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Musical Courier 1902-05-14: Vol 44 Iss 1155, 1902
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1with the rotund qualities it possesses, make it very pleasant hearing indeed, and Mr. Hall deserved all the applause which greeted his song with orchestral accompaniment. He responded to an encore, and later on in the program he gave MacDowell's "Thy Beaming Eyes," with piano accompaniment by Mr. Mollenhauer. Here he was perfectly at home, and he sang this number with a depth of feeling that made its beauties very apparent. Rubinstein's "Longings" and Dvorak's "Als die alte Mutter" were also given with piano accompaniment, and the three songs formed the most graceful and dainty number on the program.—The Detroit Free Press, May 19, 1901.
3MINNEAPOLIS AND ST. PAUL ("The MESSIAH").
4Glenn Hall, the tenor, has made marked improvement since his last appearance in this city. His voice has broadened, and he is an artist. He, too, was a favorite with the audience, and sang with sympathetic and intelligent meaning.—Minneapolis Times, December 10, 1901.
6Glenn Hall, the tenor, sang most satisfactorily the small role intrusted to him. Mr. Hall possesses a tenor voice of exceptionally fine quality, and his interpretations possessed a dignity that promises much for Mr. Hall's future as an interpreter of oratorio work.—St. Paul Globe, December 11, 1901.
8Glenn Hall, tenor, sang his various solos with true spirit, and proved his right to the place he holds among the best oratorio singers.—St. Paul Daily News, December 11, 1901.
10SALEM, MASS.
11Mr. Hall has a light, yet pure tenor, flexible and well trained. He sings with great expression, and a fine comprehension of the text.—News, April 10.
13ARION CLUB, MILWAUKEE, WIS.
14Glenn Hall is not a tenor of robust quality, but his work is both dignified and beautiful, particularly in such numbers as "Every Valley"; the recitative and aria, "Thy Rebuke Hath Broken His Heart," and "Behold and See." Mr. Hall's phrasing is finished, his enunciation clear and his style exceedingly pleasing; there is a conscientious quality in all he does, while his voice is very sweet and of good carrying quality.—Evening Wisconsin, December 21, 1900.
16As a lieder singer Mr. Hall's success has been very great, and he has given special attention to song recitals. His is a very extensive repertory, embracing the classics and also all the best songs of modern writers. One of the greatest charms of his lieder singing is pure diction, not only in his native tongue, but in French, German and Italian as well.
18A few press opinions of his song singing follow:
19The soloist who appeared with the Eurydice Club last evening was Glenn Hall, who came heralded as a fine tenor. He is all of that, and it is unfortunate that his first appearance here should have been accompanied by such a severe cold that it had to be apologized for publicly. Such an announcement is usually rather a damper, but the audience seemed to take the view that the worst cold a man had the more he ought to sing, and kept up a claque after each group of songs that brought a response from the obliging sufferer. If overuse of his voice in Toledo should be his undoing for the season, we can proudly point to our part in his finish. After faithfully giving every song in the list, he added Foote's "I'm Wearin' Awa'" and Dvorak's "Als de Alte Mutter," besides the old song, "Oh, Believe Me, If All Those Endearing Young Charms," and notwithstanding the veil over his voice, his method, style and expression carried him triumphantly over the hard spots. It was a pleasure to hear again Schubert's "Serenade," so long neglected; while "Donna Varrei Morir" and "Bonjour, Suzon," were most artistic and satisfactory.—Toledo Bee, January 9, 1902.
21Glenn Hall, the soloist of the evening, is an artist. He possesses a tenor voice rich and sweet, and sings with so much of the true ring that one almost overlooks his perfect enunciation, splendid execution and fine tone production, in the pure pleasure of listening to songs sung as songs, not as vocalises. The first encore, "To Mary," by Maude V. White, was a gem, while his interpretation of "I'm Wearin' Awa', Jean," was as fine as one may ever hope to hear. The time has passed when a performer might please by mumbled adaptation of a melody, for clear enunciation is to-day one of the first requirements. The excellence of Mr. Hall's pronunciation of foreign languages, especially German, brought about many discussions as to his nationality. When quizzed by a reporter Mr. Hall said: "I get credit for every nationality except the right one; my claims on being an American date back to Revolutionary times."—Wisconsin State Journal (Madison), December 6, 1901.
