Scan 32
Musical Courier 1902-02-12: Vol 44 Iss 1142, 1902
71 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 33. See the scan on archive.org.
1Greater New York.
3NEW YORK, February 10, 1902.
5J. HARRY WHEELER, who for a dozen years past has been at the head of the department of vocal music at the Chautauqua Summer School of Music, has resigned his position. There has been such a demand upon Mr. Wheeler for lessons during the coming summer that he has concluded to teach in New York city during the months of July and August.
7With the going of Dr. Palmer and Mr. Wheeler some of the tenderest ties which have bound singers from all over the country to Lake Chautauqua and its famous summer school have been severed. What the plans of the management are as to their successors are not announced at this writing, but the country at large will be interested in this.
9At St. Paul's Methodist Episcopal Church, West End avenue and Eighty-sixth street, last Tuesday evening, Organist Carl G. Schmidt gave his sixth organ recital, recital number 56 in all. He was assisted by the entire choir of the church, some twenty singers. Other duties engaged the writer elsewhere, so he quotes an able substitute in the following:
11Mr. Schmidt is an able, scholarly organist, who knows his music well, and plays with taste and discretion. Particularly delicate in shading was the religious prelude by Huss—a devotional prayer. The difficult pedal work in the Rheinberger Sonate in A came out good and strong; a fine composition, well played. Beethoven's stupendous overture to Goethe's drama "Egmont," was played with the skill and broad conception of the experienced organist. It was at the end a veritable song of triumph.
13The choir sings well, the old German carol, "Silent Night," a capella, staying in tune throughout; it was a quaint, old-fashioned thing, and the good attack and excellent tenors were remarked on by various listeners. Good enunciation and a clear high soprano has Mrs. Arthur K. Schiller, who sang Benedict's "I Mourn as a Dove," and in Foster's anthem, "Let Not Your Heart be Troubled," the basses rang out well. These were the singers:
15Solo Quartet—Mrs. Arthur C. Schiller, soprano; Miss Sara F. Evans, alto; J. Edward McGahen, baritone; John J. Bergen, tenor.
17(no line here) one of two readings
18Sopranos—Mrs. Breeze, Miss E. Heywood, Miss F. Kenny, Miss C. L. Watrous, Miss Fueslein, Miss Marion Franklin, Miss Frederika Snow, Miss Ruth L. Winslow.
20Altos—Miss Lulu F. Clark, Mrs. Brown, Mrs. J. R. Humphreys, Miss C. S. Weil. one of two readings
22Alto—Miss Lulu F. Clark, Mrs. Brown, Mrs. J. R. Humphreys, Miss C. S. Weil. one of two readings
23Tenors—H. G. Morgan, H. W. Prentice. Frank Wrousky.
25(no line here) one of two readings
26Bassos—E. C. Bennett, James M. Parkinson, R. H. Hester, Robert A. Winslow.
28The next recital will take place Tuesday evening, March 4.
30Margretta Lochner, soprano, one of the pupils of Parson Price, was soloist at the Brooklyn Quartet Club Ladies' Chorus concert of last week. She sang Blumenthal's "My Queen," and one who was there writes that "she received such enthusiastic applause that she had to sing an encore, a little known song, Sarmiento's 'This Kiss I Offer,' which was likewise well received. She deserved her success, and is a credit to Mr. Price." Some of the best known professionals of the present day are pupils of this teacher, and it appears that Miss Lochner is now to be added to the list.
32The following, from the associated press items in the daily papers of the past week, is interesting to many:
34"Governor Odell of New York has contributed $500 toward the expenses of the New York State Musical Convention, to be held in Newburgh next summer, and Prof. Charles E. Moscow, through whom the contribution was made, says in explanation:
36"'Benjamin B. Odell, Jr., is a lover of music, and at one time played the violin. What he did for the New York State Music Teachers' Association, in guaranteeing the $500 for the local expenses, was done from friendship and to promote and revive, if possible, the art in our ragtime, musically forlorn State.'"
38Professor Moscow was for years a vice-president of the New York State Music Teachers' Association, and with President L. A. Russell was instrumental in securing Governor Odell's interest in the coming meeting. The program committee had another meeting on Chairman H. W. Greene's call last Friday evening, when further plans for the meeting were discussed. The dates are June 24, 25 and 26, Newburgh, N. Y.
40The Aeolian Company is wide awake as to the needs of patrons, and "Maid Marian," the new opera, is in the February Bulletin, just issued, as well as the gems of "The Toreador" and "The Sleeping Beauty." Next we shall hear of their having "Manru" ready; verily, there is no excuse for anyone to be ignorant of current music of all kinds nowadays.
42J. Warren Andrews' pupil, Mrs. Georgiana Frye-Cheney, has just been engaged as organist of the Parker Memorial Church (Unitarian), Boston. She has given a number of recitals in the New England States recently. Alfred Willard, another pupil, gave a recital at St. Mary's Church, Burlington, N. J., last week.
