Scan 16
Musical Courier 1902-03-26: Vol 44 Iss 1148, 1902
63 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 17. See the scan on archive.org.
1Music in Brooklyn.
3Nordica Sings With the Boston Symphony Orchestra.
5ME. LILLIAN NORDICA'S only appearance in Greater New York this season was made last Friday night at the final concert in Brooklyn by the Boston Symphony Orchestra. This has been a winter of musical "Renaissance" in Brooklyn, recalling the brilliant Brooklyn of the Thomas and Seidl years, local grand opera and numerous concerts by the various German singing societies. If there be any in Brooklyn to-day "puffed up" because Brooklyn is enjoying a good musical year, let them not forget the past, filled with noble achievement. So far this season, Brooklyn has had three visits from Kubelik, one from Nordica, one from Ternina, one from Harold Bauer, one from Josef Hofmann, one from Arthur Hochman and one from Fritz Kreisler. In prospective are the visits of Paderewski, and Calvé in "Carmen," and Josef Hofmann, Jean Gérardy and Fritz Kreisler in joint recital. The announcement that Madame Nordica would be the soloist at the last Boston Symphony concert was sufficient to crowd the Academy. The Brooklyn Institute put in a number of extra chairs, and these and all standing room within the limits of the law were taken. Madame Nordica never sang with greater dramatic authority. The large audience received her with marked enthusiasm. First she was heard in the great aria, "Abscheulicher," from Beethoven's "Fidelio." Madame Nordica sang the number in Italian, and in her portrayal revealed most powerfully the gamut of human emotions, scornful in the recitative and sweetly appealing in the lovely Adagio. To piano accompaniment Madame Nordica was heard in a group of songs, "Im Kahn," by Grieg; the Richard Strauss "Serenade," Oscar Weil's "Spring Song" and Schumann's "Waldgespräch." She sang the Schumann and Grieg songs in German and the "Serenade" and "Spring Song" in English. Although encores are forbidden at the concerts of the Boston Symphony Orchestra, the rule was broken for Madame Nordica, for the audience kept calling her out again and again and the prima donna finally responded with another song, "Si mes vers Avaient des Ailes," by Hahn. Romayne Simmons played highly musical accompaniments.
7As the two concerts by the orchestra at Carnegie Hall are reviewed in this issue of THE MUSICAL COURIER, a simple record of the orchestral numbers at the Brooklyn concert only need be given here: Overture to "The Flying Dutchman," Wagner; three movements from Rubinstein's ballet, "The Vine," newly orchestrated by Mr. Gericke, and Goldmark's "Rustic Wedding" Symphony.
9CONCERT AT WISSNER HALL.
11Vittorio Carpi, the distinguished baritone singer and teacher, assisted Mrs. Margaret McAlpin at her concert given at Wissner Hall on Thursday evening, March 20.
13A large and distinguished audience greeted both artists, and Signor Carpi created considerable enthusiasm by singing the "Toreador" song from "Carmen" and "El Sol de Sevilla" and "Trompez Moi trompes Nous." The program follows:
14Dich Theure Halle (Tannhäuser)……………………………Wagner
15Tarantella………………………………………………………..Liszt
16Toreador Song (Carmen)………………………………………Bizet
17Casta Diva (Norma)…………………………………………..Bellini
18Variations in F minor…………………………………………..Schumann
19El Sol de Sevilla……………………………………………….Yradier one of two readings
20El Sol de Sevilla…………………………………………………Yradier one of two readings
21Trompez moi trompes nous………………………………….Coen
22Impatience………………………………………………………Schubert
23Song of Thanksgiving…………………………………………Allitsen
24Proposal………………………………………………………..Bracket
25Mrs. Margaret McAlpin.
27CHORAL ART SOCIETY CONCERT.
29The Brooklyn Choral Art Society gave the second concert of the season at Association Hall Thursday evening. James H. Downs, the young conductor, is beginning to find his work appreciated, but he sorely needs more artistic singers for his chorus. The following program shows the high aims of the society:
30Miserere………………………………………………………Allegri
31Crucifixus………………………………………………………Lotti
32Terra Tremuit Alleluia………………………………………Palestrina
33O Filii et Filiae……………………………………………….Leissring
34Recitative and aria, Semele…………………………………Händel one of two readings
35Recitative and aria, Semele………………………………..Händel one of two readings
36Miss Emma Buch.
37Faire Daffodils……………………………………………….Warren
38Great God of Love…………………………………………De Pearsall
39In Stillly Night……………………………………………….Brahms
40A Lover and His Lass………………………………………Barnby
41Songs—
42Creep Afore Ye Gang………………………………………Allen
43Devotion………………………………………………………Allen
44Oh, for a Burst of Song……………………………………Allitsen
45Miss Emma Buch, contralto.
