Scan 18
Musical Courier 1902-03-05: Vol 44 Iss 1145, 1902
241 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 19. See the scan on archive.org.
1SINGING TO BIG AUDIENCES.
2A Chat with Watkin Mills.
4A N American writer once described Watkin Mills as the man with the rolling voice, adding, "His voice went right through me and came out the other side." Something of the same sort occurred to me the other evening (observes a representative). I was the famous baritone's guest for a few hours, and his laughter—well, it traveled a long way.
6As most people have heard Watkin Mills, there is little need to describe his magnificent voice. Accustomed to sing to large audiences, he can be understood from the furthest recesses of the biggest buildings the world can boast. Where the voices of the majority of professional singers are scarcely audible the voice of Watkin Mills rings out as clear as a bell.
8"Tell me something about your audiences, Mr. Mills," I asked.
10"They naturally differ a great deal," my host replied. "For instance, in the North of England they like the more sterling stuff, such as Händel and Haydn, whereas in the South they prefer the sentimental ballad. Then, again, you have your musical audience, consisting of people who come for no other purpose than to enjoy the concert, and those who only put in an appearance because it is the fashion to do so. The moment I step onto the platform I can tell whether the audience is a musical one or not. There is something in their faces that betrays a keenness for music. The others—well, you can distinguish them by the way they talk.
12"There are a number of ladies who go to concerts simply to meet each other, and I have an effectual method of dealing with them. First of all I smile at them; and then, if they won't stop talking, I sing at them, looking them full in the face. This is a radical cure. I had a case of the kind the other day. Two ladies in the front row would persist in talking, so I sang at them for all I was worth. In the end they were not only reduced to a state of complete silence, but they actually smiled at me.
14"From a mere cursory glance at anyone present I can learn whether he or she is in sympathy with me. There is a lot in a look, especially in that of the supercilious young lady who rather fancies herself as a musician. What she is murmuring to herself when you are singing is—
16"'I wonder what you think you are doing up there.'
18"There is no mistaking that look. However, I must say that audiences have been exceedingly kind to me—in fact, they generally want more than I am paid to give them."
20"Aren't you somewhat nervous when you face a gigantic audience such as you get at the Albert Hall?"
22"No, I don't feel nervous, but I feel my responsibility. The higher one's position is in the musical world the more anxious one is to please. My chief delight is to sing in a great oratorio like 'The Messiah' or the 'Elijah' before 10,000 people. Then I do feel that the eyes of the multitude are upon me. I know that those in front are real lovers of music, that they are interested in what I am doing. No, nervous in the sense you mean I am not. I would just as soon sing in the Albert Hall before a crowded audience as I would in a small drawing room."
24"But the strain—it must be terrible. Yet I've heard you sing through an entire evening."
26"I have sung as many as twenty-three songs in one night. On my last tour I gave 103 songs in five consecutive nights, and I was never better in my life. That was in Canada. I couldn't submit myself to such an ordeal in this country. My voice wouldn't stand it; the atmosphere is too humid. It's a wonderful thing what a singer can do in the dry, bracing air of Canada and the United States. Yet here in England, now I come to think of it, I once gave fifteen songs and five extras one night."
28"Do you consider that singing is good for the health?"
30Mr. Mills took up a piece of paper, and smiled as he read from it:
32"'The exercise of singing is delightful to nature and good to preserve the health of man; it doth strengthen all parts of the breast, and doth open the pipes; it is a singular good remedy for stuttering and stammering in the speech; it is a knowledge easily taught and quickly learned, when there is a good master and an apt scholar.'
34"That's a quotation from an old book," he said, "and, needless to remark, I don't agree with all of it; but singing is undoubtedly beneficial. For one thing, when you are singing you are getting plenty of fresh air into your lungs, and that must be good for you. I preserve my voice by maintaining health. If a vocalist is in good health he is bound to be in good voice. I keep in health by studying the laws of nature; that is to say, by obtaining all the fresh air I can and living very plainly, taking substantial food and scarcely any intoxicants. A singer, by-the-bye, always has a first-class appetite—at all events, after he has done his work—and a first-class appetite must be good for one. What really keeps me in health is playing golf. My voice has most certainly increased in volume since I became a golfer."
36"You've done a tremendous amount of travel, Mr. Mills. Can you recollect any amusing adventures that have befallen you?"
38"I do my 20,000 miles a year, and I've been to America half a dozen times. My American tours generally average 10,000 miles apiece. Adventures? Here's one. I had occasion to journey to a town in the northwestern province of Canada, to give a vocal recital, and I was informed that they had a very capable accompanist. Well, when I arrived at my destination I sought out the lady and suggested that we should rehearse. But I had no sooner mentioned my songs than the poor woman became absolutely paralyzed. She couldn't even move her fingers; and, what was more, I couldn't make her. Somewhat incensed, I went to the entrepreneur.
40"'Well,' said that individual, 'there is an old German who is a bit of a hermit living three miles away. We've not engaged him lately, and we're not good friends. The fact is he is inclined to get a trifle merry.'
