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Musical Courier 1902-06-04: Vol 44 Iss 1158, 1902
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1KUBELIK.
3THROUGH the engagement of the violinist Kocian considerable rivalry has been created between him and Kubelik. Both are Bohemians, both are young, both were pupils of the same teacher, both are taken up by their countrymen with enthusiasm and both are violinists. In the meantime the people in this country can rest in peace and comfort during the next six months at least before these two young violinists, with the bows, will attack them. A rivalry of this kind has existed among musicians and painters and writers as far back as centuries, and, while it may not be considered artistic, it still is human and interesting, and may lead to further development of the question of violin playing, which at present, at least, is very necessary in this country, if not in Europe.
5There are no established violin factories, with capital behind them, to support violinists. Violins come from old, dead masters who have long since retired from business, and it is therefore with the violinist as it is with the singer—a question of individual activity and enterprise, free from any copartnership with the piano manufacturers. Such is virtuosity in the twentieth century.
7MANTELLI IN HARTFORD.
9THE operatic concert which Mme. Eugenia Mantelli gave at Parsons' Theatre, Hartford, Conn., proved one of the events of the season in that city. Extracts from the criticisms in the daily papers follow:
11The first selection was from Donizetti's "Favorita," and it served well to introduce the singer and to show the compass and beauty of her voice. The "Mignon" number which followed was in direct contrast, and its melody was made most effective, the tone production being especially good. The famous aria from "Samson and Delilah" was finely rendered, the acting of the singer helping greatly in the effect of this always effective number. The passionate plea of the woman for the man's love, her wiles and ways to win him, are splendidly written into the music, and Madame Mantelli did the composition the fullest justice. Another contrasting number, "Der Asra," closed the first part of the program. This song was especially interesting in the richness of its tones and the peculiarity of its intervals.
13The famous "Una voce poco fa," from "The Barber of Seville," received a well merited encore, which proved to be a dainty French song, charmingly sung, and the "Carmen" number, with its melody and delivery, was demanded a second time. Three songs, "Sans Toi," by G. d'Hardelot; "April Rain," by Oley Speaks, and "A Summer Night," by Goring Thomas, all admirably sung, closed the singer's part of the printed program, but a hearty encore brought her back with Tosti's well-known "Good-By" song, which was effective as usual.—Hartford (Conn.) Courant, May 27, 1902.
15It lent color and force and characterization, and liberated the facial expression and the gestures from the severe proprieties of concert deportment. "Leonora," the royal favorite, appeared with her passionate invocation of love—those that recall the only presentation of "La Favorita" in Hartford, with Kellogg, we think, could easily place her. And Mignon, in her plaintive innocence and tender longing, and the Philistine beauty, Delilah, and Rosina, sprightly and seductive, and redundant of shimmering vocal skyrockets, and Carmen, fleshly and abandoned, and intense of color, and, finally, Madame, herself, in concert robe of white, looking better than in any previous costume, and singing pearls of songs. One must confess that Madame Mantelli knows how to create atmosphere. With her gaily colored costumes, she plunged at once into the scene, and her eyes, her features, the inflection of her voice, the poise and the gestures of two long, white, flexible arms and two eloquent hands did the rest. Suffice to say that the score in each case received full illustration and that dramatic expression was the point of every vocal rendition.
17In the songs she was exquisite.—Hartford Daily Times.
19The most accomplished dilettanti of Hartford were present in the audience. The Signora Mantelli left nothing to be desired. She has a beautiful and fascinating presence, contralto voice, sonorous, vibrant, warm, full of delicate nuances, especially beautiful in the middle register and with her elegant phrasing and the purity of her school enabled her to pour forth silvery notes which fell upon a public that was appreciative and demonstrated that they were. Born in an Italian village, Madame Mantelli has charmed the public in South America and Mexico. Then five years in New York and now on her first American tour. Next season she will sing Carmen in the Opera Comique in Paris. Her concert last evening was as delightful as the program was varied.—Hartford Telegram.
21Those who were fortunate enough to hear Madame Mantelli were greatly pleased and enjoyed one of the most beautiful voices ever heard in this city. The reputation of Madame Mantelli as a metropolitan opera singer preceded her, and many were prepared for the excellent music which they heard. It needed only a few minutes to convince all of the superior quality of her voice, which, together with her charming appearance and beautiful costumes, made up an evening of rare pleasure. This voice is one of great beauty, of the greatest flexibility, always sympathetic—used in the strictly Italian method which is adopted by many of the operatic singers of this school and which has been perfected by Madame Mantelli to a high degree. Her program was made up almost entirely of operatic selections given in costume with dramatic action as well, making each selection as near complete as could be desired without the full orchestra for accompaniment.—Hartford Post.
