Scan 33
Musical Courier 1902-02-12: Vol 44 Iss 1142, 1902
119 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 34. See the scan on archive.org.
1acter to the program, and then was greeted by a very respectable group of admirers behind the stage, where he received the congratulations of admiring enthusiasts in four different languages. Several of the foreign legations were represented, and the audience was palpably made up of critical music lovers, who were anxious to verify the verdict of other cities where Zeldnerust has been pronounced one of the distinct piano geniuses of the day.
3Berta Grosse-Thomason.
5MME. BERTA GROSSE-THOMASON continues to vibrate successfully between Brooklyn, where she has her school for piano, and Morristown, N. J., where she has a large and interesting class of pupils. Following are programs of two musical meetings by her Morristown class:
7THURSDAY, JANUARY 23, 1902—7:45 P. M.
8Songs Without Words………………………………………Mendelssohn
9Serenade…………………………………………………Schubert-Heiler
10Margaret Hoyt.
11Katharine Clarke.
12Menuet…………………………………………………Biedermann
13Gertrude Behr.
14Erotic…………………………………………………….Grieg
15Katharine Brooks.
16Yester Thoughts………………………………………Victor Herbert
17Margaret Behr.
18Liebestraum, No. 3………………………………………Liszt
19Edith Hull.
21MONDAY, FEBRUARY 3, AT 7:45 P. M.
22Menuet from Sonata………………………………………Grieg
23Margaret Behr.
24June………………………………………………………Tschaikowsky
25Katharine Brooks.
26Valse Lente……………………………………………..Schütt
27Laura Slade.
28Vocal, Three Songs from the Seventeenth Century……..Downs
29Mrs. W. C. Estes.
30Air de Ballet, from Le Cid……………………………….Massenet
31James Dennis.
32Nocturne……………………………………………….Grieg
33Edith Hull.
34Spring…………………………………………………….Grieg
35Butterfly……………………………………………….Grieg one of two readings
36Butterfly…………………………………………………Grieg one of two readings
37Maiden's Wish………………………………………..Chopin-Liszt
38Marian Swords.
40A Texas Institution.
42MUSIC of the best quality is cultivated in many of the cities of the great State of Texas—better music than we usually here in the East credit the Southwest with. At Saint Mary's College, Dallas, for instance, we find the following exceptionally brilliant music faculty: School of Music—Mrs. E. Potter-Frissell, head of the School of Music (pupil of Leschetizky, Sauer and Moszkowski), piano; Miss Mary C. Wheeler (graduate of the New England Conservatory), piano; Miss Clara Crosby (graduate of the New England Conservatory), piano; Miss H. Ethel Shepherd (graduate of the Toronto Conservatory of Music and pupil of Signor D'Auria), vocal culture and tone production; Herr Fritz Schmitz, violin; Edwin Klahre (instructor at the New England Conservatory of Music, Boston, Mass.), examiner in the piano department.
44A recent recital by Mrs. E. Potter-Frissell, assisted by Miss H. Ethel Shepherd, furnished the following program, which is an evidence of the character of the work done:
46Toccata in D minor………………………………………Bach-Tausig
47Sonata, op. 27, No. 2………………………………….Beethoven
48Mrs. E. Potter-Frissell.
49Fair Jessie……………………………………………..Von Fielitz
50Miss Shepherd.
51Prelude in E minor………………………………………Chopin
52Ballade in A flat……………………………………….Chopin one of two readings
53Ballade in A flat………………………………………..Chopin one of two readings
54Mrs. E. Potter-Frissell.
55Irish Love Song………………………………………..Lang
56The Spring Has Come………………………………….White
57Miss Shepherd.
58Song Without Words, in F major………………………..Mendelssohn
59Intermezzo in Octaves…………………………………Leschetizky
60Etude in D flat………………………………………..Liszt
61Mrs. E. Potter-Frissell.
63TROUBLE AT THE ADELAIDE UNIVERSITY.
