Scan 13
Musical Courier 1902-01-29: Vol 44 Iss 1140, 1902
44 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 14. See the scan on archive.org.
1CINCINNATI, January 25, 1902.
3"THE Messiah" was given in Music Hall on the evening of January 18. It came a trifle late, as a postponed Christmas offering, but was all the more welcome for that. The intention had been to give it during the holidays, but on account of the management it fell through. In the crisis and embarrassment, which was keenly felt by the local chorus, which had been faithfully rehearsing the oratorio for many weeks, under the direction of Dr. N. J. Eisenheimer, H. W. Crawford, president of the Smith & Nixon Piano Company, came to the rescue and relieved the situation by undertaking the event himself. Two years ago "The Messiah" was given under his auspices, and at that time proved a marked success, both artistically and financially. Mr. Crawford is an intense lover of oratorio, and went into the undertaking for the pure love of it. The result was a foregone conclusion. The artistic features altogether were exceptionally good, and there was no financial loss.
5Justifiable local pride may be taken in the chorus work, which, under the direction of Dr. N. J. Eisenheimer, reached a high artistic standard. Such results show fine material in the voices, conscientious and assiduous preparation, and above all a master hand in the training. The chorus did not number many more than 200 members, but each one of these had been imbued with the spirit and inspiration of the work. The volume attained in some of the greater choruses, such as "And the Glory of the Lord," "For Unto Us a Child Is Born," the "Hallelujah Chorus," and the final one, "Worthy Is the Lamb," was such as clearly demonstrated the fact that there was no deadwood, and that each voice counted for something in the totality of effect. The attack was prompt, the proportion in the divisions satisfactory, and especially was the tone quality excellent. The best work of the chorus was illustrated in the number, "All We Like Sheep," which was sung with spirit and cohesiveness. The fugue of the final "Amen" reflected precision and accuracy, and an understanding that was of a positive and convincing nature. The proportion in the voice divisions was firmly established and never wavered, and the conventionally weak tenors kept abreast with the others.
7The orchestral work was good at times, but showed a lack of rehearsal with the chorus.
9The soloists were: Miss Meredith, soprano; Miss Mabelle Crawford, contralto; Walter C. Earnest, tenor, and Oscar J. Ehrgott, basso. Miss Meredith was a decided disappointment. She is a big woman with a small voice.
11Miss Crawford proved herself a genuine artist. She has a contralto voice of fine timbre and lovely quality. Seldom is a singer heard with so pure and perfect an enunciation. She is thoroughly imbued with the oratorio spirit.
13The lion's share of the honors of the evening fell to one of the local soloists, Oscar J. Ehrgott. Mr. Ehrgott showed signs of fatigue at the outset, but soon recovered himself, and his subsequent singing was marked by a great deal of breadth and power. The trumpet solo was dramatically effective, and his interpretation of "Why Do the Nations?" was spirited. Mr. Ehrgott proved himself every inch the artist with an abundance of reserve power.
15Walter C. Earnest has a lyrical voice of good quality, but fell short of oratorio requirements.
17Arthur J. H. Barbour was a power at the organ, filling in with authority. Romeo Gorno at the piano was a musically accompanist of the best judgment and taste. one of two readings
18Arthur J. H. Barbour was a power at the organ, filling in with authority. Romeo Gorno at the piano was a musicianly accompanist of the best judgment and taste. one of two readings
20The fifth Symphony concert yesterday afternoon and to-night was the best attended and most satisfactory of the season up to date. The first number was the Haydn Symphony No. 12 in B flat. Mr. Van der Stucken is to be congratulated upon his lofty and classic conception of this beautiful, classic creation. While in the more modern works, with their involved rhythms and high coloring, whether of the French, German or Russian school, he speaks with authority, there was every evidence in the interpretation of the Haydn symphony that the foundation of his talent lies with the old masters and that upon them is built his musicianly insight and scholarly ability. He held the orchestral forces together with a master hand. The woof and texture in all the movements was of one close lofty character, and each fibre in the fabric responded to his direction. Much praise ought to be given the strings—which, of course, in the older symphonies are the sinews of the entire fabric. Their efficiency was especially noteworthy in the first and last movements. They played together with unerring precision and beauty of tone. The woodwind was in splendid rapport, and its smoothness and mellowness were particularly felt in the Adagio. Buoyancy, life and poetry characterized all the movements. Whatever may be said of the pleasure of listening to the modern works with their intense realism, the best enjoyment must always be at the table of the old classics, and the audience had something to be thankful for in so satisfying an interpretation of a symphony which, both as to simplicity of form and beauty of treatment, will ever remain a masterpiece of musical creation.
