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Musical Courier 1902-02-19: Vol 44 Iss 1143, 1902
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1set of symphonic variations by Hans Koessler, the Bavarian composer. Strauss' "Don Juan," however, was promised, but the promise has not been fulfilled, owing to the fact that sufficient time could not be found for rehearsals. Perhaps Mr. Wood will see his way to playing it at a symphony concert.
3On Wednesday afternoon Madame Grunert gave a vocal recital at Bechstein Hall. She was assisted by the talented pianist Miss Angela Anderson, and Herr Louis Pecskai, violinist. Madame Grunert has a fine contralto voice, but she should study seriously and for some time before singing again in public. The most enjoyable feature of the concert was the admirable playing of Miss Anderson in pieces by Chopin, Schumann and Tchaikowsky. Musical sensibility, fluent technic and refined phrasing distinguished her performance.
5London Notes.
7The Prince of Wales has approved the appointment of Henry M. Morris as honorary secretary of the Royal Amateur Orchestral Society. Mr. Morris, who is one of the best known amateur violinists in Great Britain, has been for many years a prominent member of the society.
9The Prince of Wales will be present at the smoking concert of the Royal Amateur Orchestral Society on February 5, and it is also officially announced that the King may possibly attend.
11Miss Hilda Peppercorn (sister of the well-known pianist, Miss Gertrude Peppercorn) has just taken the associated board scholarship for piano at the Royal Academy of Music.
13Robert Newman has taken a lease of the Comedy Theatre for the production of a new play written by Albert Chevalier and Tom Gallion, entitled "Memory's Garden." This new departure of Mr. Newman's will be watched with keen interest by his Queen's Hall patrons.
15Electa Gifford.
17MISS GIFFORD sang with the Chicago Orchestra, Theodore Thomas conductor, in a Beethoven program recently, and earned the following notices:
19"Ah, Perdido!" was sung by Miss Electa Gifford, who in this as in the two Clärchen songs, given later in the afternoon, proved that the years since she last was heard here with the orchestra have brought to her pronounced growth both as singer and interpreter. Her voice has rounded and gained in purity, clarity and sweetness. The two Clärchen songs were given with admirable appreciation of the simplicity of style combined with sincerity of emotion, which are indispensable for their rendition. The "Ah, Perdido!" tradition and operatic songstress have stamped as a dramatic aria, and it was a new experience therefore to hear it given yesterday by a lyric singer in a lyric manner. That Mr. Thomas was but returning to the conditions obtaining in Beethoven's day by having the aria thus lyrically is undoubtedly true, and by so doing he not only justified the inclusion of the selection in the historical program, but the success with which Miss Gifford's vocally smooth and interpretatively intelligent delivery of the number was crowned, prove the wisdom of his procedure.—Chicago Tribune, February 1, 1902.
21"Ah, Perdido!" was sung by Miss Electa Gifford with much beauty, delicacy, art and intelligent appreciation of the essentially lyrical nature of the number. The Clärchen songs were rendered by Miss Gifford in a brilliant and charming manner.—Chicago Post, February 1, 1902.
23Miss Gifford's voice proved well suited to the scene and aria, "Ah, Perdido!" and her sympathy with and comprehension of the solo were very evident.—Chicago News, February 1, 1902.
25Miss Gifford greatly added also by singing Clara's songs beautifully, with fine expression and artistic intelligence. Her voice has broadened under recent training, and she uses it with discretion and taste.—Chicago Chronicle, February 1, 1902.
27ADAH CAMPBELL HUSSEY.
29New Contralto from Boston Sings at Ruben's Concert.
31L. M. RUBEN gave the first in a series of operatic and dramatic mornings in the grand ballroom of the Waldorf-Astoria last Friday before an audience of richly attired women, among whom there were many professional as well as social leaders. The program was arranged to appeal to women of leisure, and also to those artists who crave occasional relaxation from the routine of more serious works. Miss Adah Campbell Hussey, a contralto from Boston, was the only newcomer among the artists.
33It is a pleasure to record that her singing proved one of the artist delights of the morning, and this proved all the more so because the singer's name had not been previously heralded as one of those who would appear. The program which follows will show that Miss Hussey had to comply with the demand and sing something in keeping with the plan of these mornings:
35Falstaff's Song…………………………………………………Fischer
36When Love Is Done…………………………………………..Alling
37Heathe Gregory.