23A Troy Students' Concert.
25THE Troy Seminary Conservatory students' concert, in the large Music Hall, was an event of importance, an orchestra of thirty-five men assisting, and the program consisting of piano and violin concertos, vocal solos and several choruses. Instrumentalists' Miss Brenda Grace Whitney (MacDowell Piano Concerto), and Louis Miller (Mendelssohn Violin Concerto), excelled; while Miss Georgine T. Avery was the best of the singers, in "O mio Fernando."
27The following is from the Troy Times:
29The most conspicuous development in the recent history of the musical art in this city has been the growth of the Seminary Conservatory of Music. An impressive illustration of that growth was provided at Music Hall last evening, when a great chorus of vocal pupils filed upon the stage to sing the closing number in the last concert of the conservatory's season. The fact that the large auditorium of Music Hall was required for this concert was another indication of the advancement made by the school in popular favor, and emphasized the great interest taken by the people of this city in musical affairs as well as the progress of an institution whose musicale in a school assembly room has grown until the capacities audience chamber of Music Hall is brought into use. For this remarkable illustration of successful development, the chief credit may be safely claimed by Miss Marian Sim, the director of the Seminary Conservatory of Music, mainly because of whose executive ability, artistic talent and untiring industry the conservatory has expanded from a school for the piano to the central college of musical instruction—vocal and instrumental, single or orchestral—in this neighborhood, and in whose faculty are included the representative musicians in every department of art.
31The Seminary Conservatory of Music, which has added so much to the artistic interest of the closing season, is offered as follows: Piano, Marian Sim, director; Christian A. Stein, James J. McLaughlin, Jr., Carolyn L. Johnson, Mrs. Annie Hagan Buell, Fannie Devilla Ball, Margaret M. Gillies, Leah F. Curtis, Elizabeth H. Lindsay, Anna Elizabeth Wilbur; voice, Allan Lindsay, Thomas Impett, Olive Pulis; violin, Robert E. Foote, Clarence Phillip; organ, Clara Stearns; cello, Edward S. Thornton; flute, William G. Franke; clarinet, Edward S. Thornton; cornet, George F. Dorling; mandolin, guitar and banjo, Margaret M. Gillies; Fletcher music method, Elizabeth H. Lindsay; Virgil Clavier method, Mrs. Annie Hagan Buell, Harriet F. Link; ensemble playing and orchestra class, Robert E. Foote; solfeggio, vocal sight reading, part singing, Thomas Impett; harmony, counterpoint and composition, James J. McLaughlin, Jr. Alice C. Gillies, secretary; Katherine Bunce, assistant secretary.
33Miss Leslie Stewart Recital, Yonkers.
35A VERY successful concert was given by Miss Leslie Stewart, a pupil of E. Presson Miller, of Carnegie Hall, on May 22. She was assisted by James Brines, tenor (another Miller pupil), and Miss Frances Davis, pianist. The following notice is from the Yonkers Statesman:
37The ball room of the Amackassin Club House contained a fine audience last evening. It was the occasion of Miss Leslie Stewart's annual spring musicale, and there was a sort of vernal freshness about the voices and selections.
39There was evidence of great progress on the part of the young songstress. Last year she sang so as to deserve warm praise; but at this concert she surpassed all previous performances. Her choice of songs was such as to show her voice to the best advantage in the various styles of vocalization demanded. She charmed by the beauty of her work in the lesser songs—such as those, for instance, of Mr. Avery, which were dedicated to her; and in the songs that called for the display of pyrotechnics—to use that term—such as the Dell' Acqua "Villanelle," and, best of all, the dazzling aria from "Traviata," she thrilled with the brilliancy of her runs and trills, and seemed to find the many difficult floriture mere playthings for her vocal chords.
41Miss Stewart was in most brilliant voice throughout the evening; and her unaffected manner added to the pleasure of her audience. The floral rewards, which came with almost every number, were beauties.
43M. James Brines, the tenor who sang at Miss Stewart's concert last year, gave another excellent account of himself this time. He has a peculiarly sympathetic voice, and a rousing volume of tone to give when required. He received from the audience the usual manifestation of approval. The closing duet, by the soprano and tenor, was very fine.
45All the soloists were honored by recalls, and each added a selection or two to the long list on the program. Miss Stewart repeated Mr. Avery's Ballad. The two songs by this talented Yonkers song-writer well suited the soprano's voice, and she interpreted them soulfully.
