Scan 34
Musical Courier 1902-03-26: Vol 44 Iss 1148, 1902
127 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 35. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1Someone is engaged to convey to the Yankee chorus the correct lingo of the original diction, and I am told with the result of an amazing variety of accent unknown to the French language.
3It is claimed that the parts of the work are loaned to the Cecilia, with the understanding that there shall be no translation, the copies to be returned to the publisher, or whoever loaned them, upon a certain day under a forfeit of an increasing sum of money for each day of delay. What rubbish!
5At the last Cecilia concert the polyglot element prevailed, for the program dispensed Latin, French, Russian and some English.
7Our poor mother tongue is getting to be like the prophet, without honor in its own country.
9Edwin Klahre gave a concert at Steinert Hall on the afternoon of March 18, the third of a course of piano recitals. The program was a well varied one, embracing such authors as Beethoven, Mendelssohn, Chopin, Grieg, Rubinstein and others, the principal works being the C minor Variations and Sonata, op. 57, Beethoven.
11For a busy teacher to undertake public performance is to court comparison with the results shown by the virtuoso whose sole occupation is that of a public performer. The pedagogue in such a case must necessarily find it difficult to successfully compete with the virtuoso, for to be a successful soloist one must devote all his time to the preparation and perfection of a repertory.
13Throughout his performance Mr. Klahre showed his musically conception of the material presented and an advance in technical facility over what was shown at his previous concerts. There was a goodly number present, and his efforts were warmly applauded.
15Harold Bauer gave his fourth recital at Steinert Hall on the afternoon of March 19, his program including "Sonata Appassionata," Beethoven; Sonata, in B minor, Liszt, and "Carneval," Schumann.
17The novelty, for it has not been played here in many years, was the Liszt Sonata, in the interpretation of which Mr. Bauer brought to his assistance that wonderfully fluent execution and expressive variety which distinguish his exceptional ability in works of this character. In the slow movement of the Beethoven Sonata and in some of the more gentle and expressive movements of the "Carneval" there was a lack of continuous flow, but, on the whole, the entire program was splendidly played. The audience filled the hall and was enthusiastic in its applause. Extra numbers were demanded at the end of the program.
19Ernest Hutcheson gave his second recital at Steinert Hall Thursday afternoon, March 20, playing the Organ Fantaisie and Fugue in C minor, Bach-Liszt; Schubert's D major Sonata; some pieces of Chopin; character piece, Mendelssohn; "Etude de Concert," in F minor, Liszt, and his own "Walkürenritt."
21There is nothing new to say of his playing, more than was said regarding his work at his first recital. His playing is admirable in every respect, except in the matter of a want of more repose and a greater variety in expression. There was a large audience present that made manifest its pleasure in liberal applause.
23On Good Friday night and the evening of Easter Sunday the Handel and Haydn Society will give, respectively, Bach's "Passion Music," "St. Matthew" and Haydn's "Creation." This will end the season of the society, which so far has proved one of its most prosperous financially.
25Mr. Bispham lost his voice so completely during a concert in Worcester last week that he was obliged to leave the stage. A specialist was called, who forbid the use of the apparatus for a week. The audience was consequently dismissed after applauding Mr. Bispham at the end of his short speech of apology. What a satire on the singer's unwitting abuse of his vocal powers.
27WARREN DAVENPORT.
29American Institute of Applied Music.
31An attractive program of dramatic readings, by Miss Edith Ford and Mrs. Emily Farrow Gregory, was given at the American Institute of Applied Music on Monday, March 17. The ladies were assisted by Tom Karl, the head of the vocal department of the institute, who, among other numbers, contributed three bright little Irish songs in honor of St. Patrick's Day. He was recalled with great enthusiasm and repeated one of them—"I Remember Meeting You," by Lohr—to the delight of the audience. one of two readings
32A attractive program of dramatic readings, by Miss Edith Ford and Mrs. Emily Farrow Gregory, was given at the American Institute of Applied Music on Monday, March 17. The ladies were assisted by Tom Karl, the head of the vocal department of the institute, who, among other numbers, contributed three bright little Irish songs in honor of St. Patrick's Day. He was recalled with great enthusiasm and repeated one of them—"I Remember Meeting You," by Lohr—to the delight of the audience. one of two readings
34An informal recital by the students of the American Institute of Applied Music was held on the evening of March 21. The following program was given:
35Evening Peace………………………………………………………..Gurlitt
36Graziosa…………………………………………………………………..Stiehl
37Witches' Revels………………………………………………………Schytte
38Gondolied…………………………………………………………………Haberbier
39Devil's Darning Needle……………………………………………..Reinecke
40Violin Sonata……………………………………………………………Mozart
41Ave Verum………………………………………………………..Mozart-Liszt one of two readings
42Ave Verum………………………………………………………………Mozart-Liszt one of two readings
43Siciliano…………………………………………………………………..Moszkowski
44Life's Lullaby…………………………………………………………..Lane
45Song of Flowers………………………………………………………Lane one of two readings
46Song of Flowers…………………………………………………………Lane one of two readings
47Song of the Rushes………………………………………………….Seeling one of two readings
48Song of the Rushes……………………………………………………Seeling one of two readings
49Etude in D minor…………………………………………………….Heller
50Moderato…………………………………………………………………Schytte
51Allegretto………………………………………………………………..Schytte
52Les Filles de Cadiz………………………………………………….Delibes one of two readings
53Les Filles de Cadiz…………………………………………………….Delibes one of two readings
54Red Roses in June……………………………………………………German one of two readings
55Red Roses in June…………………………………………………….German one of two readings
56Prelude No. 15………………………………………………………Chopin one of two readings
57Prelude No. 15………………………………………………………..Chopin one of two readings
58Vittorio mio cora…………………………………………………….Carissimi one of two readings
59Vittorio mio cora………………………………………………………Carissimi one of two readings
60Sonata, op. 53, Allegro…………………………………………..Beethoven one of two readings
61Sonata, op. 53, Allegro……………………………………………..Beethoven one of two readings
62Pastoral Sonata………………………………………………………Beethoven one of two readings
63Pastoral Sonata………………………………………………………..Beethoven one of two readings
64Song Without Words, G minor…………………………………Mendelssohn one of two readings
65Song Without Words, G minor………………………………….Mendelssohn one of two readings
66Prelude No. 16………………………………………………………Chopin one of two readings
67Prelude No. 16………………………………………………………..Chopin one of two readings
68Charlotte Ethel Peckham.
