Scan 16
Musical Courier 1902-05-14: Vol 44 Iss 1155, 1902
110 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 17. See the scan on archive.org.
1by Leila J. Howell, who, it is said, is about to illustrate her theory that grand opera should be spoken, and not sung.
3KARLETON HACKETT'S WRITINGS ON THE VOICE.
4Among Karleton Hackett's articles which might well be revived and printed in book form are three which appeared several years ago in Music.
5The first, printed in 1895, explains causes which result in singing off the key, and shows many ways in which this troublesome fault may be overcome.
6"Laryngoscope in Singing," published in 1897, abounds in interesting arguments and information which lead to a conclusion that: "It is the musician, the teacher of the voice, that must show the pupil the way, and the scientific student with his laryngoscope may be sent to delve in the laboratory; he is not needed in the studio."
7Mr. Hackett's essay on "Scientific Voice Teaching," which came out in October, 1900, deals with "scientific" methods in a musicianly and scholarly manner. This treatise, like its two predecessors, should prove of inestimable interest and value to vocal student and teacher of singing.
9STUDENTS AT THE SHERWOOD MUSIC SCHOOL.
10Irene Gault, Addie Beatty, Mrs. Frank Blymer Siddall and Edith Foristall, who have been studying this season at the Sherwood music school, Fine Arts Building, were recently described as "a quartet of pianists with superabundance of talent."
11Miss Gertrude Carlyle, who has been taking lessons from William H. Sherwood this year, is a post-graduate of the Toronto, Canada, Conservatory of Music.
12Edna Paine, a student at the Sherwood Music School, promises to be an exceptionally fine concert pianist.
13Another musician who has been studying with Mr. Sherwood is Mrs. Junius Hoag, formerly a Leschetizky pupil.
14Harriet Webster, graduate of Knox Conservatory, Galesburg, Ill., also has been taking advantage of the opportunities which the Sherwood Music School offers.
16Caroline Beeler, soprano, a talented musician from Lebanon, Ky., has been studying singing in Chicago this season at Mr. Baird's studio.
18Katherine O'Brien Stewart, soprano, who was heard at several musical events in Chicago this season, has recently appeared successfully at her home, Nashville, Tenn., and elsewhere in the South.
20The recent engagements of Eva Emmet Wycoff, soprano, included a recital at Monmouth, Ill.
22PUPIL OF THE HINSHAW SCHOOL OF OPERA AND DRAMA.
23Florence Pitcher Lyons, who recited at the North Chicago Choral Union's recent concert, added another triumph to her season's record. Miss Lyons opened the program with James Whitcomb Riley's "Knee Deep in June," which she interpreted in a very creditable manner, and after which she was repeatedly recalled. All her readings proved her to be an exceptionally promising young artist. She is completing her course at the Hinshaw School of Opera and Drama, where her work has been most thorough. After graduation this spring she will be open to engagements for the coming season.
25The Chicago department of THE MUSICAL COURIER has recently received two attractive compositions—"Concert Waltz," in D flat, and "Album Leaf," in G, by the gifted composer, Ernest Lachmund.
27Joseph Vilim, director of the American Violin School, Kimball Hall, is a graduate of Prague Conservatory of Music, where he won distinction. After being associated with the Chicago Musical College and later with the American Conservatory, he founded the school which he now successfully directs. Mr. Vilim is well known as soloist and teacher. A number of his pupils have held positions in the Chicago Orchestra under Theodore Thomas and with other prominent local organizations. His abilities are recognized in both Europe and America.
29THE DE KALB FESTIVAL.
30Prominent Chicago artists, many of whom are under Charles R. Baker's concert direction, took part in a brilliant musical festival at De Kalb, Ill., on May 1, 2 and 3, arousing much enthusiasm.
31William H. Sherwood appeared several times, always with his accustomed success.
32The program included also such well-known names as Electa Gifford and Mabel Sharp, sopranos; Mabelle Crawford, contralto; Clara Murray, harpist; Marie Schumann, violinist; Maud Fenton Bollman, soprano, and Eloise Morgan, violinist. Bertha Smith Titus, of Chicago, accompanied very effectively, and the First Regiment Band played a number of overtures, marches and other selections, under J. F. Hostrawser's leadership.
33The festival was an important event in De Kalb's musical history.
35Mme. Margaretha Wunderle, first harpist of the Chicago Orchestra, gave a harp concert at Oak Park last week, Thursday evening. A notable number on the program was Spohr's seldom heard Sonata, op. 115, for harp and violin. Madame Wunderle's skill is familiar to Chicago concert goers. She was assisted by Herr Wunderle, piano; Martin Koebel, reader, and others.
37A feature of the third concert of the Rodger's Park Musical Club May Festival on Tuesday evening of this week was the singing by William Willett of Cowan's "Rose Maiden."
39The problem of music versus horn blowing in the public playgrounds is to be settled the coming summer. Johnny Hand's band, that has frightened the caged animals in Lincoln Park during dog days heretofore, will give way to a picked aggregation from the Thomas Orchestra. The purpose of the change is said to be the uplifting of public taste. No more ragtime will be permitted, and there will be two concerts every week, at a cost of $200 a performance.