47For Terms and Dates address
48BUREAU OF FINE ARTS,
49Fine Arts Building, Chicago,
50Or PRINCIPAL, EASTERN MANAGERS.
52GEORGE HAMLIN, Tenor
53KIMBALL HALL, CHICAGO.
55LENA DORIA DEVINE
56TEACHER OF
57BLANCHE DUFFIELD, Coloratura Soprano;
58MARY LOUISE GEHLE, Contralto;
59LOUISE TOMPINS, Soprano;
60FRED'K BUTTERFIELD ANGELL, Baritone,
61And other prominent singers now before the public.
63Vocal Instruction.
64136 Fifth Avenue, NEW YORK.
66Greater New York.
68A T Parson Price's studio last week a program of eighteen numbers was sung by the following students: Mrs. Gertrude Frank, Misses Specht, Dichman, Scharf, Haring, Lochner, Clarke, Hamilton, Corwin, Stockwell and Mitchell, Messrs. Hughes and Price. There were solos and duets, and the final number a solo and chorus, a Welsh song by Mr. Price, entitled "Ar bryd y nos," the entire school singing the chorus.
70Platon Brounoff is conductor of the Seventh Street M. E. Church choir, consisting of soloists and chorus, and Dr. Henry is greatly pleased with the increased interest in the music consequent on the engagement of this thorough musician and experienced conductor. Miss Willis B. Blake is the soprano and Miss Ashcroft the alto soloist.
72Effim Bronstein, baritone, gave a recital at the residence of Miss E. Lauer, 365 West Fifty-sixth street, last Thursday evening.
74In commemoration of the birthday of the poet Tom Moore, basso Edward O'Mahony gave a concert at Assembly Hall last week, the following artists assisting: Miss Mary Howe, soprano; Mrs. Katharine W. O'Neil, alto; Adolf Silbermangel, tenor; Blanche V. Brown, violinist; Grace Uppington, pianist; F. W. Riesberg, accompanist.
76Wade R. Brown's musical service at Waverly Congregational Church, Jersey City, last week, in which Gaul's "The Holy City" was given entire, was a great success in every way. The church was crowded, hundreds of people being turned away, and the affair adds greatly to the prestige of Mr. Brown. His solo singers were Mrs. Abbie C. Totten, soprano; Mrs. Grace B. Brown, alto; Charles F. Haydn, tenor; Arthur G. Hughes, baritone, with chorus of thirty-five voices; Wade R. Brown, organist and conductor, with Mrs. Julia F. Pressler, assistant organist. The last Sabbath evening in June the junior and senior choruses (ninety voices) will give Gounod's "Gallia" with Miss Hilke as soloist. The New York Tribune of last Sunday has this to say of the music at Mr. Brown's church:
78The cassock and cotta have been adopted by the Waverly Congregational Church, of Jersey City, for the junior choir of fifty voices.
80The adult choir of thirty voices has petitioned the music committee to permit the vestments to its members also.
82The processional and recessional, too, have been introduced, the Waverly thus being one of the first Congregational churches in the country to use these forms. Howard A. M. Briggs is the pastor and John Rice Pratt the associate minister.
84The junior choir is the outgrowth of the music developed in connection with the unique service for juniors held at the Waverly Church every Sunday morning before the regular morning worship. Wade R. Brown, the choirmaster, is a skillful leader of children, and under his direction good results are obtained. The children sing at both regular services on Sunday.
86Another class of juniors is in training for this work, and in the autumn two companies will be organized, so as to make it necessary for the same children to sing at only one service each Sunday.
88Mr. Briggs was led to use the vestments because of great difference in dress of the children representing families of different degrees of prosperity, and the church is in perfect accord with the movement.
90In the recital given by the pupils of the Wirtz Piano School last Thursday evening at the Y. M. C. A. Hall on 125th street, the school scored another success in the excellent work done by its pupils.
92The most noticeable features of the evening were clearness and equality in legato playing and passage work, fine tonal shading and ease and repose in the playing of all who participated.
94A MUSICIAN (a lady), holding now a highly responsible position, with high salary, desires a suitable change; has had most superior advantages; six years abroad with leading musicians; long experience both in America and abroad as teacher, critic, lecturer and writer on musical topics; gives recitals. Communicate with M. N., THE MUSICAL COURIER, 1135 Broadway, New York.
96Concert Direction . . .
97W. ADLINGTON,
9822 Old Burlington Street,
99LONDON, ENGLAND,
100SOLE AGENT FOR
101I. J. PADEREWSKI
102And other eminent Artists,
103Vocal and Instrumental.
104TOURS and CONCERTS ARRANGED.
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