Scan 39
Musical Courier 1902-01-01: Vol 44 Iss 1136, 1902
109 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 40. 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.
1MANUSCRIPT SOCIETY MUSICALE AT WANAMAKER'S.
3In accord with the novel plan of uniting art and commerce, the Manuscript Society gave a musicale at the Wanamaker art galleries last Monday evening. The program was devoted to English and American composers, and a large and fashionable audience applauded each number. The musicale belongs in the series of private monthly meetings, and, therefore, it would hardly seem right to dissect the compositions in the critical way that is expected of a public performance for which tickets are sold. However, it would seem that if the Manuscript Society is in earnest, it will have to be stricter regarding even the private performance of some of the things heard on Monday night. Here is the program:
5Quintet for Wind Instruments…………………….George Onslow
6The Mozart Quintet Club.
7Charles H. Kaurth, flute; Joseph Eller, oboe; Emil Schack, clarinet; Herman Dutschke, horn; E. Bernhardi, bassoon.
8Song for basso, There Was a King of Yvetot.
9Addison F. Andrews (New York)
10Milton Rusling Wood.
11Paul Ambrose at the piano.
12Solo for harp, Winter…..John Thomas (honorary member, London)
13Miss Avice Boxall.
14Song for soprano, Her Rose…..Gerrit Smith, Brooklyn (New York)
15Mrs. Gerrit Smith.
16The composer at the piano.
17Quartets for male voices (old English)–
18Come, Let Us Join the Roundelay……………………Beale
19All Among the Barley………………………………….Sterling
20The Minnesingers.
21Raymond W. Smith, John W. Catchpole, Edwin M. Fulton and Lewis J. Geary.
22Christmas Music–
23Pastoral Symphony…………………….Georg Friedrich Händel
24(Arranged for wind instruments by S. Reid Spencer, Chicago.)
25The Mozart Quintet Club.
26Mr. Spencer at the organ.
27Christmas Anthem, And There Were in the Same Country……………………Frank L. Scaly (New York)
28The Fifth Avenue Presbyterian Quartet.
29Mrs. Hissem de Moss, soprano; Mrs. Elizabeth Leonard, contralto; Edward Strong, tenor, and W. M. Smith, basso.
30Songs for tenor–
31Phillis Has Such Charming Graces……..Anthony Young (1625)
32(Arranged by Lane Wilson.)
33How Deep the Slumber of the Flood……..Carl Löwe (1820)
34(Arranged by A. L.)
35Immortal Love, 1901…………………..Arthur Nevin (New York)
36Gregory Hast.
37Bruno Huhn at the piano.
38Romanza for oboe……………………………Carol Florio (New York)
39Joseph Eller.
40(The composer at the piano.)
41Quartets for male voices–
42Sweetheart Mine…………………….Louis R. Dressler (New York)
43The Lamp in the West…..Horatio W. Parker (Berlin, Germany)
44The Minnesingers.
45Solo for contralto, An Orkney Lullaby…..Frank L. Scaly (New York)
46Mrs. Elizabeth Leonard.
47The composer at the piano.
48Selections from Piano Cycle…………………Gerrit Smith (New York)
49A Colorado Summer, op. 21.
50Artist's Brush.
51In the Cafon.
52Mariposa Lily.
53Columbine.
54Played by the composer.
55Glee for four voices, A Lullaby…………………A. Foote (Boston)
56The Fifth Avenue Presbyterian Choir.
58The works by American composers worthy of mention were the quartets by Dressler and Parker, Foote Lullaby, "Immortal Love," by Arthur Nevin, and "Her Rose," by Gerrit Smith. The singing of Gregory Hast, the English tenor, again proved a revelation, and by universal agreement he was the artistic feature of the evening. The members and guests applauded his delightful singing until the committee consented that the "no encore" rule might be broken in order to allow Mr. Hast to sing an extra number. For this, the tenor sang an old English song, "The Plague of Love," by Dr. Blow. The quartet from the Fifth Avenue Presbyterian Church sang beautifully. The solos by Mrs. Gerrit Smith and Mrs. Elizabeth Leonard were pleasing. The Mozart Quintet, composed of capable and well-known orchestra players, needs more rehearsals before such a thing as Spencer's arrangement of the Pastoral Symphony can be performed. Dr. Gerrit Smith was the guest of the evening.
60The fact that the Manuscript Society gave its concert in the Wanamaker establishment is encouraging, because it follows last season's and this season's engagements of the Kneisel Quartet, which played in the same establishment, and it would not surprise us in the least if Mr. Wanamaker were to make a proposition next season for a number of concerts by the Boston Symphony Orchestra, to be given in his establishment, for he is determined to make his place a centre of musical art. Last season he sold 2,800 pianos and he expects to sell 4,000 pianos this year, and many of them are high grade instruments. He wants to make his house the nucleus of a musical movement that is so serious in its purport as to call for contemplation and reflection on the part of many musical people and the musical elements in this community. When an artist like Gregory Hast sings at Wanamaker's after the Kneisel Quartet has played there, it means a great deal from an artistic point of view. Richard Hoffmann has also played at Wanamaker's, and Mme. Suzanne Adams sang there last season.