46Gather Ye Rosebuds………………………………………..Blumenthal
47The Nightingale…………………………………………….Rheinberger
48Wee Annie Aline……………………………………………Von Holst
49Summer Is Coming In…………………………………….De Pearsall
50Madrigal………………………………………………………De Pearsall
52The first number was weak, showing a lack of confidence among the singers. The chorus did better with "O Filii et Filiae," and in the modern songs. Miss Emma Buch, the soloist of the evening, is gifted with a true contralto voice, and she sang the recitative and aria from "Semele" with spirit and with good tonal delivery. The songs, too, she sang excellently, and the society and audience rewarded her with cordial applause.
54HANCHETT LECTURE RECITALS.
56Dr. Henry G. Hanchett gave the only evening lecture-recital in the third course, on "Musical Contrasts," last Monday evening (March 17) in the Assembly Hall of Adelphi College. The sub-topic of the evening was "Contrast in Form." Dr. Hanchett and the musicians assisting him gave some remarkable illustrations. The lecturer and his pupil, Mrs. Stuart Close, gave the Bach Concerto in C minor, for two pianos and string quartet, and in marked contrast to this Dr. Hanchett and Mrs. Elbert H. Gammons performed Chopin's Rondo in C major, for two pianos. As a closing number Dr. Hanchett and Mrs. Charles L. Dodge played two movements—the Andante and Finale from Mendelssohn's Concerto in G minor. Between the piano numbers Martin W. Bowman, a tenor with an agreeable voice, sang two groups of songs—"In May Time," Oley Speaks; "Thou Art Like Unto a Flower," by Smith; a French Serenade, by Sawyer; "The Lark Now Leaves His Wat'ry Nest," Parker; "Anchor's Weighed" (Old English), and Schumann's "Two Grenadiers." The Laura Phelps String Quartet, which played in the Bach Concerto, performed two movements from the Haydn Quartet in G major, a Berceuse by Jacoby and a dainty Serenade by Godard. Miss Lena Burky, the 'cellist of the quartet, played as solos an Elegie by Schravezande and "The Swan," by Saint-Saëns. This long program rather necessitated a curtailing of Dr. Hanchett's descriptive analysis, a matter much to be regretted, because the majority of the people in the large audience desired above all to be enlightened upon the inner meanings of musical compositions. Dr. Hanchett possesses the happy faculty of explaining the purpose of composers in writing works of great and small importance. The fact that the applause of the audience was greatest after the songs of the tenor than at the conclusion of the beautiful instrumental numbers but too plainly indicates that there is great need of these musical lectures.
58MR. HOOPER'S MUSICAL PROPHECY.
60At the annual dinner of the advisory board of the Brooklyn Institute department of music, given last Wednesday night at the Germania Club, Franklin W. Hooper, director of the Institute, predicted that $1,300,000 would be raised some time in the "near future" for the building and endowment of a music hall in Brooklyn. In any other American city with a population of over 1,000,000 inhabitants, there would be nothing remarkable in Mr. Hooper's prophecy and its fulfillment, but in Brooklyn it sounds like an iridescent dream. There must be something in the atmosphere at the east end of the Bridge that makes men and women so reluctant to part with their millions. Within the past three weeks two men have died in Brooklyn whose joint estates equal the sum of $11,000,000. One man left $5,000,000, and the other man $6,000,000, and with the exception of a bare $100,000, in the will of the former, both estates are to be held in trust, in the former case for a widow and daughter, and in the latter case for a widow and adopted daughter, a girl fourteen years old. The most remarkable thing in these two great fortunes is that no one suspected that the men were as rich as death proved them to be. The name of one of the men does not appear in the list of millionaires published in the World Almanac, and doubtless there are other Brooklyn millionaires whose names are not in that unique record. The World Almanac, in its chapter on millionaires, assigns ninety-one as residents of Brooklyn, but in view of the death of the man owning $6,000,000 not being included in the list, it would seem reasonable to conclude that the number of Brooklyn millionaires has been underestimated. A community with over 100 millionaires should be able to build a music hall such as Director Hooper described, but will it be done?
62The guests of honor at the dinner of the advisory board were Dr. and Mrs. H. H. A. Beach, of Boston. The night before the dinner Mrs. Beach gave a piano recital at Association Hall under Institute auspices. Mrs. Beach the composer is more interesting than Mrs. Beach the pianist, and being a woman she ought to be glad to hear this statement made. Her numbers at the recital were from the works of Bach, Beethoven, Brahms, Mendelssohn, Schubert-Liszt and Chopin, and in addition to these
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