Scan 29
Musical Courier 1903-02-04: Vol 46 Iss 1193, 1903
98 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 30. See the scan on archive.org.
1Fannie E. Thomas' Lecture.
2In this week's lecture of her regular course on "Paris and the States," in Steinert Hall, Boston, Fannie Edgar Thomas treated the subject: "Ways and Means for Making One's Self Known and Securing Position by the Professional Musician." The following topics were touched upon: one of two readings
3IN this week's lecture of her regular course on "Paris and the States," in Steinert Hall, Boston, Fannie Edgar Thomas treated the subject: "Ways and Means for Making One's Self Known and Securing Position by the Professional Musician." The following topics were touched upon: one of two readings
4The commercial side of the art life; false ideas of musicians on this matter; "oversensitiveness" in money matters usually shown, in relation to giving, not to the getting of money; giving of services for nothing as means of introduction. The society lady who seeks the aid of the young singer to pull herself into place and the "charity" leader who reports "thousands" given to the cause but sends "the artist" supperless to bed; the false "Paris appearance"; the agent and the manager; enormous expense of the carrying of an artist there; a great, luxurious country like this and the necessity of great artistic strength by the artist.
5Uses and abuses of advertisement in the art life; the newspaper; the musical paper; relative positions of paper and artists defined and many points illuminated and erroneous ideas shown up. Two distinct values of a paper to the artist. Ways by which debutants may bring themselves to public notice intelligently and effectually and practical suggestions from life. Necessity of control of music art matters by the nation in the United States as in France. A free national system of musical education a necessity of the music art of a republic.
7T. Arthur Miller's Recital.
8T. ARTHUR MILLER gave an enjoyable musicale in his Carnegie Hall studios last Monday evening, introducing four of his junior vocal pupils. The following program was rendered:
9Night ………………………………………………………..Mrs. Beach
10Fairy Lullaby ……………………………………………..Mrs. Beach
11The Lily …………………………………………………….DeKoven
12Arabian Love Song ………………………………………DeKoven
13Where Blooms the Rose …………………………………Johns
14The King of Love ………………………………………….Bullard
15A Song of Jenny …………………………………………..Avery
16Twilight …………………………………………………….Beach
17Piano—
18Polonaise in C sharp minor ……………………………….Chopin
19Scherzo in B flat …………………………………………..Chopin
20Roman Serenade …………………………………………..Beach one of two readings
21Roman Serenade …………………………………………Beach one of two readings
22I Arise from Dreams of Thee ……………………………Hadley
23Autumn Sadness …………………………………………..Nevin
24T. Arthur Miller.
25Miss Ward displayed evidences of much talent in her two songs, and the number by Miss White showed careful training and intelligent practice. The songs by Messrs. Alton and Young showed voices of much promise, especially in De Koven's "Arabian Love Song" and Mrs. Beach's "Twilight," and evidences of careful instruction were easily apparent in the smooth phrasing and distinct enunciation of all the singers. Senor Acunas' piano selections were played brilliantly, and Mr. Miller himself added to the general enjoyment by his beautiful phrasing and finished interpretation in his group of songs.
26Mr. Miller announces another musicale with some of his more advanced pupils this coming week.
28The Virgil Correspondence School.
29THE CLAVIER METHOD BY MAIL.
30A new, superior and eminently efficient system for Teachers and Players (only). Special Technic Course (24 lessons). Every principle explicitly stated and clearly illustrated. Each lesson taken gives the right to send a question letter, the answers to which will receive Mr. VIRGIL's personal attention.
31Certificates to qualified teachers of the CLAVIER METHOD.
32Prospectus, explaining system, terms, conditions, &c., sent on application. Address
33SECRETARY, VIRGIL CORRESPONDENCE SCHOOL,
3411 West 22d Street, New York.
36EDMUND J. MYER
37Vocal Instruction.
3832 EAST 23d ST., NEW YORK.
39Summer Term on Lake Chautauqua. CIRCULAR SENT FREE.
41EHRLICH'S
42Music School of Dresden,
43a leading School of Music, established 1878, offers a complete musical course: Instrumental, Vocal, Orchestral, Operatic, Dramatic, Harmony, Composition, etc. Instruction by recognized artists: E. POTTER FRISSELL, Professor of Piano, Pupil of Sauer, Moszkowski and Leschetizky, Leschetizky's Method. Exceptional advantages now offered. Pupils' Recitals, Concerts, etc. Lectures on the History of Music, in English. Apply at
44EHRLICH'S MUSIC SCHOOL,
4518 Walpurgis Str., Dresden, Germany.
47THE PHILHARMONIC CONCERTS.
