Scan 31
Musical Courier 1902-05-14: Vol 44 Iss 1155, 1902
101 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1BOSTON, May 11, 1902.
3A
5S the beginning of the regular musical season in Boston is marked by the first concert of the Symphony Orchestra, so also is its end marked by the opening of the series of "Pop" concerts, which latter event occurred last Monday evening.
7There are always a number of pupils' recitals that take place during May and early June, friendly affairs in which the pupil, no matter how badly the task is performed, is applauded and bouqueted by anxious parents and interested friends.
9For the "Pops" the seats on the floor of Symphony Hall are removed and replaced by chairs and tables, the space becoming for the time being a "beer garden," where this refreshing draught and potions of light wines, lemonades and cigars are served and enjoyed while fifty Symphony players regale the assembly with strains of music that graduate from the dignity of the "Tannhäuser" Overture to the frivolity of excerpts from the music of "King Dodo," "The Girl from Paris" and other equally diverting selections.
11The program is divided into three parts.
13Between the first and second parts only the musicians go out to meet a friend and console or rejoice.
15Between the second and third parts the audience retire to the ample corridors for a promenade and display of many beautiful and becoming habits of dress and chapeau variety.
17On the whole, these occasions are rather more dignified than jolly, except on nights when the college boys get in and take a hand at booming the show.
19The "Pops" run from May to July, and as they principally were inaugurated by Mr. Higginson to give the musicians of the Symphony Orchestra occupation until they go to the seaside and mountain resorts to play during the warm season, it matters nothing whether the opportunity offered the public to relax to the tune of social and musical enjoyment pays the management or not; like in the case of the Symphony series, the deficit is squared. Regardless of the "beer and cheese" facilities, I doubt if the "Pops" have ever paid the current expenses.
21C. A. Ellis and his able assistant, Fred Comee, exert themselves, however, to make these divertissements as enjoyable as possible without the introduction of inappropriate features.
23On the whole, the musical season, as regards entertainments, has not been a financially brilliant one. Very few of the professional recitals have paid expenses even.
25The Handel and Haydn Society performance of Gounod's "Gallia" and Rossini's "Stabat Mater" drew an overcrowded house at extra prices. The Bach "Passion" music was given to the smallest audience of the season.
27Of next season let us hope for better luck; of the one just passing, requiescat in pace.
29WARREN 'DAVENPORT.
31SOUSA'S BAND.
33THE drawing powers of Sousa and his band never were better illustrated than last Sunday night, when they attracted to the Metropolitan Opera House an audience that completely filled the building. This was the program presented:
35Overture, Di Ballo…………………………………………..Sullivan
36Trombone solo, Love's Enchantment………………………..Pryor one of two readings
37Trombone solo, Love's Enchantment……………………..Pryor one of two readings
38Moorish Dance, from Azara (new)………………………….J. K. Paine one of two readings
39Moorish Dance, from Azara (new)………………………..J. K. Paine one of two readings
40Soprano aria, Scene and Cavatina, Ernani…………………Verdi
41Finale to first act La Tosca (new)………………………….Puccini
42Bourree and Gigue, Much Ado About Nothing (new)……..German one of two readings
43Bourree and Gigue, Much Ado About Nothing (new)…….German one of two readings
44Valse, The Night Owls………………………………………Ziehrer
45March, The Invincible Eagle……………………………….Sousa
46Violin solo, Fantaisie, Carmen……………………………..Hubay
47Theme, Variations and Carnival Time from Scenes in Naples…………………………………………………Massenet
49Added to this list as encores were at least six numbers, principally those Sousa marches for which audiences always clamor. "The Invincible Eagle" had to be repeated, of course.
51Several exceptionally fine novelties were presented. One of the most effective of these, which brought out to advantage the band's full resources, was J. K. Paine's Moorish Dance, from "Azara." This aroused much enthusiasm. Another impressive number was Sullivan's Overture to "Di Ballo," which was played admirably. The band's work, however, was so uniformly good that it is idle to comment upon any special feature of the concert.
53The new soloists were Miss Lucile Jocelyn, soprano, and Miss Marguerite de Fritsch, violinist.
55The Band's Movements.
57Sousa and his men have started on a three weeks' tour through Canada and the Northeast. At the conclusion of this tour the engagement will begin at Willow Grove Park, Philadelphia. From Saturday, June 28, to Monday, September 1, inclusive, the band will be at Tilyou's Steeplechase Steel Pier, Atlantic City, N. J. From Wednesday, September 3, to Tuesday, September 16, inclusive, the band will play at the Western Pennsylvania Exposition, Pittsburg, Pa.; Wednesday and Thursday, September 17 and 18, the band will be the star attraction at the Indiana State Fair Grounds, Indianapolis, Ind. Friday and Saturday, September 19 and 20, the band will fill an engagement at the Coliseum, Peoria, Ill. Sunday, September 21, the band will start on its sixth transcontinental tour, returning home about the beginning of the holidays. December 24 Mr. Sousa and his men will sail from New York for Southampton. The third European tour will begin January 3, when a concert will be given in Royal Albert Hall, London.
