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Musical Courier 1902-02-26: Vol 44 Iss 1144, 1902
87 lines. Read by computer on 21 September 2026. Printed page 9. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1BUFFALO.
2BUFFALO, February 13, 1902.
4The season of grand opera in English has been followed by a renewed interest in music in many directions. The first two of the recitals at the Teck by the Grau artists were given by Mme. Suzanne Adams, assisted by Leo Stern, 'cellist, and Madame Schumann-Heink, accompanied by John Lund. These artistic recitals were attended by large and appreciative audiences.
6January 26 was given the first of the series of five Sunday night concerts, under the direction of Joseph K. Hartfuer.
8Mrs. Minehan, Buffalo's favorite contralto, was the soloist. Mrs. Minehan was in splendid voice, and her selections were given artistically and in her own pleasing manner.
10At the Immaculate Conception Church in Edward street Sunday evening there was a sacred concert and lecture, under the direction of William S. Waith. The following participated in the musical program: Miss Kate Tyrrell, soprano; Mrs. Clara Barnes-Holmes, alto; J. R. Williamson, tenor; R. O. Riester, baritone; George C. Sweet, bass. The ensemble work of this well-known quintet of the First Presbyterian Church is remarkable, and no concert this season has given more genuine pleasure to music lovers than this one.
12Miss Edith Sterling Nichols, who spent the last two years in Boston pursuing her musical studies, gave a song recital in the Twentieth Century Club January 23. Miss Nichols' selections were of the best and were given in a scholarly manner. Much attention was given to details, and Miss Nichols proved her thorough training.
14Among the numbers enthusiastically encored was Miss Nichols' own composition, "Two Birds," a bright, dainty little creation.
16Mrs. Frank Davidson was the accompanist of the evening, and her artistic work deserves the most unalloyed praise.
18Richard Fricke, 'cellist, gave his numbers in his well-known musicianly manner, and with beautiful tone effects.
20The concerts given by Holy Angels' Choir Glee Club, January 27 and 28, were of unusual excellence. Ralph Kellert, the Russian boy violinist, assisted, and won well deserved praise by his masterful reading of well-known compositions by the masters. His repertory includes selections by Bach, Beethoven, Svendsen, Mendelssohn and Wieniawski.
22The Glee Club, under the direction of the capable organist and musical director of Holy Angels' Church, H. Collier Grounds, gave their choruses in a most acceptable manner.
24The fifth recital of the series, "Six Evenings with Great Composers," given by Mr. and Mrs. Szag at their home, No. 178 Bryant street, was given on Friday evening, January 24. Mr. and Mrs. Szag are proving themselves to be most valuable additions to local musical circles. Their readings are scholarly and artistic. The thoroughly cultured musician is stamped upon every selection given. These evenings with great composers are helping to raise the standard of musical taste in the city, and such efforts cannot be too highly praised.
26On Thursday evening, February 13, at 8:30 o'clock, a concert was given at the Twentieth Century Club by Miss Anna Otten, violinist, and Herbert Witherspoon, vocalist.
28A recital by Miss Marie Watson, contralto, assisted by Miss Cora Taylor, pianist, was given at the studio of Mrs. Clara E. Thoms on Saturday evening.
30Ludwig Schenck, head of the violin department in the Buffalo School of Music, is conductor of the Rochester Choral Society, an organization numbering one hundred members.
32The Westminster Club held its regular monthly meeting at the residence of Charles L. Denison, 100 Hodge avenue. Thomas M. Osborne, of Auburn, N. Y., gave an address on Beethoven, and illustrated the same by a rendition of the Fifth Sonata. This entertainment was a rare treat and appreciated by all lovers of music.
34A clever musical fantaisie, "Ex Libris," written by Arthur Detmers, was recently presented in the hall of the Twentieth Century Club, and proved most enjoyable.
36One of the most pleasing of the recent concerts was that given at the Twentieth Century Club by the Lyric Quartet, under the direction of Laurence H. Montague.
38The first part of the program consisted of miscellaneous numbers, the last half being devoted to Miss Lehmann's dainty and beautiful "Daisy Chain."
40Mention only needs to be made of the individual members of this quartet to assure the public of a successful concert.
42Miss Chase, who recently came from New York, has a pleasing soprano voice of good range, and is bright, vivacious and always artistic.
44Miss Ada Gates has one of the most magnificent contralto voices in the city, her lower tones resembling those of a beautifully toned organ.
46Frederick Elliott, so well known for many seasons upon the concert platform, was in splendid voice, and always wins favor by giving all selections with a wealth of temperament.
48No baritone is more widely or favorably known in Buffalo than Mr. McCreary, and his work at this concert reached the same high standard that is customary with him.
50Mr. Montague's piano work won much deserved praise.
52Three concerts were given last week at the Teck Theatre by Mr. Roney's five talented boys of Chicago, under the auspices of the board of trustees of the Buffalo Children's Aid Society, for the Newsboys' and Bootblacks' Home. The boys delighted all with their vocal and instrumental selections, and Mr. Roney's efficient training was most evident.
54The last concert of the Orpheus, February 3, was up to the usual high standard of the entertainments by this society and was largely attended. The choruses most enjoyed were "Old Black Joe," arranged by Van der Stucken; "Wein, Weib und Gesang," Strauss. The string orchestra played with its usual effectiveness, under the baton of Director Lund.
