Scan 28
Musical Courier 1905-03-08: Vol 50 Iss 1302, 1905
139 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 29. See the scan on archive.org.
1The New York Press
2In the "Euryanthe" overture * * * a little less haste and restlessness would have been grateful.
4New-York Tribune
5The performance of the orchestra was sadly impure and otherwise defective in the woodwind.
7New-Yorker Staats-Zeitung
8Panzner is a matter of fact conductor.
10New-Yorker Staats-Zeitung
11In Panzner's leading of the symphony * * * there were a certain stiffness, a lack of elasticity * * * the phrases crumbled away at times.
13The Sun.
14Panzner's presentation of the Weber overture lacked both flexibility and fire.
16The Sun.
17Panzner's reading of the symphony was dull, heavy, inelastic and unpoetic.
19THE NEW YORK HERALD
20The "Euryanthe" overture was the best played number on the program.
22The World.
23The playing of the Philharmonic Orchestra yesterday was better than it has been of late.
25The New York Press
26Panzner revealed himself as a man of exuberant temperament, personal influence and force—a leader of individuality, musical intelligence and sensitiveness.
28The New York Times.
29In the Tchaikowsky symphony Panzner purposes the fullest freedom in expression, tempo, nuance; the elaboration of each single phrase to its utmost significance.
31The Sun.
32The Bach concerto was played almost as badly as possible.
34The New York Times.
35The performance of the overture was elastic and spirited
37The Evening Post.
38His reading of the fifth symphony was notable for its true Slavic spirit, its incessant modification of tempo (herein the master interpreter particularly showed himself), and the revelation of the genuine Russian melancholy, alternating with Russian revelry.
40The Sun.
41The orchestral support was as heavy as the curse of Jerome.
43The New York Times.
44The orchestra seemed quite unsettled in its efforts to follow the complexities of Mr. Panzner's reading, and has not in a long time made so deplorable a showing in respect of technical finish and precision, nor met with so many accidents of all sorts. In point of fact, it was quite an unfinished performance.
46The Sun.
47Truly, since Seidl conducted this music for the last time at a Philharmonic concert it has not been so glowingly, so superbly played here.
49The Evening Post.
50Another admirable feature of his conducting was the emphasizing of the melody, both in its main curves and in the subtle, contrapuntal touches which Tchaikowsky, in his last period, indulged in.
52New York American
53Ysaye played with exquisite art and incomparable delicacy of expression.
55New York American
56Panzner and the orchestra accompanied Ysaye excellently.
58The Evening Post.
59When an orchestra plays with such superb sonority, such beauty of tonal coloring, such careful attention to light and shade, as the Philharmonic displayed yesterday. * * *
61NEW SONGS.
63"Clytie." For medium voice. Words by Maude J. Sullivan, music by J. Christopher Marks. Published by William A. Pond, New York.
65An admirable score in which the music correctly reflects the verses. A mezzo contralto or baritone could make "Clytie" effective for any audience. The composer shows that he understands the voice, for his song in the key of G major does not go above E or below C, a delightful range.
67"Cupid's Art." Poem by Dr. Sydney S. Jacquelin, music by Samuel S. Aronson. Published by William A. Pond, New York.
69Another good song for the medium voice in the key of C major. The sentiment expressed is joyous but by no means exaggerated.
71"Could I But Know." Poem by M. Harcourt, music by Charles J. Wilson. Published by William A. Pond, New York.
73The musical quality of this song is enhanced by the 'cello obligato. Altogether, it is a graceful and pleasing composition in two keys, in D flat major for contralto and A flat major for mezzo soprano.
75John Young in St. Paul.
77JOHN YOUNG made his initial appearance in the West at St. Paul, Minn., with the Choral Club, and it was a great success, an echo of which follows. In connection with the church choir changes it is well to note that some churches know and appreciate a good voice, as in Mr. Young's instance; he has just signed at the Second Collegiate Church, of Harlem, for the eighth consecutive year. He is also tenor at Temple Rudolf Sholom. The notices from St. Paul read:
79John Young, the tenor, was the delightful surprise of the evening. His voice is very musical and his singing is most intelligent. In the matter of intonation his work approaches perfection. The Choral Society has scarcely known the pleasure of singing with a tenor of such entirely satisfactory qualities. In the recitative, "Watchman, Why the Night Soon Passes?" a considerable declamatory power was exhibited.—St. Paul Dispatch, St. Paul, Minn., February 17, 1905.
81John Young, the tenor, was eminently satisfactory. He sings oratorio music in the declamatory style so necessary to bring out its full beauty. But his interpretations are always in good taste, and his well bred diction and his musical understanding enable him to illumine rarely his text. The voice itself is not remarkable for its power, but it carries well and has all the appealing qualities of the good lyric tenor.—St. Paul Globe, February 17, 1905.
