Scan 11
Musical Courier 1902-02-12: Vol 44 Iss 1142, 1902
106 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 12. See the scan on archive.org.
1MUSICAL PEOPLE
3Mrs. Horton is musical director of the Topeka (Kan.) College.
5Mrs. A. T. Helm's pupils in music gave a recital in Lexington, Ky., last week.
7Mrs. Katherine Quirk Conly gave a studio musical recently at Worcester, Mass.
9A "musical tea" was given by Miss Charlotte Robinson recently at Columbus, Ohio.
11A musicale was given January 25 at the home of Miss Alice Roberts, Elmira, N. Y.
13At Carlinville, Ill., a music recital was given at the studio of Prof. P. O. Landon recently.
15The pupils of Arkless Brothers gave a recital January 28 in the Vocal Institute, Norristown, Pa.
17L. Harry West, formerly located at Lowville, has removed to Canton, N. Y., and opened a studio.
19The Southern Conservatory of Music gave its second pupils' recital January 31 at Chattanooga, Tenn.
21A concert was given by the pupils of the Leeslon-Hille Conservatory of Music at Philadelphia, Pa., February 8.
23A piano recital was given January 25 by the pupils of Mrs. Charles Chappelear at her residence, Zanesville, Ohio. one of two readings
24A piano recital was given January 25 by the pupils of Mrs. Charles Chapplecar at her residence, Zanesville, Ohio. one of two readings
26January 28 Heber Coleman was the host at a musical in Memphis, Tenn. The artist of the evening was Joseph Denck.
28The piano pupils of Mrs. Frank L. Tuck played Haydn's compositions on January 24 at her home, Bangor, Me.
30Edward J. Napier and W. K. Steiner have been the soloists at recent organ recitals in Carnegie Music Hall, Pittsburgh, Pa.
32Professor Hover and his assistant, Miss Polster, of the musical department of Denison (Ia.) College, gave a recital January 29.
34An audience was present at the twenty-first recital of the pupils of Mrs. Virginia Pingree Marwick in Hartford, Conn., January 27.
36C. B. Rutember will on May 1 next become organist and director of music in the First Congregational Church, Poughkeepsie, N. Y.
38Miss Alma Edwards, a young pianist, has just graduated from the musical department of the Springfield (Mo.) Normal School.
40A good sized audience attended the recital given at the Congregational Church, Champaign, Ill., recently by Conrad B. Kimball and Maurice Eisner.
42A musicale was given last week in the rooms of the Bradnack Music House, Middletown, N. Y., complimentary to H. L. Courtney, of New York.
44Prof. Frank J. McDonough gave his seventh annual pupils' recital at Albany, N. Y., January 28, assisted by the Merrihew Quartet and Frank A. Adams, violinist.
46A recital was given by Mrs. A. J. Williamson, Miss Marie R. Hogan and Miss Bertha M. Sapp, pupils of Ralph Everett Sapp, at Ottawa, Ill., on January 22.
48An organ recital was given at Westminster Presbyterian Church, Baltimore, Md., on January 28, by Sweetser L. Green, the organist of the church, assisted by Charles G. Gens, Jr., tenor, and Alexander P. Gray, Jr., bass.
50Selections were given from Mendelssohn, Verdi, Robert L. Haslup, Brackett, Neuville, Jepson, Mailly, Wolstenholme, Scott and others.
52The choirmasters of Newburgh, N. Y., are planning to organize a chorus to give "Elijah" in June at the convention of the State Music Teachers' Association.
54The fourth organ recital in Gethsemane Church, Minneapolis, Minn., took place January 19. William J. Hall was the organist, assisted by A. R. Wiley, choirmaster.
56The piano pupils of Miss Mabel Orebaugh held their second quarterly recital at her home, Columbus, Ohio, January 25. The class presented their whole program without notes.
58An organ recital was given at Park Avenue M. E. Church, Worcester, Mass., last week by Walter Brooks Eaton, Mrs. Ada Lawrence Harrington, Ernest L. Smith and Miss M. Maude Bancroft.