42"I replied: 'Then go and make your peace with that old hermit and persuade him to play.'
44"'However, I went myself, and brought him back with me.
46"'Oh, Mendelssohn, Handel, Mozart; ah, dat ees goot, ah!' he exclaimed when he heard what was wanted of him. 'We will try Mozart'; and we went ahead, and he played splendidly. He had a beautiful touch. On the conclusion of the rehearsal the entrepreneur came up and whispered in my ear:
48"'You take that old man with you to dinner and keep him engaged all the afternoon, and for goodness' sake don't let him drink anything but tea or coffee.'
50"I said that I would do my best, and all went well up to a certain point. At the concert we got through the classical part of the program magnificently, but then came the fatal interval. To my agony my hermit went out. He had a yearning for the refreshment room, and stayed away ten minutes. When he returned his cheeks were flushed, and I knew there was danger ahead. I started with a popular song, but the effect was awful. My hermit was a bar or so late nearly all the way through, and the audience were in roars of laughter. 'Go on,' the entrepreneur whispered to me, 'Plough ahead. He'll come in at the finish.' And so it continued to the end, when we just managed to scrape through with 'God Save the Queen.'"
52"What do you think of the musical profession, Mr. Mills?" I asked in conclusion.
54"Why, that it is a very trying one. The public imagine that when one goes on to sing it's as easy as sitting on a chair. That is because it is a part of one's art to endeavor to lead the audience to suppose that singing is perfectly natural. At the same time it is extremely laborious work, and the life of a vocalist is a most exacting one. It is uncertain, too. Some have a happy way of getting on. They can ingratiate themselves into the favor of concert givers. Even mediocrity can flourish. On the other hand, many persons of real ability fail utterly, the reason being that they are diffident about asking for anything that will further their interests—they lack pushing power. I never advise anyone to become a professional vocalist unless he or she is exceptionally gifted."—Cassell's Saturday Journal, January 22, 1902.
56ERNEST LACHMUND,
58ERNEST LACHMUND is another resident composer whose works are attracting attention in Germany. Mr. Lachmund's home is at Duluth, Minn., and it is from that prosperous and growing city in the lake region that his name is being heralded in Berlin and other German cities. Following are some of Mr. Lachmund's recent compositions and where and by whom performed:
60A concert Waltz (op. 1), "Album Leaf" (op. 2, No. 2) and "Three Songs" (op. 3). The waltz in its whole structure reminds one of similar pieces by Schulhoff, without, however, like the latter, running off only in virtuosity. Rather, even if the theme cannot be called quite original, it is marked in a high degree by excellent workmanship. The repose and simplicity of the "Album Leaf" are especially sympathetic; the first song, "O Moonlight"; the second song, "Heigho, Daisies and Buttercups," is full of Yankee swagger, quite in contrast to the third song, which is based on Eichendorff's noble poem, "Vesper," and the text is musically expressed in the German spirit.
62Suite für Grosses Orchester.
63Tonkünstler Orchester, Berlin, Germany.
64Valse Sérénade, op. 4, cello. one of two readings
65Valse Sérénade, op. 4, 'cello. one of two readings
66Anton Hekking with Philharmonic Orchestra, Berlin, Germany.
67Bruno Steindl, Chicago, Ill.
68Concert Valse, op. 1, piano.
69Mrs. La Burte Shepherd-Crosby, Duluth, Minn.
70Vesper, op. 3, No. 3. Song.
71Miss Kate Waldo Peck, Brooklyn, N. Y.
72O Moonlight, Deep and Tender, op. 3, No. 1. Song.
73Heigho! Daisies and Buttercups, op. 3, No. 2. Song.
74Vesper, op. 3, No. 3. Song.
75Cyril Tyler, Duluth, Minn.
77Following are extracts from foreign criticisms:
78In yesterday's Abonnement concert of the Tonkünstler Orchestra a Suite by Ernest Lachmund was played for the first time. It is a pleasing, cleverly worked out composition of four movements. Following as it does the usual lines of such a work, it nevertheless shows much originality and an unmistakable talent.—Dr. Leopold Schmidt, in Berliner Tageblatt, November 8.
80A suite of four movements for orchestra by Ernest Lachmund was given last evening at the Deutscher Hof. It is skilfully written and also cleverly orchestrated.
81In style it is natural and flowing, and shows that the composer has studied thoroughly and possesses excellent talent.
82The first and last movements were especially well received and heartily applauded.—Berliner Reichsboten, November 8.
84On composers' evening at the Deutscher Hof (November 7) an orchestra suite by Ernest Lachmund was played. This work gives proof of a fine and original talent.
85The orchestration is very effective in parts, and there is an enjoyable swing and go to the whole. The first and last movements appeal more to the masses, while the two middle movements contain finer and more valuable ideas.
86The whole suite received the most enthusiastic applause. Mr. Lachmund is a pupil of the Berlin theory teacher, Robert Klein.—Staatsburger Zeitung.