83Excerpts from Critical Comments from Leading Newspapers ON HERBERT WITHERSPOON, BASSO CANTANTE.
85NEW YORK TRIBUNE.
86He is a bass singer with an agreeable, flexible and extensive voice to begin with, and which is even more essential to success, intelligence, good taste and correct feeling.
88NEW YORK SUN.
89He has exquisite taste, solid understanding, temperament and imagination.
91Herbert Witherspoon is perhaps more of a cosmopolitan in art than any other American singer who has visited St. Paul, with the exception of Madame Nordica.
92Mr. Witherspoon succeeds in making the song recital worth while and making it something more than an exposition of a vocal method and the display of a knowledge of "schools." To the professional singer his method is a matter of absorbing interest.—St. Paul Dispatch.
94The soloists ranged from adequate to excellent. Mr. Witherspoon achieved the best work of the evening. His voice, being of the true bass quality, suits the Handel music and enables him to give it with fitting breadth and authority. He sang all the numbers from memory and clearly demonstrated his thorough mastery of them, both as regards their music and their text.—Chicago Tribune, December 26, 1904.
96He has complete command of the resources of the artist and uses them with rare judgment. His voice has great power, extended compass, a virile, vibrant resonance, and a beautiful sweetness in soft passages.—Chicago Inter Ocean.
98NEW YORK TIMES.
99He sings with an admirable method and delivery, and a style of much finish and polish.
101BOSTON JOURNAL.
102All in all a singer of much more than ordinary worth.
104BOSTON TRANSCRIPT.
105Mr. Witherspoon has a noble bass voice of wide range and unusually beautiful quality.
107CHICAGO TRIBUNE.
108Interpreatively Mr. Witherspoon frequently reminded of Max Heinrich at his best. Sincere and higher commendation can scarcely be accorded.
110CHICAGO INTER OCEAN.
111Mr. Witherspoon is in the highest meaning of the name an artist.
113The soloist of the evening, Herbert Witherspoon, was more complaisant in this respect, and granted two encores after prolonged applause in each case. Mr. Witherspoon's splendid bass voice seems to have expanded and gained additional richness since he was last heard here, and his manner of singing is if anything more finished and effective than ever.—Pittsburg Leader, November 12, 1904. one of two readings
114The soloist of the evening, Herbert Witherspoon, was more complaisant in this respect, and granted two encores after prolonged applause in each case. Mr. Witherspoon's splendid bass voice seems to have expanded and gained additional richness since he was last heard here, and his manner of singing is if anything, more finished and effective than ever.—Pittsburg Leader, November 12, 1904. one of two readings
116Mr. Witherspoon's voice has volume and purity of tone to an extreme degree. His method is natural, his control perfect. When to this fine equipment there are added fine artistic feeling and remarkable technic, little if anything is left to be desired. His tones, pure and resonant, lend themselves to dramatic and lyrical passages with equal facility.—Milwaukee Sentinel, December 15, 1904.
118Wisely, generous space was given the songs. In the assistance of Mr. Witherspoon, an oratorio baritone of unusually artistic method and rare power of declamation, Mr. Chadwick, the song writer, was especially fortunate.—Boston Globe, November 22, 1904.
120If individual laurels were to be distributed, the mark of distinction would go to Mr. Witherspoon. He has a large voice of unusual musical tone, and is capable of expressing deep religious feeling. His delivery is natural and characterized by apparent absence of all effort. The difficult chromatic phrasing in "Why Do the Nations?" and the dramatic intensity of "For He Is Like a Refiner's Fire" were sung with an accuracy that marked absolute ease and control in what is rather a high flight into musical technic.—Milwaukee Daily News, December 28, 1904.
122Mr. Witherspoon, who took at short notice the part of Mephistopheles, has a fine bass voice and plenty of dramatic intelligence.—Providence Journal, November 30, 1904.
124He entered completely into the spirit of the composition with most magnificently dramatic effects.—Cleveland Town Topics.
126He sang three beautiful songs, and was forced to give three encores, at the end of which the audience gave him up reluctantly.—Buffalo Express.
128It is a delight to listen to a singer so thoroughly competent and masterful.—Philadelphia North American.
130Mr. Witherspoon was superb.—Pittsburg Gazette.
132Mr. Witherspoon's delivery of the bass solos was something to remember as an embodiment of admirable vocal art, blended with dignified yet forceful interpretation.—Brooklyn Times.
134Management, HENRY WOLFSOHN.
136Private Address,
137HOTEL PORTLAND,
138132 West 47th Street.
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