65FOR some time a bitter controversy has waged between Prof. Joshua Ives, head of the music department at the University of Adelaide, South Australia, and S. J. Way, the chancellor of the university. Letters from both gentlemen have appeared in the daily papers of Adelaide. The dispute seems to be, as far as we can judge from the reports and letters in the Adelaide papers, over the examinations in the department of music. A special case is cited in the person of Miss Florence Way Campbell, a niece, by the way, of the chancellor. As we are not yet in possession of all the facts, we are unable to take sides in the matter. However, it would seem from the subjoined letter in the Advertiser, of Adelaide, for December 23, 1901, that Professor Ives has a real grievance against the university. Here is his letter, which we republish:
67THE UNIVERSITY AND FAIRNESS.
69To the Editor:
70SIR—On Friday I asked the registrar to allow me to see the minute book of the board of musical studies, and to give me a copy of a certain pass list I had issued. He refused. I pointed out that as professor of music and as a member of the board of musical studies I had a right to expect compliance with my requests. The registrar replied that he was acting under instructions from the chancellor and vice-chancellor. Further comment is unnecessary. I am, etc., one of two readings
71SIR—On Friday I asked the registrar to allow me to see the minute book of the board of musical studies, and to give me a copy of a certain pass list I had issued. He refused. I pointed out that as professor of music and as a member of the board of musical studies I had a right to expect compliance with my requests. The registrar replied that he was acting under instructions from the chancellor and vice-chancellor. Further comment is unnecessary. I am, &c., one of two readings
72J. Ives.
73The University, December 21, 1901.
74The dispute between Messrs. Ives and Way has become a State problem. On Saturday, December 21, 1901, Mr. Price, in the House of Assembly of the South Australian Parliament, drew attention to Professor Ives' reply to the chancellor of the university. Continuing, Mr. Price said:
75"This appeared to be a complete denial, and showed that the chancellor had used his position to further the interests of a relation." Mr. Price asked the Premier to do his best to bring about a full inquiry.
77Peck-Ensworth Recital at Norwich, Conn.
79SARAH KING PECK, soprano, and George Ensworth, baritone, united in a song recital at the Norwich Club last Tuesday evening, giving a program similar to that they gave at Carnegie Hall late last season. It was a very pleasant affair, each singer winning new laurels under circumstances which made them well worth the winning.
81Miss Peck made a great hit with the Tschaikowsky "Farewell of Jean d'Arc," having to sing an encore, New's "Mighty Lak' a Rose," which she sings charmingly. Dramatic in highest degree was the singing of Mr. Ensworth in Von Fielitz's "Anathema," and both singers received numerous recalls after their solos and duets. F. W. Riesberg was at the piano. After the recital Mr. and Mrs. George Palmer entertained the participants and a few friends at supper, some vocal and instrumental music (the latter by Mr. Riesberg) adding to the pleasure of the evening. Said the Norwich Bulletin:
83Miss Peck rendered charmingly and in fitting spirit Mozart's lullaby, "Wiegend," and Roeder's "Nachtliebet Duft," while in the English ballads "Nymphs and Shepherds," by Purcell, and "Cherry Ripe," by Horn, she gave her listeners great pleasure. Of the lighter music, however, Van der Stucken's "O Come With Me" was probably her most perfectly rendered song, and it won enthusiastic and hardly restrained applause. But the most exacting number on her program was the aria by Tschaikowsky, entitled "Abschied der Johanna."
85Miss Peck has a voice of excellent quality, full, strong and sweet. Mr. Ensworth's baritone is rich and powerful and well trained. Both have perfect command of the vocal organs, enunciate distinctly and sing with perfect ease. In the duets their voices blended exceedingly well.
