Scan 5
Musical Courier 1905-08-23: Vol 51 Iss 1326, 1905
44 lines. Read by computer on 23 September 2026. Printed page 6. See the scan on archive.org.
1pathetic quality make it well worth the training. At present he constantly forces it, from ignorance of the proper method of its use and control, and if he continues to do so it is likely that he may lose his voice altogether before many years' time.
3At the distance of about an hour's walk from Oberammergau lies picturesque Ettal, with its formerly celebrated monastery, in whose still beautiful old chapel is the famous organ claimed to be one of the finest in the world. Visitors who wish to hear this noted instrument make morning pilgrimages to Ettal, arriving before 9 o'clock, at which hour it is played every day.
5Concerning the musical features of the great play, I have today only space to add that both the chorus and the orchestra, with one exception, are composed entirely of native Oberammergauers, and that their performance, besides being replete with the lofty simplicity of style and the tenderness of expression which the subject demands, also reveals an artistic sense and a technical skill and unanimity that seem little short of a marvel as being the achievements of a humble, self taught race, village born and bred, and most of whom have never quitted the shadow of their native mountains for more than a week at a time in their lives.
7In the case of the chorus, outside influence, it is true, has been brought to bear. It has been trained by Herr Zeidlmayer, an instructor "imported" by Oberammergau for the purpose. But the orchestra is under the entire direction of Eduard Lang, a true son of the soil, and he only has drilled its members and conducted their rehearsals.
9The exception in native talent referred to above is the harpist, who accompanies "Young David" in his songs. As the latter cannot play the harp himself, he is furnished with a "dumb" instrument on which he performs in pantomime, and the real harp is played in the orchestra by Fräulein Becker from Munich.
11Raoul Pugno in London.
13RAOUL PUGNO made his usual successful appearances in London this past season and was heard in nine concerts. The Pugno recitals in London are musical events and are looked forward to with interest by a large number of the piano students as well as the general public. Few possess his caressing touch and graceful style, while his technic is fluent and masterly. This is the substance of an elaborate criticism which appeared in the London Standard of a recent date. The great pianist was recalled over and over again at the close of the recital; further, triumphs awaited him after a matchless performance of the brilliantly exhilarating fantasia "Africa" by Saint-Saëns. Mr. Pugno is certainly an artist of wonderful attainments. Power, delicacy of touch, great emotional feeling and profound musical understanding combine to render him what he is, said the critic of the London Morning Post on May 12, the day following his appearance with the Philharmonic Society. He is one of the most fully equipped of all modern pianists, says the London Daily News of same date. Pugno is a pianist to be respected and admired. His return to this country in November next under the management of Henry Wolfsohn will be welcomed. He is a pianist that may be heard again and again with profit and delight.
15Fritzi Scheff, who will be seen the coming season in a new comic opera, sailed for New York from Cherbourg last Wednesday on the Kronprinz Wilhelm and was due here last evening, August 22.
17NATIONAL FEDERATION OF MUSICAL CLUBS.
19ONE of the greatest, if not indeed the chief benefit of all federation, is the opportunity which it affords for comparison of methods. From the farmer who goes home from "Grange meeting" resolved that another season he will put into execution on his own land the ideas received from a neighbor's talk of the success he has gained by trying a certain scheme of agricultural development; to the professional man whose ideas are broadened and his experience deepened by association with his brethren, not omitting to mention the woman who goes from her own small music club, in the quiet little village where her home lies, to the great biennial meeting, with its scores of representatives from clubs large and flourishing, old and prosperous, or young and full of new conceptions and the vigor and enthusiasm of youth—all are benefited and all are enriched by an opportunity of comparison.
21Scarcely one club sends an account of its impressions of the recent biennial at Denver, but that mention is made of their deep appreciation of the occasions offered there for study of the manner in which others have already overcome the same or similar obstacles that now are besetting the particular writer; or by which others have achieved what once appeared a dizzy height of glory, after treading the laborious path whose stony length had seemed interminable.
23Each year the number of clubs whose winter work is planned in the early part of the preceding spring grows larger. The day has long since gone by when a music club which aims at a continuous line of thought, or a definitely formed arrangement of harmonious subjects for its programs, waits until the concert season is upon it for the announcement. Plans are made early in the year; subjects are announced, in many cases even the particular compositions and their performers are decided upon months in advance, and each member knows the general scheme of the work of the club as well as her own special part in the task of completing the general structure. In several even of the very largest clubs located in metropolitan centers, where it would seem that every possible subject had already been exhausted, there still exists the custom of a continuous scheme rather than of an altogether miscellaneous program for each club recital, and in these lists of subjects, many charming ideas are devolved.
