Scan 24
Musical Courier 1905-09-06: Vol 51 Iss 1328, 1905
46 lines. Read by computer on 23 September 2026. Printed page 25. See the scan on archive.org.
1MUSIC IN NEW JERSEY.
2EAST ORANGE, N. J., September 2, 1905.
3ALTHOUGH the majority of music students do not return from seashore and mountains until after Labor Day, still the teachers are making active preparations for the coming season.
4The Newark College of Music, of which Louis Arthur Russell is the director, attracts many pupils from the Oranges. Two graduates of this school, Minnie Faller and Lillian Markwith, pianists, are among the busiest teachers in East Orange. Fannie Markwith, violinist, has also studied at the Newark College of Music.
5Miss L. B. Baker, the piano teacher, resumes instruction after September 15. Effie E. Young and her niece of the same name have opened a studio at the Metropolitan Building, in Orange, for violin and piano.
6Vocal teachers of prominence are Frederick Handel and his son, Paul Handel.
7Teachers of voice and violin are scarce here, but piano teachers abound in great numbers. This is all the more remarkable, as most of the private schools have a department of music which is sufficiently well patronized. Yet most of the private teachers are busy, and among the busiest may be mentioned Edna Gerry, Meta Cadmus, Mrs. Bennett (formerly Miss Moller), and Frances Baldwin.
8Barbara Hanna, a young pianist of Bloomfield, is also teaching in East Orange.
9A new school of music, conducted by Morris Baer on conservatory lines, has been opened at the corner of Main and Walnut streets, East Orange.
10CLARA A. KORN.
12More Triumphs for Kubelik.
13KUBELIK who, under the direction of Hugo Görlitz, begins his second American tour at Carnegie Hall, New York, November 30, continues to win great triumphs in Europe. Of his recent reception in the French capital, the Paris correspondents of London papers spoke with much enthusiasm.
14The Queen correspondent said:
15Kubelik's concert on Wednesday can only be described as a triumph for the first violinist of the day. His two pieces de resistance, Mendelssohn's concerto and selections from "Faust," were faultlessly played with a delicacy and depth of feeling which held the fashionable and critical audience breathless. The playing of "Mozie" upon the fourth string only is a task from which most violinists, however gifted, may shrink. To Kubelik, however, it seemed to present no difficulties. The ovation which greeted the gifted performer at the close of his task was perhaps the most spontaneous and enthusiastic ever witnessed in the Opera House.
16The Daily Mail said:
17Extraordinary enthusiasm greeted the performance of Herr Kubelik, the violinist, in Paris yesterday, critics declaring that no such scenes have been witnessed since the days of Paganini.
18The Daily Chronicle said:
19Kubelik again has invaded Paris, which immediately capitulated. His concert this afternoon at the Châtelet evoked a scene of enthusiasm seldom seen within the walls of a French theatre. Four hundred and forty pounds was taken at the doors today, while the bookings for Saturday's concert amount to £800.
20The Pall Mall Gazette said:
21Of the quality of Kubelik's reception this afternoon there could be no question. It was overwhelming. It expressed itself in various ways, one being a loud call from the "gods" to suppress the orchestra, so that the virtuoso might be heard alone.
22The Times said:
23It would be difficult to exaggerate the enthusiasm with which Kubelik was received this afternoon in the first of the two concerts given by him in Paris at the Châtelet. The vast theatre was nearly full from stalls to upper gallery. The audience was a distinguished one, and manifested its intelligent appreciation of the qualities of the artist in a way which shows that the Paris musical world has at last uprooted from its midst all prejudices of nationalism, and is capable today of applauding the genius of foreigners with complete disinterestedness.
24The Paris edition of the New York Herald said:
25Jan Kubelik took his audience by storm yesterday at his first violin recital at the Châtelet. Never since the days of Paganini has such excitement been known in Paris, the immense audience forced the great violinist to play four extra pieces before allowing him to leave the hall, and it was with the greatest difficulty that he managed to get out of the building by a side entrance. An immense crowd awaited him there with vociferous cheers, and pressed toward him to such an extent that he was scarcely able to reach his carriage.
26Kubelik will tour the United States for five months, during which time he will visit many cities where he has not been heard. Mr. Görlitz announces that Kubelik will be assisted by several well known artists, including a soprano, a pianist and a flutist.
28Madame Von Klenner's Tour.
29MADAME VON KLENNER has closed her summer school at Point Chautauqua, N. Y., and is making a tour of Chautauqua County by automobile. The Von Klenner studio in New York will reopen September 18. One of the important features of Madame Von Klenner's work this summer has been the singing of the Von Klenner Quartet, composed of Von Klenner pupils. The four young women have appeared at four concerts, and the reports indicate that the concerts were successful in every way.
30The following criticism is from the Westfield Republican of August 30, 1905.
