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Musical Courier 1905-09-06: Vol 51 Iss 1328, 1905
52 lines. Read by computer on 23 September 2026. No printed page number was found. See the scan on archive.org.
1MAX GARRISON.
3It is a significant sign of our times that the great artists are being drawn more and more to the great art centres. Berlin, now the musical centre of the world, has a host of famous resident musicians of every kind, and an especially large number of singing teachers. And still they come. Last February the great Lamperti left Dresden to take up his abode in Berlin and now, in the person of Max Garrison, the distinguished baritone, late of the Vienna Royal Opera, who has established himself in that city as a vocal instructor, the German capital has added another important name to its long list of representatives of this branch of art.
5Mr. Garrison has enjoyed a thorough training in both the Italian and German Schools of vocalism, and he has had, moreover, a good general musical education. Born in 1867, he began to study the violin under Bilse at the age of six, and at sixteen he was a proficient violinist. He came to America and played first violin in the Metropolitan Opera House Orchestra under the late Anton Seidl, and in various other orchestras for three years. He was also active as a conductor of smaller orchestras during his stay in America.
7Returning to Germany, at the age of twenty, he began his vocal studies, working first for two years in Berlin with D'All' Aste, an eminent representative of the old Italian school of singing, who had been for years at the Parisian Grand Opera, where he was Lablache's successor, and who settled in the Prussian capital as a vocal teacher in the 80's. Garrison then went to Dresden, where he studied two years at the Royal Conservatory, taking up singing with Scharpe and composition with Draeseke.
9The young singer was now ready for opera, and he made his début at Breslau, where he remained one season. Next followed a three years' engagement at Elberfeld. A successful "Gastspiel" at the Vienna Royal Opera brought him a flattering offer from that great art institution, which he accepted. For four years he was leading baritone (together with Theodore Reichman) of the Vienna Royal Opera and a great public favorite.
11With Mahler's advent there was a general exodus of singers, who would not submit to that conductor's tyranny, and Garrison also left. For the next two years he appeared as "guest" in Graz, Hamburg, Cologne, Dusseldorf, and also as concert singer in most of the leading cities of the Fatherland, meeting everywhere with great success.
13Wishing to perfect himself still further in his art, he then went to Italy and studied for a year and a half under the celebrated Milan teacher, Galliera. Among the singers who were coaching with Galliera at the same time were George Anthes and Heinrich Vogel.
15Thus with ten years of study of the violin and music in general, with three years of activity in an orchestra, with five and a half years of hard vocal study under the best masters, and with ten years' experience on the operatic boards, Mr. Garrison brings with him rich experience. He has a special bent for teaching, and during his various operatic engagements he devoted part of his time to instruction and always with marked results. Among his pupils are Kraaze, the leading tenor of the Schwerin Court Opera; Grosse, first tenor of the Sondershausen Opera, and Micaela Levermann, the brilliant coloratura singer, who won the admiration of Lamperti.
17Mr. Garrison is much in love with his work, and he enters into it with heart and soul, devoting his whole energies to each lesson. He believes in individual treatment of pupils and does not try to make one shoe fit all feet. He makes a specialty of head tones in voice production, and he has a very effective and original method of acquiring them. He says the thorough knowledge of how to produce the head tones properly was the secret of the wonderful tone production of the old Italian singers. The beauty and power of his own voice, which was originally a weak organ, bear testimony to the soundness of his method.
19Mr. Garrison claims that one year of continuous work is quite enough to properly place the voice, and that two years of hard, uninterrupted study is ample time in which to fit for operatic or concert work, except in the case of coloratura singers, who require three years at least.
21Mr. Garrison is a grandson of the once world famous actress, Francisca Rachel.
23Samuel Bowden Moyle has issued neatly engraved cards announcing the reopening of his studio at 39 West Twentieth street, Monday, September 11.
25PERCY HEMUS
26RAOUL
27PUGNO
28The Great French Pianist
29IN AMERICA THE ENTIRE SEASON
30Management: HENRY WOLFSOHN.
32CHOIR BOYS IN CAMP.
33POUGHKEEPSIE, August 26, 1905.
35The boys of the choir of St. Thomas' Protestant Episcopal Church, of New York, are having a fine time camping out on the farm of F. W. Velie, near Rhinebeck, N. Y., about 90 miles from New York on the Hudson River. The boys sleep in two dormitories on the Velie farm. They are in charge of the Rev. Mr. Owens and Assistant Organist T. Darlington Richards. They arise at 6:30 and have breakfast at 7:30. From that time until dinner they are free to do as they wish. Some of them go swimming, while others play baseball or go down to the village. After a dinner a tramp over the fields is usually taken, or the boys again seek the swimming hole. In the evening they gather in the carriage house, where a piano has been placed, and sing songs and have a good time generally. No practice in singing takes place, and a free rein is the rule for the two weeks they are away.
37This is their second year at Rhinebeck, and because the people treated them so kindly last year Wednesday night they gave a concert in the Starr Institute for the benefit of the village improvement society. It was largely attended, and each number was heartily encored. Sunday the choir sang in the Church of the Messiah, a handsome stone structure in Rhinebeck, where John J. Astor, Levi P. Morton, E. H. Crosby and other wealthy New Yorkers attend when at their country houses. There was a big congregation present. Six men of the choir came up for over Sunday, and they balanced the boys' voices nicely. It was the best singing heard in this part of the country in years. The musical numbers were as follows:
39Processional—"Oh, What the Joy and the Glory Must Be," ancient plain song; Venite, chant; Te Deum, in B flat, West; Jubilate, in B flat, Macfarlane; Introit—"Oh, for the Wings of a Dove," Mendelssohn; Kyrie, Litany, Gloria Tibi, Macfarlane; Hymn—"O, Zion, Haste, Thy Mission High Fulfilling," Welch; Offertory Anthem—"I Am Alpha and Omega," Stainer; Recessional—"I Heard a Sound of Voices," Storer; Postlude, Dubois.
41Mr. Richards presided at the organ.
43Rev. Mr. Owens preached the sermon, and the Rev. L. Walter Lott, of New Orleans, assisted in the service.
45The people of Rhinebeck, as well as Mr. and Mrs. Velie, are doing their best to give the boys and their trainers a good time, and their efforts are much appreciated by the organization. It is hoped by the people that St. Thomas' choir will come here regularly every year. F. L. Brown.
47Campanari's Autumn Tour.
49The popular Metropolitan star, Campanari, will open his season earlier than he expected, and consequently has been compelled to return to the city shortly. Henry Wolfsohn has arranged for him to sing the first series of concerts in Nova Scotia, commencing in Sydney September 20. His tour with his own concert company will commence October 25 and will be for a limited season only. Four public appearances for Campanari have been booked for New York, the first of which will be with the New York Symphony Orchestra in November.
51Arthur Argiewicz, the well known young Berlin violinist, arrived in New York last week aboard the Rotterdam.
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