41Rudolph Ganz, of the Ziegfeld College faculty, proved himself a really good pianist in his recital last Friday evening. Even the wretchedly bad taste displayed in advertising the concert by sticking cheap busts of the young man about town in the store windows did not have the effect of keeping people away. This was partly because Mr. Ganz is already known as a pianist of rare powers, and partly because whatever Dr. Ziegfeld's school undertakes is so well done as to imply only success. Mr. Ganz gave his first important concert last Friday in Studebaker Music Hall. He gave a scholarly program, and was especially effective in the Liszt Polonaise in E and the Brahms variations of the theme by Händel. He also showed adequate feeling and imagination in his readings of the Chopin numbers, and pleased his audience immensely with his performance of the familiar Liszt Rhapsody. Mr. Ganz possesses power enough, is fleet of finger, and is master of the temperamental touch by which lovers of piano music are most surely reached and moved. He will eventually win a wider fame than comes to most pianists if he has the ambition to do it.
43LIST OF WORKS PLAYED BY HAROLD BAUER IN AMERICA.
44Musical Season 1901-2.
45Mason & Hamlin Piano.
46FROM the following list it will be seen that Mr. Bauer played over sixty different works, including several works for piano with orchestra, for piano with quartet, and important compositions for piano, played by Mr. Bauer for the first time in America, such as the d'Indy symphony for orchestra with piano, the César Franck Prelude, Aria and Finale. Mr. Bauer has played with every large orchestra in the country, with the Kneisel Quartet and other organizations, as well as in recital in our large cities.
47Concerto Italiana……………………………………………..Bach
48Sonata in A, violin and piano……………………………….Bach
49Sonata, op. 111, C minor………………………………….Beethoven
50Sonata in A flat, op. 110……………………………………Beethoven
51Moonlight Sonata, op. 27, No. 2………………………….Beethoven
52Concerto in E flat…………………………………………..Beethoven
53Sonata Appassionata………………………………………..Beethoven
54Islamey (Fantaisie Orientale)……………………………….Bakirew
55Scherzo in E………………………………………………….Chopin
56Polonaise, C minor…………………………………………Chopin
57Ballade in A minor…………………………………………Chopin
58Prelude in A flat…………………………………………….Chopin
59Polonaise, op. 53……………………………………………Chopin
60Barcarolle…………………………………………………….Chopin
61Nocturne, F sharp minor…………………………………..Chopin
62Mazurka in F sharp minor………………………………….Chopin
63Nocturne, C minor…………………………………………Chopin
64Nocturne in E……………………………………………….Chopin
65Ballade in A flat…………………………………………….Chopin
66Prelude in D flat…………………………………………….Chopin
67Etude in C minor……………………………………………Chopin one of two readings
68Etude in C minor…………………………………………..Chopin one of two readings
69Valse in A flat……………………………………………….Chopin
70Fantaisie in F minor………………………………………..Chopin
71Ballade in F minor…………………………………………Chopin
72Ballade in G minor…………………………………………Chopin one of two readings
73Ballade in G minor………………………………………..Chopin one of two readings
74Prelude, aria and finale……………………………………César Franck
75Quintet for piano and strings……………………………..César Franck
76Symphony for orchestra, with piano……………………..d'Indy
77Gavotte………………………………………………………Gluck-Saint-Saëns
78Air de Ballet……………………………………………….Gluck-Saint-Saëns
79Fantaisie in C………………………………………………Haydn
80Totentanz…………………………………………………….Liszt
81Etudes………………………………………………………..Liszt
82Mephisto Valse……………………………………………..Liszt one of two readings
83Mephisto Valse…………………………………………….Liszt one of two readings
84Legende, St. François marchant sur les flots………….Liszt
85Rhapsodie No. 2…………………………………………..Liszt
86Sonata………………………………………………………Liszt
87Songs Without Words………………………………………Mendelssohn
88Rondo Capriccioso………………………………………..Mendelssohn
89Prelude and Fugue in E minor, op. 35…………………..Mendelssohn
90Fantaisie in F minor……………………………………….Mozart
91Etude in C………………………………………………….Rubinstein
92Barcarolle……………………………………………………Rubinstein
93Arabesque…………………………………………………..Schumann
94Novlette in E……………………………………………….Schumann
95Vogel als Prophet…………………………………………Schumann
96In der Nacht……………………………………………….Schumann
97Allegro Appassionata, piano with orchestra……………..Schumann
98Etudes Symphoniques………………………………………Schumann one of two readings
99Etudes Symphoniques…………………………………….Schumann one of two readings
100Fantaisie in C……………………………………………..Schumann
101Romance in F sharp………………………………………Schumann
102Toccata……………………………………………………..Schumann
103Carnaval…………………………………………………….Schumann
104Impromptu in B flat……………………………………….Schubert one of two readings
105Impromptu in B flat………………………………………Schubert one of two readings
106Concerto in G minor, op. 22……………………………..Saint-Saëns
107Concerto No. 4, C minor………………………………..Saint-Saëns
108Sonata………………………………………………………Scarlatti
109Mr. Bauer has this season, as he did last, accomplished great work for the development and furtherance of music in America. He stands for all that is best in his art; he is never swerved from his path of legitimate, honest, sincere and noble music making; he gives solid encouragement as well as solid delight to his hearers; his influence is manly, uplifting and benign; his emotional nature is strong, but under control and never hysterical; his intellect stamps the man as a remarkable man, and as he plays his audiences are influenced and always benefited by these qualities. Bauer's sympathy is deep, his tone luscious, and a rich sanity pervades all he does; a virile sanity, a musical sanity, a refreshing and an ennobling sanity.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.