Scan 30
Musical Courier 1902-01-29: Vol 44 Iss 1140, 1902
113 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 31. 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.
1BALTIMORE.
2BALTIMORE, January 26, 1902.
4THE "Messiah" was given a notable presentation by the Oratorio Society, under the direction of Joseph Pache, at Music Hall, Tuesday night. The work does not receive an annual performance here, but takes its turn with other oratorios.
6On Tuesday night the work of the chorus was most admirable. In fact, it is to be doubted whether the society has ever before sung so splendidly. The parts are more evenly balanced, and there appears to be a number of new fresh voices.
8The opening chorus and a number of others, among them "For Unto Us a Child Is Born," "All We, Like Sheep," and the colossal "Hallelujah," could scarcely have been surpassed for sonority, breadth and verve, and the attack and intonation were in most instances excellent.
10The soloists were Mrs. Dorothy Harvey, soprano; Mrs. Clara Poole-King, contralto; Wm. A. Wegener, tenor, and Emil Fischer, basso. Mrs. Harvey has a brilliant, well colored voice, which she uses with consummate skill, and she is a conscientious and delightful singer. That her reading of "Rejoice Greatly, O Daughter of Zion!" lacked the jubilant quality was no doubt due to the unreliable accompaniment, a factor which handicapped all of the soloists.
12Madame Poole-King's organ is an unusually fine one, of which, however, her medium register begins to show the results of injudicious use. Though her phrasing was not above reproach, her interpretation evinced a nobility of conception and sincerity of expression that were at all times convincing.
14The aria "Thou Shalt Break Them" was the happiest effort of Mr. Wegener, whose voice is of exquisite quality, but whose singing showed evident indisposition.
16Emil Fischer, the basso with the most brilliant of opera records, sang with the authority of style that was to be expected, but as is the case with most opera singers he is not a satisfying interpreter of oratorio. The wisdom of his singing so exacting a work at this time is to be doubted, but the enthusiastic tribute of the audience was to the artist, whose fame in Wagnerian roles will always remain a bright page in operatic annals.
18The Oratorio Society, under its present able and judicious management, has reached an enviable state of prosperity, and fully merits the hearty response of Tuesday's large audience.
20The Germania Maennerchor gave an excellent concert on Monday evening, under the directorship of Edward Boeckner, and with the assistance of the following soloists: Mrs. Richard G'tmann, Misses Emma Albrecht and Katie Heineman, Lee W. Sumner and J. H. Wahmann.
22The concert given at Music Hall, Wednesday night, for the benefit of the sufferers in the concentration camps, under the auspices of the Phoenix Club, in the handsome Aid Society, was an artistic and financial success. The following program was presented:
23Overture, Meeresstille und glückliche Fahrt………….Mendelssohn
24Quartet from Fritjof…………………….Bruch
25Messrs. Lee Sumner, Chas. Bender, St. Steinmueller and Harry Smith.
26Rêverie………………………………….Vieuxtemps
27Serenade………………………………….Moszkowski
28Rondo Elégant…………………………..Wieniawski
29Violin solo, N. Blumenfeld. Accompanist, Miss C. Ascherfeld.
31Remembrance………………………………….Bungert
32Dost Thou Love Me?………………………..Engelsberg
33Musical Art Club.
34Daybreak, from Suite, Peer Gynt…………………Grieg
35Fantaisie Russe, for piano……………………..Napravnik
36E. Wad.
37Prize Song from Meistersinger……………………Wagner
38Quintet from Meistersinger……………………..Wagner
39Mrs. R. Ortmann, Miss K. Heinemann, Messrs. L. Sumner, F. H. Weber and H. Smith.
40Lullaby………………………………………Brahms
41Farewell, Faint Heart…………………………Brahms
42Swanee Ribber……………………………….(Arranged by D. Melamet.)
43Dixieland…………………………………….Musical Art Club.
44Prelude to Meistersinger……………………….Wagner
46As is the case with most benefit concerts the program offered an embarrassment of riches; however, its admirable presentation was greatly enjoyed.
48On the same evening a brilliant concert was given, under the auspices of the Phoenix Club, in the handsome ballroom of its home on Eutaw place. Jean Gérardy, 'cellist; Augusta Cottlow, pianist, and Estelle Liebling, soprano, were the soloists.
50The present concert season, the most notable and promising Baltimore has yet known, was marked Friday afternoon by the visit of another great artist, Fritz Kreisler, who gave the seventh Peabody recital.
