Scan 6
Musical Courier 1902-01-29: Vol 44 Iss 1140, 1902
190 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 7. 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.
1MME. OGDEN CRANE.
3MME. OGDEN CRANE, one of New York's prominent vocal teachers, who has a studio at No. 3 East Fourteenth street, another in Carnegie Hall, Suite No. 1007, and a third in Asbury Park in the summer, is an American teacher. Her voice is a dramatic soprano of power and purity. Her instructor in tone production, whose method she uses, was Ettore Barilli, the teacher of Adelina Patti. Of charming and gracious personality, she wins and holds friends easily, and her monthly recitals and season concert always are popular. one of two readings
4MME OGDEN CRANE, one of New York's prominent vocal teachers, who has a studio at No. 3 East Fourteenth street, another in Carnegie Hall, Suite No. 1007, and a third in Asbury Park in the summer, is an American teacher. Her voice is a dramatic soprano of power and purity. Her instructor in tone production, whose method she uses, was Ettore Barilli, the teacher of Adelina Patti. Of charming and gracious personality, she wins and holds friends easily, and her monthly recitals and season concert always are popular. one of two readings
6Here are some extracts from her talks to pupils:
8"The first requisite for singing is breath. Always start the breath from the diaphragm, keeping all muscles relaxed. To get a correct attack, permit the breath to go first; then pronounce the vowel or word in the breath. Your singing voice is nothing but breath in motion; it is but an extension of your speaking voice. Be careful not to permit the tongue or lower jaw to interfere with the free passage of air through the throat. Direct the breath high in the roof of the mouth toward the front. The voice is in the mouth, the roof of the mouth, the front of the face being its sounding board.
10"The voice sounds as if outside the face when correctly placed. Such a voice possesses a resonance and carrying power for which one must be careful not to mistake tremolo. Tremolo and vibration or resonance are utterly distinct. Tremolo is caused by using the throat muscles, or forcing the tone by muscular effort. Vibration is the result of the free passage of breath with relaxed muscles. Never use muscular effort. Energy, yes, but energy is not effort. One should sing as easily as he speaks, taking breath just as naturally. Forced tones are liable to be flat.
12"The breath should not pass out of the mouth, but into the head, against the facial mask and through the nasal cavity. The same column of air places all tones, whether high or low. The breath vibrates from the diaphragm, no matter what the tone. The tones should be so equalized that no break is perceptible in the scale.
14"Method has only to do with tone production, nothing with grace or sentiment. Method is the application of the laws of nature which govern the voice. Quality of tone determines the kind of voice, whether soprano, mezzo or contralto; tenor, baritone or bass—not the singing of high or low tones. Tone production and enunciation or articulation are independent. Color the tone, not the word for expression. The facial muscles must be cultivated, particularly those of the lips. Practice before a mirror.
16"Do not practice more than ten or fifteen minutes at a time—in all about two hours in the day. Learning to place the voice correctly requires mental activity; consequently brains are as essential as correct breathing.
18"There is no royal road to the learning of anything, least of all the art of singing. So buckle on your armor of patience and your sword of perseverance and let nothing discourage or dishearten you until you reach your goal in safety."
20Paris Opera Gossip.
22IT is said that when Alvarez, the tenor, left the Opéra this season he refused to shake hands with Gailhard, vowing that he will never return because the latter had engaged Jean de Reszke. How does Alvarez come to look upon de Reszke's appointment as an affront to him? The egotism of some of these stars is startling, and must account for much singing off pitch. They hear themselves so much that they cannot hear the music. As if the world would cease if Mr. Alvarez were to take cold and refuse to sing for a year!
24Clarence Eddy Presides.
26THE new organ in the cottage of Mrs. Henry M. Flagler at Palm Beach, Fla., was "opened" on Saturday last by Clarence Eddy, who played an interesting recital. Among those present were Admiral and Mrs. Dewey, Mr. and Mrs. Frederick W. Vanderbilt, Frederick Townsend Martin, Mr. and Mrs. Henry R. McLane, New York; Mr. and Mrs. Archibald J. McClure, Mr. and Mrs. Charles F. Bingham, Dr. and Mrs. F. Fremont Smith, Mr. and Mrs. Joseph Jefferson, Mr. and Mrs. Fred Sterry and Leland Sterry.
28Jean de Reszke.
30JEAN DE RESZKE has accepted an engagement at Monte Carlo, where he will sing in a revival of Berlioz's "Damnation of Faust," and of "Lohengrin," the manager being, of course, Gunsberg. M. de Nevers, who was here two seasons ago with the de Reszkés and who is correspondent of the London Pall Mall Gazette, is residing at present at Monte Carlo.
32A large audience attended the recital by Professor Story at Unity Church, Springfield, Mass., on the 15th. The opening number was given by a string quartet, consisting of R. L. Baldwin, E. L. Fisher, J. F. Genung and H. W. Kidder. Professor Story discussed and illustrated the subject, "Color in Music."
34ESTABLISHED 1867.
36CHICAGO MUSICAL COLLEGE.
38DR. F. ZIEGFELD, President.
39The Largest and Most Complete Institution of Musical Learning in America.
41COLLEGE BUILDING, 202 MICHIGAN BLVD.,
42The finest structure in existence devoted exclusively to a Musical College.
44SCHOOL OF ACTING, MUSIC ELOCUTION, ORATORY, LANGUAGES.
46BOARD OF MUSICAL DIRECTORS.
