Scan 29
Musical Courier 1904-06-01: Vol 48 Iss 1262, 1904
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1Obituary.
3August Weigand.
5August Weigand, the Belgian organist and composer, who came to this country a year ago, died Thursday, May 26, at a hospital in Oswego, N. Y., of shock following an operation for appendicitis. Weigand was formerly a teacher at the Royal Conservatory of Music at Liege, where he was born in 1852. He wrote songs and other unpretentious music, but he was not a "famous" composer, as the obituaries in some of the daily papers stated. Weigand was skillful as a performer and gave many recitals in Europe and Australia. He was also successful as an instructor. In Europe they recognize faithful labors of this kind, and accordingly Belgium and France conferred decorations on Mr. Weigand. From Belgium he received the Order of Leopold and the Order of Merit, and France made him an officer of the Academy, which, like the Belgian decorations, entitled Weigand to be addressed as chevalier instead of plain monsieur. Chevalier Weigand is survived by a widow and two children.
7Richard Nol.
9Richard Nol died at Utrecht, Holland, on May 14, at the age of seventy-five. He was buried on May 18 with great pomp, as might be expected, for when in life he occupied a prominent place in the Dutch musical world as composer, director, organist and teacher. In late years he had given up most of his offices, but up to the time of his death he was still engaged in composing. One of his pupils was Voitta, the director of the Royal Conservatorium, who is to repeat next winter on a larger scale than ever before his orchestral performances.
11Howard Woodfall Taylor.
13Howard Woodfall Taylor, a twelve year old boy of exceptional musical talent, died on Sunday, May 22, of rheumatism of the heart, at his residence, 237 Glenwood avenue, East Orange, N. J. He was a pianist of rare ability, and was one of Mrs. Clara A. Korn's most brilliant pupils. He was a member of the choir of Grace Episcopal Church, Orange, and attended Franklin School, where he participated in musical functions. Master Taylor was preparing to organize a musical club among the pupils when he was stricken with his fatal illness. He was also treasurer of "The Beavers" Branch, Order of American Boys. He was extremely popular among his associates, and as a consequence great sorrow prevails at his premature death.
15Laura Joyce Bell.
17Mrs. Laura Joyce Bell, the comic opera contralto, died Sunday, May 29, at her residence, 1476 Lexington avenue. She was the wife of Digby Bell and sang leading roles in the companies in which her husband appeared as the principal comedian. Mrs. Bell was born in London, England, and received a thorough musical education. She was a star pupil of the British Royal Academy of Music. When she was very young Mrs. Bell came to the United States to sing at Niblo's Garden. She was married to Mr. Bell ten years later, and later sang in companies managed by McCaul, Duff, Daly and her husband. Mrs. Bell created the role of Katisha in "The Mikado" when it was produced in this country.
19Grace Munson and Kathryn McGuckin.
21These two contraltos are pupils of John Dennis Mehan and are constantly augmenting their reputations. Both have sung much the past season and below appear press notices:
23Miss Munson won a genuine triumph, and deserved it. She has a superb voice, and her method is that of a schooled artist.—The Paterson Press.
25She is the possessor of a rich, sympathetic voice and she charmed her listeners with "Ah Rendimi." Later the demonstrations of approval attendant upon her ideal interpretation caused her to yield an encore.—Newark Call.
27Miss Munson has a rich, deep contralto voice, and she handles it with refined judgment.—Newark News.
29Miss Munson has a contralto voice, marvelously rich and deep, her lower register being especially noticeable for its peculiarly sweet tone.—Elizabeth Daily Journal.
31Miss Munson has a strong, rich voice of excellent quality, the lower tones being fully as resonant as those of an organ, while the higher tones are most sweet and pleasing. Her selections were sufficiently varied to demonstrate her versatility alike in the difficult aria and the dainty ballad.—Utica Observer.
33Miss Munson sang Rossi's aria, "Ah, Rendimi!" in beautiful style. She possesses a magnificent voice of wonderful range and power, and sings with much expression. Her effort proved a source of delight to the audience, and she was rapturously encored.—Hoboken Observer.
