Scan 28
Musical Courier 1902-05-14: Vol 44 Iss 1155, 1902
153 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 29. See the scan on archive.org.
1Symphony, Jupiter (K. 551)………………………………………Mozart
2Overture to Don Giovanni………………………………………Mozart
3Symphony in F major, No. 3, Im Walde, op. 133………………Raff
4Concerto in D minor, No. 4, for piano and orchestra, op. 70………………………………………………………..Rubinstein
5Nos. 8, 9, 10, 11, from the Ballet, The Vine (new orchestration by Wilhelm Gericke)………………………………………Rubinstein
6Symphony in C minor, for orchestra and organ, No. 2 op. 78………………………………………………………..Saint-Saëns
7Concerto in B minor, for violin, No. 3, op. 61………………..Saint-Saëns
8Symphonic Prologue to Sophocles' "Edipus Rex, op. 11" Schillings
9Unfinished Symphony in B minor………………………………….Schubert
10Symphonic Variations on the Choral, Wer nur den lieben Gott lässt walten, op. 24………………………………………Georg Schumann
11Symphony in B flat, No. 1, op. 38………………………………….Robert Schumann
12Symphony in D minor, No. 4, op. 120…………………………..Robert Schumann
13Overture to Byron's Manfred………………………………………Robert Schumann
14Concert Piece for Piano and Orchestra, op. 92………………Robert Schumann one of two readings
15Concert Piece for Piano and Orchestra, op. 92………………..Robert Schumann one of two readings
16Song, Waldesgespräch……………………………………………..Robert Schumann
17Concerto in A minor, for violin and orchestra, No. 8; Scena Cantante, op. 47……………………………………………..Sporh
18Tone Poem, Ein Heldenleben, op. 40…………………………..R. Strauss
19Love Scene from the opera Feuersnoth……………………………R. Strauss
20Song, Serenade…………………………………………………….R. Strauss
21Symphony in C, No. 1, op. 12………………………………….Taneïeff
22Symphony, Manfred, after Byron's poem, op. 58………………Tchaikowsky
23Symphony Pathétique, in B minor, No. 6, op. 74…………….Tchaikowsky
24Francesca da Rimini, orchestral fantaisie after Dante, op. 32………………………………………………………..Tchaikowsky
25Overture in E flat major, 1812, op. 49…………………………..Tchaikowsky
26Concerto in B flat minor, for piano and orchestra, No. 1, op. 23………………………………………………………..Tchaikowsky
27Concerto in A minor, No. 5, for violin and orchestra, op. 37………………………………………………………..Vieuxtemps
28Overture to Richard III, op. 68………………………………….Volkmann
29Rienzi, scene, Just God! and aria, My Life Fades in Its Blossom……………………………………………..Wagner
30Overture, The Flying Dutchman………………………………….Wagner
31Overture, Bacchanale and Scene between Tannhäuser and Venus, from the first act, Paris version…………………….Wagner
32Prelude, Die Meistersinger……………………………………….Wagner
33Walter's Prize Song, Die Meistersinger…………………………..Wagner
34Sachs' Monologue, Wahn! Wahn! Ueberall Wahn, from Act III, Die Meistersinger………………………………………Wagner
35Siegmund's Love Song, Die Walküre…………………………..Wagner
36Siegfried's Parting from Brunhilde, Götterdämmerung……..Wagner one of two readings
37Siegfried's Parting from Brunhilde, Götterdämmerung………..Wagner one of two readings
38Siegfried's Death, Götterdämmerung…………………………..Wagner
39Funeral March, Götterdämmerung………………………………Wagner
40Closing Scene, Götterdämmerung……………………………….Wagner
41Good Friday Spell, Parsifal………………………………………Wagner
42Overture, Der Freischutz……………………………………….Weber
43Scene and aria, Ocean! Thou Mighty Monster, from Oberon Weber
44Spring Song………………………………………………………Weil
46NEW YORK PHILHARMONIC LIST.
47Emil Paur, Conductor.
