Scan 36
Musical Courier 1903-01-28: Vol 46 Iss 1192, 1903
72 lines. Read by computer on 22 September 2026. Printed page 37. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1Forty-sixth street, next Friday afternoon, January 30, at 3 o'clock.
3The next Wirtz Piano School children's recital is February 7, at 120 West 124th street; the fifth lecture recital, subject, "The Pedal," is February 27.
5SHANNA CUMMING A FAVORITE.
7Mrs. SHANNA CUMMING, who has just returned from a successful trip, has engagements this week in Brooklyn and Montreal, Canada. Mrs. Cumming sang with the Mozart Club in Pittsburg, in "The Messiah," and another club in the same city engaged her for a concert in March. A large audience in Portland, Me., attended Mrs. Cumming's recital of classic songs in different languages, and the soprano gave a recital at the home of the Misses Callender and de Forest, in this city. She sang at the performances of "Elijah," in Albany, and "The Sun Worshippers," in Troy. Mrs. Cumming begins her Western tour in Chicago February 9.
9Here are criticisms from Portland and Albany:
11This was not Mrs. Cumming's first appearance before our music lovers, for she was heard at the last music festival in this city, and the good impression she created was much augmented by her latest brilliant work. She is a pure, clear soprano of strong dramatic quality and good compass. She has a stately, pleasing presence, while her platform manners are ingratiating. Her chosen numbers were varied and interesting, including selections from Mozart, Handel, Tchaikowsky, Richard Strauss, Franz and Schumann, together with some English songs. She was at her best in her rendition of the German group, into which she put plenty of dramatic fire, especially in "War isch nicht ein Hain." Her "Standchen" was interpreted with a coquettish touch and there was a delicacy about "Der Nussbaum" which reached appreciative ears. She rose to quite a lofty height in "Heller-Tag," and at the close of each of these selections she was rewarded with a well deserved general applause. Her heart warmed to songs of tender sentiments and the sympathetic quality of her voice was interestingly shown in "If Only Thou" and the "Spring Song," with violin obligato, which brought the song recital to a most satisfactory conclusion.—Portland Daily Press, January 14.
13One of the delights of the production was the purity of quality of these voices, which rang through the vaulted cathedral with a luxury of sweet sound unwavering in pitch, exquisite in technic and beautiful in human expressiveness. Mrs. Cumming won Albany favor at the association's May Festival, but she never sang better than last night, the ringing sweetness of her upper notes rich in volume and exquisite to the last echo. In the alternate recitative and air, the Widow and Elijah, she did some of her finest work.—The Albany Argus, January 21.
15MR. WINKLER IN BROOKLYN.
17ONE of the best concerts in Brooklyn this season was given Friday of last week at Wissner Hall. The solo pianist of the evening, Leopold Winkler, was received with marked demonstrations of approval by a large audience of music lovers. Here are a few more opinions:
19The program, while overflowing with difficult technicalities, was of the melodious order and devoid of stunts and pyrotechnics. Mr. Winkler's readings of his numbers were finished and intelligent, his touch and fingering faultless and the coloring done more with the hands than by the use of the pedals. His interpretations of the Chopin Fantasie, F minor, and the Schubert-Tausig "Marche Militaire" were superb, the audience demanding an encore, which was given with the exquisite flowing and melodious composition, "At the Spring," by Joseffy.—The Brooklyn Eagle, January 24.
21A large audience, and a most enthusiastic one, greeted Leopold Winkler, the pianist, and the assisting artists, who gave a most enjoyable musicale, the first of a series of three, last evening in Wissner Hall. The pianist not only played brilliantly but with good technical facility and appreciation of the composer. He was especially enjoyed in the Chopin F minor Fantasie and the Schubert-Tausig "Marche Militaire.—The Brooklyn Citizen.
23The eminent pianist, Leopold Winkler, is announced for three evenings in the present season. He appeared last evening for the first time and performed as piano solo Schumann's "Abend" and a Fantasie of Chopin in F minor, with perfection of technic and style, showing at the same time that he had a thorough conception of classical works. He also took part in a rendering of Beethoven's Sonata, No. 3, for piano and violin.—Staats-Zeitung, January 24.