56The soloists were Miss Louise B. Voigt, soprano, of New York, and Richard B. Overstreet, of the same city.
58Miss Voigt's selections were given with dramatic fervor, and she is the possessor of a powerful voice of wide range.
60Mr. Overstreet's fine voice was heard to advantage in his selections.
62The Buffalo Chamber Music Club, Miss Marie Miller, soprano, and the Orpheus Male Quartet gave a thoroughly enjoyable concert to an audience of 800 in the Gowanda Opera House last Tuesday evening.
64The Ionian Musical Club gave its fifth recital at the studio of Mrs. Nellie M. Gould this week.
66The works of Schumann and Schubert were studied. Miss Marie Miller, the popular soprano of Richmond Avenue M. E. Church, favored the club with Schubert songs, showing a powerful and beautiful voice under perfect control and much dramatic power. Julius Singer gave a violin solo, by Wieniawski, with beautiful tone and fine technic, showing the spirit of an artist. Frederick Eccleston, of the Lockport Conservatory, rendered two violin selections with much brilliancy, in bowing and fingering proving his superior training.
68The Ionian Male Quartet, composed of Messrs. Steinmann, Vorhees, Taylor and Parke, gave their selections with splendidly balanced voices and much expression.
70N. M. G.
72ROSENTHAL IN PARIS.
74Moriz Rosenthal appeared at a Lamoureux concert in Paris January 1 and had brilliant success, as already recorded in these columns. The London Times affirms that "the audience manifested its joy in every known way, even jumping on the seats and flinging hats into the air," and the Paris edition of the New York Herald writes: "Herr Rosenthal played in a way that made me envy the rapt amazement of those who were listening to him for the first time, played with a stupendous mastery of all the resources of the pianist's art, guided and dominated by a splendid musical instinct, chastened and refined by experience." To these we add some notices from the Paris journals:
76The great attraction of the concert was the appearance in the program of the name of an artist who is famous abroad, but had never been heard in Paris (except when as an "infant prodigy" he appeared twenty-three years ago at the Salle Pleyel!). We speak of Moriz Rosenthal, of Vienna. He played the Concerto in E minor of Liszt, whose pupil he was. It was truly marvellous. He is an incomparable virtuoso. His mechanism possesses an energy, a suppleness and a clearness quite extraordinary; no one could play in a more beautiful style or with more profound comprehension. All the world was enthusiastic. He was recalled and recalled, applauded and applauded, till he consented to play two pieces not down in the program.—Journal des Debats, January 14.
78Moriz Rosenthal, who comes to us from Vienna, was preceded by a well justified reputation. He was a pupil of the great Liszt. He retains from the old master a strong and refined virtuosity, with a poetic sense always awake. Liszt, he says, "loved in him a dominant taste for ideal culture." He excels in interpreting, in their fine lines, and their visionary profundity, the last sonatas of Beethoven, and no one equals him in making live before an audience the Polish inspirations of Chopin, where heroic aspirations end in sobs or are prolonged in dreams, passionate poems, tender and ecstatic, or the familiar pieces of Schumann and the airy songs of Franz Schubert.
80We could judge of Rosenthal's merits by his execution of the Concerto in E minor of Liszt, a proud and varied work, most characteristic of all the symphonic productions of the author. The virtuoso's style is marked by amplitude and brilliancy. His mechanism is impeccable. He will appear soon in a series of concerts, where he will pass in review the classic and modern masters. He will certainly have a triumph. His Vienna reputation is already consecrated in Paris.—Le Gaulois, January 15.
82The interest of the Lamoureux concert consisted in the first appearance in Paris of the celebrated pianist, Moriz Rosenthal, for it is certain that the public has forgotten his appearance as an "infant prodigy" at the Salle Pleyel twenty-three years ago. He played yesterday the E minor Concerto of Liszt with such bravura and such brilliancy that the audience, in its enthusiasm, redeemed a piece. He played two with no less success. He will soon enable us to take his measure in four recitals, during which he will pass in review the great masters of the piano.—Le Figaro, January 13.
84M. Moriz Rosenthal, who so completely inflamed the audience the other Sunday at the concert Lamoureux, gave yesterday his first recital, the success of which was enormous. In this rare seance the talent of the celebrated Vienna artist was displayed with magnificent authority. What constitutes the superiority of M. Rosenthal over his colleagues in pianism is, in addition to a surprising virtuosity and his qualities of tenderness, of poetry and of force, a certain personal, indefinable impetuosity which he brings to the interpretation of the works of Chopin especially. No one understands or plays the music better. We even believe that no one ever gave the finale of the Chopin sonata with such a "sauvagerie" of brio. But not merely did Rosenthal execute remarkably the dolorous and dreary inspirations of Chopin; he renders with infinite perfection the furious movement and the exquisite delicacies of the music of Couperin and Scarlatti.
86It was a marvel to hear the "Etude sur une valse de Chopin" of M. Rosenthal and the "Fantaisie sur Don Juan" of Liszt, rendered by such a virtuoso. Let us say, for it is the truth, that there exist few foreign artists more deserving of the applause of music lovers than Moriz Rosenthal.—Le Matin, January 19.
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