49Prelude, Choral and Fugue………………………………………Bach-Albert
50Second Violin Concerto, E major……………………………….Bach-Albert
51Overture, Leonora, No. 2………………………………………Beethoven
52Fidelio Overture…………………………………………………Beethoven one of two readings
53Fidelio Overture……………………………………………….Beethoven one of two readings
54Symphony No. 5, C minor, op. 67………………………………Beethoven
55Symphony No. 1, C major, op. 21………………………………Beethoven
56Symphony No. 9, D minor, op. 125…………………………..Beethoven
57Symphony No. 1, C minor, op. 68………………………………Brahms one of two readings
58Symphony No. 1, C minor, op. 68……………………………..Brahms one of two readings
59Dramatic Tone Poem for contralto, The Sisters (Tennyson)……………………………………………..Burmeister
60Aria, Unis de la plus tendre enfoi (from Iphigénie en Tauride)……………………………………………..Gluck
61Symphony, The Seasons……………………………………….Hadley
62Symphonic Poem, Barbarossa…………………………………..Hanségger
63Symphony, G major, No. 13 (B. & H. ed.)……………………Haydn
64Song, Die Drei Zigeuner……………………………………….Liszt
65Totentanz, Paraphrase for piano and orchestra…………………Liszt
66A Faust Symphony, in three characters (after Goethe)………..Liszt
67Concerto for Violin, E minor, op. 64…………………………..Mendelssohn
68Symphony, C major (Jupiter)…………………………………Mozart
69Concerto for Piano, D minor, op. 29…………………………..Rubinstein
70Concerto for Cello, A minor, op. 33…………………………..Saint-Saëns
71Concertstücke for Piano, G major, op. 27…………………….Schumann
72Symphonic Prologue to Sophocles, King Odipus (new), Schillings
73Legend from Kalevala (Lemminikainen's journey Home, Hämmer ward) (new)…………………………………………Sibelius one of two readings
74Legend from Kalevala (Lemminikainen's journey Home, Hymn ward) (new)…………………………………………..Sibelius one of two readings
75Love Scene from Song Poem, Feuersnoth (new)…………….Richard Strauss one of two readings
76Love Scene from Song Poem, Feuersnoth (new)………………Richard Strauss one of two readings
77Aria from Guntram……………………………………………..Richard Strauss one of two readings
78Aria from Guntram…………………………………………….Richard Strauss one of two readings
79Death and Transfiguration (symphonic poem)…………………Richard Strauss
80Suite, A Fairy Tale, op. 16……………………………………Suk
81Fantasy Overture, Hamlet, op. 67…………………………….Tchaikowsky
82Symphony No. 6, B minor (Pathétique)………………………..Tchaikowsky
83Fugue for Violin……………………………………………….Tarini
84Huldigung March……………………………………………….Wagner
85Prelude and Glorification from Parsifal………………………….Wagner
86Overture, Euryanthe……………………………………………Weber one of two readings
87Overture, Euryanthe…………………………………………..Weber one of two readings
89Hans Barth Bergman.
90MASTER HANS BARTH BERGMAN, protégé of Mrs. A. M. Virgil, took part in an artistic program given at the Waldorf-Astoria on Thursday afternoon at 3:30. The affair was called a "Reception and Picture Musciale" and was given by the New York City Mothers' Club. Little Hans represented "The Childhood of Mozart." Dressed in court attire with a white wig, such as was worn in those days, Hans was transformed into an ideal picture of Mozart, who captivated his audience by his superb playing, which elicited an encore, to which he responded, playing a Chopin waltz.
92LENA DORIA DEVINE
93-TEACHER OF
94BLANCHE DUFFIELD, Coloratura Soprano;
95MARY LOUISE GEHLE, Contralto;
96LOUISE TOMPKINS, Soprano;
97FRED'K BUTTERFIELD ANGELL, Baritone,
98And other prominent singers now before the public.
100Vittorio Carpi.
101SIG. VITTORIO CARPI'S "Voice Rectifier" is continuing to earn appreciative endorsements. Here is another:
102It gives me much pleasure to add my testimony in favor of Signor Carpi's "Voice Rectifier." After having learned under his direction how to use it, I had the most gratifying and surprising results. I heartily indorse its great merit, and consider it an indispensable aid in voice training.
103JOHANNA HESS-BURR.
104Among Signor Carpi's pupils who have been recently engaged with the Savage Opera Company, Miss Marguerite McKinney and Miss Gertrude Quinlan have been very successful in Chicago in the new opera "The Sultan of Sulu," by Alfred G. Wathall. Miss Mabelle Crawford, who won a great success at the Chicago Mendelssohn Club March 6, was engaged for an important concert at Fort Worth, Tex., on April 28, and for the May musical festival at DeKalb, Ill., at which William Sherwood and Miss Electa Gifford will also appear.