38Irish Love Song……………………………………………..Margaret Lang
39Morning Hymn…………………………………………………Henschel
40Im Rosenbusch…………………………………………………Josef Sucher
41Adagio and Pastorale………………………………………Händel
42Cradle Song…………………………………………………….Schubert
43Rhapsodie Hongroise………………………………………Popper
44Dichterliebe, I., III………………………………………….Schumann
45Liebesglück…………………………………………………….Sucher
46Amorous Goldfish, The Geisha………………………….Sidney Smith
47Wiener Volkslied……………………………………………..Fritz Scheff.
48Accompanist, Signor Centannini.
50"MRS. OR MISS."
51A Trifle by Beatrice Moore.
52Mrs. Vanistart Penrose (a young married woman)…Amelia Bingham
53Captain Treherne, of the Sleaford Slashers,
54(lately returned from Africa)…………………….Frank Worthing
56In singing the above three songs Miss Hussey revealed a voice rich and sympathetic in quality and a vocal method that speaks highly for her teachers. Miss Hussey has studied in Boston with Charles R. Adams and George Parker. In London she studied a term with Henschel. She is the solo contralto of the Eliot Congregational Church, Boston, and her reputation as a concert and oratorio singer is well established throughout New England. Miss Hussey's voice is a real contralto and not a mezzo. As her voice has been beautifully placed her upper notes are as clear and resonant as that of voices of lighter timbre. Her registers are finely blended and for this rare gift she may have nature as well as her teachers to thank. It is not often that one hears a pure contralto so even and smooth and so perfect in the emission of tone.
58Miss Hussey sang her songs charmingly. It was plain to see, simple as were these songs, that the artist was a woman of refinement, dignity and skill. Heathe Gregory, the young basso, has made a name for himself as a drawing room singer. The numbers which he sang from Schumann's "Dichterliebe" cycle were "Im wunder schöne Monat Mai" and "Die Lilli, Die Rose." It should be said, however, that the young basso is hardly yet advanced enough for the lieder of Schumann. But he sang the songs by Fischer and Alling in capital style. The 'cello solos by Gérardy were most beautifully played, and as an extra number he performed an arrangement of Pergolesi's old Italian song, "Nina." Fritz Scheff sang her numbers like the clever little soubrette that she is, and when obliged to appear again gave the amusing, nonsensical bit, "If No One Ever Marries Me," from Liza Lehmann's "Daisy Chain." The sketch by Amelia Bingham and Frank Worthing portrayed in a laughable manner a harmless flirtation between a newly married woman and the exaggerated type of Englishman, which we trust exist only on the stage or in the brain of the novelist. Signor Centannini accompanied for the singers. Friday morning, February 21, is the date of the second operatic-dramatic morning, and the artists announced are Mme. Josephine Jacoby, Miss Julie Geyer, Andreas Schneider, Bernard Sinsheimer and Paul Kefer. The program begins at 11:30.
60Recital by a Becker Pupil.
62GUSTAV L. BECKER presented his pupil, Miss Johanna Reidenbach, in a piano recital at his home, 1 West 104th street on the morning of February 8, with the assistance of Otto Schubert, baritone, pupil of Señor Carlos N. Sanchez. The program follows:
64Prelude and Fugue in C minor, Vol. 2, No. 2…………………Bach
65Etude, Posthumous, No. 2………………………………….Chopin
66Prelude, op. 28, No. 15………………………………………Chopin
67Love Me or Not……………………………………………..Secchi
68Serenade………………………………………………………Nevin
69Sonata in C sharp minor, op. 27…………………………….Beethoven
70Evening Star (Tannhäuser)…………………………………Wagner
71Kreisleriana, op. 16, Nos. 1 and 4………………………….Schumann
72Rhapsodie, op. 79, No. 2…………………………………..Brahms
73Impromptu, op. 142, No. 2………………………………..Schubert
74Spinning Song……………………………………………….Mendelssohn
75Im Herbst………………………………………………………Franz
76Ich Liebe Dich……………………………………………….Schultz
77Fantaisie in C minor………………………………………..Mozart
78(With second piano part composed by Grieg, and played by Mr. Becker.)
80Miss Reidenbach's playing was marked by musicianly feeling and emotional sincerity. Her technic was well balanced and ample for her program; in speed, accuracy, versatility, and especially in her interpretation, she was entirely satisfactory. Her playing shows repose and dignity unusual in a girl of just nineteen.
82Mr. Schubert's success was immediate and unmistakable. He has a sympathetic voice, and his singing shows fine phrasing and good enunciation.
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