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Musical Courier 1902-03-05: Vol 44 Iss 1145, 1902
59 lines. Read by computer on 21 September 2026. Printed page 25. See the scan on archive.org.
1SIMON BUCHHALTER'S CONCERT.
3SIMON BUCHHALTER, a talented young pianist, gave a concert at the Carnegie Lyceum last Sunday night, at which he was assisted by Miss Caroline Montefiore, soprano; Carl Venth, violinist, and Hans Kronold, 'cellist. The concert was arranged by Mr. Buchhalter as a "farewell" to his friends here in New York, as the young artist will soon sail for Europe. He studied abroad several years, for a time with Leschetizky. Mr. Buchhalter's playing is remarkable for its individuality, a beautiful tone and virility. His solo pieces, all familiar to students, included the Chopin Nocturne in F sharp major, a Chopin Etude and the Polish composer's great Scherzo in B flat minor, Rubinstein's Barcarolle in A minor, Grieg's characteristic "Wedding Day," Liszt's "Liebestraum" and that composer's "Venezia e Napoli." With Messrs. Venth and Kronold Mr. Buchhalter played the first movement from Rubinstein's Trio in B major for piano, violin and 'cello, and while this ensemble number was not flawlessly played it was notable for musical warmth, which is sometimes more appreciated than too much "finish." Mr. Buchhalter was received with great cordiality.
5Miss Montefiore appeared to excellent advantage in an unhackneyed aria and three unhackneyed songs. The aria which she sang was the difficult one from "Pagliacci," an aria rarely heard on the concert stage. The three songs were "Bettler Liebe," by Bungert; "Es war ein alter König," by Rubinstein, and "Ob Heller Taggy," by Tchaikowsky. The songs by Rubinstein and Tchaikowsky are little gems and Miss Montefiore sang them beautifully. There is a pathetic quality in her mellow, cultured voice that is very appealing and that also enhances the value of the lieder style. In the operatic air the soprano gave a fine illustration of vocal virtuosity.
7Mr. Venth played as a solo "Morceau de Salon," by Vieuxtemps, brilliantly and with considerable more feeling than most violinists could put into such an empty composition. Mr. Venth has written better music himself, and there is no good reason why he should not play more of his own compositions in public. Mr. Kronold played as solos an Adagio by Bargiel and a Caprice by Goltermann, and particularly in the former drew from his 'cello tones rich and sonorous. Kronold is growing in popularity and deserves his success. Carl Brauchhausen, who accompanied for Miss Montefiore and Messrs. Venth and Kronold, delighted everybody with his sympathetic and skillful assistance at the piano.
9Eleanor Cleaver.
11MME. ELEANOR CLEAVER, who will make her re-appearance in this city at a recital in Mendelssohn Hall next Wednesday evening, March 12, has been singing with marked success in England this season. Extracts from the London criticisms show that her singing has appealed to the severest critics across the Atlantic. Here is a paragraph from the London Times:
13The possessor of an exceedingly fine contralto voice, she elected to be heard in an admirably chosen selection of songs, and she is especially to be commended for bringing forward the beautiful "Murre nicht," from Bach's cantata, "Nimm was dein ist," of which she gave a fine performance.
15The following will also be read with interest:
16There are neither tricks nor affectation in her voice, and the audience appeared to recognize the presence of an artist.—Daily Telegraph.
18A remarkably successful concert was given on Tuesday evening by Mme. Eleanor Cleaver, an American contralto. Madame Cleaver's voice is rich and sonorous in quality, particularly in the lower register, and she uses it like a thorough artist, the mezzo voice being exceptionally good.—Daily Graphic.
20Mme. Eleanor Cleaver has given another concert, at which she has strengthened the very favorable impressions produced at her first recital. She has a voice of a very rich and sympathetic quality, and uses it with the insight and judgment of a highly cultured artist. The most hypercritical could hardly ask for a more satisfactory interpretation than that which she gave of "Von ewiger Liebe," for instance.—The Westminster Gazette.
