Scan 34
Musical Courier 1903-02-04: Vol 46 Iss 1193, 1903
54 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 35. See the scan on archive.org.
1ance this season at the next popular concert of George Hamlin, when she will present an interesting and varied program. Mr. Hamlin will sing a group of songs by Brahms.
3Mrs. Wunderle, the well known harpist of the Thomas Orchestra, has resigned.
5Mrs. Howard Wells and Mrs. Dunstan Collins (Jeanette Durno) gave a luncheon at the Auditorium Annex on Saturday night. The little spread was in honor of Mrs. Fannie Bloomfield Zeisler, who was there after her triumph at the Thomas concert.
7Bartley Cushing, for many years one of the most successful stage managers in the business, since his engagement by the Chicago Auditorium Conservatory as coach has become one of the most sought for men in Chicago by those organizations who produce amateur theatricals. Among his productions for the near future are the Lakeside Club's performance on January 31; "Pinafore," at the Oak Park Club, on February 19; the Ladies' Minstrels of the Englewood Woman's Club, February 20, and the regular performances of the University of Chicago Dramatic Club. Besides the outside engagements Mr. Cushing is rehearsing a strong cast in Maude Adams' success, "The Little Minister," at the Conservatory.
9John B. Miller, the tenor, has been engaged by Mr. Ziegfeld for the Chicago Musical College as instructor in the preparatory vocal department. Mr. Miller holds a prominent position among the younger artists in this city. He studied several years abroad, most of that time with Shakespeare in London and Bouhy in Paris. He "coached" here two seasons under Mme. Mary Forrest-Ganz. Mr. Miller will be heard in a recital in Music Hall this month.
11Fourteen hundred persons in Music Hall! Who would have believed it? Chicago's favorite pianist, Fanny Bloomfield Zeisler, was announced for a piano recital on Thursday evening. Every inch of the hall seemed occupied. Stools were put on the stage for the overflow audience. A throng was refused admission at the door. No such scene has ever been witnessed here at the concert of any other pianist—and we have had Paderewski and Rosenthal!
13Eleven numbers were on Mrs. Zeisler's program, and seven of these were "by request." By request also—although it seemed like a command—Mrs. Zeisler repeated nearly every one of these seven numbers. Never did a sovereign artist give way more graciously before the will of the musical people. Chicago's own pianist was in high spirits, and her elevated mood was apparent in every measure of her music.
15This was the complete program:
16Caprice on Airs from Alceste……………………………Gluck-Saint-Saëns
17Etudes Symphoniques, op. 13 (by request)…………….Schumann
18Marche Funèbre, op. 35 (by request)…………………..Schumann
19Etude, op. 10, No. 5 (by request)……………………Schumann
20Valse, op. 64, No. 2 (by request)……………………..Chopin
21Andante Spianato et Polonaise, op. 22 (by request)……Chopin one of two readings
22Andante Spianato et Polonaise, op. 22 (by request)…….Chopin one of two readings
23Wedding Procession………………………………………Grieg
24Si oiseau j'étais, Etude, op. 2, No. 6 (by request)……..Hensel one of two readings
25Si oiseau j'étais, Etude, op. 2, No. 6 (by request)………Hensel one of two readings
26Valse (à la bien-aimée)………………………………….Schuett
27En forme d'Etude, op. 45, No. 1………………………..Leschetizky one of two readings
28En forme d'Etude, op. 45, No. 1………………………….Leschetizky one of two readings
29Polonaise, E major (by request)………………………..Liszt
31This is the complete condensed criticism:
32"Alceste": Marvelous pianissimo, fairy fingers.
33Schumann: Tremendous technic, power, breadth, intellect.
34Funeral March: Tragedy, tone, pathos.
35Etude: Deftness, spirit, taste.
36Valse: Rhythm, grace, abandon.
37Polonaise: Modern performance of an old fashioned piece.
38Grieg: Buoyancy, temperament, rhythm.
39Bird Study: Melodious as a lark, swift as a swallow.
40Valse: Dainty, soft, soulful tone.
41Leschetizky: Graceful as the player herself.
42Polonaise: Brilliant technic, rousing verve.
43There! A mere mention of the thunderous applause and my report is finished. This is a suggestion for up to date critics.
45The first Auditorium Popular Concert, under the direction of the Bureau of Fine Arts, took place yesterday. The hall was well filled and there is no doubt that these concerts will be a regular feature for Sunday evening. A full account of the entertainment will be in next week's issue of THE MUSICAL COURIER.
47Henry W. Savage has added another unqualified success to his already pretentious list of light opera enterprises. "Peggy from Paris," the new musical comedy by George Ade and William Loraine, received its first presentation at the Studebaker Theatre Monday evening, and the production stormed Chicago so successfully that it is unhesitatingly heralded as a tremendous hit. Critical opinion is to the effect that it is by far the most elaborate and expensive creation Mr. Savage has yet introduced, and there is nothing but praise for Mr. Ade's book and the tuneful, catchy music written by Mr. Loraine. The opening night proved conclusively that Chicago is going to like "Peggy" immensely. The bright lines and pretty score, interpreted by an exceptionally strong company, amid the gorgeous scenic surroundings supplied by Mr. Savage, combine to make a production which is admirable in every respect. The song hits of the piece are "Lil, I Like You," "Emalleen" and "Henny." In the latter song Miss Josie Sadler has made a distinct hit and has added to her reputation as a delightful German dialect comedienne. Other members of the cast who scored heavily on the opening night are W. T. Hodge, Helen Bertram, Fred Lennox, Guelma Baker, Helen Hale, Arthur Deagon, Alice Hagemen, George Beane and John Park. It is quite evident that "Peggy" is to succeed even beyond expectation and that the new musical comedy is due for a long and successful run at the Studebaker.
49At the recent Thomas concert, where Fannie Bloomfield Zeisler was soloist, all records for receipts were broken. Generally the door sale at these concerts is somewhere between $800 and $1,200. Madame Bloomfield Zeisler attracted $3,200. Comment is hardly necessary.
51Monday evening, January 26, the Drake Quartet gave their first concert of the season. The quartet is comprised of Earl R. Drake, first violin; H. Scheid, second violin; W. Dellers, viola, and Day Williams, 'cello. Henry Willis Newton, tenor, was the soloist. The work of the quartet is surprisingly good, but of course too new to be judged very strictly. After playing together some more the Drake Quartet are sure to be "top notchers." They need time, and during this time they need rehearsals. Their ensemble playing was good, but by no means perfect, there being occasional individual work by the separate members of the quartet. The Haydn Quartet, G minor, was the opening number, and was played well. A new quartet by Rauchenecker, in C minor, was very well received and deserved to be, for it is an interesting work. The second movement, an andante moderato, is especially good, and in this movement and the andante from op. 11, by Tschaikowsky, the quartet did really excellent work. Two more concerts will be given this season, and there is no doubt that the quartet will ultimately meet with popular approval. Mr. Newton sang a cycle of ten songs by von Fielitz, entitled "Eiland." This cycle, sung in English, was new to a Chicago audience, and Mr. Newton at once made a decided impression with his work. The soloist is a tenor with a very sympathetic voice of rare quality. He has an unusually large range and in all registers his voice is smooth and flexible. Mr. Newton is a skilled musician and sings with a great deal of taste.
53Kenneth M. Bradley, director of the Bush Temple Conservatory of Music, must be congratulated upon his securing the services of Mrs. Fannie Bloomfield Zeisler
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