Scan 26
Musical Courier 1902-03-05: Vol 44 Iss 1145, 1902
125 lines. Read by computer on 22 September 2026. Printed page 27. See the scan on archive.org.
1THE MUSICAL COURIER.
3St. Louis, February 27, 1902.
5FRANCIS ROGERS, baritone, was heard during the past week in two song recitals. The first, for which the tickets were sold entirely by invitational subscription, was given Wednesday evening in the Odeon Recital Hall. This was in every respect a function; the audience was representative of the St. Louis smart set, with whom Mr. Rogers is personally a tremendous favorite, and all the detail of program and decoration was fetching and aesthetic.
7Mr. Rogers was successful in placating and contenting even those captious ones known as the professional singers and teachers. With one it was his splendid tone production, with another his perfect breathing, one and all agreed that in this song recital was enjoyed one of the most delightful events of a very satisfactory season of song. To many the program seemed unnecessarily severe in the representation of the German school. The Dvorák Gypsy melodies were probably the occasion of this slight resentment. To the uninitiated this song series is rather dazing and there were many who were frankly and visibly bewildered and discomfited by a persistent imposition of Dvorák after a vigorous diet of Beethoven, Händel, Buononcini, Lully, Brahms, Schubert, Franz and Ries. The "Giaconda" Barcarolle, together with a well contrasted group of modern compositions sung in English, aroused keen enthusiasm, several of these being vociferously redemanded.
9Mr. Rogers is admirable in his dignity and legitimacy of effect; there is no cheap or sensational appeal, and his detail and finesse are refreshing.
11The second recital embodied a Schubert and Schumann program, given the Morning Choral, by James S. Blair, the president of that organization. Mr. Rogers charmed his wholly feminine audience with a comprehensive and serious representation of the Schubert and Schumann muses. Many of the songs were given with inimitable charm and conviction. Mr. Kengel prefixed each series with explanatory remarks and comments, which added not a little to the morning's interest.
13The Choral Symphony concert of Thursday somewhat taxed the endurance and zest of subscribers. A fifty minute Sinding Symphony was in all defiance and disregard, followed by Variations of Edward Elgar, an extremely interesting work, novel in character and most effective, bizarre and brilliant in treatment, but of a length and persistency! Musically and mentally listeners were haggard and wan.
15Gérardy aroused enthusiasm, recalls galore and encores.
17LILLIAN APEL EMERY.
19From the Lankow Studio.
21MARTHA HOFACKER sang Marie in "The Trumpeter of Säckingen," at the Opera in Strassburg, Sunday, February 9, 1902, and the Strassburger Neueste Nachrichten writes in its edition of February 10, as follows:
23A proof of the great popularity of "Der Trompeter von Säckingen," the work of our beloved countryman, Victor E. Nessler, whose early decease all deeply regret, was clearly demonstrated at yesterday's performance of this opera, when, despite the Lenten holidays, an audience assembled that filled every space in the Opera House. The performance was under the musical direction of Otto Schwarz. The title role was assumed by Hans Porkony, assisted by the charming and sympathetic artist, Miss Martha Hofacker, who assumed the role of Marie. This young artist, whose past efforts have been accepted by us in the highest esteem, again achieved a phenomenal success. Her clear, ringing voice, musical certainty and perfect intonation are achievements of which this artist may duly be proud.
25Mr. HENRY WOLFSOHN begs to announce that he has engaged
27ESTELLE LIEBLING,
28Opera and Concert SOPRANO,
29FOR THE ENTIRE SEASON
30WITH KUBELIK IN NEW YORK.
32LENA DORIA DEVINE
33Vocal Instruction.
34136 Fifth Avenue, NEW YORK.
36TEACHER OF
37BLANCHE DUFFIELD, Coloratura Soprano;
38MARY LOUISE GEHLE, Contralto;
39JOSEPHINE MILDENBERG, Soprano;
40FRED'K BUTTERFIELD ANGELL, Baritone,
41and other prominent singers now before the public.
43Mme. Matja von Niessen-Stone
44MEZZO SOPRANO.
45VOCAL RECITALS—
46in English, French, German, Italian and Russian.
47For terms and dates address
48ALICE E. JOSEPH, 7a Hanover St., London, W., England.
50THE
51Smith & Nixon
52THE GRAND PIANO
53IN UPRIGHT CASE.
54Built on the principle of the Parlor Grand, and its equal in all respects. The Smith & Nixon system of construction, properly presented, gets other upright pianos out of competition. Reasonable inducements offered dealers.
55The Smith & Nixon Piano Mfg. Co.
