Scan 13
Musical Courier 1905-03-08: Vol 50 Iss 1302, 1905
37 lines. Read by computer on 23 September 2026. Printed page 14. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1BUFFALO.
3226 WEST UTICA STREET,
4BUFFALO, March 3, 1905.
6"Die Goetterdaemmerung" was the subject of last Friday's lecture-recital. After defining the term as "Dusk of the Gods," Mrs. Evelyn Choate gave a graphic summary of its plot and leading incidents, illustrating the various "motifs" with a few of the musical phrases which the action of the opera develops. It was a delight to hear again the sensuous music of the Rhine maidens, Siegfried's mellow horn, Brünnhilde's song of love and faith, the wedding march at the marriage of Gutrune, and the violent contrast afforded by the tempestuous music which denotes the arrival on the wind horse of Waltraute coming to implore Brünnhilde to cast away the fateful Rheingold ring. Then followed later on the solemn dirge from Siegfried's dead form is borne to Gutrune's home, and the magnificent "fire" music, Brünnhilde's immolation, and the rising of the river Rhine to regain the ring from the ashes. Mrs. Choate's declamation of the text and her masterly interpretation of the "motifs" recalled vividly the presentation of this superb opera which I witnessed and heard in Pittsburgh last March with Ternina as Brünnhilde and Burgstaller as Siegfried. The orchestration was glorious and needed no actors to tell the story. The Wagner afternoons are over, much to our regret, but Mrs. Choate may give a series of "Parsifal" recitals if the Savage English Opera comes here this spring.
8Friday night Alice Whelpton McLeod opened her beautiful new residence, 14 Dorchester road, the occasion being a piano and violin recital given by herself and neighbor, Alice Lathrop Scott. The latter played selections of Tartini, Beethoven, Leonard, Sgambati and Wieniawski, and was warmly applauded, and in response she played a composition written by her teacher. It was a clever imitation of the droning of a bagpipe. One does not expect such a fragile, spirituelle looking woman to play with such masculine virility. Her technic is admirable, she has a free bow arm, and a deft left hand, but she does not give a tender interpretation, her conception being more intellectual than temperamental. Mrs. Scott is a very successful teacher of her favorite instrument. Mrs. McLeod has devoted more time to her art, and if she had not married would have won fame as a concert pianist. She has perfect control over the tonal and technical qualities of the piano and has had the advantage of studying for three years with Leschetizky and she has also been a pupil of Madame Bloomfield Zeisler. Mrs. McLeod played Brahms' rhapsodie, B minor, and intermezzo;
10"Schlaf sanft, mein kind, schlaf sanft und schön,
11Mich dauert's sehr, dich wecken sehn"
12(Scotch from Herden's Folk Songs); scherzo, E major, op. 54 (Chopin); Schumann's "Kind in Einschlummern" (aus den "Kinderscenen") and Poldini's "Marche Mignonne." Mrs. McLeod's reading of the various numbers was scholarly and sympathetic, and she deserves all the praise bestowed upon her work. There was quite a notable gathering of listeners, among whom Gen. William A. Anman, who, since his return from the Philippines, has retired from the army.
14Tuesday afternoon Mrs. James P. White's beautiful home on Chapin Parkway was filled to overflowing with the largest audience yet gathered together to enjoy the second Brazzi recital. "The Folksongs and Dances of All Nations" was a big field for research, but these ladies gleamed abundantly and brought their sheaves with them. It is rumored that an "aftermath" will reward their efforts later on, for there are still some flowers of poetic fancy yet ungarnered. Mme. Brazzi sang English, German, Irish, Scotch, Swedish, Norwegian, Russian, Polish, Finnish, Spanish, Italian, French and even a Chilian "cradle song"; the latter has been sung in Chili for four centuries. Mme. Brazzi's captivating way of singing delights her listeners. She is not only dramatic, but a good bit of a comedienne, and gave some of the Irish and Polish songs very humorously. It was news to many of us to learn that the song known in England as "He Is a Jolly Good Fellow" and in America as "We Won't Go Home Till Morning" is a rearrangement or an adaptation of "Malbrouck s'en va-t-en-guerre," a popular Crusade melody supposed to have originated in Egypt or Arabia. The French version was much liked by Marie Antoinette. Mrs. Sicard played less dance music, but the little she did conformed to the crude ideas of the periods represented. Under her dainty touch and intelligent reading a certain charm was developed. The final lecture-recital of this series will be given next Tuesday afternoon at the home of Mrs. Isadore Michael, 625 Delaware avenue.