52Mr. Kreisler belongs to the class of legitimate artists, in the ranks of the truly elect, whose reverence for their art precludes the sacrifice of the highest ideals to mere virtuosity or exaggerated expression. With the assistance of Harold Randolph, pianist, he played the following program:
53Sonata for piano and violin in A minor, op. 47………….Beethoven
54Violin Concerto, in F sharp minor…………………Vieuxtemps
55Sarabande, in D major…………………………..Sulzer
56Tambourin, in C major…………………………..Leclair
57The Bee, in E minor…………………………….Schubert
58Song Without Words, in F major, for violin………….Tchaikowsky
59Variations, Non Piu Mesta, for violin………………Paganini
61Kreisler's tone is pure, searching, eloquent, and his intonation was nearly always flawless. His remarkable technic is always subservient to the ends of the solid-thinking musician, the player of deep emotion.
63The so-called "Kreutzer" Sonata was given a good performance by both players; it was noble Beethoven playing.
65The Vieuxtemps Concerto was brilliantly executed, with superb dash and finish, and the entire program provoked extraordinary and well merited enthusiasm from a large audience.
67Mr. Kreisler was fortunate in the assistance of Mr. Randolph, an ideal ensemble player, and a musicianly and sympathetic accompanist.
69MILDENBERG PLAYS IN ENGLEWOOD.—At a recital given last Friday in Englewood, under the patronage of Mrs. Donald MacKay and Mrs. J. W. Craig, Mr. Mildenberg carried off a large share of the honors, both as pianist and composer. It was the occasion of the first public hearing of his new Barcarolle for piano, the "Waterways of Venice." The following notice is from the Englewood Times:
70The first part of the program was devoted to short songs and a performance of some of his own compositions by Albert Mildenberg. His "Waterways of Venice" was very charming, and the rippling treble was played with a feathery touch most expressive of the motive, and altogether delightful. He repeated part of this as an encore.
72LARGE KUBELIK RECEIPTS.
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75CHICAGO, January 25.—After finishing the first number at his concert in the Auditorium this afternoon Jan Kubelik was the centre of a flower show.
77Incidentally the young Bohemian, with his third appearance to-day, broke all records as to receipts heretofore gained by musical idols. In the three concerts he has played to $16,254.25, which is $651 more than was paid to hear Paderewski the same number of times. The first recital drew $4,831.75, the second $5,566.25 and the third $5,583.75.
79The receipts at to-day's concert were $212.25 greater than those at the Metropolitan Opera House concert in New York.
81PROPER advertising in THE MUSICAL COURIER and other largely circulating papers pays, but it pays particularly well for musical people if it is done through THE MUSICAL COURIER. Vide: Kubelik, Fannie Bloomfield-Zeisler, Nordica, Harold Bauer, Zeldenrust, Gregory Hast, Leonora Jackson, Gerardy, Kreisler, Wm. Worth Bailey, Nevada, Maconda, Hochman, Josef Hofmann, William C. Carl, John Philip Sousa, and many others who are prominent in these columns as advertisers.
83AN OPEN LETTER TO WARREN DAVENPORT.
84Boston, Mass.
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87I HAVE just read your article in THE MUSICAL COURIER, and am surprised that it would publish so scurrilous an attack without first investigating the standard of the vocal knowledge of the writer.
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90I have read before this the name of "Warren Davenport," but I fail to find it among the names of reputable critics, singers or vocal teachers of this country.
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93Artists do not object to honest, unbiased criticism, because from that they are often able to remedy faults that are not really patent to themselves while singing, but such wholesale condemnation as you revel in shows in itself that it is the criticism of a man that considers himself as having reached the acme of vocal knowledge, trying to back that consideration by seemingly consummate use of reasons and wherefores that things are thus.
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96It is indeed very fortunate that all critics are not of your own stamp, or the singers of this day would be wiped out of existence; but it is probable that you, with your "superlative" knowledge of vocal training, would create such a great and wonderful host of artists that if the real truth of their worth could be made known to us after our extermination it would make us blush to think that we ever belonged to the same profession.
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99It is evident that such writers and teachers as yourself are a menace to real art in its true meaning, for such egotism as you show in all your communications is an unsightly thing to behold, and shows the narrowness and littleness of your mind.
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102True greatness always deals kindly and gently with those who are less fortunate in the possession of knowledge.
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105It tries to teach in a subtle, quiet way, never imposing its power on those who are less strong.
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108Modesty is a very desirable virtue—you might learn to possess a little of it without any great sacrifice to your vanity.
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111EFFIE STEWART.
112New York, January 27, 1902.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.