Scan 23
Musical Courier 1902-03-26: Vol 44 Iss 1148, 1902
90 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 24. See the scan on archive.org.
1ory. Poetry that is not popular poetry presupposes, indeed, more than it says, though we, who cannot know what it is to be disinherited, only understand how much more when we read it in its most typical expressions, in the 'Epipsychidion' of Shelley, or in Spenser's description of the gardens of Adonis, or when we meet the misunderstandings of others. Go down into the street and read to your baker or your candlestick maker any poem which is not popular poetry. I have heard a baker, who was clever enough with his oven, deny that Tennyson could have known what he was writing when he wrote 'Warming his five wits, the white owl in the belfry sits,' and once, when I read out Omar Khayyam to one of the best of candlestick makers, he said: 'What is the meaning of "we come like water and like wind we go"?' Or go down into the street with some thought whose bare meaning must be plain to everybody; take with you Ben Jonson's 'Beauty like sorrow dwelleth everywhere,' and find out how utterly its enchantment depends on an association of beauty with sorrow, which written tradition has from the unwritten, which had it in its turn from ancient religion; or take with you these lines, in whose bare meaning also there is nothing to stumble over, and find out what men lose who are not in love with Helen:
3Brightness falls from the air,
4Queens have died young and fair,
5Dust hath closed Helen's eye.
7"I pick my examples at random, for I am writing where I have no books to turn the pages of, but one need not go east of the sun or west of the moon in so simple a matter."
9His many friends and the admirers of his ripe scholarship and gentle humor were shocked to hear of William Henry Frost's sudden death last Friday afternoon in this city. For nearly fifteen years Mr. Frost had been a valued member of the Tribune staff, and his position a unique one. While he was its chief dramatic news reporter, writing criticism and comment on the artistic and other happenings of the theatrical world, his work was of a distinguished literary value. He wrote English pure and undefiled, and his delicate irony was not the least of his charm. A modest gentleman and a kindly William Henry Frost will be missed by his fellows, especially by the music critics who were accustomed to his presence in the pressroom of the Metropolitan Opera House.
11In 1894 he published "The Wagner Story Book," dedicating it to Miss Helen Krehbiel. Mr. Frost was a member of the Lotos Club. Funeral services were held last Monday morning at All Souls' Church. The newspaper and theatrical professions were well represented.
13Helena Augustin.
15MISS HELENA AUGUSTIN, who gave a recital at Mendelssohn Hall earlier in the season, will go to her former home, New Orleans, and fill an important concert engagement. Miss Augustin's appearance here proved one of the musical successes of the winter, and in view of this another New York concert has been arranged for the pianist. The date is April 3.
17Cappiani and Brounoff Pupils Sing.—Maud Kennedy, the brilliant young soprano, who is fast increasing her reputation as one of the best of sopranos, notably in coloratura music, a pupil of Madame Cappiani, sang at Mrs. McLewee's last week, greatly pleasing Dudley Buck, the elder, with her facility and musical reliability. Louis Cohen, pianist, pupil of Brounoff, played a Schubert Impromptu, a composition by his teacher, from the pleasing suite, "In the Flower Garden," and a Godard Valse, with credit to his teacher, and F. W. Riesberg played the accompaniments.
19Sousa and his band give a concert in Music Hall on Good Friday night, March 28.
21A chamber concert of exceptional interest was given on Thursday evening, March 20, in the Auditorium by Adolf Hahn, violin; Carl Klammssteiner, 'cello, and Philip Werthner, piano. The program was as follows:
23Trio, D minor, op. 63……………………………………………..Schumann
24Rhapsody, B minor…………………………………………………Brahms
25Scherzo, B flat minor……………………………………………..Chopin
26Concerto, B minor…………………………………………………Goltermann
27Trio, B flat, op. 21…………………………………………………Dvorák
29The number of particular interest was the Dvorák Trio, which was played with a delightful ensemble, admirably sustained in all the movements, and with that character which shows thorough acquaintance with the characteristics of the work. Mr. Hahn as the violin played with warmth and spirit, and that inner sense which breathes the enthusiasm and inspiration of poetry. His technical equipment was of the best finish, and with all his temperament the ensemble requirements were always in evidence. Mr. Werthner played the Chopin Scherzo—which belongs to the greater domain of Chopin—with clearness, force and poetic contrasts. Mr. Klammssteiner's reading of the Goltermann Concerto was musically. He commands a tone of much sweetness and purity.
31Seldom is it one's privilege to hear a piano recital of students of such extraordinary interest and genuine merit as that presented by pupils of Signor Albino Gorno, of the College of Music Faculty, on Wednesday evening, March 19, in the Lyceum. It was a recital of Bach compositions in the greatest variety. Mr. Gorno explained the object lucidly in the following prefatory remarks at the head of the program:
33"In giving this recital I had the special object in view of giving to the serious student of music, as well as to the participant, the opportunity of hearing many of Bach's compositions of different styles and character, so that both may have a desire to advance every day toward the better understanding of the genius of this giant musician, who is the most educative master, and the most mighty figure in the history of musical art."
35The program was as follows:
37First movement from Concerto in B flat, for piano and strings. (Arranged as a duet for two pianos by Reinecke.)
38Melville Greeble and Charles Sauter.
40Prelude in D major.
41Prelude in E minor, from E minor Partita. one of two readings
42Prelude in E minor, from E minor Partia. one of two readings
43Charles Sauter.
45Five pieces from French Suite in E major.
46(Transcribed for two pianos by A. Gorno.)
47Polonaise. Bourrée.
48Miss Elizabeth Mulvihill and Miss Ada Zeller.
49Minuet. Sarabande. Gavotte.
50Miss Ada Zeller and Miss Elizabeth Mulvihill.
51Allegro from English Suite in A major.
52Gigue from English Suite in A minor.
53Nicholas Holmes.
55Prelude and Fugue in E flat from Well Tempered Clavichord.
56(Arranged for two pianos and organ by A. Gorno.)
57Miss Agnes Hochstetter and Mrs. C. M. Mollengraft.
58Miss Bertha Foster, organ.
60Prelude and Fugue in C minor, from Well Tempered Clavichord.
61(Arranged for two pianos and organ by A. Gorno.)
62Mrs. C. M. Mollengraft and Miss Agnes Hochstetter.
63Miss Bertha Foster, organ.
65Largo, from Fifth Violin Sonata.
66(Transcribed for piano solo by Saint-Saëns.)
67Recitative and aria from Thirteenth Cantata.
68(Transcribed for piano solo by Saint-Saëns.)
69Miss Gertrude Dalton.
71Prelude and Fugue in A minor for two pianos and organ.
72(Originally written for organ solo; transcribed for two pianos by Henry Gobbi, with additional organ part by Albino Gorno.)
73Miss Elsie Louise Bernard and Miss Emma Beiser.
74Miss Bertha Foster, organ.
76Gavotte from E minor Violin Sonata.
77(Transcribed by Saint-Saëns.)
78Miss Emma Beiser.
80Gigue from French Suite in G major.
81(Transcribed for two pianos by A. Gorno.)
82Miss Emma Beiser and Miss Gertrude Dalton.
83(no line here) one of two readings
85Gavotte from the Sixth Violin Sonata.
86(Transcribed for two pianos by A. Gorno.)
87Miss Gertrude Dalton and Miss Emma Beiser.
89Mr. Gorno is a great lover of Bach, and the general impression received was that the strictest attention is being enforced by him to a precise sense of rhythm and an intelligent understanding. The program by way of difficulties ascended to a climax, but from the beginning to the end the same degree of thoroughness was maintained. Miss
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