87Mr. Ensworth was appreciated in all of his numbers. The "Be-douin Love Song," heard here several times, has certainly not been more finely sung than on Tuesday evening. Aylward's "Beloved, It Is Morn," "Heimliche Grosse" and "Anathema," by Von Fielitz, were equally well done, the latter being especially brilliant, and winning its share of the approbation with which the audience favored all of Mr. Ensworth's work. "Le Muletier de Tarragone," by Henrion, was the musical number best calculated to show the singer's abilities, and was rendered with fine effect.
89Hanchett.
91MR. HENRY G. HANCHETT returned from his Western and Southern tour just in time to meet his interpretation class last Thursday, having been absent nearly three weeks, during which he lectured and played before schools and conservatories from Chicago to New Orleans and Nashville. His visits are looked for regularly by a number of prominent institutions and are received with enthusiasm. The subject of his lecture during the tour just closed was "The Classical and Romantic Schools of Composition; Their Development and Contrasts. The illustrations (played by the lecturer) were as follows, except that at the Sherwood School of Music in Chicago, in order to allow more time for the discussion of the theme, the Saran Fantaisie was omitted:
93G minor Organ Fantaisie………………………………….Bach-Liszt
94Consolation Andante in B flat, op. 62………………………..Dussek
95The Adieu, first movement from Sonata in E flat, op. 81…Beethoven
96Fantaisie in form of a Sonata, op. 5………………………..Saran
97Second Ballade, op. 38………………………………….Chopin
98Bird as a Prophet, from Forest Scenes, op. 82, No. 7……Schumann
99Lohengrin's Reproof to Elsa……………………………….Wagner-List
100Feu Follet (Will o' the Wisp)………………………………Prudent
101Galop Chromatique………………………………………Liszt
103Dr. Hanchett returns to his usual rush of local engagements, for aside from the interpretation class just mentioned, he began a new series of recitals on Thursday evening before the Board of Education, speaking to a large audience on "The Materials of Musical Composition," with an extended program of illustrations. Three more recitals remain in this course, and then follow at once the eight recitals of the Brooklyn Institute course on "Musical Contrasts." These recitals will be reported from time to time in our columns. Dr. Hanchett is planning another tour at the conclusion of the extensive courses outlined above.
105A Query.
107BUFFALO, N. Y.
109Editors The Musical Courier:
110A FEW weeks ago a letter by N. J. Corey, of Detroit, Mich., was reproduced in THE MUSICAL COURIER, and ever since I have wanted to ask why Baernstein is considered "the only basso in the country" who is equipped to sing Mephistopheles in Gounod's "Faust." True, he is a great artist with a beautiful voice, but are there not others among the many bassos of whom we read articles in your paper who could give a good performance of the part?
112I understand that this role requires histrionic talent of a special character; but is Baernstein the only basso outside of the Grau Company who possesses this talent, as stated by Mr. Corey? I do not wish Mr. Baernstein's many admirers to think that I am trying in any way to cast slurs on his work. I have heard him sing, and his refined, subtle art was a source of delight; but Mr. Corey's statement strikes me as being most extraordinary.
114A SUBSCRIBER.
116MARGARET GOETZ.—Miss Margaret Goetz, of New York, and Miss Vine Warner, of Chicago, sang Brahms' duet, "The Gypsies," at the large musicale given at Mrs. Charles Merritt Fields, Brooklyn, Saturday, February 8.
118Miss Goetz and Miss Warner also sang songs by Schubert, Franz, Chaminade, and Mrs. Gaynor and Julian Pascal played several Chopin and Rubinstein numbers. Miss Margaret Goetz engagements for February were February 1, song recital at Pierrepont Assembly Rooms, Brooklyn; February 4, lecture recital on "Folksongs," Women's Music Club, Bergen Point, N. J.; February 8, musicale at Mrs. Chas. Merritt Fields, Brooklyn; February 14, songs of Schubert, at Institute Hall, Board of Education series, New York; February 18 and 27, song recitals at Montauk Club, Brooklyn, on folksongs and songs of Schubert; February 24, song recital of modern classic composers at Mrs. Frank M. Lupton's, 839 St. Marks avenue, Brooklyn.
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