Scan 23
Musical Courier 1902-02-12: Vol 44 Iss 1142, 1902
67 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 24. See the scan on archive.org.
1to them. Let them learn English and come to America. Thus a contemporary.
3A scandal has arisen over the reburial of Robert Hamerling, the German poet, who died in 1889. He was moved into a permanent tomb in the cemetery at Graz; when the coffin was opened, the medical men present, among whom were two university professors, surreptitiously and without authority removed the head, in order to measure the skull. Since then the skull has been kept in the anatomical laboratory of the Graz University. Hamerling's friends and relatives are indignant and demand that the poet's head shall be put back with the body at once.
5Says "The Listener" in the Boston Transcript:
6"To the query, 'Where are all the square pianos of fifty years ago gone to?' a Tremont street dealer responded the other day with a story of the great potato crop in Maine a few years back. A skipper from the far-down Maine coast arrived in Boston with a solid load of the big Aroostook tubers. For return cargo he took down a full load of old Boston square pianos. The dealer had cleared off his entire stock of four legged instruments, of all degrees of decrepitude, that had been taken in exchange and part payment for many years, and had even scurried about among other dealers to fill up the schooner's hold and deck. The Aroostook potatoes were thus presently transmuted into pianos. Some of them were sold at a profit by the enterprising skipper at extremely low prices. In some such the tones of the aged strings were lower still—so much so that the Machiasport Orpheus was soon obliged to make restitution or stand suit for peddling pianos under false pretenses. One of the same lot was later purchased by Mrs. Fiske for $14 for Becky Sharp, whom it suited to a T."
8Old Sally, on her death bed, was an unconscious humorist, writes a contemporary. On being asked by the vicar if she felt quite happy, the old lady said, with great unction: "Oh, yes. Ah s'all soon be in Jacob's bosom." "Abraham's bosom, Sally," corrected the vicar. "Aye well, mebbe it is; but if you'd been unmarried for sixty-fahve year, leyke what Ah 'ev, ya wudn't be particular wheas bosom it war, seca lang ez ya got inti sumbody's."
10Mathilde Serao is suing her husband for divorce. His name is Scarfoglio, and with his gifted wife he edits the Mattina, of Naples. The novelist says that her husband's conduct has involved her in a Neapolitan municipal scandal. Possibly the story called "In the Country of Cocaigne," which raised a racket about the ears of lottery officials, began the row. There was a later charge of conspiracy brought against Scarfoglio. And perhaps a woman's reason is at the bottom of the affair; Mathilde Serao is a woman of genius, and genius seldom runs well in double harness.
12Breitkopf & Härtel have just issued two songs by Alexander von Fielitz, a composer who is always welcome because of his poetic feeling, melodic and harmonic invention. The songs are settings of poems by Christina G. Rossetti—the sister, gifted herself, of Dante Gabriel Rossetti—and called "An End" and "Dream Land." E. R. Kroeger is represented by a piano Scherzo in E flat minor and three mythological scenes—"Arion," "By the Waters of Lethe," "Ixion," all of them piano pieces of value and interest, whether in the study room or on the concert stage. The scherzo is brilliant and effective.
14G. Schirmer publishes four preludes in form of studies by Henry Holden Huss, which reveal the refined fancy, delicate workmanship of this composer. My favorite of the four is a wrist study—if you wish to put the case technically—in D, Prelude No. 2. It is full of charm and harmonic variety. The third prelude is for the right hand alone. Mr. Huss also contributes a graceful menuet and a gavotte—both well worth playing. August Spanuth has achieved the difficult and usually ungrateful task of arranging Paderewski's "Manru" for piano solo. The entire opera is given in a very satisfactory bird's eye glance. Schirmer is the publisher. I forgot to mention in the above little list a paraphrase on Wagner's "Tristan and Isolde," by C. E. Le Massena. It is for violin and piano, passion in a pocket edition, and is put forth by Breitkopf & Härtel.
