Scan 24
Musical Courier 1902-02-12: Vol 44 Iss 1142, 1902
140 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 25. See the scan on archive.org.
1SECOND LIEDERKRAHNZ CONCERT.
3THE second concert of the season by the New York Liederkranz, given at the clubhouse of the society last Sunday evening, attracted one of the largest assemblies of members and guests in the history of the society. The program undoubtedly had something to do with the rush to the concert. Lillian Blauvelt and Anton Schott were the soloists, representing widely different vocal schools and periods of musical history in this country. For once something more than mere formal congratulations were earned by Dr. Paul Klengel, the conductor of the Liederkranz, for his program contained only three novelties, quite enough for musical digestion in one evening. The usual number of new works presented at large concerts of the German singing societies hereabouts is six.
5The orchestra, made up of Philharmonic men, opened the concert with the overture to Weber's "Oberon." Then the veteran Herr Schott, vigorous in appearance despite his shaggy gray beard, walked across the stage. He received an ovation and sang with his old-time impassioned eloquence Siegmund's Love Song from "Die Walküre." At the close of the song Herr Schott was greeted with tumultuous applause, and he was compelled thus early in the evening to respond with another song. Accompanied at the piano by Louis Victor Saar, Herr Schott sang Schumann's "Grenadiers" as it has not been sung in New York in some time. His was the real military, patriotic rendering. Herr Schott sang the incidental tenor solo in Saar's stirring chorus, "Schlachtgebet," and the singing of the Maennerchor, together with the soloist, was thrilling.
7Mme. Blauvelt aroused great enthusiasm by her singing. First she was heard in Händel's "Sweet Bird," to orchestral accompaniment and a flute obligato played by Charles Kurth. Her second number, the Bolero from Verdi's "Sicilian Vespers," was another popular selection from her repertory, and in both the soprano gave evidence of high artistic development.
9We are happy to make this statement, because Mme. Blauvelt is an American woman, and a Brooklyn woman at that, and moreover received the foundation of her vocal training in the United States, partly at the National Conservatory of Music. Mme. Blauvelt, in addition to her solos, also sang two incidental solos, one with the Maennerchor, "Glockenthüren's Töchterlein," by Reinthaler, and the other Schubert's "Gott in der Natur," sung as the closing number by the two choruses.
11And now a brief mention of the novelties. The first, "Die Ablösung," written in ballad style by Hermann Hutter, is pathetic in character, but will probably not cause any undue excitement among singing societies. The other two, "Zu ihren Füssen," a setting by von Othegraven, and "Liebeskündigung," were sung consecutively, and so afforded a good contrast, but beyond this did not awaken enthusiasm. "Liebeskündigung," by Kiemser, is a setting to a Roumanian folkslied, in which young women are warned not to grow into old maids. As old maids no longer exist in the civilized countries the humor of the verses is lost. The members of the Liederkranz Ladies' Chorus, dressed in white and dainty blues and pinks, made an entrancing picture when they stood before the audience and sang three songs by Robert Schumann, "Rosamien," "Die Tambourinschlägerin" (Tambourin Player) and "Triollet." These characteristic songs were sung to excellent orchestral accompaniment arranged by Dr. Klengel. Miss Emma Pilat, of the Women's String Orchestra, who was announced to play a group of solos, became suddenly ill Sunday morning, and, as she was prevented from appearing at the concert, the orchestra, in place of her numbers, performed "Anitra's Dance," from Grieg's "Peer Gynt" suite. The other orchestral numbers played were the Idylle from Otto Floersheim's miniature suite "Liebesnovelle," and "Danse Macabre," by Saint-Saens. The former was as tender and gracefully melodious as the latter was weird and uncanny, and in both the orchestra was heard to the very best advantage.
13Many professional musicians attended the concert. Emil Paur, Arthur Claassen, Leo Schulz, M. J. Scherhey were there, and apparently enjoyed the program. After the Liederkranz sang Saar's "Schlachtgebet," Anton Schott escorted the composer to the stage to share in the reception of his composition.
15Ilma Dore.
17THIS young singer has received many compliments upon her success at her début concert in Carnegie Lyceum, which is reviewed elsewhere in this paper. She was also the recipient of some good press notices. Below two of these are given:
19Miss Ilma Dore gave a song recital in Carnegie Lyceum last night. She was heard in a varied program, one of the most successful numbers being Foote's familiar "Irish Folksong," which she gave very prettily. Louis Blumenberg's artistic 'cello solos and obligatos were much enjoyed.—New York Herald.
21Miss Ilma Dore gave a song recital in Carnegie Lyceum last Tuesday night. This young girl is very promising, and the varied program which she was heard in, comprising the names of Verdi, D'Hardelet, Schumann, Abt, Strauss, Grieg, Chaminate, Auber and others, was sweetly sung. One of the most successful numbers was Vrader's "La Paloma," which the audience made her sing over and over again. one of two readings
22Miss Ilma Dore gave a song recital in Carnegie Lyceum last Tuesday night. This young girl is very promising, and the varied program which she was heard in, comprising the names of Verdi, D'Hardelet, Schumann, Abt, Strauss, Grieg, Chamande, Auber and others, was sweetly sung. One of the most successful numbers was Vrader's "La Paloma," which the audience made her sing over and over again. one of two readings
24Louis Blumenberg, the 'cellist, assisted, and Emil Levy was at the piano.—Harlem Reporter.
26Charity Concert at the Waldorf-Astoria.
28AN excellent concert for the benefit of the Fruit, Flower and Aid Society, of New York, was given at the Waldorf-Astoria last Friday afternoon. The program follows:
30Piano solo, Theme and Variations, op. 91…………………….Raff Augusta Zuckerman.