23Glenn Hall, of Chicago, was heard in a delightful recital on Monday evening, his numbers running over a wide range, from selections from Tschaiikowsky's "Eugen Onegin" and the famous German lieder composers to our own MacDowell. Mr. Hall is young and possesses a true tenor voice, rich in timbre and virile in effect. His engagements in oratorio and concert prove a growing appreciation, and his repertory is already very large.—Philadelphia Press, January 5, 1902.
25Mr. Hall's first number was a recitative and aria from "Rebekah," by Barnby—a very effective piece and well suited to his voice. His is still the same peculiarly rich, warm tenor which so captivated people on his previous visit, and it is sufficient to say that it has lost none of its charm.—Herald, Salt Lake City, January 19.
27Glenn Hall is a tenor of exceptional ability and has had great success in the West. Combined with a good voice, he possesses admirable discretion, and his phrasing is most artistic. His dramatic temperament was very marked in his first number, an aria from "Reginella," and all through his rendition he showed that priceless gift of a singer—a soul. The enthusiastic audience demanded an encore after every number, and Mr. Hall gained its lasting approval by his gracious responses.—World, Holyoke, Mass., October 13, 1900.
29Braga's recitative and aria from "Reginella" introduced most favorably Glenn Hall, whose pleasant tenor was clear and true in the difficult initial passages, as in the accompanied aria. Chadwick's "Thou Art So Like a Flower" and MacDowell's "Thy Beaming Eyes" were sung with feeling and sweetness. "Drink to Me Only With Thine Eyes" is a dainty composition that was acceptably presented as an encore by Mr. Hall.—Atlanta (Ga.) Constitution, November 22, 1899.
31Glenn Hall, the well-known tenor singer from Chicago, was heard in a recital at Calvary Church Thursday evening. His program was an interesting one. The opening number was a selection from "Hiawatha's Wedding Feast," by Coleridge-Taylor, "Onaway, Awake, Beloved," which he sang with the discretionary judgment of the true artist. The old English songs, "Believe Me if All Those Endearing Young Charms," "Drink to Me Only With Thine Eyes," "Listen to the Voice of Love," captivated the audience. Two Schubert songs and "My Soul Is Aflame for God," from "The Holy City," and the two lovely little songs, "I'm Wearin' Awa, Jean," of Arthur Foote, and MacDowell's "Thy Beaming Eyes," completed the program. Mr. Hall's tones are clear, pure and vibrant, the voice is under perfect control and every number was received with enthusiasm and hearty approval.—Leader-Democrat, Springfield, Mo., April 4, 1902.
33Glenn Hall, the gifted young tenor, made a truly splendid success. His voice is of beautiful quality, rich and full and absolutely true. He sings with finished style, and whether a song or dramatic aria Glenn Hall is satisfying artistically. That he has a great future no one will deny who heard his singing last night.—Daily Illinois State Register, Springfield, June 22, 1901.
35Mr. Hall has a voice of fine quality and large service. It is big, almost baritone in its depth, yet capable of bringing out the most delicate effects. His personal style is also very pleasing, for in addition to good looks he has an authoritative assurance, which contributes to the comfort of any audience. He was especially effective in the recitative aria from "Eugen Onegin," by Tschaiikowsky, which he sang with expression and style. He gave a classic group, including Schumann, Brahms and Schubert numbers, with excellent taste and finish, and his ballads, which were perhaps more enjoyed than his other numbers, were well chosen and beautifully sung. Mr. Hall is one of the most interesting concert attractions that Kansas City has had. It is said to be more than probable that he will be heard with the Oratorio Society later in the season.—Kansas City Star, November 29, 1901.
37It is refreshing to hear improvement. A man so much before the public, and so capable, usually considers himself good enough. He takes to doing of unheard of things.
39He becomes a graduate with "high honors," in his own estimation at least, and that usually settles him so far as genuine artistic progress goes.
41In so far as it is possible to prophesy, I predict eventual success of exceptional mold for Glenn Hall. He practically has his future before him, and his large circle of admirers are fully justified wishing him a brilliant career.
