Scan 27
Musical Courier 1903-02-25: Vol 46 Iss 1196, 1903
89 lines. Read by computer on 23 September 2026. Printed page 28. See the scan on archive.org.
1CINCINNATI, February 21, 1903.
3HE première of Mr. Tirindelli's new symphonic poem, "Legendre Corbleste," founded on one of Victor Hugo's poems, was the distinctive feature of the seventh Symphony concert in Music Hall Friday afternoon. Mr. Tirindelli personally conducted the performance. The orchestra played in thorough sympathy with the spirit of the work and a masterly understanding of the requirements of its contents. That is a very strong reason why its significance and musical importance were fully brought home to the audience. It may be safely stated that this symphonic poem, which distinctly belongs to the higher forms of program music, has a musical value that will place it among the prized orchestral compositions of the present day. This statement is made with deliberation and with full cognizance of what has been and is being offered by the present school of modern writers. Mr. Tirindelli in the treatment of his subject as well as the subordinate themes reveals a genial flow of ideas and decided originality.
5There is nothing pedantic or commonplace about it. He has something to say and to develop in the musical treatment of Hugo's story, and he says it directly, beautifully, with many sided contrasts and pertinent as well as consistent climaxes. The lucidity of style which pervades the whole composition is one of its most pleasing and convincing qualities. At the same time, with all this freshness and spontaneity of thought, this naturalness of expression, his use of harmonic construction and elaboration of thematic material is ingenious and convincing. The modern orchestra, with its multitudinous resources and higher capacity for coloring, he uses with masterly hand—with taste and cumulative effect. The organ intermezzo, beautifully played by Arthur J. H. Barbour, which serves as a connecting link between the two main divisions of the symphonic poem, is at the same time a charming device for introducing the powerful and restful influence that follows in the development and final triumph of good over evil.
7Mr. van der Stucken is to be sincerely congratulated upon the interpretation he gave to the Fifth Symphony. It was deep, penetrating into every fibre and nerve of Beethoven's thoughts in this colossal work. True to the more modern way of reading the first movement, and disregarding the slow emphasis which is usually put on the opening fate theme, he put into it a conception that was marvelously profound and sincere. The andante was beautifully conceived—with contrasts that were poetic and at the same time not emasculating—and the final allegro was given with an energetic enthusiasm that made it indeed a triumph for the orchestra. Ossip Gabrilowitsch played the Rubinstein Concerto, D minor, with fine orchestral support. His combination of virtuosity with the most beautiful delicacy of touch and phrasing is a marvel that is perhaps not found in such satisfying proportion in any other pianist of the present day. And above this technical endowment towers a musicianship that never falters. He was called out so often by the audience that he responded to three encores—playing a Rubinstein Barcarolle, a Saint-Saëns arrangement of a movement from a Bach Violin Sonata and a paraphrase on a beautiful folksong.
9Mr. van der Stucken has officially requested to be relieved of his teaching duties at the College of Music after the close of the present academic year, and his request has been reluctantly granted by the board of trustees. About two years ago Mr. van der Stucken resigned his position as dean of the faculty and head of the College of Music in order to devote all his time to the Symphony Orchestra and original composition.
11At this time it was his intention to be relieved of all teaching duties at the college, but his training of the college chorus, orchestra and opera class was of so much importance that he was induced to retain those under his personal charge. At the same time he was elected honorary dean of the faculty. But since that time his labors with the Symphony Orchestra have increased and his compositions have grown in more demand, not only in this country but in Europe.
13Under the pressure of this work and the demands of his health he felt it to be a duty he owed himself and family to be relieved of the college teaching duties. He was granted permission to select his own successor, but, as time was pressing and he could not leave the city, he intrusted A. J. Gantvoort, business manager of the college, with the task of seeing a few of the most prominent musicians East, with a view of exploring the field and selecting some competent man for the vacancy. Mr. Gantvoort accomplished this purpose in his recent trip East, when he gave a lecture before the Netherland Society, of Philadelphia. He visited not only the principal musical institutions of Philadelphia, but those of Baltimore, New York, Boston and New Haven, and put himself in touch with those prominent educators whom Mr. van der Stucken had named. Mr. Gantvoort's trip was successful, in that he received favorable answers from several, and the task remaining will be one of the best selection. This will not be done until some time after the celebration of the silver jubilee of the College of Music.
15Some of our prominent local talent, Misses Josephine Wuebber, Ida Bolser, Charles P. Wuebber, T. J. Sullivan and Prof. Wm. H. Reussenzehn, the cathedral organist, are to assist at a concert at Dayton, Ohio, on the evening of March 15. Oscar J. Deis, the organist of Holy Trinity Church, will be the director. An attractive program, including compositions by Ropini, Hesse, Mozart, Mendelssohn, Rheinberger and Reussenzehn will be performed.
17An interesting concert was given by pupils of Daniel Davis' Vocal School on Tuesday evening, February 17, at the Presbyterian Church in Westwood. The program was as follows:
19The Spartan Heroes…………………………………………..Protheroe
20Male voices. Incidental solo by John Phillips.