60At the organ recital at West Brighton, New York, on Monday evening, February 10, the soloists were August Granitza, tenor; Jean Lamont Schaefer, violinist, and Charles L. Schaefer, organist.
62Richard Strauss' "Enoch Arden" was given recently in St. Paul and Minneapolis by Emil Ober Hoffer, pianist; Ben Johnson, dramatic reader, and Lewis Shawe, baritone. It made such a pronounced success that they have been asked to repeat it in the near future.
64Elvin Singer, of Detroit, who sang at Grand Rapids, Mich., in January, was accorded a perfect ovation. The Grand Rapids Herald and Detroit Free Press chronicled his success. He was recalled a dozen times, and even then the audience continued to applaud enthusiastically.
66A recital by Professor McClellan's pupils was given at Salt Lake City, Utah, January 25. Specially notable was the playing of Miss Lola Cochler and Miss Sybella Clayton, who were accompanied by a string quintet composed of Messrs. Skelton, Natchke, Rordame, Olson and Jesperson. Others who took part were Walter Poulton, Miss Hattie Whitney, Miss Eva Richardson, Miss Estelle Clinton, Miss Antoinette Lambourne, George Pryor, Miss Bessie Brooks and Miss Ethel Murphy.
68The following pupils of the Corning (N. Y.) Conservatory of Music gave a recital in Conservatory Hall January 25: May Streeter, Ruth Stanton, Fanny Stanton, Mildred Fero, Charlotte Magee, Elthea Bronson, Regenia Tobias, Natalie Olcott, Nellie Weaver, Gretchen Gorton, Ida Bostelmann, Joseph Lynahan, Thomas McNamara, Alfred H. Abbott, Marvin Olcott, Jr., Clayton Buchanan, Morris Braveman, Earle Costello, Bud Sternberg, John C. Bostelmann, Jr., L. J. Bostelmann, Marianne Olcott, Addie M. Bostelmann, Wilson Dickinson, Dorothy Drake, Gertrude Olcott, Cecelia Bostelmann, G. L. Abbott, W. M. Hollenbeck, Helen Guile, John Heinyger, Edward Borst, Jr., N. J. Brundage and William Holmes.
70Voorhis-Kaltenborn in Jersey City.
72ARTHUR VOORHIS, the pianist, assisted by the Kaltenborn Quartet, gave the second in the series of subscription concerts at the Jersey City Club house last night (Tuesday). The program included:
74Quartet No. 12 (Kaiser)………………………………….Haydn
75(Cello soli)
76Reverie…………………………………………………Dunkler
77Gavotte…………………………………………………Popper
78Louis Heine.
80Piano soli—
81Ballade, op. 47………………………………………Chopin
82Nocturne, op. 37, No. 2…………………………..Chopin
83Valse, op. 34…………………………………………..Moszkowski
84Arthur Voorhis.
86Violin soli—
87Reverie…………………………………………………Vieuxtemps
88Hungarian Rhapsodie……………………………….Hauser
89Franz Kaltenborn.
91Quintet, op. 81………………………………………Dvorák
93MUSICAL YEAR, 1901.
94No. II.
96OF older German operas mention must be made first of the Gluck Cyclus at the German Theatre of Prague. The same composer's "Iphigenia in Aulis" was given at Schwerin, revised by R. Strauss. Of other well-known works we need not give a list here. The most popular are Zollner's "Sunken Bell," which passed over a long series of greater and lesser provincial theatres.
98In older French opera Auber, Adam, Boieldieu, Herold seem dead to Germany. Attempts have been made with Berlioz, but not with permanent success. "Benvenuto Cellini" was given at Stuttgart and Frankfort, and Berlin tried to revive Jonciere's "Jean de Lorraine." On the other hand success beyond all expectation greeted Saint-Saëns' "Samson et Dalila" at Berlin, which smoothed its path to other stages. Massenet's "Manon" met us in Turin and Cracow, "Werther" in Odessa and Prague, "Thais" in Nantes, "Cendrillon" in Turin, Brest, Dijon, Toulon, Genoa; "La Navarraise" in Bayonne, "Sapho" in Antwerp, Charpentier's "Louise" in Algiers, Brussels, Lille, Budapest, Nice and Berlin.