32Contralto soli—
33Still wie die Nacht………………………………………Carl Bohm
34Es muss wass Wunderbares sein………………………..F. Ries
35Te souvins Tu?…………………………………………..B. Godard
36Mrs. Mildred Hirshberg.
38Violin solo, Fantaisie Appassionata……………………Vieuxtemps one of two readings
39Violin solo, Fantaisie Appassionata……………………..Vieuxtemps one of two readings
40I. Segal.
42Contralto soli—
43Im Herbst…………………………………………………Robert Franz
44The Merry, Merry Lark…………………………………Nevin
45Mrs. Mildred Hirshberg.
47Piano solo, Scherzo Valse………………………………Moszkowski one of two readings
48Piano solo, Scherzo Valse……………………………….Moszkowski one of two readings
49Augusta Zuckerman.
51PADEREWSKI DATES.
53THE following dates have been arranged and booked for the present for the Paderewski tour. Mr. Paderewski has already played a number of engagements in the vicinity of New York:
55New York, February 15, Carnegie Hall.
56Boston, February 19, Symphony Hall.
57Hartford, February 20, Foot Guard Hall.
58New York, February 22, Carnegie Hall.
59Scranton, February 24, New Armory.
60Washington, February 26, Columbia Theatre.
61Richmond, February 27, Academy of Music.
62Baltimore, February 28, Music Hall.
63Philadelphia, March 1, Academy of Music.
64Rochester, March 3, Lyceum Theatre.
65Buffalo, March 4, Teck Theatre.
66Toronto, March 5, Massey Hall.
67Syracuse, March 6, Wieting Opera House.
68New York, March 8, Carnegie Hall.
69Pittsburg, March 10, Carnegie Hall.
70Columbus, March 11, Great Southern Theatre.
71Cincinnati, March 13, Music Hall.
72St. Louis, March 15, Odeon.
73Kansas City, March 17, Convention Hall.
74Lincoln, March 18, Auditorium.
75Chicago, March 22, Auditorium.
76Cleveland, March 24, Grays' Armory.
77Detroit, March 25, Light Guard Armory.
78Troy, March 26, Music Hall.
80Paderewski' Program.
82MR PADEREWSKI'S program for his concert next Saturday is as follows:
84Sonata, op. 53……………………………………………..Beethoven
85Songs Without Words………………………………….Mendelssohn
86Etudes Symphoniques………………………………….Schumann
87Nocturne, C minor………………………………………Chopin
88Etudes…………………………………………………….Chopin
89Mazurka…………………………………………………….Chopin
90Polonaise, F sharp minor……………………………….Chopin
91Au Bord d'Une Source………………………………….Liszt
92Etude de Concert………………………………………..Liszt
93La Campanella………………………………………..Paganini-Liszt
95Tenor Edward Strong.
97THAT this tenor is rapidly assuming a prominent place is evident by the following press excerpts. February 4 he sang in Hoboken, with the Stevens Institute Glee Club, and February 7 he sang in Washington. The notices:
99RECITAL—WOOSTER, OHIO.
101One cannot think of Mr. Strong's singing but to characterize it as exquisite art. The flawless legato of Händel's "Where'er You Walk," the opening song, was a foretaste of the delightful things to follow. Throughout a program of nineteen songs the singer displayed an artistic tone that was admirable. Mr. Strong has an unusually attractive presence, graceful and unaffected.—Wooster (Ohio) Voice, January 11, 1902.
103"MESSIAH"—GREENWICH CONN.
105* * * It had been announced that H. Evan Williams would sing the tenor solos, but it was learned on the afternoon of the concert that he would not appear, and the officers of the club spent a bad quarter of an hour until they were able to secure another tenor.
107Mr. Strong had just finished singing at an afternoon recital, but kindly consented to come to Greenwich and sing in the "Messiah." When the audience heard Mr. Strong's beautiful interpretation of the "Messiah" music they did not regret that the change had been made. Many expressed the opinion that he was the best tenor that had ever sung with the club.—Greenwich (Conn.) News, January 24, 1902.
109GRACE K. FARMER, A MILLER PUPIL.—This young singer needs only time and experience to make of her a first-class concert and church singer. She was recently heard in Buck's "My Redeemer and My Lord," singing it with excellent enunciation and musically; she is a credit to Mr. Presson Miller, with whom she studied.
111Pears'
113Only they who use it know the luxury of it.
115Pears' is the purest and best toilet soap in all the world.
117Adelina Patti says: "It is matchless for the hands and the complexion."
119New York College of Music,
120128-130 East 58th Street.
121(no line here) one of two readings
123ALEXANDER LAMBERT, Director.
124(no line here) one of two readings
126Private Instruction in Piano, Singing, Violin, 'Cello and all branches of music, by a faculty unsurpassed for its excellence.
127(no line here) one of two readings
129SPECIAL DEPARTMENT FOR BEGINNERS.
130All instrumental and vocal students receive free instruction in harmony, counterpoint, vocal sight reading, ensemble playing and free admission to concerts, lectures, etc., etc.
131Students received daily. Catalog sent on application.
132(no line here) one of two readings
134GLENN . . HALL
135TENOR.
136Address:
137CHAS. R. BAKER, Fine Arts Building, or Kimball Hall, Chicago.
139EXCEPTIONAL ADVANTAGES FOR ORGAN PRACTICE ARE OFFERED TO STUDENTS AT THE Guilmant Organ School. FOR TERMS AND FULL PARTICULARS REGARDING USE OF ORGANS, ALSO TUITION ADDRESS 34 West 12th St., NEW YORK.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.