70At the end of the program Mr. Karl sang some of his Irish songs, providing a delightful conclusion to a most interesting performance.
72Herbert Witherspoon.
74HERBERT WITHERSPOON, the basso, recently returned from a trip to St. John, N. B., where he sang in two concerts, March 12 and 1. The press comments given below show that he had his usual success with his audiences.
76Mr. Witherspoon continues to book engagements for this season as well as for next year. He has just been engaged for a tour with the Chicago Symphony Orchestra, beginning April 29, and lasting probably two weeks. He will also sing in Brooklyn, March 27; Akron, Ohio, April 7; Belvidere, Ill., April 9; Chicago, April 10; Cleveland, Ohio, April 24, and probably also at Oberlin, Ohio, and Elmira, N. Y. Mr. and Mrs. Witherspoon have accepted several new pupils recently and will continue to teach until June 1.
78Of Mr. Witherspoon it may be said he came, he saw, he conquered, and he takes back to his metropolitan home the pleasing assurance of having won a high place in the hearts of all music lovers here. His "Arm, Ye Brave," was given with a power and passion that raised a great degree of enthusiasm. It was a splendid interpretation and held the audience enthralled. His other numbers were magnificently rendered. As one encore he gave an Irish love song, which captured his hearers and showed the singer was equally at home in the lighter and more popular music.—Daily Telegraph, St. John, N. B., March 14, 1902.
80Mr. Witherspoon is a basso with a voice of sweetness and power highly cultured. * * *
82Mr. Witherspoon was received with favor and rewarded by enthusiastic applause. His songs were all well given, the "Faust" number being particularly good. His voice is powerful, smooth and sweet, and he is a thorough artist.—St. John Globe, March 13, 1902.
84The third name on the program was that of Herbert Witherspoon, a basso, who in Europe and the larger American and Canadian cities has won an enviable reputation. His work is clear cut and smooth, every note showing not only the finished artist, but the singer with a soul, and the power to move others to an enthusiastic appreciation of his art. Mr. Witherspoon captivated his auditors, and on all sides were heard words of warmest commendation. His dramatic rendering of the Serenade from "Faust" (Mephisto) was especially good, as also the "Hunting Song." In addition to his great gift of song, Mr. Witherspoon has a commanding, dignified presence, and a personality that wins hosts of friends. He is a graceful conversationalist and is in every respect a thorough man of the world. Modest to a degree, Mr. Witherspoon can see nothing wonderful in his gift that others find so entrancing.—Daily Telegraph, St. John, N. B., March 13, 1902.
86With them appeared another singer, Herbert Witherspoon, a master of the art. * * * Mr. Witherspoon's voice is a perfect instrument for the musical expression of emotions, and is supported by a stately and agreeable presence, with a suggestion of dramatic energy.—St. John Star, March 13.
88MANTELLI
89THE FAMOUS MEZZO-SOPRANO,
90formerly of the Metropolitan Opera House Company,
91and
92LOUIS BLUMENBERG
93VIOLONCELLIST,
94CARL BRUCHHAUSEN, Pianist,
95Begin a Tour to the Pacific Coast
96On April 5.
97THIS TOUR WILL INCLUDE MOST OF THE PRINCIPAL
98CITIES WEST OF THE MISSOURI RIVER.
99R. E. JOHNSTON
100Books the Tour.
101ST. JAMES BUILDING,
102Broadway and 26th St., New York.
104EVANS von KLENNER
105School of Vocal Music.
106Voice Culture, Style and Repertoire in Four Languages.
107Paris Exposition, 1900.
108Only Honorable Mention or Distinction of any Vocal Instructor
109Residence-Studio:
110230 West 52d Street,
111NEW YORK.
113Concert Direction . . .
114W. ADLINGTON,
11522 Old Burlington Street,
116LONDON, ENGLAND,
117SOLE AGENT FOR
118I. J. PADEREWSKI
119And other eminent Artists,
120Vocal and Instrumental.
121TOURS and CONCERTS ARRANGED.
123M. VITTORIO CARPI.
124Vocal Instructor in Four Languages.
125INVENTOR OF THE VOICE RECTIFIER.
126310 West 59th Street, Central Park South, NEW YORK.
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