100Of older Italian works little can be said. Rossini's early work, "Il Signor Bruschino," was dug up at Bologna and "Cenerentola" in Florence; Donizetti's "Don Pasquale" was given by Marcella Sembrich's troupe at La Scala, as was his "Le Philtre." Carlsruhe tried to revive his "Don Sebastian." The same enterprising town gave as a local novelty "La Traviata." Verdi's "Sicilian Vespers" appeared for the first time at Hamburg, and "Falstaff" and "Otello" were performed for the first time at Zurich and Strassburg, while "Othello" was given at Mentz, Marchetti's "Gioconda" in Warsaw and Catalani's "Loreley" in Odessa. Mascagni's star is setting and we find only one "Iris" in Barcelona and one "Ratcliff" in Rome. Leoncavallo's "Bohème" was heard in Cologne, "Zaza" in Turin and Giordano's "Andre Chenier" in Toulouse. Puccini seems on the upward grade, his "Bohème" casting Leoncavallo's into the shade; it was played at Stuttgart, Dusseldorf, Freiburg, The Hague and New York, and his "Tosca" in Madrid, Odessa and Valencia. The Hungarian composer Geza Zichy found his way with "Meister Roland" to Magdeburg and Tschakowsky with "Iolanthe" to Frankfort. In general Russian opera is unknown out of Russia. one of two readings
101Of older Italian works little can be said. Rossini's early work, "Il Signor Bruschino," was dug up at Bologne and "Cenerentola" in Florence; Donizetti's "Don Pasquale" was given by Marcella Sembrich's troupe at La Scala, as was his "Le Philtre." Carlsruhe tried to revive his "Don Sebastian." The same enterprising town gave as a local novelty "La Traviata." Verdi's "Sicilian Vespers" appeared for the first time at Hamburg, and "Falstaff" and "Otello" were performed for the first time at Zurich and Strassburg, while "Othello" was given at Mentz, Marchetti's "Gioconda" in Warsaw and Catalani's "Loreley" in Odessa. Mascagni's star is setting and we find only one "Iris" in Barcelona and one "Ratcliff" in Rome. Leoncavallo's "Bohème" was heard in Cologne, "Zaza" in Turin and Giordano's "Andre Chenier" in Toulouse. Puccini seems on the upward grade, his "Bohème" casting Leoncavallo's into the shade; it was played at Stuttgart, Dusseldorf, Freiburg, The Hague and New York, and his "Tosca" in Madrid, Odessa and Valencia. The Hungarian composer Geza Zichy found his way with "Meister Roland" to Magdeburg and Tschakowsky with "Iolanthe" to Frankfort. In general Russian opera is unknown out of Russia. one of two readings
103In an American paper there is no need to mention ballets. Europe, with perhaps the exception of Russia, has no great dancers, and this style of art naturally loses its attractive power. In operetta since the death of Millöcker, the most prominent name in Germany is that of Rudolf Dellinger, whose "Jadwige" was successful at Dresden, but this local success went no further. As for the rest, Zamara, "The Débutante" (Munich); Weinberger, "La Diva" (Hamburg); Ziehrer, "Three Wishes" (Vienna; Franger, "The Ladies' Paradise" (Vienna); Platzbecker, "Wahrheitsmund" (Frankfort)—all are fading flowers, not worth mentioning further. Two newer names have lately appeared—Hermann Reinhardt, whose "Sweet Maid" met a kind reception in Vienna and Baden, and Victor Holländer, whose "Red Hussar" was produced at Berlin. We must wait to see whether any further hopes can be entertained respecting them. Local success is not often universal success.
105French operetta is afflicted with senile marasmus. The late Edmond Audran's posthumous "Père Vincent" drew a blank; Planquette, whose "Capitaine Terese" was given at Paris and "Mamsell qust sous" at Munich, seems to have written himself out; there remain Barney, "Le Fiancé de Thylda" (Brussels); L. Ganne, "Circus Malicorne" (Vienna), and Claude Terrasse, "The Labors of Hercules," a work unfit for the German stage. Finally, be it recorded that the "Bells of Corneville" was played in De-
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