59Sousa's New March.
61While sojourning for a few weeks at Hot Springs, Va., Mr. Sousa wrote a new march. This he has dedicated, by permission, to King Edward of England. This composition is both original and strong, being characteristically Sousian. Its name has been decided upon, but cannot be disclosed now.
63Duguid Concert.
65FORBES LAW DUGUID, whose "Scotch Concert" is pleasantly remembered, gave another concert, this time at Assembly Hall, United Charities Building, on Thursday evening, which was a great success in all ways excepting attendance. He was assisted by half a dozen artists, namely, Miss Mabel Duguid, Miss Jessie E. Spurgeon, Rud. Jacobs, John Bradford, Bert Helms and F. W. Riesberg, who furnished vocal, violin, flute, piano and trio numbers, with recitations by Miss Spurgeon. Mr. Duguid sang three times, these being his numbers:
67II Balen………………………………………………………..Verdi
68Bedouin Love Song………………………………………….Pinsuti
69Inefice………………………………………………………..Verdi
70Non torno…………………………………………………….Mattei
71The Message…………………………………………………Blumenthal
72Beauty's Eyes……………………………………………….Tosti
73Farewell………………………………………………………Graham
75In these various numbers Duguid showed good voice control, style and resonant baritone voice of high range. He is a most promising young singer, and is bound to come to the forefront in time, for he has merit and real Scotch persistence. Miss Duguid made most impression with Bemberg's "Nymphs" waltz, and the other soloists all did their share, the accompanist being F. W. Riesberg.
77C. Virgil Gordon Recitals.
79C. VIRGIL GORDON, of the faculty of the Virgil Piano School, will give a series of three piano recitals to be played by his pupils, Miss Julia Moss, Laura Race, Jennie Quinn and Fannie Abramson, on Tuesdays, May 20, May 27 and June 3. Mr. Gordon's pupils will be assisted by Albertus Shelley, violinist; John Perry Boruff, baritone, and H. Silberstein, baritone.
81Parties desiring tickets will send their names or call at the Virgil Piano School, 29 West Fifteenth street, New York city.
83BOOKLET FREE
84On American Method of Singing.
85A NEW DISCOVERY.
87TO EARNEST STUDENTS, IF CORRECTLY TAUGHT, there should be no discouragement, CERTAINLY NO FAILURES. Teachers of TRUTH know that EVERY FAILURE can be attributed to incorrect teaching. Teachers who are in the dark as to correct ideas are NOT to blame for giving out false ideas, but their ignorance makes it the least an error, and they should THINK for themselves. Do not be satisfied with work that does not appeal to your sense of reason, and inspire you rather than discourage you, for when you come to study with those who do not understand the true way you will find that every lesson is not only a revelation of truth, but a reassurance of a successful future. There is but ONE right way to develop a voice; but one way to develop muscles in hand and body, for tone work on piano that gives individuality. The natural force that brings out the possibilities of the voice in complete purity and beauty is not mysterious, but tangible, when pupils are guided by a teacher who understands the scientific rules employed in the foundation work. Every voice in the American Method is NEW. All are progressing to development of the voice answers by vocal teachers and students of singing, in musical magazines, differ entirely from the science employed in the American Method. Through this foundation EVERY pupil reaches the same degree of perfect tone compass and volume, the small voice singing requiring the same to develop volume. This method is not taught outside of Chicago Auditorium Building. Voices tested free.
89NOTE: The newly discovered science develops every voice (ages 10 to 60) into the same tones with which Patti, De Reszke and ALL great artists were born. Children of all ages, after studying this method, sing with full matured tone, while those advanced in years sing with youthful, fresh voices. Teachers should be able to answer every question intelligently and give the student's entire satisfaction. REPUTATION is NOT ALWAYS built upon TRUE KNOWLEDGE.
91Mary M. Shedd,
92Studios 74, 75, 78 Auditorium Building, CHICAGO, ILL.
93TELEPHONE: HARRISON 3589.
94IMPORTANT.—In order to give singers of other cities an opportunity to come into this school, after May 14 I shall accept no more CHICAGO pupils until 1908.
96MRS. EDMUND SEVERN
97Successful Voice Builder.
98Concert, Opera, Oratorio.
99In New York entire Summer season.
100STUDIO: 131 West 56th Street.
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