44Stainer's "Crucifixion" and Dubois' "Seven Last Words of Christ" are being given at the Church of the Divine Paternity the evenings of February 9, 16 and 23. Mr. Andrews is to play at the Charleston (S. C.) Exposition the first week in March.
46The Albertus Shelley Orchestra gives a concert at the Y. M. C. A., 125th street, near Fifth avenue, this week. Friday evening. The concert is for the purpose of raising a fund to buy a pair of kettledrums. The orchestra will play seven numbers. There will be a vocal soloist, and Mr. Shelley will also play solos.
48Last Sunday he played in Philadelphia, both afternoon and evening.
50Walter C. Gale began his second series of three organ recitals at All Souls' Church last Monday evening, the rest occurring on the second Monday evenings of March and April. A feature of the last recital is the fact that all the composers represented are still living.
52ZELDENRUST.
54ZELDENRUST, the Holland pianist, who created a sensation by his masterly performance at each of his New York recitals in Carnegie Hall, and who took Washington by storm upon the occasion of his appearance at the White House before a distinguished assemblage, January 17, gave a recital at the National Capital January 21 before another enthusiastic audience. Of his brilliant performance the Washington critics expressed themselves as follows:
56Eduard Zeldenrust appeared at the Columbia yesterday afternoon before an audience unlimited in enthusiasm. During the recital he rendered a series of compositions which ranged from Beethoven to Liszt, and which comprehended almost every phase of piano playing.
58From the first few bars of the Beethoven number, op. 31, No. 2, Zeldenrust's equipment in the mechanics of piano playing was fully established. Indeed his memory and hands seem to have reached a superlative stage of development. Through all the range of his program he played with a confidence amounting to surety, and with a brilliancy which ranks him well among the notable performers who have played in the capital these past two years. The wonderful Beethoven Sonata was performed in a calm and reverent spirit, which touched every musician in the audience. There was no display. The performance was wholly without sign of mannerism. Then came Schubert's op. 142, a melody which almost every one is familiar from his childhood and which is associated with the tenderest emotions. The recital was given under the patronage of the German Ambassador, the Netherlands Minister, Countess Cassini and Mrs. R. H. Townsend. The boxes included Mrs. C. A. Williams and a large party, Representative and Miss Tongue, Senator Proctor and a party, and the general tone of the audience insured Zeldenrust the hearty support of fashionable Washington if he should conclude to appear in a second recital.—The Star, Washington, D. C., January 22, 1902.
60Zeldenrust came to Washington under the direct patronage of Baron Gevers, Minister from the Netherlands, and with the generous endorsement of the press of other cities. An unusually enthusiastic audience greeted him.
62Zeldenrust may, without any reservation, be termed a perfect technician. In his fugues, scales or anything resembling brilliant execution, he is thoroughly at ease and eminently successful.
64Another feature of the recital was the evident care and commendable forethought with which the program was arranged. His numbers were evidently selected with a view to pleasing almost all classes of music lovers. There was the wonderful Wagner-Liszt's "Isolde's Liebestod," from "Tristan und Isolde," and in striking contrast the pianist gave Chopin's familiar waltz in D flat, op. 64. In justice to Zeldenrust, it must be said that the selection has never been played here with more brilliancy and dash.
66The chief novelty in the Dutch artist is the fact that he is new and, consequently, an interesting study to enthusiasts, while the principal attributes of his work, viewed from an abstract standpoint, are his unquestionable technic and great gusto. In selections where in the latter was permissible he fairly revealed and seemed eager to bring out all the volume in the piano. Though these traits are particularized, Zeldenrust is not lacking in temperament. He gave Schubert's "Theme and Variations" a smooth, plaintive reading, and his delicate, sympathetic rendition of Mendelssohn's "On the Wings of Song" elicited genuine and spontaneous applause. A group of Chopin selections, including the well-known Ballade in A flat, the pathetic Etude No. 7, op. 25, in C sharp, and the short but brilliant Etude No. 2, from the same work, were among the best numbers of the afternoon. His reading of the No. 14 Rhapsodie caused the audience to remain in their seats until the pianist had bowed his acknowledgments of their hearty applause no less than five times.—The Times, Washington, D. C., January 22, 1902.
68The following is from the Washington Post of January 26:
70It was too bad that the incessant rain of Tuesday last adversely affected the first piano recital in this city of Eduard Zeldenrust at the Columbia Theatre. The performance deserved a much larger audience, and no doubt the brilliant pianist will be accorded a very hearty reception should he decide to visit Washington again. The emphatic favor with which his recital was received was evidenced by the ovation accorded him at the close of the concert. Not one in the audience made an effort to leave, and in response to the continued applause Zeldenrust added four numbers of varied char-
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