62THE VENTH-KRONOLD QUARTET
63CARL VENTH, 1st Violin.
64R. POLTMANN, 2nd Violin.
65PHILIP HERFORD, Viola.
66HANS KRONOLD, Cello.
67Address all communications to
6814 Seventh Ave., Brooklyn, N. Y.
70CORRESPONDENCE
72ATLANTA.
74ATLANTA, Ga., December 27, 1901.
76A concert, given recently at the Klindworth Conservatory, the program was notable, containing Grieg's inspiring Piano concerto, Raff's romantic sonata for violin and piano and a group of Grieg songs.
78The program was opened with the Raff sonata, which served in an auspicious way to introduce Miss Anna E. Hunt, the violinist. Her playing is honest; she has no airs or tricks to impress the unknowing. Equipped with a clean and facile technic, she has an easy mastery of the finger board. She plays with rhythmic certainty. Her tone is large, full, sonorous. Her performance, both in the sonata and in her solos, gave great pleasure.
80The vocal numbers added much to the program. Miss Grace Lee Brown's voice is pure and sweet. To this and that other of nature's gifts, temperament, have been joined the accomplishments of art. From the Italian school of singers Miss Brown has voice management; from the French, verve; from German artists, intelligence in interpretation, depth of sentiment. Where so much that art has done is joined to excellent voice material and to a musical nature, the singer, as is the case with Miss Brown, can interpret successfully all the art forms of song. If then the Grieg group—the "Primrose," redolent of happy spring; the "Wiegendien," all tenderness; the "Good Morning," of infectious brightness—if these were conspicuous from their inherent beauty, the artist's interpretation of both groups of songs was thoroughly enjoyed by the audience.
82Of the pianist, Kurt Mueller, it may be said that never before in Atlanta has he played so well. His work is always done with the modesty of the true artist who thinks of the music he is playing, of the mood of the composer in writing, rather than of his own importance as an interpreter. His playing is always characterized by correctness, thoroughness, conscientiousness. At this concert throughout his program he carried the audience with him by the dash, the fire of his performance. This was especially so in the Grieg concerto, which was most brilliantly played. In the interpretation of this great work he was assisted by Miss Grace Lee Brown, who played the orchestral accompaniment on the second piano in a most sympathetic way.
84The program in full follows:
85Sonata, E minor, op. 73, for piano and violin…………………Raff
86Songs—
87The First Primrose………………………………………Grieg
88Margarethen's Wiegenlied……………………………….Grieg
89Good Morning……………………………………………..Grieg
90Violin—
91Adagio Pathetique……………………………………….Godard one of two readings
92Adagio Pathetique………………………………………Godard one of two readings
93La Rende des Lutins………………………………………Bazzini. one of two readings
94La Rende des Lutins…………………………………….Bazzini. one of two readings
95Songs—
96A Summer Night………………………………………..Goring Thomas
97Song of Thanksgiving………………………………………Allitsen one of two readings
98Song of Thanksgiving………………………………….Allitsen one of two readings
99Piano, Concerto, A minor, op. 16………………………….Grieg one of two readings
100Piano, Concerto, A minor, op. 16………………………..Grieg one of two readings
102PROVIDENCE.
104PROVIDENCE, R. I., November 10, 1901.
106THE Arion Club opened its season with the performance of Verdi's Requiem, preceded by the "Trauermarsch" from the "Götterdämmerung," and aria for tenor from "Herodiade." Massenet, sung by Mr. Van Hoose. The other soloists were Miss Effie Stewart, soprano; Miss Lind, alto, and Andreas Schneider, baritone. As the Requiem has been given before by the club, the public looked forward to an exceptionally good and finished performance. Unfortunately, it should have been so sadly disappointed, for seldom has the Arion given a concert so utterly lacking in artistic merit and so devoid of all spirit and enthusiasm. And where is there another work that gives a conductor equal chances for the exercising of his enthusiasm, for a demonstration of his poetic, dramatic and musical powers, if he has any?
108Perhaps no composer has ever interpreted the words of the "Death Mass" in a more human spirit and yet with full justice to its immense dramatic and religious qualities than Verdi. In Brahms' "Deutsches Requiem" and in Becker's Mass we meet with profound and pessimistic philosophy; in Mozart's we have the naive expression of a beautiful soul, to whom everything appeared in the se-
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