22The Liszt symphonic poem by way of great contrast appealed more directly to the senses. The coloring is of the intensest kind—the use of instrumental resources lifted up to the standard and requirements of modern orality and program music. One cannot fail to admire the genius with which Liszt portrays the different characteristics and moods in the musical unraveling of Schiller's poem. In this genre of music Mr. Van der Stucken is particularly at home, and the orchestra under his direction gave it a powerfully dramatic reading. The contrasts were striking—the interpretation was equal to every change of mood in the connected movements. A Slavonic dance of Dvorák was played with all that fiery impetuosity and rhythmic force which belong to its character.
24Madame Schumann-Heink was the soloist, and that would be saying enough. She is a great Cincinnati favorite, and the enthusiasm of the audience at both concerts rose to a high pitch. She sang the aria from "Titus" wonderfully. Marvelous was the carrying power of her voice, and her enunciation vibrated with distinctness. No aria could have afforded a better opportunity for its phenomenal range—reaching full down to the contralto tones—resonant with power in the mezzo domain and reaching the height of a soprano in the falsetto tones. The dramatic intensity of her interpretation was only equaled by the strictly legitimate musical sense which she imparted to each note and every phrase. Even more true to the life was her singing of Burmeister's dramatic tone poem, "The Sisters," and Liszt's "The Three Gypsies." As an encore she sang Schubert's "Es rauscht ein Barchlein im Walde." Harold Bauer will be the soloist at the next Symphony concert.
26John C. Weber, leader of the famous John C. Weber Military Band, which won laurels and fame at the Buffalo Exposition, has just issued a handsome pamphlet with a striking picture of the bandmaster on the title page. It is gotten up with elegant taste and contains all the encomiums passed by the critics of the press upon the Buffalo engagement; also the biographical sketch which was published in THE MUSICAL COURIER September 18. The pamphlet will be sent broadcast and find its way into the hands of those who are willing and anxious to engage the best talent in the line of military bands of this country.
28Mrs. Zilpha Barnes Wood and her pupils furnished all the music at the New Year's entertainment of the Y. M. C. A. The house was packed all day and the general consensus was that they gave a highly interesting program in a most entertaining manner.
30Georg Krueger, of the Conservatory of Music faculty, will give a piano recital January 29 in Portsmouth, Ohio. He will play the following program:
32Sonata, op. 22, Moonlight………………………………………Beethoven
33Hark, Hark, the Lark!…………………………………………..Schubert-Liszt
34Nachstück, op. 23…………………………………………………Schumann
35Romanze, op. 40, No. 2………………………………………Leschetizky
36Etude, op. 23, No. 3……………………………………………..Rubinstein
37Etude, op. 25, No. 3……………………………………………..Chopin
38Ballade, op. 42, No. 3…………………………………………..Chopin
39Reminiscences from Faust………………………………………Gounod-Liszt
41J. A. HOMAN.
43CLASSES FOR THE STUDY OF VOICE PRODUCTION.—A weekly series of normal classes for the study of voice production will begin this afternoon (Wednesday 29) at 3 o'clock at the American Institute of Applied Music. They will be conducted by Tom Karl and McCall Lanham, both of whom are having great success in their work with private pupils. But their aim in these classes is to give to the students of the school more of the benefit of their experience than there is time for in private lessons, and to train them to teach the production of the voice themselves.
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