Scan 33
Musical Courier 1905-10-18: Vol 51 Iss 1334, 1905
38 lines. Read by computer on 23 September 2026. Printed page 32. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1Chicago.
3CHICAGO, Ill., October 14, 1905.
5The book of the first program of the Theodore Thomas Orchestra's ensuing season under Frederick A. Stock has been received at this office. It is a pamphlet containing twelve pages of matter by Hubbard William Harris, who has written the notes for some years past. The notes are in the scholarly, well balanced and tasteful style, which has given great satisfaction to all orchestra patrons during the several years that Mr. Harris has written them, and be it said that he has done no better work than is contained in the present pamphlet. The program to be played next Friday at 2:15 and Saturday at 8:15, October 20 and 21, is as follows:
7Suite No. 3, D major………………………………………Bach
8Symphony No. 5, C minor, op. 67………………………..Beethoven
9Tone-Poem, Don Juan, op. 20……………………………Strauss
10Siegfried Idyl……………………………………………..Wagner
11Symphonic Poem, No. 3, Les Préludes…………………..Liszt
13The men of the orchestra began daily rehearsals last Thursday and harmonious sounds (apologies to the country press) have been floating up the main balcony, across the narrow hall and into the Chicago office of THE MUSICAL COURIER. Welcome, sounds! We'll try to dissect you later.
15The Spiering Quartet, which was this year disbanded temporarily on account of Mr. Spiering's change of residence to Berlin, has issued a formal notice of the disbandment in a pamphlet containing also a résumé of the quartet's twelve years' work. The data presented show that, in the twelve seasons, 1893 to 1905, the organization played, besides eighty-nine performances in Chicago, 214 engagements in 110 cities outside. Of the compositions presented there were fifty-eight string quartets entire, and movements from nine more. The thirteen of Beethoven had a grand total of 123 performances by the quartet, the six quartets of Mozart coming next with fifty-nine, and Haydn third with fifty. The other compositions played included ten piano quintets, eleven piano quartets, ten trios for piano, 'cello and violin; eight sonatas, for piano and violin, three sonatas, for piano and 'cello, and ten chamber compositions in miscellaneous combinations.
17The Chicago composers represented on the programs were Adolph Weidig, Walter Spry and Adolph Brune, while other Americans were Arthur Foote, Hugo Kaum, E. R. Kroeger and Louis V. Saar. Twenty-four works were presented in Chicago for the first time by any organization.
19The personnel of the quartet suffered only a few changes in the twelve years. The preface to the résumé says that "Herman Diestel, the 'cellist, was associated with Mr. Spiering during the entire period of twelve years; Otto Roehrborn, for nine years second violinist; Adolph Weidig, a member for eight years (second violin two years and viola six); William Diestel, viola player during four years; Franz Esser, viola player the first two seasons, and William Konrad, second violin during the last season, complete the entire list of names associated with the organization.
21"The quartet was doubtless in its zenith between 1896 and 1904, when the greatest number of engagements were filled and the most perfect ensemble playing prevailed. * * * Throughout the length and breadth of the land (from Boston to Seattle and from Montreal to Galveston) the quartet has delighted its audiences, breaking ground often in places where chamber music was unknown, and again receiving enthusiastic praise in old established musical centres, such as New York and Boston, and the home city, Chicago."
23The résumé, which is accompanied by two fine half-tones of the quartet, is compiled and signed by Walter Spry, who was for years a fellow student with Spiering in Berlin, and, later, colleague as teacher of theory and musical history in the Spiering Violin School, Chicago.
25The young pianist, May Doelling, recently returned from study in Dresden, played a recital in Steinway Hall, October 7. This was her first public appearance here since her departure three years ago. The playing of Bach, Beethoven ("Sonata Appassionata"), Liszt, Chopin and Tchaikowsky, and a group of Schubert, Henselt and Heller was sufficient to give a complete analysis of her technical and musical status. It was observed that hers was the typical German intellectuality, which would be eventually at its best in the Bach and Beethoven. The writer missed hearing her performance of a Bach prelude and fugue, and the first parts of the Beethoven, but found her best in the Liszt "Hexameron." Her enthusiasm and fine musical outpouring in this number took hold of her audience like an epidemic and marked the high stage of her effectiveness during the evening. Her technic is well enough developed to produce the medium concert repertory with easy adequacy, and when a few months' more playing brings her entirely away from the academic she will be an enjoyable young artist. Indeed, she is that now.
27Rudolph Ganz's return from Europe, and a brief outline of his six months' season under F. Wight Neumann, were reported by the New York office two weeks ago. It is to be noted that the past week has witnessed his recitals begun. Milliken University, at Decatur, and Lincoln University, at Lincoln, Ill., were the scenes of the beginning, and this week brings recitals at Terre Haute and Milwaukee. The Beethoven "Sonata Apassionata" and the Grieg ballade were among the material offered at Decatur and Lincoln, and the audience liked the playing so well they hesitated about going home when the program was concluded.
29Incidentally, one observes that the Liszt concertos are going to be heard some this year. Mr. Ganz will play them both in Chicago, the A major with the Thomas Orchestra under Mr. Stock, and the E flat major with the New York Symphony Orchestra under Mr. Weingartner. Waldermar Lütsch will play the A major, in Boston, and the E flat for the Chicago Germania Verein. Reisenauer will play the A major in New York. As to the relative value of the two concertos, Mr. Ganz says the A major is better music, but not so graceful. He likes the E flat because it was the one in which the composer first threw aside about all of the traditions that were valid at the time of its creation.
31Harold von Mickwitz's first appearance in Chicago will be a recital, which he will play in Music Hall, October 24. His program will bring the Schumann fantaisie, op. 17; Mendelssohn E minor prelude and fugue, Brahms' B minor rhapsody, Raff's Giga con variazioni, op. 91; a group of five Chopin pieces, the Chopin-Liszt chant polonaise, No. 5; a Liszt concert study, a Leschetizky humoresque, Mr. von Mickwitz's "Impromptu" and the Rubinstein valse from "Le Bal." The recital will begin at 8:15 o'clock.
33A meeting held here October 13, brought to a definite result a series of negotiations which will still further broaden the interests of the Chicago Bureau Agency of Music. The future operations of the agency, generally, on the initiative of Arthur C. Bissell, will include casual productions of standard opera and dramatic works. Meanwhile, the agency's work in the booking of musical artists will go on undisturbed, directed personally, as heretofore, by Anne Shaw Faulkner and Guy Hardy.
35The list of gentlemen, who, with Mr. Bissell, expect to promote the work of the enlarged association, includes a host of influential names, such as Alfred L. Baker, Arthur Aldis, W. Vernon Booth, A. B. Dick, George Porter, Benjamin Carpenter, George Carpenter, A. C. Frost, Willoughby Walling, F. Herman Gade and Preston Gibson. Other names will be associated soon.
37The first concert to be given this autumn by faculty members of the Columbia School of Music, will be heard in Cable Hall, Saturday afternoon October 28. The pianists, Edith L. Kellogg and Ella T. Johnson; the soprano,
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