105Miss Margaret McKinney has also been engaged to sing at the Daily Theatre in New York in "King Dodo" the role of Angela. Mrs. Harriet Packard has been engaged to sing in grand opera in English at the Grand Opera House in New York, in connection with the James W. Morrissey Opera Company.
106Signor Carpi will continue teaching at his school during the summer, as he has many pupils and teachers from other cities who can only study with him during their vacation.
108Herbert Witherspoon.
109HERBERT WITHERSPOON, the popular basso, is about to close the most successful season of his career. The increased demand for and the rise in popular favor of this artist during the past season has been most extraordinary. He has sung in many of the largest cities of the United States and Canada, and has traveled about 25,000 miles, meeting with such invariable success as to leave no doubt about his sterling worth as a singer and artist. With a voice and style peculiarly fitted for oratorio and concert, Mr. Witherspoon has a basso cantante of such wide range and color as to bring him equal success in such roles as the "Creation" and "Elijah." From Maine to Colorado and from Canada to Georgia Mr. Witherspoon has met with many successes that were really sensational triumphs, and in almost every instance has been re-engaged for next season.
110Manager Henry Wolfsohn has selected this artist as his leading basso for 1902-03, and is now booking extended tours for him all over the country. Mr. Witherspoon has recently sung in Chicago, Belvidere, Ill.; Cleveland and Akron, Ohio; New York, Brooklyn, Newark, N. J., and Baltimore. In the last two places his success was of especial note, as the following comments of the press show:
111"CREATION."
112The bass alone had not been heard before in Baltimore, and his success was such as to make him a very desirable addition to the list of singers who are engaged by the society.—Baltimore Sun, May 2.
113Mr. Witherspoon achieved a great success, his deep lower notes reminding one of the great Whitney. He sang with the confidence of an old oratorio singer, every note in the gamut appearing to be within easy range of his grand voice. The bass work in the composition is arduous, but it was well discharged by Mr. Witherspoon, whose greatest success was in the recitation, "And God Said, 'Let the Waters,' with the following air, 'Rolling in Foaming Billows.' The fine pianissimo measure, 'Softly Purling, Gliding On,' was artistically given and warmly applauded at its conclusion. In the air, 'Straight Open Her Fertile Womb,' Mr. Witherspoon gave a fine example of musical declamation, his work being equally effective in Part II., in which he sang the part of Adam.—Baltimore American, May 2.
114Of the soloists last evening, first honors go to Herbert Witherspoon, a splendid renderer of the bass part, by reason of his sonorous rich voice and artistic interpretation. In the delivery of the recitative, as well as in the warm rendition of the beautiful arias, he rose to an equal height.—Der Deutsche Correspondent, Baltimore, May 2.
115Herbert Witherspoon, the basso, who sang here for the first time, is one of the most satisfactory singers the society has ever engaged. His voice is sonorous and of liberal compass, and he is at all times convincing.—Baltimore News, May 2.
117"LIGHT OF ASIA," BUCK.
118The assisting soloists were Miss Shanna Cumming, soprano; Dudley Buck, Jr., tenor, and Herbert Witherspoon, basso. Mr. Witherspoon easily carried off such honors as fell to these singers by reason of his fine voice, whose powerful and resonant tones are pleasing in quality, the admirable art with which he controlled it, the intelligence with which he set forth both the sentiment and the music of his share in the work, particularly noticeable in his stirring recital of the king's reception of the wandering prince, and the ease and finish of his vocalization. During the evening he frequently received the merited tribute of well earned and hearty applause.—Newark Evening Sun, May 8.
119Mrs. Cumming and Mr. Witherspoon are familiar soloists here. Their work last night added to the previous high estimation in which we held them. The soprano's bright voice gave splendid justice to her arias, while the bass' full, round, finely cultivated tones drew forth merited applause. Mr. Witherspoon was, indeed, in particularly good form, and his ability as a satisfying and competent soloist was at once recognized. He was especially fine in the solo, "But When the King Heard How Siddartha Came Clad in the Yellow Robe." He sung the aria with dramatic expression and force, which aroused the most honest applause of the evening.—Newark Daily Advertiser, May 8.