88EASTER SONGS
90<table>
91 <tr>
92 <th>Blumenschein, W. L.</th>
93 <th>The Return to Heaven</th>
94 <th>2 Keys</th>
95 <th>$ .60</th>
96 </tr>
97 <tr>
98 <th>Dresler, Louis R.</th>
99 <th>O, Lift Up Your Joyful Hearts!</th>
100 <th>2 Keys</th>
101 <th>.60</th>
102 </tr>
103 <tr>
104 <th></th>
105 <th>(With Violin Obbligato)</th>
106 <th></th>
107 <th></th>
108 </tr>
109 <tr>
110 <th></th>
111 <th>O Light that Breaks</th>
112 <th>2 Keys</th>
113 <th>.60</th>
114 </tr>
115 <tr>
116 <th></th>
117 <th>(With Violin Obbligato)</th>
118 <th></th>
119 <th></th>
120 </tr>
121 <tr>
122 <th>Fisher, William Arms</th>
123 <th>Be Comforted, Ye that Mourn</th>
124 <th>3 Keys</th>
125 <th>.50</th>
126 </tr>
127 <tr>
128 <th></th>
129 <th>(A Song of Resurrection)</th>
130 <th></th>
131 <th></th>
132 </tr>
133 <tr>
134 <th></th>
135 <th>O Rock, Lord</th>
136 <th>2 Keys</th>
137 <th>.60</th>
138 </tr>
139 <tr>
140 <th></th>
141 <th>(With Violin Obbligato)</th>
142 <th></th>
143 <th></th>
144 </tr>
145 <tr>
146 <th>Granier, Jules</th>
147 <th>Hosanna!</th>
148 <th>3 Keys</th>
149 <th>.50</th>
150 </tr>
151 <tr>
152 <th>Klein, Bruno Oscar</th>
153 <th>It is not Death to Die</th>
154 <th>2 Keys</th>
155 <th>.75</th>
156 </tr>
157 <tr>
158 <th></th>
159 <th>(With Violin Obbligato)</th>
160 <th></th>
161 <th></th>
162 </tr>
163 <tr>
164 <th>Loud, A. F.</th>
165 <th>Life and Death is King</th>
166 <th>2 Keys</th>
167 <th>.50</th>
168 </tr>
169 <tr>
170 <th>Minetti, Carlo</th>
171 <th>Message of the Lilies</th>
172 <th>2 Keys</th>
173 <th>.50</th>
174 </tr>
175 <tr>
176 <th>Wooler, Alfred</th>
177 <th>Rise, Glorious Conqueror</th>
178 <th>2 Keys</th>
179 <th>.50</th>
180 </tr>
181</table>
183Oliver Ditson Company, Boston
185NEW EASTER ANTHEMS
187<table>
188 <tr>
189 <th>Burdett, George A.</th>
190 <th>Green, Vincent E.</th>
191 </tr>
192 <tr>
193 <th>Dressler, Louis R.</th>
194 <th>Hosmer, E. S.</th>
195 </tr>
196 <tr>
197 <th>Fisher, Wm. Arms</th>
198 <th>Reed, William</th>
199 </tr>
200 <tr>
201 <th>Frey, Adolf</th>
202 <th>Rogers, James H.</th>
203 </tr>
204 <tr>
205 <th>Gaul, Alfred R.</th>
206 <th>Rotoli, Augusto</th>
207 </tr>
208 <tr>
209 <th>Granier, Jules</th>
210 <th>Schnecker, P. A.</th>
211 </tr>
212 <tr>
213 <th></th>
214 <th>Stewart, H. J.</th>
215 </tr>
216 <tr>
217 <th colspan="2">CAROLS BY</th>
218 </tr>
219 <tr>
220 <th>H. Clough – Leighter, George B. Nevin, and Robert Schumann</th>
221 <th></th>
222 </tr>
223 <tr>
224 <th colspan="2">New Thematic Easter Catalog sent free on request</th>
225 </tr>
226</table>
228Chas. H. Ditson & Co., New York
230EASTER CANTATAS
232JUST ISSUED
233FROM DEATH TO LIFE. By J. C. Bartlett. For Soli, Chorus, and Organ. Solo voices: Soprano, Alto, Tenor, Baritone. Time of performance, forty minutes. 50 Cents
235PREVIOUSLY ISSUED
236EASTER EVE AND MORN. By Frederick B. Stevenson. Solo voices: Soprano, Alto, Tenor, Bass. Time of performance, half an hour. 50 Cents
237THE RESURRECTION. By Charles Fonteyn Manney. Solo voices: Soprano, Alto, Tenor, Bass. Time of performance, twenty-five minutes. 40 Cents
238THE RISEN KING. By P. A. Schnecker. Solo voice, Alto. Time of performance, twenty minutes. 40 Cents
240J. E. Ditson & Co., Philadelphia
The computer misreads some letters and numbers. Where a name matters to you, read the scan.