48FRIDAY afternoon and Saturday evening, at Carnegie Hall, there took place two public rehearsals of the Philharmonic Society. The following was the very badly balanced program:
49Symphony No. 1, op. 38, B flat major. …Schumann Symphonic poem, Psyche (two parts) …………………César Franck Concerto for 'cello, D major ……………………………….Lalo Overture, Le Roi d'Ys ………………………………………Lalo
50The absurd program notes call the B flat Symphony Schumann's "epithalamium." The name was too much for the Philharmonic Society. In trying to live up to it the ancient and honorable organization met rack, ruin and disaster. Trouble began at the very outset of the epithalamium's first movement. Where were the "vernal ardor" and the "springtime mood" of which Schumann himself spoke? The opening measures are so simple, so clear in their musical meaning, that one would hardly expect a musical babe to mistake them. The composer wrote to Taubert on the occasion of the first Berlin production of the epithalamium: "I should like to have the very opening trumpet call sound as if it came from on high like a summons to awakening." There is in this direction no hint that Schumann desired furious blasts of tone, nor that he had any but the most kindly designs on the roof of Carnegie Hall. The rough beginning of the introduction boded ill to the rest of the epithalamium, and these fears were soon more than realized. The second subject completely missed its aim, for it afforded no contrast. It too was rough. Of the maestoso that Schumann wrote at the head of his score there was hardly a trace. Doloroso seemed to be the prevailing sentiment. The dragging of tempo was almost unbearable at times. All this was the more inexplicable because the B flat epithalamium is not considered a very difficult orchestral work. Commentators have never been able to read into it any abstruse meanings or cryptic moods. Nikisch, Paur, Thomas, Wood (in London), van der Stucken and Gericke all seem to agree on the proper interpretation of the Schumann epithalamium. However, the leader of the Philharmonic Society evidently does not wish to be like these men.
51In the second movement of the epithalamium the phrasing was slovenly, when there was any at all, and not for a moment did even a single measure of the wondrous larghetto seem in the least degree sincere. The sentiment rang hollow. Atmosphere cannot be forced into an orchestral performance by extraneous means. It cannot be reproduced if it is not understood. There are many touches of this atmosphere in Schumann's score, but they are visible only to the director who is a born musician. The orchestral leader of distinct limitations can never hope to be anything but an automatic time beater.
52The scherzo, molto vivace, lagged with leaden feet. There was no trace of light and shade. Forte is only effective when it is occasionally varied with piano, mezza forte, fortissimo or pianissimo. The difficult syncopations seemed to worry the leader. His beat wavered. He was apparently not quite sure whether to mark 2-2 or 3-4. It was a fortunate circumstance that but few players were watching the baton.
53What did Schumann say of the last movement of the epithalamium? He said: "I imagine it to represent the departure of spring, and would like to have it played in a manner not too frivolous." To the ordinary mind this would seem like an unmistakable suggestion. With clever phrasings Schumann has ennobled the principal melody to rob it of any possible taint of banality. These phrasings (in the second measure of the theme) were almost totally disregarded. In the general scramble, caused by the excessively rapid tempo, the first violins could hardly be expected to stop about such a trivial detail as mere phrasing. The ritardandos that several times announce the return to the main subject were so sudden that the orchestral ranks trod on one another's heels, as it were. There was no leading up, but there was plenty of letting down. The violins distinguished themselves, too, in this movement by wrestling unsuccessfully with the third position. It is a very difficult position on the violin. The finale came as a relief. It was taken at a ludicrous rate of speed. For obvious reasons no objection should be made. It brought the end nearer. The work, as played last week, was not so much an epithalamium as an epitasis, which in the ancient Greek drama meant the part leading to the catastrophe!
54The fragments from Franck's "Psyche" were fragments in more than one sense of the word. The work is a long symphonic poem in three parts, with chorus. The two movements played at this concert constitute Part I of the work. They are merely introductory, and with muted violins in tremolo passages seek to create a mood of magic and mysticism. Without the balance of the composition these vague series of sequences have very little meaning. The leader's lack of judgment was emphasized by the almost total lack of applause that greeted the Franck pieces.