31The concert given Friday night in the M. E. Church was an unqualified success and the large audience present manifested its delight by sincere and prolonged applause. The quartet is composed of pupils of Madame Von Klenner, the celebrated teacher from New York City, who has a summer home and studio at Point Chautauqua. They demonstrated by their work that Madame Von Klenner is a most superior teacher of "bel canto," the most perfect of all methods of teaching. The ensembles were worked out with a perfection of detail and finish seldom found even among the most experienced singers and the audience was given the unusual treat of hearing an evenly balanced and perfectly trained quartet of female voices. That each voice was also capable of fine solo work was well demonstrated by songs interspersed with the duets and quartets. Anne Jones Sprinkle, of North Carolina, showed by her two songs, "To Sevilla" and "Vanka's Song," a highly trained coloratura soprano of wide range and good volume. Miss Helena Wade, of Florida, sang "Myrrha" and "My Love Is Like a Red, Red Rose" in a highly finished manner. Her voice is a very melodious mezzo soprano of fine quality. Marie Greenwood-Guberson, of Tennessee, gave as her contribution to the program "The Wind Is Awake" and "A Proposal," showing a full, resonant soprano of fine timbre and great sweetness. Edna Banker, of New York, showed by her excellent rendition of "The Minor Chord" and "Sunset" that Madame Von Klenner is equally successful with the contralto voice, for Miss Banker is the happy possessor of a fine contralto, beautifully trained and totally free from the inequality of tone frequently found in voices of that kind. The duets were given with style and dash and with the solos and quartets formed a program such as the people of this village have seldom had the pleasure of hearing. Madame Von Klenner's studio at Point Chautauqua is the Mecca to which many professional singers also come during the summer for the salvation of their voices which need repairing after the wear and tear of winter work, for among the many accomplishments of this gifted woman she numbers that of voice mender, probably having more success in that line than any other teacher.
33Edith Kirkwood, an English soprano, who has been making a concert tour in Australia, is going to India to be married. The distance in miles that Miss Kirkwood must travel in order to be on hand for the date set for the nuptials in November is something for geographers to ponder over.
35Theodor Bertram has been engaged to sing the roles of Wotan and Amfortas at the Bayreuth festival next summer.
37Lulu Glaser made a successful beginning of her season last week at Rochester, in a new comic opera named "Miss Dolly Dollars."
39ORIGIN OF THE ENCORE.
40(From the Indianapolis Sentinel.)
41THE history of encores is interesting. It seems to be known from the very beginning; at all events the first encore on record was demanded by Louis XVI in 1680. "Bellerophon," an opera by Corneille, Fontenelle and Boileux, set to music by Lully, was sung before His Majesty on Wednesday, January 3, 1680, and the King was so much pleased with certain parts of it that he had those parts repeated. It took a century for the audiences at the Opera to obtain the King's prerogative for themselves; it was not until August 8, 1780, that the audience of the Opera demanded an encore. The history of that encore is curious: Gluck had produced an opera, "Echo and Narcissus," which had failed; but he had rewritten the bad parts of it, and on the day mentioned produced it again. It failed a second time, but one or two songs were accepted by the audience with applause. One song in particular, "The Hymn of Love," was demanded a second time, and this popular song out of an unpopular opera was the cause of the first encore obtained by the general demand of an audience.
42Just here it may be noted that the French do not use the word "encore" to denote a demand for the repetition of a song or other part of a play; they call "Bis! Bis!" and obtain an encore.
43Dr. John Doran says the encore was introduced first into England during the season of 1709-1710; but he does not specify what play or opera gave rise to its use. The thing itself, if not its name, has been known to the English stage before that time, however. It has been the custom, says the genial doctor, "for those who desired the repetition of a song to cry 'Altra volta!' The Italian phrase was condemned as vigorously as the new French word; one writer in the Spectator wanted to know when it would be proper for him to say it in English, and if it would be vulgar to shout 'Again! Again!' The time has not come even yet, though the question was asked nearly 200 years ago.
44When the encore was introduced into this country history does not say. But the encore took root here quickly enough, whenever it may have come, and is grown so great now that its usual name is the "encore nuisance." Few managers have dared to try to root it out, though once in a while a half hearted attempt seems to be made. On the programs of the old Theatre Comique, down at No. 444 Broadway, was this legend, perhaps hereditary: "On account of the length of the program only two encores can be allowed." Certainly there was no attempt to enforce the alleged rule, so probably the Comique cannot be cited as a theatre where any real attempt was made to suppress the "nuisance."
45Perhaps the most remarkable encores on record were those demanded and had by the late King of Bavaria, Louis II. Long before he was known to be insane, while he was only considered eccentric, he insisted on having plays and operas performed before him as the sole auditor, the curtain rising at midnight. If he liked the play he would order it to be played again at once. He paid his actors well, however, for their double labor, and is probably the only audience that ever did, for one of the causes for the prevalence of the "encore nuisance" is the fact that an encore granted makes the visit to the theatre more of a good bargain, in that the audience gets more than it paid for.
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