16Frances Helen Humphrey's pupils gave a meritorious "operatic recital" on Tuesday evening at Twentieth Century Hall. The following solos were given: Prologue ("Pagliacci"), "Voi che Sapete" ("Nozze di Figaro"), "Salva Dinorah" ("Faust"), arietta ("Romeo and Juliet"), "Una Furtiva Lagrima" ("L'Elisir d'Amore"), "Il est Doux, Il est Bon" ("Hérodiade"), "Vision Fugitive" ("Hérodiade"), and ballatella ("Pagliacci"). The singers were Percy G. Lapey, Ellen Palmer, George A. Webb, Mrs. George Dayton Morgan, Walter D. Wright, Mrs. Alton J. Cooke, T. R. Robinson and Miss J. A. O'Conner. Among the concerted numbers were the duet from "Pagliacci," the Nile scene from "Aida" and the "Rigoletto" quartet. Mrs. Alton J. Cooke's contralto voice was heard to advantage in "Il est Doux." She has made great improvement since last heard here. Percy Lapey is always reliable, and his fine baritone voice is well suited to the prologue in "Pagliacci." He also showed much dramatic ability in the "Nile" trio, admirably seconded by Mrs. George Morgan and Mr. Webb. Mrs. Morgan is just recovering from "la grippe," and one wonders how she was able to do such efficient work. Ellen Palmer showed a beautiful quality of voice in her solo, "Voi che Sapete." Not a great voice, but decidedly sympathetic. Dr. Le Breton distinguished himself as a piano accompanist; no easy task, considering the difficult music.
18Dear, magnetic Madame Schumann-Heink has been delighting large audiences at the Star Theatre this week in "Love's Lottery." It is a capital opera, abounding in witty speeches, delightful situations, and, best of all, songs worthy of the name. Of course the best songs, the gems, are the great prima donna's "Sweet Thought of Home," being so pathetic that it brought tears to the eyes of the listeners. To hear the gracious and graceful madame singing "The Brindisi" from "Lucrezia Borgia" and Becker's "Frühlingzeit" is to taste of an unforgettable pleasure. Madame Schumann-Heink is a born comedienne, full of witchery, and she plays the role of Lina as though she thoroughly enjoyed it. One can not help wishing, however, that she would return to grand opera, or to the concert platform. She has such a glorious voice, and this opera, however bright it may be, does not afford the scope to her powers which her surpassing musical gifts demand.
20The cast is good, the concerted numbers well sung, especially "Cupid's a Lad," "Behold, Our Lady Great," "The Temptation." The solos, "My First True Love" and "Long Forgotten," were excellent. Barney O'Toole (John Slavin) was particularly humorous, and sang "Blarney of Killarney" well enough to get an encore, but the chorus helped to make the song a "hit." "Love's Lottery" one leaves with regret and remembers it, of which one may say, "It is to laugh." The opera will be heard at Niagara Falls, Erie, Pa., and closes the season in Pittsburg March 11.
22When Paderewski played here February 15 at Convention Hall the house was a record breaker; 3,000 seats were sold, and "standees" were seen wherever a place could be found for their feet. Hitherto local managers have had a deficit to face, and had begun to feel that they had "a corner on Amalgamated Hard Luck." It remained for a woman to take a "risk" and win. Mae Smith did that. She managed the business to perfection, although she ran the chance of getting some of the unsalable stock of "hard luck" on her hands. She won, however; paid expenses and made some money. No wonder, with such an ideal pianist as Paderewski! The letters from Montreal and St. Louis published in this week's MUSICAL COURIER are just as enthusiastic in his praise as I was, although my stuff got crowded out owing to lack of space. February 22 we had another immense house for the Pittsburg Orchestra and Mendelssohn Choir, and I see that other correspondents agree with me in my estimate of Emil Paur and his splendid organization. Tomorrow night the "Guido Chorus" will attract a big audience, but I must defer criticism until another time.
24Thursday night a recital will be given by Lelia Olivia Hume, reader, assisted by Laura Dietrich Minehan, contralto, and Mary E. McCall, accompanist. Mrs. Minehan will sing "I Dreamt" (Schira), "The Enchantress" (Mack), "Stevenson's Requiem Poem" (Angelo Read), "A Woman's Last Word" (Sidney Homer). Miss Hume will read "Parsifal" and a poem, "Then and Now," by Esther C. Davenport.
26"The Prodigal Son" (oratorio) quartet numbers will be sung at the Prospect Avenue Baptist Church next Sunday evening. Mrs. Harry House Griffin, contralto; Miss McClelland, soprano; Ray Voorhees, tenor; Mr. Colber, bass; W. F. S. Lake, organist, and accompanist.
28VIRGINIA KEENE.
30The Francis Walker Studios.
32The second series of Mr. Walker's historical chamber music concerts began on Wednesday, March 1, at 27 West Sixty-seventh street. The artists were E. A. Bernstein, piano; D. Robinson, violin; Modest Altschuler, cello; Jacob Altschuler, viola, in the following program: Trio, G major………………………………………………………..Haydn Quartet, G minor…………………………………………………….Mozart
34The vocal assistance was given by Ella Jocelyn Horne, who sang with feeling and authority Giordani's "Caro Mio Ben" and the seldom heard "Spirit Song" of Haydn. A large audience gathered in the studios and the success of the concerts is assured. The next one takes place on the afternoon of Wednesday, March 15, when Mrs. Frank Horgan will be the vocalist.
36March 2 the studios were crowded by a brilliant company to listen to the New England Glee Club and its assisting artists, Edith Chapman, soprano, and Geraldine Morgan, violinist. Miss Morgan's contribution was the Wieniawski "Legende," played with splendid solidity and fervor. Miss Chapman was successful in two groups of
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