121Guenther Kiesewetter's Student Recital.
122A VERY interesting student recital was given at Knabe Hall Thursday, May 1, by Guenther Kiesewetter, the well-known musical director, composer and teacher. Twenty of his advanced pupils participated in four branches: Vocal, violin, piano and organ. Vocally the most brilliantly executed numbers were: Shadow Dance ("Dinorah"), Meyerbeer, by Mrs. Edgar P. Foster; Jewel Song ("Faust"), Gounod, by Mrs. Janette Johnson; La Gioconda air (Act IV), Ponchielli, by Mrs. Anna Firman Jack; Aria Rinaldo, Händel, by Miss Nellie Boo, and Narration ("Lohengrin"), Wagner, by Dr. Albert Brown. Violin: Concerto, Mendelssohn, Miss Sylvia Brusselaars. Piano, Sixth Rhapsodie, Liszt, Jas. W. Bleeker; "Rigolletta" Paraphrase, Liszt; Miss Nellie Dixon; A minor Concerto, Schumann (first movement), Bernard Segal. Organ, Sonata No. 1, Mendelssohn, and Toccata and Fugue (D minor), Bach, by Jas. W. Bleeker.
123Very promising voices are those of Miss Frances Win-dolph, who sang the "Flower Song" (Faust) Gounod, and Miss Josie Schwartz, "Cavatina" (Freischütz) Weber. The most interesting ensemble number was the "Egmont" overture, Beethoven, for eight hands (two pianos), by Mrs. Caroline Leach, Miss Nellie Dixon, Jas. W. Bleeker and Bernard Segal A pleasing feature of the recital was the appearance of the youthful pianists, Miss Fanny Deutsch, Master Henry Scharf and Master Chas. Paskow; it was a treat to listen to the rendition of their ensemble and solo work in compositions of Mozart, Heller, Chopin and Pieczonka.
125Miss Margulies to Sail Saturday.
126MISS ADELE MARGULIES, the pianist and teacher, will sail for Europe May 17, and remain abroad about three months, when she expects to return and resume her classes at the National Conservatory of Music. In September she will reopen her studio in Carnegie Hall for her private pupils. As the musical world well knows by this time, Miss Margulies stands in the front rank of pianists who possess pre-eminent gifts as teachers. Her success at the National Conservatory of Music, and as a teacher of private pupils in New York, has added to her fame. Last season, and also this year, Miss Margulies gave a series of chamber concerts at the residence of Mrs. Thurber. At the request of the subscribers she will give a third series next season. As an ensemble player and also as a soloist Miss Margulies' playing denotes the true musician, one born as it were to win the sympathy and arouse the admiration of the discriminating listener.
128Baltimore Sangerfest.
129BALTIMORE, May 13, 1902.
130THE music committee of the Baltimore Sangerfest has offered a prize of $150 for the best work, to be sung as the prize song in competition for the Kaiser's prize. The competition is open to all countries.
132SOUSA AND HIS BAND
133Office: Astor Court Building, New York.
134Twentieth Semi-Annual Tour.
135Route May, 1902.
136Wed., 14, Buffalo, N. Y. Mat. & Eve., Convention Hall.
137Thur., 15, Dunkirk, N. Y. Matines. Nelson Opera House.
138Thur., 15, Erie, Pa. Evening. New Park Opera H.
139Fri., 16, Youngstown, Ohio. Matinee. Opera House.
140Sat., 17, Cleveland, Ohio. Evening. Colonial Theatre.
141Sun., 18, Detroit, Mich. Mat. & Eve. Gray's Armory.
142Mon., 19, Chatham, Ont. Matinee. Gra-d Opera House.
143Mon., 19, London, Ont. Evening. Gra-d Opera House.
144Tues., 20, Goderich, Ont. Matinee. Opera House.
145Tues., 20, Brantford, Ont. Evening. D-Hall.
146Wed., 21, Hamilton, Ont. Matinee. Drill Hall.
147Wed., 21, Hamilton, Ont. Evening. Drill Hall.
148Thur., 22, Belleville, Ont. Matinee. Carman Opera House.
149Thur., 22, Kingston, Ont. Evening. The Rink
150May 30 to June 15, Willow Grove, Philadelphia.
151June 28 to Sept. 1, Atlantic City.
152Sept. 3 to 16, Pittsburg Exposition.
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