Scan 24
Musical Courier 1905-03-08: Vol 50 Iss 1302, 1905
103 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 25. See the scan on archive.org.
1FRITZI SCHEFF'S SUCCESS.
3On Thursday evening, March 2, Charles B. Dillingham and his star, Fritz Scheff, revived Franz von Suppé's tuneful comic opera "Boccaccio" at the Broadway Theatre, and scored a brilliant and resounding success for the work, the star and the manager. In no other role of those she has so far offered on Broadway is Fritz Scheff so well suited as in Boccaccio. The part gives her almost endless opportunities for a display of all those charms and graces which make her one of the most attractive artists on the comic opera stage of today. In the role of Boccaccio the gifted comedienne is able to use her sweet voice to its fullest advantage and to show in her acting all that ease, finish and chic which helped her to gain distinction in her early grand opera days at the Metropolitan. And be it said sotto voce that whatever part of her audience was unconquered by Fritz Scheff's singing and acting surrendered unconditionally to her pretty presence and winning ways—both shown in tights! It was altogether an evening of tuneful music, rollicking comedy of the up to date style—for very wisely the management had renovated the old Vienna quips and bolstered some of the faded lines—and the large audience testified to the success of the revival by its genuine enthusiasm and its insistent demands for encores. Aside from Fritz Scheff, all animation and esprit, who was in every sense the star of the evening—and who, be it said, was never in better voice than just now—some of those who deserve special mention are Louis Harrison, a droll comedian of the free and easy kind; Louise Le Baron, Wallace Brownlow, Arthur Cunningham and Richie Ling.
5A word should be said, too, for the sumptuous stage setting and tasteful mise-en-scène.
7German Conservatory of Music Concert.
9The pupils' concert of March 1, held at College Hall, was again very interesting, serving to show the good work carried on at this institution by Carl Hein and August Fraemcke, directors. A varied program was presented, consisting of piano, vocal and violin solos, string quartets, two piano pieces, two violin pieces, and a military march for orchestra. Those who took part, in the order of their appearance, were Misses N. and C. Sauter, F. Klein, E. Eifler, C. Tracey, K. Kerr, Rose Sindeband, Rose Held, Mrs. J. J. O'Keefe, Henry Schulenberg. In the orchestral piece forty-nine players united. Their names are: First and second violins, Misses Bates, Dodd, Eifler, Eldridge, Hasenclever, Lohman, Lawrence, Klein, MacDonald, Orth, Quinn, Sauter, Stewart, Sirohuber, Wuestenhofer; Messrs. Bossi, Brainard, Freund, Goldram, Hebron, Hennig, Hesselman, Hoffmann, Johnson, Kratka, Landwehr, Mindermann, Noe, Scholder, Papstein, Pero, Schultenberg, Stahl, Vaderson, Wolff; violas, Messrs. Schmidt and Stutzer; 'cellos, Miss C. Sauter, Messrs. Borchard, Kneppler, McGrath; flute, Mr. Schumacher; clarinets, Messrs. Hlavac and Woodcock; horns, Messrs. Kelly and Smith; trumpets, Messrs. Conklin and Miller; piano, A. Scarmolin.
11A Sousa Story.
12(From an English Exchange.)
14John Philip Sousa, the "March King," who is now touring England, had an alarming experience at a provincial hotel during the early part of his tour. Weary from the business of giving a couple of concerts largely composed of encores, Sousa retired to bed at a pretty early hour for a man with night work to do, being so determined to get a good sleep that he even left untouched the sandwiches which, in obedience to his customary request, had been placed on a table in his bedroom. In the dead of night he was awakened by what seemed to be the sound of a plate being pushed about among the glass and cutlery on his small supper table. He sat up and looked around, but seeing nothing in the dim light of the lowered gas, slept soundly until morning.
16In the morning Sousa turned over and looked at the room. It was soiled nearly everywhere with black footmarks. They were on the floor, the table, the toilet stand and the chairs—most particularly the chair upon which Sousa had put his shirt and other underwear. "And it's all over the plate!" said the man who brought the hot water. And it was. Moreover, the sandwiches had entirely disappeared, and so had the fruit which had been placed at the side of them. Putting on his dressing gown and slippers, Sousa helped the man in his search about the room for what they expected would turn out to be a hidden tramp or something hygienic like that, and it was not very long before the sharp, black eyes of the bronzed musician discovered that the footmarks seemed to have come from and disappeared to the great old fashioned "chimney corner." "He's up that chimney, but he won't be when we have burned a little paper this end of it," grimly observed Sousa, and the smoke from the flaring torch of the morning news soon had the desired effect. A large baboon, covered from head to foot in soot, and trembling from and to the same extremes, descended into the room and stood quite quietly by the window while Sousa and the hot water man retreated into an adjoining apartment, locking the door behind them. The baboon, it turned out, had escaped from a traveling circus the night before, and was last seen making his way in the direction of a disused bit of ground at the side of the hotel.
18Sousa says he is going to let a long time go by before he reads again the "shocker" of his countryman, Edgar Allan Poe, "The Murders in the Rue Morgue!"
20MRS. GEO. W. PARKHURST'S RECITAL.
22One of the most beautiful of Francis Fischer Powers' affairs occurred last Saturday afternoon before the usual assembly of friends and music lovers. The musicale was in the form of a recital by Mrs. Geo. W. Parkhurst, soprano, of Topeka, Kan., a pupil of Mr. Powers for four years.
24At the beginning of this season she accepted a position of vocal director at Washburn College, Topeka, making the thirty-third Powers pupil at the head of vocal music in prominent colleges, and while Mrs. Parkhurst is a social leader and lives luxuriantly, she will always make music a prominent feature of her daily life.