35In the "Messiah" it is difficult to say too much in commendation. Her voice was pure, deep and strong, and her phrasing admirable.—Goshen Independent Republic.
37In the miscellaneous part of the program Miss Munson's magnificent bell-like voice—which is as soft as a 'cello and under perfect control—sang "Thou Art So Like a Flower," by Burnham, with much feeling, artistic finish and marked composition; also "Irish Folksong," by Foote, in same delightful manner. The "Persian Garden," "Ah! Not a Drop," &c., and the solo "I Sometimes Think," &c., were sung most beautifully with ease and sweetness, coupled with pathos and fervor.—East Orange Journal.
39Enjoyment of the concert was increased by Miss Munson's singing. Her contralto is wide in range, ample in power and pure and sympathetic in quality. It has been excellently schooled, and is so obedient to her wishes that her employment of it in such songs as the blind Cieca's air in "La Gioconda," Chadwick's "O Let Night Speak of Me," Needham's "Husheen" and the familiar lullaby, "Mighty Lak' a Rose," the latter given as one of her encore numbers, affords a pleasure as fine as it is uncommon because of the niceties in vocal shading that delight sensitive ears. Singers of her alluring vocal qualities and artistic accomplishments are not heard every day, and her assistance on this occasion helped to give distinction to it.—Newark Evening News.
41A stranger to German audiences was Kathryn McGuckin, and let it here be said that it was a genuine pleasure to make her acquaintance. She controls a full and sympathetic alto voice, and her plainly excellent method enables her to attain to all desired effects. She sang for the first time in German, and we congratulate her on her pronounced success in that language.—Philadelphia Gazette (translation).
43The tender richness of Miss McGuckin's contralto, which we have before now remarked upon with admiration, gave every due emphasis to that role.—Chicago Telegraph.
45Miss McGuckin, who has not been heard in oratorio since her studies abroad, was in excellent form, and revealed a marked maturity in her art, which enhanced the natural beauties of a lovely voice, and gave a finish to her solo work that was most enjoyable.—Philadelphia Press.
47Miss McGuckin sang "Oh, Mio Fernando!" by Donizetti, in magnificent style. She has a contralto voice of rare quality, and equally well developed in the high and low registers. Her rendition of the aria brought forth prolonged applause, and for an encore she sang Nevin's "Oh, That We Two Were Maying."—Pittsburg Post.
49Miss McGuckin is less well known here, though she has been heard once this season in concert with the Pittsburg Orchestra. Her fine physique and commanding presence lead one to expect a full, rich voice, to which is added great sweetness of tone and fine dramatic instinct. Her solos were particularly well rendered, and great appreciation was shown by the audience in the applause which followed.—Pittsburg Post.
51The principal event of the evening was the singing of Miss Kathryn McGuckin, contralto. Miss McGuckin has a voice of rare sweetness, and at the close of her selection the audience would not be satisfied until she appeared again, this time singing a charming little ballad, "Oh, That We Two Were Maying," by Nevin. Miss McGuckin next sang a group of songs, and for encore sang "Genevieve." This was beyond question the best part of the evening's program, and it was some minutes after the lady left the stage, before the applause ceased sufficiently to continue the entertainment.—Plattsburgh Evening News.
53The bright particular star of the evening was Miss McGuckin. She is a singer who appreciates that what is done must be done well. She has been wisely advised, and is conscientious in her performances, to which she adds a voice which has been carefully trained and which, particularly in the lower tones, is of surpassing beauty. By reason of the great range of her voice, Miss McGuckin displays the great gift. "Oh, Mio Fernando!" was her first number, and it was sung with such charm of expression that an encore was enthusiastically demanded. She responded with "Genevieve." The rendition of this was particularly effective. Later, in response to recognition of the work of her regular selection, she gave as an encore "The Lost Chord."—Trenton Gazette.
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