48DR. F. ZIEGFELD, DR. LOUIS FALK,
49HANS VON SCHILLER, WILLIAM CASTLE,
50BERNARD LISTEMANN, S. JACOBSON,
51RUDOLPH GANZ, CHARLES GAUTHIER.
52HERMAN DEVRIES.
53HART CONWAY, Director School of Acting.
54Catalogue Mailed Free.
56BUREAU OF FINE ARTS,
57CHAS. BEACH, President,
58LOUIS EVANS, Secretary and Treasurer,
59Successors to
60THE HAMLIN COMPANY,
61Directors of
62Concerts and Musical Artists,
63806 Fine Arts Building,
64CHICAGO.
65CABLE ADDRESS: LINARK, CHICAGO. LONG DISTANCE TELEPHONE: HARRISON 2255.
67REPRESENTATIVE AGENCY OF MIDDLE STATES
68EXCLUSIVE DIRECTION
69HELEN BUCKLEY and JESSICA De WOLF—Sopranos.
70SUE HARRINGTON FURBECK and ELAINE De SELLEM—Contraltos.
71GEORGE HAMLIN and HOLMES COWPER—Tenors.
72CHARLES W. CLARK and SYDNEY BIDEN—Baritones.
73ARTHUR DUNHAM—Organist, and THEODORE SPIERING—Violinist.
74WE WILL NEGOTIATE FOR ALL HIGH-CLASS ARTISTS.
76CHICAGO ADVERTISEMENTS.
78HARRISON M. WILD
79CONCERT ORGANIST.
80Studio 6, Piano and Organ Instruction.
81241 Wabash Ave., CHICAGO.
83D. A. CLIPPINGER,
84THE ART OF SINGING.
85Conductor.
86Author of "The Development of the Singing Voice."
87410 Kimball Hall, Chicago, Ill.
89Frederick Warren
90BARITONE,
91CHICAGO AUDITORIUM CONSERVATORY.
93JEANETTE R. HOLMES,
94Contralto.
95Oratorio and Concert.
96613 Fine Arts Building, Chicago.
98LOUIS MAGNUS,
99VIOLINIST.
100Concerts, Recitals.
101627 Fine Arts Building, Chicago.
103MARY PECK THOMSON,
104SOPRANO,
105620 Fine Arts Building, CHICAGO.
107Chicago Auditorium Conservatory.
108FREDERIC GRANT GLEASON, Director.
109ROY ARTHUR HUNT, Manager.
110Phones: Harrison 1910 and 1736. Unsurpassed Faculty Teaching.
111ALL BRANCHES OF MUSIC.
112Stage Training, Elocution, Languages and the Fine Arts.
113SEND FOR CATALOGUE.
115ALLEN SPENCER,
116PIANIST.
117Concerts, Recitals.
118Address: KIMBALL HALL, CHICAGO.
120KARLETON HACKETT,
121Teacher of Singing,
122Kimball Hall, Chicago.
124EARL R. DRAKE,
125VIOLIN VIRTUOSO.
126Teacher.
127Studio: 505 Handel Hall, Chicago.
129HOWARD WELLS,
130Pianist,
131Kimball Hall, Chicago.
133JOSEPH VILIM,
134VIOLINIST.
135Trio Concert Co. Orchestra. one of two readings
136Trio Concert Co. one of two readings
137Orchestra. one of two readings
138SEND FOR PROSPECTUS.
140JAN VAN OORDT,
141VIOLINIST.
142KIMBALL HALL, CHICAGO
144CAROLYN LOUISE WILLARD,
145PIANIST. Instruction.
146Pupil of Ernst Jedliczka, Bloomfield-Zeisler.
147Address: 4164 Lake Avenue, Chicago.
149MRS. THEODORE WORCESTER,
150PIANIST.
151Address, 1402 Auditorium Tower, Chicago.
153MRS. MARY HEALY MULLETTE,
154DRAMATIC MEZZO-SOPRANO,
155ORATORIO, CONCERT, RECITAL.
156Address 638 Fine Arts Building,
157CHICAGO.
159Gottschalk Lyric School.
160CATALOGUE MAILED ON APPLICATION.
161L. O. GOTTSCHALK, Director.
162KIMBALL HALL, 243-253 Wabash Avenue, CHICAGO.
164THE CHURCH PARSONS MUSIC METHOD.
165Kindergarten and Graded Course.
166610 FINE ARTS BUILDING, CHICAGO.
168AMERICAN CONSERVATORY,
169KIMBALL HALL BUILDING, Wabash Avenue and Jackson Boulevard,
170THE LEADING SCHOOL OF MUSIC AND DRAMATIC ART IN THE WEST.
171Among the fifty eminent instructors the following might be mentioned:
172PIANO—JOHN J. HATTSTAEDT, VICTOR GARWOOD, ALLEN SHERER, GERTRUDE MURDOUGH, HOWARD WELLS.
173SINGING—KARLETON HACKETT, GLENN HALL, HOLMES COWPER, RAGNA LINNÉ, MABEL GOODWIN, LOUISE BLISH. Catalogue mailed free.
175R. CAPOUL CUTTRISS WARDE,
176SINGING MASTER.
177The teacher of many prominent artists now before the public. Send for list.
178STUDIO: No. 911 Cable Building, Cor. Jackson and Wabash, CHICAGO.
180GRACE VAN VALKENBURGH,
181CONTRALTO.
182Management DUNSTAN COLLINS, Fine Arts Building, CHICAGO.
184MABELLE CRAWFORD,
185Contralto.
186Address CHARLES R. BAKER,
187Fine Arts Building.
188Teaching at Residence
1895246 Prairie Ave., Chicago.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.