43Mr. Hall sang "I'm Wearing Awa', Jean" (Foote), and the "Irish Love Song" (Long), with real warmth and expressiveness. His lighter numbers were delicately done and artistic. The Vannini Serenade showed the voice in its best light, and was incidentally a good composition.—Chicago American, December 4, 1901.
45Glenn Hall, the Chicago tenor, was the main feature of the program. Mr. Hall came to Denver with a high reputation, and leaves it with a higher one. His popularity was equaled only by the artistic worth of his singing. To say that Mr. Hall is an artist with excellent control, correct intonation, clever enunciation, in whatever language he used, and plenty of temperament is not to praise him too much. He sang the great Tschaiikowsky recitative and aria from "Eugen Onegin" with all the abandon that this tragically and despairing beautiful song demands. But he was perhaps at his best in the smaller group that formed his second solo, songs so deftly chiseled that each chord seemed the facet of a jewel. The Brahms Serenade was the best of these, full of those subtle syncopated rhythms that no other composer quite caught the trick of. He also sang the Schubert Serenade with rare feeling and delicacy. He was enthusiastically encored after all his solos.—Denver Tribune.
47Each success merely spurs Mr. Hall to renewed effort, and he is unremitting in his study of the technic and aesthetics of his art. Under the direction of Dunstan Collins, Fine Arts Building, Chicago, his coming season is already an assured success, and it is more than probable that at its close he will seek still wider fields and that European recognition which is the ambition of every artist.
49LISZT MONUMENT AT WEIMAR.
50Unveiling.
51RICHARD BURMEISTER has just received his invitation to be present at the unveiling of the Liszt monument, at Weimar, on May 31, the invitation having come from Chairman von Bronsart, and also signed by von Vignau, the active chairman. On the evening before the unveiling a concert will take place in the Grand Ducal Theatre, at 7:30. On the morning of the 31st, at 11 o'clock, the unveiling ceremonies begin, and in the evening, at 6 o'clock, a performance of Liszt's "Saint Elizabeth" will be given. Full particulars will be sent to this paper by Mr. Burmeister, who will be present on the occasion, as he leaves here for Europe May 20, on the Kaiser Wilhelm der Grosse. After this event Mr. Burmeister will leave Weimar for Dresden, where, during the months of June, July and August, he will live in a villa near that city, and has made arrangements to give lessons to a number of professionals who have made application. Mr. Burmeister will be at Crefeld to attend the concerts of the Tonkünstlerversammlung in June.
53"ELIJAH" AT YONKERS.
54MENDELSSOHN'S "Elijah" was produced by the Yonkers Choral Society, at the second subscription concert, May 2, with the following soloists, Frederick R. Burton, conductor:
55Jessica De Wolf, soprano; Miss Amy Ray, contralto; Arthur Goodrich, tenor; Dr. Carl E. Dufft, basso; James Pearce, M.B., Oxon., organist.
56Miss Ray, the contralto, possesses a powerful, broad voice, and is rapidly advancing in her position as a public singer. We append some newspaper notices on her singing on this occasion:
57The oratorio of "Elijah" was finely given and the large audience was particularly pleased. Of the soloists nothing can be added to the reputations they already enjoy in this city. Jessica De Wolf, soprano; Miss Amy Ray, contralto; Arthur Godrich, tenor, and Dr. Carl E. Dufft, basso, have all been heard here many times before, and all present knew what to expect. Their expectations were fully realized.—The Yonkers Herald, May 3, 1902.
58Although the alto and tenor solos in this oratorio are less important, the singers proved to be capable and gave pleasurable interpretations. Miss Amy Ray sang most artistically "O Rest in the Lord."—The Yonkers Statesman, May 3, 1902.
60Gomph-Williams.
61WILLIAM GOMPH, the Buffalo (N. Y.) organist, was married on April 28, to Miss Mary Louise Williams, a daughter of Mr. and Mrs. Albert Paterson Williams, of Auburn avenue, Buffalo. The ceremony was performed at the home of the bride's parents, by the Rev. George Gomph, of Pittsburg, an uncle of the bridegroom. George Robertson and Bradley Rogers officiated as ribbon bearers. The bride wore white mull draped over white silk, tulle veil, and carried a bouquet of white roses and lilies of the valley. A reception followed the nuptials. Mr. and Mrs. Gomph are making an extended tour, and after June 15 will be "at home," at 568 Auburn avenue.
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