21Piano solo, Impromptu in C sharp minor…………………Chopin
22Miss Edith M. Witt.
23Blow, Blow, Thou Winter Wind……………………………Sargent
24Willard J. Purser.
25The Skylark…………………………………………………….Smart
26Ladies' Voices.
27Beloved Columbia…………………………………………….Ries
28Fred. H. Evans.
29Duet, When the Winds Blow In from the Sea………….Smart
30Miss Anna E. Karl and John C. Hersh.
31He and She…………………………………………………….Liddle
32Miss Myrtle Wagner.
33Comrades in Arms…………………………………………..Adam
34Male Voices.
35The Holy Light……………………………………………….Davies
36Miss Edith M. Witt.
37Sleep, My Darling……………………………………………Parry
38Miss Edith M. Witt, Miss Edith M. Laws, Howard Evans, John C. Hersh.
39Mona………………………………………………………..Adams
40John N. Roberts.
41The Bells of Aberdovey………………………………………Davies
42Ladies' Voices. Incidental solo by Miss Alice Hagerty.
44Recitative, Be Comforted, Judas……………………………Handel
45Air, The Lord Worketh Wonders, Judas…………………Handel
46John Charles Hersh.
47I Know a Rosebud Shining (Rose Maiden)…………………Cowen
48Mr. and Mrs. William H. Winkelman.
49Bridal Chorus (Rose Maiden)……………………………….Cowen
50Mixed Voices.
52The Opera Club, under the direction of Mrs. Wm. McAlpin, did itself proud on Wednesday night at the Scottish Rite Hall in the presentation of the second and third acts of "Lucia" and excerpts from "Dolly Varden."
54Both were given with costumes and scenery. There was much beauty of contrast between the dramatic enactments of Donizetti's opera and the light, fantastic music of "Dolly Varden," with its pretty Maypole dance and choruses. Ambitious as was the undertaking of presenting "Lucia," it deserves a great deal of praise, both as to the principals, the mise-en-scène and chorus work. It was handsomely staged, and "Dolly Varden" made up an exceptionally charming stage picture.
56The famous sextet in "Lucia" was sung with a fine blending of the voices and dramatic expression. The cast was: Jessie Langlands Thomson, Marie Collins Blackman, Hamilton B. Taaffe, Walton S. Hill, William Hanson and E. Payson H. Burnham. Miss Thomson as Lucia gave proof of no mean dramatic ability in the mad scene, which she enacted and sang with an exceptionally good conception. Mr. Burnham achieved the vocal success of the evening by his broad and noble delivery of the aria in the second act. The flute obbligato in the mad scene was well played by Mr. Hahn. Ella May Bassett as Dolly Varden was quite charming, both as to voice and action, and the others who participated in the success of the opera were Bessie Keith, Bertha Calvert, Pearl T. Keith, Winter Haynes Watts, William Willeke, William R. Sprigg, Charles H. Thomson, William Cramer and George E. Fisher.
58A students' recital above the ordinary interest was that given by the pupils of Arthur J. H. Barbour, principal of the organ department of the Conservatory of Music, on Tuesday evening, February 17, in the Conservatory Concert Hall, Mt. Auburn. The evening was devoted to American and English composers in the following program:
60Coronation March………………………………………….Herbert W. Wareing
61Scherzo, op. 32, No. 3………………………………………Horatio W. Parker
62Miss Blanche Moore.
63Toccata, D minor…………………………………………….W. G. Wood
64Miss Kate Morton Laxton.
65The Question…………………………………………………W. Wolstenholme
66The Answer…………………………………………………W. Wolstenholme
67Miss Mary Howard.
68Song, Mystic…………………………………………………P. A. Tirindelli
69(With accompaniment of violin, piano and organ.)
70Miss Annabelle Ambrose.
71Minuet and Trio, F major………………………………….W. Faulkes
72Mrs. S. B. Quel.
73Bénédiction Nuptiale……………………………………….Alfred Hollins
74Miss Dorys James.
75Sonata, D minor…………………………………………….John E. West
76Allegro Maestoso. Andante Religioso. Allegro Pomposo.
77Miss Loretta Caroline White.
79The pupils of Mr. Barbour gave evidence of a training that is based upon sound principles. They were especially good in legato playing, which is always a test of a correct organ style. Miss White interpreted the West Sonata in a musicianly manner, showing her aptitude in registration and the use of the pedal. The pupils of Mr. Barbour were assisted by Miss Annabelle Ambrose, soprano; Miss Ethel Piland, piano, and Miss Arlie Stephenson. Miss Ambrose, who is a pupil of Miss Clara Baur, sang Tirindelli's "Mystic" with a great deal of art and inspiration.
81J. A. HOMAN.
83MARK HAMBOURG.
84American Tour 1902-1903.
85Address all communications to
86BERNHARD ULRICH, Representative,
87Music Hall, BALTIMORE.
88Knabe Piano used.
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