Scan 40
Musical Courier 1902-01-01: Vol 44 Iss 1136, 1902
186 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 41. 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.
1rene glory of Grecian beauty; but with Verdi death appears before us as a giant in all the dramatic and picturesque splendor that art, religion, poetry and mysticism have woven around him.
3Schumann once said that nothing can be accomplished in music without enthusiasm, and the Arion concerts are a strong proof of this. But why is it thus? The Arion Club has material such as very few choral societies can boast of. The tone quality is superb, rich and refined. The members are all enthusiastic music lovers. In their concerts they are assisted by an orchestra selected from members of the Boston Symphony Orchestra. The material being all that is required for excellent performance, it must be "up to" the conductor. Mr. Jordan is an excellent chorus trainer, exacting, hard working, but utterly lacking in magnetism to rouse an ensemble and force it to follow him. Besides that, when one watches him, how he anxiously buries his eyes in the score, at the same time swinging his baton nervously and without decision, the whole matter soon becomes clear. The chorus sings finely in the rehearsals, but all spirit seems to leave them as soon as the orchestra and soloists are added; and one is forced to the conclusion that the conducting of such large ensemble is beyond Mr. Jordan's musical ability. And this is not the idea of your correspondent alone, but also of many members of the club, who, in their concerts, feel like a storm-bound crew that cannot depend upon the seamanship of their captain. The singers bury their faces in their books and count nervously and so does the conductor, and the orchestra does its stunt, businesslike, looking to their concertmaster for cues, &c. No spirited performance is possible under such circumstances; and where spirit is lacking, music ceases to be enjoyment.
5The club itself excelled again in some beautiful singing as far as tone is concerned. The "Dona eis" was beautiful in color; the quality of the "Agnus dei" was a revelation after the ridiculous singing of it by the two soloists; the forte in the "Dies irae" was of splendid sonority in force. Of the soloists Mr. Van Hoose was the only one who rose to the spirit of the work. The paean from Wagner's drama had neither color, nor was it worked out to give the different motives their proper perspective. Where was, for instance, the splendid "Walsung" motive in the middle part of it? Surely only a Wagner student could know of its existence, for it was drowned completely by less important matter. And so it was with other motives in other places.
7The concert was not attended as concerts of the leading vocal organization of a city should be; but in trying to find a reason for this we think we found the right one. That the management would not allow Mr. Jordan the four extra trumpets for the "Dies irae" was a very short-sighted piece of business, for it took a most stirring part out of the work. Perhaps the management thought that the people did not know of their necessity, but the people who pay to hear a work ought to hear it performed completely, and it should be the duty of the local critics to call attention to such facts. The representative of our leading paper called the performance "a most enjoyable concert." It is strange that these concerts are always "most enjoyable affairs" with him, when most every musician in town thinks different.
9The Boston Symphony has given two concerts so far, with Gérardy as soloist at the first one, and Miss Electa Gifford at the second. Why must soprano singers always select the hackneyed-to-death mad scene from "Hamlet" for their solos? Gérardy scored an enormous success with his playing, beautiful in the fullest sense of the word, from every point of view. These concerts are more largely patronized this year than they ever have been before to the great gratification of the management and the music lovers of the city. Very well attended was also the concert of Leonora Jackson and her company—a result in a measure due to the enthusiastic work of her friend and local manager, the popular pianist, Miss Avis Bliven.
11Hans Schneider lectures again at Brown University in connection with the concerts. His first lecture was on the modern orchestra, its possibilities and contents, illustrated by many examples from works of Wagner, Berlioz, Tschaikowsky and Strauss. The second dealt with Brahms' life, works and character in connection with his Second Symphony. The lectures show also a largely increased audience, and Dr. Faunce, the president of the university, is to be congratulated on giving the public such opportunities for the better enjoyment of these concerts. Hans Schneider also lectured at the State Normal School on "Rhythm in Life and Music."
13Of other local affairs may be mentioned pupil recitals by Messrs. Schneider and Hamilton; the ever welcome chamber concerts of the Foster String Quartet—this time assisted by Mr. Dorz, a recent graduate from Leipic, a most welcome addition to the not too large number of good and thoroughly educated music teachers. A very successful concert was given by the Philharmonic Mixed Quartet, Mr. Adamowsky assisting. Early in the season, a Western young lady, Miss Eleanor Page Spencer, made her debut as pianist, and, although only ten years old, showed a remarkable ability as player and interpreter of works of Bach, Scarlatti, Chopin and Liszt. After appearing in New York, Philadelphia and Boston with equal success, she will return for further study, while East, with Mr. Schneider, who coached her for her concert tour.