25The Ten O'Clock Musicae of St. Louis, Mo., will have as its central thought for the winter's work the contrasting of musical compositions as developed in the various modern European nations and our own new world. Passing through "Epoch Making Music in Germany," "Folk Music of all Nations," "French Songs and Ballet Music," "Spanish and Italian Serenades and Water Music," a climax is reached in a program of American music whose songs are all to be the compositions of American women, while the instrumental numbers are the work of those men whom their competitors in the old world nations are fast coming to recognize. Interspersed throughout the season there will be a series of programs entirely miscellaneous in their character, giving an opportunity for the production on these occasions of many numbers which otherwise would not have had a hearing. On two mornings—November 22 and March 14—the spirit of hospitality will abound and the musical programs will be rendered entirely on these occasions by the club's guests. The latter one will be given exclusively by home talent, while at the former it is planned that these guest performers shall be from a federated club outside of St. Louis. These various subjects, with one program devoted entirely to church music and the oratorios, and one given in the evening, at which the men friends of the members will be welcomed, will conclude the work of a season which promises to be rich in musical treats.
27The officers are: President, Ellen Brooks Johnson; vice president, Mrs. E. E. Froman; secretary, Rose Pfeiffer; treasurer, Mrs. James R. Harris.
29Jean B. Groff, ex-president of the Monday Musical Club, of Pueblo, Col., writes on behalf of herself and Mrs. T. A. Stoddard, the newly elected president, expressing high appreciation of the benefits of federation for their club, whose very short connection with the national organization has already shown them the many opportunities awaiting their acceptance. The Federation "Plans for Study" appealed particularly to this club, which is contemplating the use of these plans, even though much of the ground covered by them has been gone over in earlier years of the club's work, though in such a different and less satisfactory way as only to arouse a keener desire for these carefully planned methods of study.
31The Monday Musical Club is a subscriber to The New York Musical Courier, which is placed in the Carnegie Library Building, where the club meetings are held. Miss Groff's letter is closed with a most cordial pledge of the hearty co-operation of the Pueblo Club in any work that will prosper the growth of the Federation.
33Madame Mott's Pupils.
35ALICE GARRIGUE MOTT, the vocal teacher, now resting in the Adirondacks, will resume teaching at her New York studio October 1. Madame Mott will try voices and advise applicants by special appointment only. This conscientious and gifted teacher regards an interrupted lesson a loss to the pupil. Her success shows the wisdom of her course. One of Madame Mott's pupils, Margherite Lemon, now a member of the Metropolitan Opera House Company, has delighted the public and her associate artists by her beautiful singing. Miss Lemon's roles had included Nedda in "Pagliacci," Michaela in "Carmen," the First Flower Girl in "Parsifal," and the Forest Bird in "Siegfried." Madame Mott has other pupils who are making careers and all of them have reflected credit upon themselves and their teacher. Mott pupils are artists as well as singers. At her Carnegie Hall studio this coming season Madame Mott will again be assisted by Laura Esperanza Garrigue.
37Musical Stars for Indianapolis.
39ONA B. TALBOT announces her fourth annual series of subscription concerts in Indianapolis. For the first concert Mrs. Talbot has engaged Campanari, Gerardy and Ward Stephens, the pianist. The date of the first concert is November 6. As already stated in The Musical Courier, the Pittsburg Symphony Orchestra, with Emil Paur as conductor, will appear at the second concert, November 28. As previously told in The Musical Courier, Beethoven's setting for Goethe's "Egmont" will be played and an arrangement of the drama read by George Riddle at the concert. Mrs. Talbot has Kubelik booked as the attraction for the final concert, January 15, 1906. These concerts will be given at English's Opera House.
41Clementine De Vere's Engagements.
43CLEMENTINE DE VERE, who is still in England, has been engaged to sing in "The Damnation of Faust" at the Sheffield festival in October under the direction of Herr Weingartner. Her other engagements include Blackpool, Bristol, Edinburgh ("The Messiah") and a re-engagement with the Moody-Manners Opera Company.
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