Scan 13
Musical Courier 1903-07-08: Vol 47 Iss 1215, 1903
60 lines. Read by computer on 23 September 2026. No printed page number was found. See the scan on archive.org.
1probably heard to the best advantage in "An die Musik," Schubert.
3The Hahn String Quartet, a most excellent organization from Philadelphia, gave Grieg's Romanza, op. 27, as their first number, which they rendered in a musicianly manner. In quality and balance of tone, intonation and ensemble they showed to admirable advantage. Each player is an artist on his particular instrument, and Mr. Hahn has brought them to a high state of proficiency.
5The Schumann Quintet, op. 44, for piano and strings, proved to be one of the most brilliant and effective numbers given during the entire convention. In this the Hahn Quartet was assisted by Ellis Clark Hammann, whose work at the piano gave evidence of very exceptional abilities. At the Wednesday evening concert he played a group of three solos. In the "Nachtstück," Schumann, Mr. Hammann displayed much poesy of temperament and a delicacy of shading that was delightful. The "Danse Andalouse," MacDowell, was daintily given, while the "Caprice Melancolique," Moszkowski, was played with such charm and grace as to arouse his audience to a high degree of enthusiasm.
7The following are some of his recent press notices:
8Mr. Hammann played discreetly and effectively and showed a beautiful touch and a fine technic.—Boston Journal.
10Ellis Clark Hammann was heard in a piano recital last evening. He made up a program that did not lack for variety and that allowed him to display his technical abilities to their full extent, while the closing Moszkowski numbers, the Valse in E and the "Etincelles" were very effective. The pianist made the most marked impression in the Schubert-Liszt "Standchen" and "Soirées de Vienne." In the Schumann numbers the range of choice enabled him to show a very beautiful quality of sentiment and musicianly feeling. Mr. Hammann's work gives him a distinct place in the musical world.—Philadelphia Ledger.
12His playing is at all times strong and satisfactory.—Philadelphia Press.
14He is a master of the piano and plays the most difficult selections with great ease.—Times, Mauch Chunk, Pa.
16Mr. Hammann's work was thoroughly enjoyable.—Musical Courier, New York.
18The Suite for violin and piano by Schütt was played by Mr. Hahn and Mr. Hammann on Wednesday afternoon, and it is not too much to say that it was a remarkably good performance and created extraordinary enthusiasm. They were recalled several times, and made the most pronounced success of the afternoon.
20Wednesday evening Mr. Hahn was heard as violin soloist in three exquisite numbers. In these, as in the ensemble work, he displayed excellent bowing, true intonation and a warm and sympathetic tone. Mr. Hahn takes high rank both as a musician and a violinist. His second number was a Menuet of his own composition, and was greatly appreciated by his audience. His other numbers were an Aria, Borowski, and "Zigeunerweisen," Sarasate.
22The other numbers at the Wednesday evening concert were "The Sword of Ferrara," Bullard; two Styrian Songs, Herbeck; "The Revellers," Gretry; "Sailor's Song," Eckert; "King Olaf's Christmas," Buck, and "To and Yale universities—all these have departments of music, devoted not to giving lessons in playing or singing, but to instruction in musical history and theory; this, like instruction in Latin or mathematics, counting toward the bachelor of arts degree. Professional music training is devoted almost exclusively to the acquisition of playing or singing technic. In this respect musicians must follow the lead of the colleges, and give the study of the theory and history of music the place it deserves."
24On Wednesday morning the following papers were read and discussed:
25"The Life of a Tone," by Frank H. Tubbs, of New York; "Making for Success," by N. Irving Hyatt, of St. Agnes' School, Albany; "The Character of Music Study in Public Schools," by Charles H. Farnsworth, of the Teachers' College, Columbia University, New York, and a lecture demonstration on "A Modern View of Vocal Method and the Art of Voice Teaching," by F. W. Wodell, of Boston. Much interest was taken in these papers, and they were freely discussed, especially the latter.
27Thursday, which was the last day of the convention, was filled with good things, in fact almost more than could be taken in; but there was great variety, and interest did not lag at any point. The day was begun by a business meeting at 9 o'clock.
29An hour later the report of the committee on piano was made by the chairman, Mr. De Zielinski, which was followed by an animated discussion in which many prominent piano teachers took part. Many points in piano teaching were touched upon, and some of the ablest teachers, not only of the State, but of the United States, expressed their views, which, coming from a ripe and successful experience, make such talks and discussions extremely valuable to all teachers who desire to grow into the Genius of Music," Mohr, all of which were well given by the Troy Vocal Society, of seventy male voices, Christian A. Stein director. They were assisted in "To the Genius of Music" by Miss Louise Voigt, and in "King Olaf's Christmas" by Ben Franklin and F. C. Comstock. Mr. Franklin, who has quite a robust tenor voice, sang the aria, "Lend Me Your Aid," from Gounod's "Queen of Sheba," and Miss Voigt contributed an aria from Weber's "Der Freischütz."
31Walter C. Gale, of New York, was to have given an organ recital on Wednesday afternoon, but when he was ready to begin it was found that the water power was inadequate, and the recital had to be abandoned. However, Mr. Gale played half his numbers at the following evening concert, and though the organ was still in poor condition he made a fine impression by his excellent rendition of "Meditation in E," Clausmann; a Pastoral in F, Kulak; an Andante in A flat, Fink, and "Benediction," Dubois.
33An essay on "Music Study in the College and University, and Its Effect Upon Professional Music Study," was given by Hamilton C. Macdougall, professor of music at Wellesley College. Mr. Macdougall said that he spoke from the standpoint of the general practitioner, who had also experience in college work. The general professional attitude toward college teaching of music was that of distrust. If, however, the actual work of the college and university be taken into account a truer notion of its importance to professional music study will be gained. He said: "Out of 128 colleges and universities in the United States there are thirty-eight only that entirely neglect the study of music. Forty-seven of them have a conservatory of music, and twenty-six have a department of music on a parity with other departments. Barnard College, Boston University, Brown University, Columbia University, Harvard University, Mount Holyoke College, Northwestern University of Chicago, Oberlin, Princeton University, Radcliffe, Smith, Syracuse University, Tufts, the universities of Michigan, Nebraska and Wisconsin, Vassar, Wellesley and larger and better work, and who is there who cannot learn more? The rest of the morning was occupied by round tables on organ and voice which took place at the same time but in different rooms.
35J. T. Daniels, of Utica, N. Y., led in the voice discussion.
37RAFAEL JOSEFFY.
38Address: Letter Box 38, NORTH TARRYTOWN, N. Y.
40FREDERICK CARBERRY, TENOR.
41Management DUNSTAN COLLINS, 55 Auditorium Building, CHICAGO, ILL.
43MR. & MRS. BRUNO STEINDEL
44Mr. STEINDEL, Solo Cellist of Thomas Orchestra.
45Mrs. STEINDEL, Pianiste.
46Management DUNSTAN COLLINS, 55 Auditorium Building, CHICAGO.
48MRS. HADDEN-ALEXANDER
49PIANIST.
50Carnegie Hall, New York.
52ERSKINE PORTER
53NINE YEARS OF AGE.
54SOPRANO.
55CHURCH—CONCERT—MUSICALES.
56Repertoire of 125 Songs, both sacred and secular.
57For Terms, &c., address
58REMINGTON SQUIRRE,
59142 East 27th St., New York.
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