15The event of the season will be Slivinsky's appearance in January. He is to be brought here by Joseph F. Mann, the only piano dealer in the city who seems to care for the musical advancement of the city. The advance sale gives hope that the concert will be a record breaker for attendance and enthusiasm.
17RICHMOND.
19RICHMOND, December 20, 1901.
21MADAME NEVADA appeared at the Academy of Music Tuesday evening, and with her were the following artists: Heathie Gregory, Leon Moreau, Daniel Maquarre and Pablo Casals.
23This was one of the strongest combinations that Richmond has ever heard. Madame Nevada's voice is wonderful, and she delights to sing songs which call for the utmost execution. Her flute-like trills and runs show what perfect training and persevering practice can accomplish. The range of her voice is marvelous, and she also possesses wonderful flexibility.
25Madame Nevada is probably heard at her best in the song, "La Fée aux Chansons." This was one of her principal numbers on her program here. One of the greatest charms of Madame Nevada's singing is her tone coloring.
27Heathie Gregory has a grand bass voice of unusual power and sings well. He is an American and a rising young artist.
29Daniel Maquarre, the flutist; Pablo Casals, the cellist, and Leon Moreau, the pianist, are finished artists, and the program was skillfully arranged. MARY HOWARD BRUCE.
31John Church Company's Music in England.
33THE John Church Company's music has been used very extensively in England lately. Here is a partial list of composers whose songs have been sung there during the month of August with date, places and names of singers:
35Miss Grainger Kerr (30th)………………………..Colerain
36Corbett Smith (30th)……………………………….Woolwich
37The Japs (31st)………………………………………Croydon
38Wilson Bamber (31st)……………………………….Bournemouth
40Japanese Lullaby…………………………………….Neil
41Miss Edith Clegg (1st)……………………………….Hull
42Miss Edith Clegg (2d)……………………………….Newcastle
43Miss Edith Clegg (3d)……………………………….Dunfermline
44Miss Edith Clegg (4th)……………………………..St. Andrews
45Miss Edith Clegg (5th)……………………………..Edinburgh
46Miss Edith Clegg (6th)……………………………..Hanley
47Miss Edith Clegg (7th)……………………………..Wolverhampton
48Miss Edith Clegg (8th)……………………………..Blackpool
49Miss Edith Clegg (9th)……………………………..Halifax
50Miss Edith Clegg (10th)…………………………..Nottingham
51Miss Edith Clegg (11th)…………………………..Sheffield
52Miss Edith Clegg (12th)…………………………..Folkestone
53Miss Edith Clegg (13th)…………………………..Reading
54Miss Edith Clegg (14th)…………………………..Bristol
55Miss Edith Clegg (15th)…………………………..Bournemouth
57A Rose Fable…………………………………………C. B. Hawley
58Mme. Marian McKenzie (3d)………………………..Goole
59Mme. Marian McKenzie (12th)………………………Bury
60Mme. Marian McKenzie (14th)………………………Bridgend
61Mme. Marian McKenzie (15th)………………………Llanelli one of two readings
62Mme. Marian McKenzie (15th)………………………Llanelly one of two readings
63Mme. Marian McKenzie (17th)………………………Merthyr
64Mme. Marian McKenzie (18th)………………………Monmouth
65Mme. Marian McKenzie (19th)………………………People's Palace, London
67O Mistress Mine…………………………………….De Koven
68Mme. Marian McKenzie (3d)………………………..Goole
69Mme. Marian McKenzie (12th)………………………Bury
71An English Lullaby………………………………..Walter Evans
72Mme. Leslie Arnott (3d)…………………………..Goole
73Mme. Leslie Arnott (10th)…………………………..Bury one of two readings
74Mme. Leslie Arnott (10th)…………………………Bury one of two readings
75Mme. Leslie Arnott (14th)…………………………..Bridgend
76Mme. Leslie Arnott (15th)…………………………..Llanelli one of two readings
77Mme. Leslie Arnott (15th)…………………………..Llanelly one of two readings
78Mme. Leslie Arnott (17th)…………………………..Merthyr
79Mme. Leslie Arnott (18th)…………………………..Monmouth
80Mme. Leslie Arnott (19th)…………………………..People's Palace, London
82Where the Bee Sucks………………………………..Reginald De Koven
83Mme. Leslie Arnott (3d)…………………………..Goole
84Mme. Leslie Arnott (10th)…………………………..Bury one of two readings
85Mme. Leslie Arnott (10th)…………………………Bury one of two readings
86Mme. Leslie Arnott (14th)…………………………..Bridgend
87Mme. Leslie Arnott (15th)…………………………..Llanelli one of two readings
88Mme. Leslie Arnott (15th)…………………………..Llanelly one of two readings
89Mme. Leslie Arnott (17th)…………………………..Merthyr
90Mme. Leslie Arnott (18th)…………………………..Monmouth
91Mme. Leslie Arnott (19th)…………………………..People's Palace, London
93PAUL DUFAULT, one of two readings
94PAUL DUFUAULT, one of two readings
95Tenor.
