Scan 39
Musical Courier 1905-03-08: Vol 50 Iss 1302, 1905
50 lines. Read by computer on 23 September 2026. Printed page 40. See the scan on archive.org.
1ing is commendable for its special intelligence. Altogether his numbers were delivered with a quality of musical sincerity rarely found in the average concert pianist.—Ella May Smith, in Ohio State Journal, Columbus.
3This was Mr. Spencer's second appearance before the public in Delaware, and his reputation as a pianist has not diminished. The artist proved that he is indeed a pianist of rare ability, clear, smooth technic and excellent interpretations of the best compositions that have been given to the pianist.—Evening Gazette, Delaware, Ohio.
5Bispham-Bond Recital.
6April 2 David Bispham will sing two groups of songs by Carrie Jacobs-Bond, accompanied by the composer, at Studebaker Hall. Mrs. Bond, who has been on a visit in New York recently, has met with much success at private musicales.
8A Notable Book on Singing.
9"EXPRESSION IN SINGING," by the late John Howard, contains solution for vocal problems. There are over thirty written lessons for developing the voice. The subjects discussed and explained cover the greatest range. We complete the list with the last eight captions of chapters:
10CHAPTER XXIV………………………………….Note Connection
11Notes made distinct by letting the voice drop between them—checking the voice efforts—EX. (to relax chord stretching efforts)—the drop for greater intensity of expression—"Love once again"—the drop not noticed by the audience.
12CHAPTER XXV………………………………….Appoggiatura
13The word derived from an Italian root, meaning, to lean—undoubted appoggiatura—attached to dotted main notes—concealed syncopation—rare connection with main notes through portamento—seldom found toward the close of a song—carelessness of song writers—should always have artistic quality—amateur usually hurries the appoggiatura—grace notes should also have good quality—good artists do not hurry effects, the amateur is usually in too great a hurry.
14CHAPTER XXVI………………………………….The Swell
15Usually preceded by a full inspiration—great artists usually prolong it as far as their supply of breath safely warrants—affords chance to combine all vocal resources—expiration—sustaining climacteric force—frequent fault of making the decrescendo disproportionately short—swell terminates in mezza voce.
16CHAPTER XXVII………………………………….Mezzo Voce
17Not merely a weaker tone—smaller vocal chords—weaker spinal contact—softer quality—palatal oscillations—quality of mezza voce explained—less firm contact with the cervical spine and proportionately stronger effort of the palatal muscles—quality usually suggests nasality—how to gain mezza voce—how to be distinguished from falsetto—fine examples afforded by Campanini and other artists—test of mezza voce—Cujus Animam.
18CHAPTER XXVIII………………………………….Tempo Rubato
19Tempo rubato, stolen time, should never disturb the hearer's conception of the melody or theme—should never make the rhythm or beat of the measure at all doubtful—less used of late—melody, when known by heart, admits of more extravagant tempo rubato—cannot be said to occur at close of ballad or aria—mildly, but very frequently employed to vary passages of equal short notes—two kinds of tempo rubato—highest note of passage usually steals the most time—second syllable of disyllables usually steals from the first syllable—rules difficult; taste must decide—Jewel song in "Faust" as sung by Emma Eames.
20CHAPTER XXIX………………………………….The Trill
21How suggested to Clara Louise Kellogg—more rapid than a run—decided, first, by movements of tongue; by movements of the throat—Ex. (to gain the trill).
22The Turn.—Usually sung too rapidly—time for its notes taken from the note which indicates and precedes them—dotted notes—reference to chapters on note connection.
23CHAPTER XXX………………………………….Portamento
24The portamento; four kinds (1) regular portamento; (2) fior di voce; (3) the anticipatory portamento; (4) strascino.
25CHAPTER XXXI………………………………….The Phrase
26The phrase; its beginning; endings—climax—the anticipatory note.
28Fletcher Music Method.
29THERE has been such a demand for the Fletcher method from California and the Far West that Mrs. Fletcher Copp, the founder of the method, has decided to go there to teach a class after her summer class closes in Boston. There have been so many copyists of the Fletcher method that she sees the necessity, now that the demand for teachers has grown beyond her power to fill, to prepare teachers who have proved their ability with their success with children, to help in the work of teaching teachers. First of all these teachers must have taught the complete system in its present improved condition to a number of children successfully; they must have taken up some psychological study known to be of value, and lastly they must return to Mrs. Fletcher and take the special normal course.
31The February meeting of the Fletcher Musical Association met in Mrs. Fletcher Copp's studio Tuesday evening, February 21. After a short business meeting a lecture was given by Dr. Scott dealing with the psychological uses of emotions and their relation to music, after which there was an interesting discussion. After light refreshments were served and a social time the meeting adjourned. The next meeting will be the annual meeting in June. This is a unique association established for the purpose of keeping all of the Fletcher teachers up to date in the ever growing method, and for the purpose of establishing a centre where all ideas in regard to teaching young children music can be discussed and their value proved.
32A paper is published for the F. M. M. teachers all over the country, so no teacher need feel isolated in her work, and her problems can be brought before the whole association if she wishes. It is a great source of inspiration to the teachers.
34The Fletcher music method is fully established in England and Germany, as well as in this country, Mrs. Fletcher Copp having lectured and taught in Europe extensively for several years, and she has the endorsement of the best teachers and musicians of that country. In the comparatively few years since the Fletcher method was first originated the amount of work done is almost incredible, and has been of invaluable aid to teachers.
36Johnson in Verdi's Requiem.
37EDWARD P. JOHNSON, the tenor, sang in a splendid performance of Verdi's Requiem in New Haven, under the direction of Horatio Parker. The criticisms include these opinions about Mr. Johnson:
38Mr. Johnson, the tenor, was new to New Haven, but he made an excellent impression. Mr. Johnson has a wonderfully clear and true tenor voice, with plenty of force and character to it, and a quality of tone unusually appealing. His solo, "Ingenisco," was his best piece of work during the Requiem. In all he did there was that about it which marked the true artist, a voice—and the brains to use it.—The New Haven Palladium.
40Mr. Johnson was new to New Haven audiences, but he made a good impression. Mr. Johnson, in his solo "Ingenisco," showed a well trained voice and one which had a great deal of resource. His interpretation was appropriate.—New Haven Morning Journal and Courier.
42Mr. Johnson, who made his first appearance here, has an agreeable but not large voice, and he uses it with intelligence. There were flexibility and eloquence in his singing of the "Ingenisco" and he sustained the high B flat without effort. His style is well suited to such work as the Requiem.—New Haven Evening Register.
44JOHN B. MILLER
45Tenor,
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