16Fritzi Scheff recently confided to a friend in Philadelphia that Sembrich was getting all her roles this season! Oh! Fritzi, Spitzi Mitzi Scheff, you remind me of the treble clef!
18Timothy D. Sullivan sat in a box at "Messaline" last Friday, and when the Roman chief of police passed through the hall of the revellers, transformed by fear, the political critic remarked:
19"Well, they were up to time in those days!"
21"Strauss Contra Wagner," a brochure by Erich Urban, is announced. Has the battle really begun?
23Studio Musicale.—On Wednesday evening, February 5, the monthly musicale of Charles Konedski-Davis, the violin virtuoso, took place at his studio, 115 West Eighteenth street. As usual a large and fashionable crowd attended, and the program was an interesting one. Among others present were the Baron von Berger, Dr. and Mrs. Clarett, Captain Cullender and the Misses Cullender, E. Hirschfeld, and the beautiful Miss Marguerite Andrews, the Philadelphia belle.
25Mr. Davis played the "Fantasia Appassionata," Vieuxtemps, and the Bach Concerto in a most artistic manner and with an excellent conception of those musical compositions. As an encore he played "Serenade," Pierne, with great delicacy and intensity of feeling. E. Hirschfeld played some very interesting flute solos, which were much appreciated by the audience. His tone was particularly good in the Mendelssohn "Song Without Words," No. 8.
27After the refreshments were served, dancing was indulged in by the younger folks. These receptions are held the first Wednesday in every month, and are very popular among the society friends of Mrs. Davis.
29Third Manuscript Society Meeting.—At the Astor Gallery last Tuesday evening, at half after 8, there occurred a "German-American Night," selection from Reinhold Hermann's opera, "Vineta," occupying the entire evening.
31Inasmuch as the cast was exactly the same as at the meeting of the Musical Salon, reviewed in detail in these columns lately, it is unnecessary to again review the performance, excepting to chronicle that Orton Bradley was at the piano and that Frederic Dean was the "narrator," and also that the performance was remarkably lifeless and cold.
33Thursday evening, February 20, the "Italian-American Night" will occur, under the care of Eduardo Marzo, when a string quartet by Doda, piano Sonata by Gallico, an operatic scene, &c., will be given.
35Concert of Women's Compositions.—The St. Cecilia Club, of Terrell, Tex., recently gave a concert of women's compositions by Adele Lewing, Clara Schumann, Chamade, H. H. A. Beach, Rivé-King, Carreño.
37MACONDA.
39Madame Maconda's high rank as an artist and her charm as a woman are enthusiastically acknowledged, no matter where she appears. North, South, East or West, in the States or in Canada, the verdict is the same. And the best of all is that she deserves all the praise she receives.
41Here are clippings from the Toronto papers, where Madame Maconda sang last week with the Male Chorus Club:
43The Male Chorus Club gave its annual concert at Massey Hall last night, and introduced two artists of the first water, in the persons of Jean Gérardy and Mme. Charlotte Maconda. Both of them won a local popularity that will serve for a good greeting when they again return. Madame Maconda made an immense success. She is well within the pale sacred to prima donnas, because of the rare warmth, brilliance and flexibility of her voice. In the higher range it is remarkably true and clear and expressive. Moreover, she sings well, and produces her notes with delightful ease. Her very best number last night was Delibes' "Les Filles de Cadix." Madame Maconda's singing of the number, which is joyously brilliant, and consequently difficult, was a splendid tour de force. She sang, among other numbers, an air from "La Perle du Bresil," with a flute obligato by Professor Arlidge, which displayed the accuracy, flexibility and melody of her voice.—Mail and Empire, Toronto, February 7, 1902.