26She is a musician of unusual excellence, with a voice of rare beauty. Her singing of the "Liebestod" was an illustration of artistic beauty, while the "Bird Song" from "Pagliacci" was scarcely less so.
28Reinhold Herman was most enthusiastic over her interpretations of his songs. In "The Elijah" duet with Mr. Powers her part was wonderfully sustained throughout.
30Both Mr. and Mrs. Parkhurst will be members of Mr. Powers' study class in Europe this season.
32F. Vandervecken, the Belgian violinist, played several numbers with faultless technic. Mr. Vandervecken should give the public more frequent opportunities to hear and enjoy his gifts. His own compositions are finely written.
34Mr. Powers has not appeared to such advantage in years. His voice was in perfect condition, and he enjoyed his usual success.
36Loreau Sterling was at her best, and added much to the pleasure of the afternoon.
38Hugh Herndon, a popular favorite at these musicales, was called for and gave a few selections best calculated to display his excellent voice and talent.
40Harold Briggs' accompaniments were musical and sympathetic.
42Cottlow in New York.
44Augusta Cottlow returned to New York this week from a successful tour in the West. The pianist played in many of the principal cities, both at public recitals and at private musicales and club concerts.
46Obituary.
48Moses I. Cohn.
50Died at Toki, Province of Galicia, Austria, at the age of seventy-six, Moses I. Cohn, who for over fifty years was one of the most celebrated cantors in the orthodox synagogue in different parts of Austria. Three years ago he celebrated his jubilee of fifty years of activity and retired in favor of his son. In addition to the powerful quality of his voice, he was gifted with music to such an extent that he became an authority on the subject of old Hebrew songs and chants. Many people in Vienna and in other parts of Austria remarked on his great resemblance to the late Johannes Brahms. He was the father of Harry B. Cohn, the correspondent of The Musical Courier at Montreal, to whom many condolences have been sent.
52Sophia R. Huss.
54Mrs. Sophia R. Huss, mother of Henry Holden Huss and widow of George J. Huss, died on Monday at her residence, 318 East 150th street. Mr. Huss died some months ago.
56Durno-Collins in Winnipeg.
58In addition to the notices reproduced in last week's issue of Mrs. Durno-Collins' triumph in Winnipeg, is the following, which speaks for itself:
60Mrs. Durno-Collins has conquered musical Winnipeg. A group of Chopin pieces, the A minor etude, the G flat major etude and the "Marche Funebre," revealed the poetic temperament of the player, as well as a wonderful variety of touch, in which the warmest tints predominated; remarkable skill in technic is hers, too.
62If Carreño vitalizes the well known Schubert-Tausig "Marche Militaire," Durno-Collins etherealizes it. The masculine touch of the South American enthuses an audience, but Mrs. Collins' firm yet delicate finger mechanism appeals to the people's hearts.
64Creatore brutalizes the "Marche Funebre"; Durno-Collins idealizes it and brings the melody of the solo passage within the comprehension of the dullest mind.
66Then, again, a brilliant version of Rubinstein's waltz from the suite "Le Bal" still further testified to her manipulative skill, to which, by way of contrast, may be mentioned the group of four numbers by MacDowell, one of the foremost among American composers. "To a Wild Rose" and "To a Water Lily" were charmingly played, but the audience were largely captivated with the lucidity and vivacity of the other pieces, "March Wind" and "The Witches' Dance." Mr. MacDowell need not fear comparison with Moszkowski, whose name also appeared as a composer upon the program.
68Mrs. Durno-Collins is a most fascinating pianist and justly deserves her extensive popularity. Frequent recalls were awarded her last night.—Winnipeg Tribune, February 15, 1905.
70Francis Rogers' Press Notices.
72The following are the press notices in praise of Francis Rogers:
74• • • Made a decidedly favorable impression with his singing. His tone production is notably fine. In addition to these qualities, he sings with much feeling and appreciation. (With Ysaye, December 14.)—Washington Post.
76• • • Created a very favorable impression, singing in good form, with a voice of fine virile quality and with musicianly intelligence.—Washington Star.
78He won his audience at once.—Boston Globe.
80His selections covered the widest possible range of feeling, and all were sung with a versatility of sympathy that was as remarkable as it was pleasing.—Boston American.
82• • • Possesses a rich baritone voice, which was heard to splendid advantage in a repertory of wide range.—Montreal Gazette.
84His reappearance last night was one of the most successful musical events of the year.—Montreal Witness.
86It has been said by a great German song singer that phenomenal voice is more of a drawback than a blessing to a song singer. Art should be paramount and voice a secondary consideration—cultivation of the highest order is, of course, essential. Mr. Rogers, although possessed of a splendid voice, fulfills these requirements to a nicety. • • • Were his voice only half as good as it is, he would still command a high place in the musical world.—Montreal Argus.
88• • • A painstaking, scholarly and sympathetic singer. • • • Has perfect control of breath, enunciates marvelously clearly, and puts warmth and feeling into his songs.—Montreal Star.
90He presented the true artist's idea of interpretation in his delivery of the Schubert songs.—Flushing (N. Y.) Evening Journal.
92He is most versatile in his rendition, singing always in character and with genuine dramatic expression, albeit without contortions as display.—Flushing Times.
94MASTER SCHOOL OF MUSIC
95Vocal Department: MME. AURELIA JAEGER, Director.
96Department of Theory: Dr. Gerrit Smith.
97German: Gertrud FRÄKELIN BERTHA FIRGAU. one of two readings
98German: Gertrud FRANKLIN BERTHA FIRGOU. one of two readings
99Italian: Ida SIGNORET.
100Musical History: HENRY T. FINCK.
101Fencing: A. L. CORDOZO.
102108 Montague Street BROOKLYN, N. Y.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.