22Sara Anderson.
24SARA ANDERSON scored an emphatic success in Minneapolis recently at a concert of the Philharmonic Club. Here are the press notices:
26Miss Sara Anderson, the soloist, created something of a furore, and through the insistent demands of the audience and the generosity of the singer the concert came near being a song recital. It has generally been predicted that Miss Anderson is one of the coming Wagner opera singers, and judging last evening from her voice, dramatic temperament, poise and physique, the promises for her future bid fair to be realized. Her voice is of delightful smoothness for one of such an unusual range, and though the whole voice is of beautiful quality the lower tones have a depth, richness and warmth of color that a contralto might be proud of. The something in them that can best be described as heart quality. Her breath control is fine. Her songs were varied in color and emotion, and from the aria from "Tannhäuser," "Dich Theure Halle," to the light and dainty French songs, she gave them musical taste and feeling and an intelligent understanding of their meaning.—Minneapolis Daily Times, February 13, 1902.
28Sara Anderson, the charming American songstress, was the soloist. She has a wonderful voice and an admirable stage presence and is wholly delightful. Her tones are melodious, and she sings with depth and feeling. The clear, bird-like trills in her voice were admirably shown in Bizet's "Pastorale" and Tosti's "Les Filles de Cadix." She sang a second group of songs, including "Under the Rose," "The Violet" and "Love Song," and accorded several encores during the evening in response to the tumult of applause. The finale from Mendelssohn's "Lorelei" was given by Miss Anderson and the chorus and was a tremendously artistic piece of work.—Minneapolis Tribune, February 13, 1902.
30Miss Anderson is a woman of a very well defined type both as to her personality and her voice. She has a commanding stage presence. She seems in every way a woman whom nature intended for the world's eyes; and her voice was as certainly intended for its ears. It is a voice prodigiously endowed, of exquisite texture, rich and luminous. There are no flaws in the vocal scale. The lowest are of exactly the same warm and luminous quality as the high C. She has mastered perfectly the head-chest tone, making the beauty of her lower and middle registers as commanding as the full and luscious high tones. Besides the scale of solid beauty, Miss Anderson is a colorist of no little power. In nothing she sang was her peculiar style more definitely manifested than in the tiger song from Massé's "Paul and Virginia." It revealed latent power of expression and of feeling, and it won the audience to enthusiasm. In the more delicate lieder, Miss Anderson's fine pianissimo effects were greatly admired, and in "Elsa's Dream" she left nothing to be desired, either vocally or in dramatic expression.—St. Paul Dispatch, February 12, 1902.
32This big assembly applauded vehemently every number, and expressed the warmest admiration for the soloist, Miss Anderson. Her announced numbers were the Massenet air from "Héroïdade," "Il Est Doux, Il Est Bon"; "Elsa's Dream," from "Tannhäuser"; "Bettler Liebe," by Bungert; "In der Rosenlaube," by the same composer. Then Miss Anderson tripped across the Rhine to sing "Aimons Nous" (Saint-Saëns) and Massé's "Chanson du Tigre." Another selection between the Gallic melodies was a love song by Basewicz. Accompanied by the club, she sang Mendelssohn's "Hear My Prayer." She was compelled to add three or four songs in answer to recalls.—St. Paul Pioneer, February 12, 1902.
34Miss Sara Anderson made a distinctly good impression last night. Her voice is beautiful. The range is wide and even, the registers melting into one another imperceptibly. It is Miss Anderson's lower tones that are especially delightful. They are almost 'cello-like in their quality, grave and deep and fine. Her solos in "Hear My Prayer" were beautifully sung. The aria, "Il Est Doux, Il Est Bon," from Massenet's "Héroïdade," was sung with big emotion, if one may use the expression. It showed the sincerity of the singer's art. In the group of songs which followed Miss Anderson sang, among other things, Bungert's "In der Rosenlaube." The final group of songs, "Aimons Nous," by Saint-Saëns; "Love Song," by Blasewicz, and "Chanson du Tigre," by Massé, were sung in a manner that aroused the large audience to an unusual pitch of enthusiasm, and the singer was recalled three times.—St. Paul Globe, February 12, 1902.