45Madame Maconda possesses a soprano as clear as the flute, combined with richness and power. She was recalled again and again, and the audience was insistent on its encores. Her first number was David's "La Perle du Bresil," and in it she at once captivated her listeners with the charm of her interpretation. Her other selections were Gounod's "Connais tu le pays," Schumann's "Nussbaum" and "Aufräge," Grieg's "Solvesgied" and Strauss' "Serenade."—Star, Toronto, February 7, 1902. one of two readings
46Madame Maconda possesses a soprano as clear as the flute, combined with richness and power. She was recalled again and again, and the audience was insistent on its encores. Her first number was David's "La Perle du Bresil," and in it she at once captivated her listeners with the charm of her interpretation. Her other selections were Gounod's "Connais tu le pays," Schumann's "Nussbaum" and "Aufräge," Grieg's "Solvigslied" and Strauss' "Serenade."—Star, Toronto, February 7, 1902. one of two readings
48Madame Maconda was very cordially received. Her voice has gained in fullness and sympathy, and she is certainly one of the most satisfying sopranos that have been heard here for a long time. Her first number, the florid aria from the "Perle du Bresil," by David, was in many ways her best effort. It was brilliantly rendered, and withal with more roundness of tone than one is accustomed to hear from sopranos of her class in this particular piece. Later in the evening she sang the brilliant Polonaise from "Mignon," which was another bright display of vocal ability. The Grieg, "Solvesgied," was very sweetly and truly sung. As one of her encores she gave a very clear-cut rendering of "Les Filles de Cadix."—Globe, Toronto, February 7, 1902. one of two readings
49Madame Maconda was very cordially received. Her voice has gained in fullness and sympathy, and she is certainly one of the most satisfying sopranos that have been heard here for a long time. Her first number, the florid aria from the "Perle du Bresil," by David, was in many ways her best effort. It was brilliantly rendered, and withal with more roundness of tone than one is accustomed to hear from sopranos of her class in this particular piece. Later in the evening she sang the brilliant Polonaise from "Mignon," which was another bright display of vocal ability. The Grieg, "Solvigslied," was very sweetly and truly sung. As one of her encores she gave a very clear-cut rendering of "Les Filles de Cadix."—Globe, Toronto, February 7, 1902. one of two readings
51Madame Maconda was received with great enthusiasm, and gave extreme satisfaction. She is one of the best of the many excellent singers who have been heard in Toronto. Her manner is charming and her voice rich and of great range. Pure and liquid are her high notes and her technic is superb. "La Perle du Bresil," by David, was her opening number. She also sang selections from Gounod, Schumann, Bachleit, Grieg and Strauss with sweet expression. Her first number was with the flute obligato, and was, perhaps, one of the best of her contributions.—World, Toronto, February 7, 1902.
53At the Virgil Piano School.
55Robert Colston Young conducts a free class in the study of time and rhythm every Saturday at 11:15 o'clock, in which all kinds of time and all kinds of rhythm are not only thoroughly explained but actually mastered by the pupils. In connection with this, he is taking up the different dance forms and showing how they have developed from crude and simple forms into the more intricate ones now in use.
57Last Saturday the gavotte and minuet were very interestingly explained, and a short history of their origin and development given; also the way in which these dance forms have been used by different composers and the changes in tempo which have transpired. Interest was further heightened by the playing of Miss Dessie Gould and Master Arthur Jennings, who illustrated the minuet form with compositions from Bach and Beethoven, followed by the playing of a gavotte by little Catherine Hurst, in which the pure and simple gavotte form was strictly adhered to. These lessons are proving of great value to students and are highly interesting.
59Who Gave the First Lecture on "Manru"?
61It would seem that it is never quite safe to make positive statements, as the following letter will explain:
63Editors The Musical Courier:
64Permit me to correct an error on page 45 of your last issue (February 9), relative to Mrs. Stocker's lecture on "Manru." If the date there given of her "delineation" is correct, she is not the first to give a public lecture on the subject. On November 3, 1901, at the University Settlement, New York city, I gave a lecture-recital of "Manru," telling the story and playing and singing many examples, also calling attention to the leit-motifs. The audience, numbering over 100, came from different parts of the city, and expressed so much pleasure at hearing the recital that I repeated it on February 2, 1902, at the same place. My other recital you have noted on page 42. It was attended by about 175 people. Very truly,
65Walter L. Bogert.
66Flushing, N. Y., February 8, 1902.
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