5610-12 East Fourth Street,
57CINCINNATI, OHIO.
59HASLAM,
60Professeur de Chant.
61POSE, TECHNIQUE, STYLE, RÉPERTOIRE,
62OPERA, CONCERT.
63Direct Communication with European Managers.
6418 rue Bassano (Etoile), PARIS.
66Fletcher Music Method
67EVELYN A. FLETCHER-COPP,
681225 Madison Avenue, New York.
70ROBERT
71HOSEA
72123 West 80th St.
73Or, Wolfsohn Musical Bureau,
74181 East 17th St., New York.
76ERSKINE
77PORTER
78EIGHT YEARS OF AGE
79BOY SOPRANO
80CHURCH AND CONCERT.
81For Terms, &c., address
82Mrs. DAVID PORTER,
8373d St. and 2d Ave., Brooklyn, N. Y.
85HOLMES GOWPER
86TENOR
87Address Kimball Hall or Bureau of Fine Arts, CHICAGO.
89ERICSSON
90BUSHNELL.
91For Dates, Terms, &c., address
92177 Duane Street, NEW YORK.
94Mme. OGDEN CRANE
95Vocal Instruction.
96CARNEGIE HALL,
9756th St. and Seventh Ave.
98STUDIO 1007.
99Tuesdays and Fridays, 12.30 to 4.30.
100Balance of time at Studio, 3 East 14th St., New York.
102Her gracefulness and dramatic ability are both a true reproduction of nature. The audience by their repeated curtain calls certainly proved to Miss Holacker their appreciation of her mastery and artistic efforts.
104SECOND WETZLER ORCHESTRAL CONCERT.
105THE second of the series of orchestral concerts under the skillful conductorship of Herman Hans Wetzler, will be given in Carnegie Hall on Tuesday evening, March 11. Fritz Kreisler will be the soloist. A feature of the program printed herewith will be the Bach E flat Suite orchestrated by Mr. Wetzler:
107Orchestral Concert (orchestra of eighty).
108Hermann Hans Wetzler, conductor.
109Fritz Kreisler, soloist.
110Overture, The Bartered Bride……………………………………………..Smetana
111Concerto for Violin………………………………………………………..Beethoven
112Fritz Kreisler.
113Suite in E flat………………………………………………………..Bach
114Orchestrated by H. H. Wetzler.
115Violin solo………………………………………………………..Fritz Kreisler.
116Prelude, Die Meistersinger von Nürnberg………………………..Wagner
118Olive Meade Plays With Thomas Orchestra.
120MISS OLIVE MEAD, the young violinist from Boston, has succeeded in capturing the critics of the West as she did those of the East. Appended are extracts from the Chicago papers:
122Miss Olive Mead, soloist at this week's concerts of the Chicago Orchestra, proved at the recital yesterday that her playing could be a notable feature on a program unusually strong in novelties. Miss Mead's selection was a novelty—Goldmark's A minor Concerto for the violin. The young woman surprised the audience with her robust, sonorous tone, which had richness and resonance to an unusual degree. She possesses also an excellent technical equipment and takes difficult passages with ease and a uniformly excellent tone. This tone has quantity as well as quality, enabling the performer to hold her own with the orchestra and giving her unusual fitness for concert work in a large hall, such as the Auditorium is. Her instrument spoke at times with the rich voice of a 'cello. This fact, coupled with musically breadth in the interpretation, made her performance highly enjoyable. As an encore she played a Bach Sarabande. Miss Mead is from Boston and is a pupil of Kneisel.—The Record-Herald, February 15, 1902.
124The sixteenth of the present series of concerts given by the Chicago Orchestra attracted a fairly good attendance in the Auditorium yesterday afternoon. The centre of attraction was the first appearance in these concerts of Miss Olive Mead in a violin concerto by Goldmark, also new to the patrons of the Chicago Orchestra. The concerto is a delightful composition and full justice was given it by the talented young violinist. She seemed to have a very fine instrument, and she certainly produces a big, clear and beautiful tone, not surpassed by any violinists heard recently in Chicago. Miss Mead is equally masterful in such ornamentation as her selections called for—arpeggios, trills, runs, double stops—all were well produced. She has a fine presence and certainly presented a very pleasing picture, whether waiting quietly or playing gracefully. She responded to an encore justly demanded by playing a charming bit from a sonata of Bach's composition, and if her over half an hour's playing of the concerto caused her any fatigue it was not noticeable in her playing. Her work in the sonata confirmed the favorable impression already formed.—The Chronicle, February 15, 1902.
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