55Elsa Ruegger, the soloist, was the saving feature of the concert. Her playing by far overshadowed in artistic importance the efforts of both the leader and the orchestra. Lalo's Concerto is generally regarded as a test piece for 'cellists. In its three interesting movements this brilliant work covers completely the gamut of 'cello technic and 'cello expression. The opening is broad and dramatic. It requires a wrist and fingers of steel. The second movement is tender, whimsical, capricious. And the finale, a bold, brilliant movement, with the speed and fire of a tarantella, has discouraged the ambition of many a male virtuoso. Miss Ruegger was equal to any and all demands, technical, poetical and musical. She has rapid and well nigh infallible fingers, a firm bow arm, smooth scales, splendid rhythm (which several times seemed to save the orchestra and the leader from coming to grief), and a rich, resonant tone, capable of apparently infinite gradation. She "goes over the strings" with rare skill. This changing of position is often the flaw in many an otherwise excellent 'cello performance. Miss Ruegger plays a chord like a chord and not like an arpeggio. In this she differs markedly from the Philharmonic Orchestra. The finale of the concerto resolved itself into a brilliant display of musical ardor. The pretty 'cellist whipped out the last measures with such irresistible verve that the audience applauded almost before the piece was finished. There were numerous recalls for the gifted player. The Lalo overture was done with din.
57Mackenzie-Bremen Recital.
58THE old colonial mansion on 100th street, near Riverside Drive, was the scene of another very fine musicale Tuesday evening, January 27, announced as a piano recital by Ida A. Bremen, with assistance of Miss Rebecca Mackenzie. The following program was presented in a thoroughly satisfactory manner:
59Frühlingsrauschen, op. 32 ………………………………….Sinding
60Etude, D flat, op. 35 ………………………………………Chaminade
61The Princess ……………………………………………..Miss Ida A. Bremen.
62In the Boat ……………………………………………..Grieg
63L'heure Exquise …………………………………………Hahn
64Sams Amour ……………………………………………..Chaminade one of two readings
65Sans Amour ……………………………………………..Chaminade one of two readings
66Sea Pieces—
67A. D. 1620, op. 55 ………………………………………MacDowell
68Czardas ………………………………………………….MacDowell
69New England Idyls—
70Indian Idyl, op. 62 ………………………………………MacDowell
71With Sweet Lavender, op. 62 …………………………..MacDowell
72Fireside Tales—
73Of B'r'er Rabbit, op. 61 …………………………………MacDowell
74Aria from Le Ville ………………………………………Puccini
75Kreisleriana ……………………………………………..Schumann
76Etude, D flat ……………………………………………Liszt
77Bendemeer's Stream …………………………………….Old Irish
78Belle Aminte …………………………………………….Old French
79Og Raeven Log …………………………………………Kjerulf
80The Boatman …………………………………………….Old Highland melody one of two readings
81The Boatman ……………………………………………Old Highland melody one of two readings
82Polonaise, A flat, op. 53 ……………………………….Chopin
83Miss Ida A. Bremen.
85A Pianistic Debut.
86SIGNOR G. ALDO RANDEGGER, the pianist, is to make his début at the Waldorf-Astoria here on March 5. He has recently had great successes in the city of Boston. He is under the management of J. Louis MacEvoy.
88DR. HOCH'S CONSERVATOIRE
89For All Branches of Music, in Frankfort-on-the-Main.
90The Summer Term commences March 1. Tuition is given by Messrs. Director Prof. Dr. Scholz and Prof. F. Knorr. Theory and History: L. Uzielli, E. Engesser, U. Friedberg and Miss Mayer; Piano: H. Gelbner, Organ: Prof. Hilde Herrenberg of Konig F. Bassermann and Dr. Heinz; Violin: Prof. B. Cossmann and Prof. Hugo Becker, Violoncello; H. Ed. Bellwitt and Miss Sohn and others, Singing. Fees 360 to 400 marks a year. Prospectus sent free. Application should be made as soon as possible to the management. one of two readings
91The Summer Term commences March 1. Tuition is given by Messrs. Director Prof. Dr. Scholz and Prof. F. Knorr. Theory and History: L. Uzielli, E. Engesser, C. Friedberg and Miss Mayer; Piano: H. Gelber, Organ: Prof. Hilde Herrenberg of Konig F. Bassermann and Dr. Heinz; Violin: Prof. B. Cossmann and Prof. Hugo Becker, Violoncello; H. Ed. Bellwitt and Miss Sohn and others, Singing. Fees 360 to 400 marks a year. Prospectus sent free. Application should be made as soon as possible to the management. one of two readings
93EDWARD ILES' VOCAL SCHOOL,
94BECHSTEIN STUDIOS,
95Wigmore St., LONDON, W.
96"Evidence of the good training imparted by Mr. Edward Iles was displayed yesterday evening when the artistic vocalist brought forward a number of pupils at the Bechstein Hall. His method of dealing with voices is unaffected and absolutely free from trickery, by which he insures an artist produced, added to attention to good phrasing and clear enunciation, two great essentials in the making of an artist."—Standard.
97"Mr. Edward Iles is a vocalist who in voice and style is strikingly superior to Mr. Henischel."—Manchester City News.
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