25Leopold Winkler, the eminent piano virtuoso, was enthusiastically welcomed, and delighted his hearers by a masterly performance of Schumann's "Abend," Chopin's Fantasie, F minor, and Liszt's "Rhapsodie Hongroise." He also played with the violinist H. P. Schmitt Beethoven's Sonata, No. 3, for piano and violin, in which both artists were warmly applauded. Frau M. Rappold was the vocalist, as we have said. All the artists, especially Herr Winkler, were rewarded with enthusiastic applause.—New York Journal (German edition), January 24.
27Appended also is an additional criticism from Troy: Mendelssohn, was it not, who flippantly remarked "that playing the piano is an easy matter, since all that is necessary is to put the proper finger upon the right note"? If that was all there was to playing in Mendelssohn's day, then Leopold Winkler would have been a phenomenon. He is a talented performer in this age of colossal achievement. He does not make the piano a heroic instrument, but he does make it suggest moods. He has ample technic and fluent fingers. He can read a story well. He can paint in delicate colors. Hence he gave his numbers with an artist's finish and gained a host of admirers. That he pleased the auditors was evident from the persistency with which he was twice recalled.—Troy Budget, January 15, 1903.
29On Lyric Diction.
31AT the Moore studio, in the Tuxedo, last Wednesday, Miss Dora Jones talked on "Lyric Diction," an assemblage of deeply interested singers, many well known professionals gathering to hear her. Miss Jones has made a deep, scientific study of the sounds of speech. She confined herself to English, though she is said to be equally facile in French and Italian. By means of her own copy-right chart she showed the fundamental sounds of the English language, and pointed out many common errors and habits. Her listeners were interested throughout, and at the close many remained to consult her.
33Miss Laura Moore, at whose studio this took place, is very busy this season with many of the prominent opera artists under her care. Of late seasons Ternina, Melba, Saville, Beeth, Litvinne—all these have worked with her, to their manifest improvement. Miss Moore's knowledge of vocal organs is great, and to this knowledge these artists owe much of their excellent condition in this, to them, foreign country, with its trying climate.
35Arthur Whiting.
37ARTHUR WHITING, the pianist, plays the Brahms Trio, B major, op. 8, in Philadelphia, with the Kneisel Quartet, February 2, and in New York with the same organization February 3.
39Frank Hale, in Boston "Journal"—"Mr. Hamlin sang superbly and easily, and won the honors. Mr. Hamlin is one of the most brilliant singers now before the public."
41H. E. Krehbiel, in New York "Tribune"—"Mr. Hamlin has been so much a classic in his artistic sincerity, nobility and sincerity that he deserves to be singled out for the highest word of praise. He was, as always, an artist in all he did."
43New York "Evening Post"—Theodor Björksten, one of our great apostles of Bach, knows how to make an attractive program. * * * Mr. Björksten has a voice of genuine tenor quality, with not a baritonal ingredient. * * * He was at his best in "Ah, fuyez," from Massenet's "Manon," which he sang dramatically, and in Schubert's Serenade ("Leiselehen"), which evoked such a storm of applause that it had to be repeated. Several of the other numbers received applause enough to justify an encore.
45CONCERTS, ORATORIO, SONO RECITALS. THEODOR BJÖRKSTEN, INSTRUCTION IN SINGING. 2 West 39th Street, New York. Management HENRY WOLFSOHN.
47Triumphant Successes Everywhere!
49KOCIAN
50BOHEMIAN VIOLIN VIRTUOSO.
51Metropolitan Opera House, N. Y., Sunday Evening, Feb. 1.
52DIRECTION RUDOLPH ARONSON,
531123 Broadway, NEW YORK.
54WEBER PIANO USED.
56New York "Tribune"—In Mendelssohn Hall last night Theodor Björksten gave a recital, in which he showed that he is splendidly equipped intellectually and emotionally as a singer of songs. * * * The songs in his program which had real heart in them were sung with fine and truthful expression, and one of them, Bungert's "Sandträger," which marked the climax of the evening, sent a thrill through the audience, so dramatically was it conceived and uttered.
58"THE SCIENCE OF THE ART OF SINGING."
59Revised, Enlarged and Combined Second Edition of
60"VOCAL ART,"
61By ANNA LANKOW
62(800 PARK AVENUE).
63Price, $3.50. On sale at BREITKOPF & HÄRTEL, 11 East 16th St., New York, and all Music Stores.
64Mme. Lankow has returned from Europe and resumed her work.
66RUBY SHOTWELL PIPER
67Dramatic Soprano.
68LOUDON G. CHARLTON,
69MANAGER,
70Carnegie Hall,
71NEW YORK.
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