36GEORGE W. JENKINS.—George W. Jenkins has been engaged to sing the tenor role in a grand production of the "Redemption" at Massey Hall, Toronto, on Good Friday, March 28, under the direction of Mr. Torrington.
38OGDEN-CRANE PUPILS.
40A day evening, February 28, Madame Ogden-Crane gave her fourth recital. The rapid progress of the pupils make these affairs of no small interest throughout the season. Madame Crane seems to inspire her pupils with confidence, for even the least experienced evince wonderful self-control. Among the large number of pupils there are some very promising voices.
42The accompanist of the evening was Miss Yara Estir, and she deserves special mention for her very excellent work.
44Miss May Malone (her first appearance) sang "Violets," by Wright, sweetly and delicately. She was also heard to advantage in her duets with Miss Frieda Wiegold. The latter has a mezzo soprano of almost contralto quality, her low A being free from strain and perfectly musical. In her second solo number, "Fairy Dance," by De Koven, she showed marked improvement in flexibility. Miss Ida Crane sang "Killarney Love Song," by Collingwood, with freedom and power; it was also her first public appearance.
46Miss Madie Costello sang "Good-bye, Sweet Day," by Varmah; Miss Leslie Trembath, "Your Lips Have Said You Love Me," by Hawley, and "Could I," by Tosti, and Miss Cornelia Heuberer "Neath Skies of Spain," by Marks. All three heartily were approved. Mrs. Florence Robertson James, the reader, was very entertaining, both in her dramatic and humorous selections. Miss Alice R. Richards sang "Summer," by Chaminade. She is gaining in repose and sang with perfect breath control, consequently delighting the audience. Nothing is so distressing as to hear a singer gasp for breath. This can never be said of Madame Crane's pupils.
48Miss Edith Shafer sang "Sing On," by Denza, with good effect. Miss Esther Hart sang "Awakening," by d'Harlelont, in a sweet, well modulated voice.
50Georgett's two numbers, "Spring Time Has Come," by Harris, and "My Dream of You," by Trevelyan, gained long and continued applause from her audience. Hattie Diamant Nathan is a finished singer and sang Ardit's "Spring Time of Love" like an artist as she is. She is a credit to Madame Crane's instructions. Miss Mae Esther Woodward sang "Still wie die Nacht," by Böhm; "The Daisy's Secret," by Barnes, and "Mighty Lak' a Rose," by Nevin. She has a very fine quality of voice and has improved very noticeably.
52Madame Ogden Crane's voice was heard to good advantage in the duet with Miss Woodward, "I Will Magnify," by Mosenthal.
54The fifth recital will be held in March, and tickets may be procured on application at the studio, No. 3 East Fourteenth street.
56ELECTA GIFFORD'S ENGAGEMENTS.—Electa Gifford is engaged for the Birmingham Festival, April 9, 10 and 11. She will sing in Parker's "Hora Novissima," Bruch's "Fair Ellen" and Foote's "Skeleton in Armor." Miss Gifford will also be the soloist with the Thomas Orchestra in Indianapolis and several other cities, and is engaged for St. Paul and Minneapolis early in April.
58BROUNOFF RUSSIAN LECTURE-RECITALS.—Platon Brounoff has been engaged to give his popular lecture on "Russian Life and Music" at Canton, Pa., and has recently concluded a series of six under the auspices of the Board of Education. Large crowds of people listened to these with highest appreciation, so that there is demand for more. He gives it at Miss Wald's "Nurses' Settlement" soon, with Miss Gorn, soprano, a string quartet, and a special feature will be Oriental music.
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