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Musical Courier 1902-03-26: Vol 44 Iss 1148, 1902
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1Thursday and Saturday, "Le Roi d'Ys"; Wednesday, "Grisélidis"; Friday, "Manon."
3As matters have not been progressing favorably for a long time at the Comédie Française, a change of directors has constantly been talked of both in public and private. Capoul, who is assistant director of Gailhard at the Opéra, has been frequently quoted as the successor to Albert Carré, the present manager of the Opéra Comique. The matter is settled—at all events for the present so far as Capoul is concerned—by the following note which I quote from Le Figaro: "You ask for the readers of the Figaro what foundation there is for the rumors of my being engaged as director of the Opéra Comique. I can only assure you of one thing, viz., I am always a candidate for the post of Mr. Carré when the vacancy arrives. But there is a long distance between that and my official nomination, such as some of the journals have seen fit to announce.—VICTOR CAPOUL."
5When a violinist presents himself in Paris he deems it his duty to offer to the public some movements from Bach's unaccompanied sonatas. It was in this light that Henri Marteau, ex-pupil of the Paris Conservatoire, and now professor at Geneva, appeared before the public at the last concert of the New Philharmonic Society. These numbers, bristling with technical difficulties of a certain kind, were executed by the violinist with the greatest ease. Carreño played with all her old charm the "Waldstein" Sonata of Beethoven; Impromptu, Schubert, and the "Military March," of Schubert-Liszt. DE VALMOUR.
7The Fannie Church Parsons Summer Session.
9THE summer session which Mrs. Fannie Church Parsons will devote to her clever, original and useful system of musical kindergarten will attract many teachers from all parts of the country. It is to begin on July 15 and will be held in Chicago at Mrs. Parsons' ideal Fine Arts Building studio, the spacious windows of which command a glorious view of Lake Michigan.
11ARTHUR WHITING.—On Sunday, March 23, Arthur Whiting gave the following program at the Fine Arts Building, Chicago:
12Sonata, A major……………………………………………..Bach
13Violin and piano.
14Quartet, F major, op. 135………………………………….Beethoven
15I. violin, II. violin, viola, violoncello.
16Quintet, F minor, op. 34………………………………….Brahms
17I. violin, II. violin, viola, violoncello and piano.
19VON KLENNER LENTEN MUSICALE.
20Oratorio Arias Sung by Advanced Pupils.
22ME. EVANS VON KLENNER gave a Lenten musicale at her studio, 230 West Fifty-second street, last Wednesday evening. The program was devoted to oratorio, and was in a musical as well as devotional sense remarkable. Here is the list:
23Who Shall Be Fleetest? (Rebekah)…………………………..Barnby
24Misses Byers, Griffen and Walbridge.
25Obligato, Miss Maude Carnahan.
26Rejoice Greatly (Messiah)………………………………….Händel
27Mrs. K. S. Bonn.
28Pfingst Cantata, My Heart Ever Faithful……………………Bach
29Miss Bessie A. Knapp.
30Hymn of Praise, Our Tears He Counteth…………………..Mendelssohn
31Miss Frances Byers.
32I Know that My Redeemer Liveth (Messiah)…………….Händel
33Miss Ada L. Lohman.
34Be of Good Comfort (Ruth)……………………………….Cowen
35Miss Maude Carnahan.
36Hadst Thou Known (Destruction of Jerusalem)………….Klughardt
37Miss Kathleen Howard.
38Lift Thine Eyes (Elijah)…………………………………..Mendelssohn
39Misses Griffen, Byers and Walbridge.
40I Will Extol Thee (Eli)…………………………………….Costa
41Miss Frances Travers.
42With Verdeur Clad (Creation)……………………………..Haydn
43Mrs. Katharine Noack-Fiqué.
44Quis est homo (Stabat Mater)……………………………..Rossini
45Misses Travers and Howard.
47With few exceptions, the pupils who sang the above numbers are filling choir positions in the churches of New York and vicinity. Some of these young women have reached a high plane in their artistic endeavors. Mrs. Bonn sang the "Rejoice Greatly" from "The Messiah" with brilliancy and in a way that revealed the sweetness of her voice, a correct method and the intelligence which makes oratorio singing enjoyable. Miss Knapp, who followed with the sublime air from the "Pfingst" Cantata, also showed the beauties of a sweet voice and the "churchly" style demanded of those who would sing Bach's religious music acceptably. Miss Byers, besides possessing a melodious voice, infused her Mendelssohn air with the sunshine and consolation which must accompany Mendelssohn's music.
49Miss Walbridge, who is one of the best contraltos of the von Klenner studio, sang with depth of feeling and sympathetic voice, "O Thou That Tellest," from "The Messiah." Miss Lohman, a soprano, with a rich, true voice, gave a good illustration of how the broad aria, "I Know That My Redeemer Liveth," should be sung. Miss Carnahan in her solo from Cowen's "Ruth" gave evidence of promise as an interpreter of church music.
51Miss Howard, the girl with the glorious contralto, moved the guests by the opulence of her voice and eloquent reading of the aria from Klughardt's "Destruction of Jerusalem." She sang the same solo the night before at the Carl organ recital at the "Old First" Church before a congregation of 1,000 people. The brief but appealing Trio from "Elijah" was beautifully sung by the Misses Griffen, Byers and Walbridge, and the same should be said of the Trio from Barnby's "Rebekah." Miss Travers' brilliant soprano voice was heard to good advantage in "I Will Extol Thee." Mrs. Fiqué's singing of "With Verdeur Clad," from "The Creation," surprised her admirers. Mrs. Fiqué always sings sympathetically and musically, but in the Haydn aria she scored a triumph. Cries of "Bravo!" greeted Miss Travers and Miss Howard after their capital singing of "Quis est Homo," from the "Stabat Mater." In this Rossini duet the voices of the two "star" pupils blended finely, and altogether this number proved one of the best of the evening. Madame von Klenner played the piano accompaniments, and made one of her happy little speeches, in which she gave an outline of oratorio music and the work of training voices.
53ARTHUR HOCHMAN.
55ARTHUR HOCHMAN'S first New York recital proved one of the artistic successes of the season. Following are the criticisms from the daily papers:
56In the evening, also at Mendelssohn Hall, Arthur Hochman gave a piano recital, and proved himself to be a very able young pianist. His touch is singing yet virile, and his technic is ample. Furthermore, it is evident in his playing that he does not rely solely upon his technical equipment to carry him through, but endeavors to read some meaning into the compositions.
57The Bach Chromatic Fantasie and Fugue, with which he opened his program, was played with remarkable clarity, and more than that, it was made to sound interesting. A Scarlatti Sonata displayed agility and accuracy of skips, and the following Schumann Fantasie in C major brought the sentimental side of the performer into play. The rest of the program was devoted to Chopin, Schubert, Liszt, Scharwenka and Hochman.—The Sun, March 12, 1902.
59Arthur Hochman, a young pianist, made his début last night at Mendelssohn Hall.
60A young, fresh and vigorous talent is something to be welcomed with gratitude in these days, and such a talent was disclosed in the playing of this pianist.
61What was found in Mr. Hochman's playing was genuine musical feeling, a poetic style, a beautiful command of touch, a devotion to clarity of exposition, a loving care in the treatment of the symmetry of phrase and a buoyant, infectious personality. This young player possesses in uncommon measure the magic power to interest his hearers and hold their attention. His reading of the great C
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