96Oratorio and Concert.
97339 West 2d St., New York.
99MISS ADELE MARGULIES,
100PIANO INSTRUCTION.
101Studies: Nos. 705-6 Carnegie Hall, New York.
103JULIA C. ALLEN,
104VIOLINIST.
105INSTRUCTION.
106Carnegie Hall, New York.
108CARL G. SCHMIDT,
109PIANIST—ORGANIST.
110Illustrated piano lectures. Organ recitals.
111Organist and Choirmaster
112St. Paul's Methodist Episcopal Church.
113276 West 94th Street, or Steinway Hall.
115HAVE YOU SEEN THE NEW SONG,
116"BUBBLES."
117Published by BEKENICE THOMPSON,
118128 Maryland Avenue S. W., Washington, D. C.
119Singers, inclose stamp and program for sample copy.
121SCHOOL FOR PIANOFORTE
122AND MUSICAL THEORY
123Mrs. CLARA A. KORN, Director,
124600 Springdale Ave., East Orange, N. J.
126W. A. HOWLAND,
127BARITONE.
128Address: University School of Music,
129Ann Arbor, Mich.
131J. LEWIS BROWNE,
132Concert Organist—Pianist,
133Atlanta, Ga.
135DELMA-HEIDE,
136Tenor Singer and Teacher,
137WILL REMAIN IN ITALY ANOTHER YEAR.
138Address care THE MUSICAL COURIER; or, Corso Venezia 65, Milan, Italy.
140CLIFFORD ALEXANDER WILEY, one of two readings
141CLIFFORD ALEXANDER one of two readings
142WILEY, one of two readings
143BARITONE.
144ORATORIO, SONG RECITALS, CONCERTS.
14564 West 95th Street, New York.
146Also Wolfsohn Bureau. Telephone, 1658 Riverside.
148EDWARD BROMBERG,
149BASSO-CANTANTE.
150SOLOIST OF THE BRICK CHURCH,
151(38th St. and Fifth Ave.)
152ORATORIO, CONCERTS, SONG RECITALS,
153VOCAL INSTRUCTION.
154Residence—138 West 91st St. Studio—9 East 17 h St.
156HUGO KAUN,
157Composer and Conductor,
158523 Milwaukee Street,
159MILWAUKEE, WIS.
161Mesdemoiselles YERSIN,
162Authors of the
163PHONO RHYTHMIC FRENCH METHOD.
164Winter address:
165465 Lexington Avenue, NEW YORK.
166Summer address:
167Newport House, BAR HARBOR, ME.
169SARAH KING PECK,
170SOPRANO,
171CONCERTS AND ORATORIO.
17255 West 85th Street, New York.
174COLOGNE-ON-THE-RHINE.
175Founded in 1850.
176The Conservatory of Music.
177Principal:
178PROFESSOR
179DR. FR. WULLNER.
181The Conservatory embraces: First, Instrumental (comprising all solo and all instrumental instruments); second, Vocal, and third, Theory of Music and Composition Schools.
182The Vocal School is divided into two sections—(a) concert singing and (b) operatic singing. There is also a training school for pianoforte teachers. In connection with these subjects there are classes for Italian, German, literature, liturgy, choral singing, ensemble playing (chamber music), ensemble singing, musical theory, elocution, sight reading, orchestral playing, conducting, &c. &c. Teacher staff consists of forty teachers.
183Winter Term begins September 16; Summer Term, April 1. Entrance examination takes place on the same days at the College (Wolfstrasse 3-5). The yearly fees are 300 marks ($75) for piano, violin, viola, violoncello classes; 200 marks ($50) for all the other orchestral instruments, and 400 marks ($100) for solo singing.
184For full details apply to the Secretary.
185WOLFSTRASSE 3-5, COLOGNE, GERMANY.
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