu Follet. Wolfehaupt
82Sonata, C major. Mozart
83Novelloza. Godard
84Forest Elves. Schytte
85Two Etudes. Keller
86Aragonaise, from Le Cid. Massenet
87Pas des Amphores. Chaminade
88Etude de Style. Ravina
89Tarantelle. MacDowell
90Danse Caprice. Grieg
91At the Fountain. Reinhold
92C sharp major Prelude. Bach
93Three Preludes. Heller
94Romance Sans Paroles. Saint-Saëns
95Frühlingsrauschen. Sinding
96Evening Song. Brockway
97Waltz, E major. Moszkowski
98Miss Edna Gerry.
100AMY MURRAY.—Miss Amy Murray, the Scottish recital singer, assisted at the musicale given last month by the New York Scottish Society. The list of her songs included:
102Tweedside. Melody attributed to David Rizzio
103The Bonnie Earl o' Moray. Border ballad of the eighteenth century
104Twa Bonnie Maidens. Jacobite song, 1746
105The Flowers o' the Forest (old version). Sixteenth century
106Young Lochinvar. (Arranged to an old Border melody by Miss Murray.)
108Miss Murray's accompaniments were played with notable skill and delicacy by Charles Edmund Wark.
110The Scottish American referred as follows to Miss Murray's appearance at the musicale:
112The principal feature of the evening was the half hour of the historic songs of Scotland by Miss Amy Murray, who, after a brief introduction, gave, with charming voice and manner, several old Scottish songs, which have either faded from the memory of the present generation or have never been known to it. Miss Murray's work was marked by delicacy, feeling and refinement, and her interpretation of the songs rendered was marked by an appreciation of their meaning too often missed by mechanical singers of Scottish song.
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