Scan 14
Musical Courier 1905-11-29: Vol 51 Iss 1340, 1905
82 lines. Read by computer on 24 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1member Me" and "My First Thought of You." For his solo Dr. Marshall sang "She Alone Charmeth My Sadness," from Gounod's "Queen of Sheba." Mr. Hammond played all the accompaniments, and as a solo Nevin's "Water Nymph." Lehmann's "Persian Garden" was sung as the second part of the program, under Mr. Hammond's leadership.
3Marie Maurer, of the former German Opera régime, and now a teacher in the New York German Conservatory of Music, is actively interested in the concert that is to be given in Association Hall Monday evening, December 4, for the benefit of the German Congregational Lutheran Church.
5The Brooklyn Institute announces three dramatic readings by George Riddle at Association Hall Saturday, December 9, Saturday, December 16, and Friday, December 22. Mr. Riddle will read "The Lady of Lyons," and the different scenes from Buïver's play are to be enlivened with music by an orchestra, from the works of Suppé, Wagner and Chopin. Macbeth and a miscellaneous program are promised for the other two evenings.
7Another month is gone and soon another year will be past, and what has been done about the new Academy of Music? If the millionaires refuse to give any more toward the fund, and if the men and women in the $100,000 class are equally indifferent, why not try a popular subscription by the people. Grant's Tomb on the Riverside drive, the Washington Arch in Manhattan, and the pedestal for the Statue of Liberty were erected through subscriptions from dimes to a few dollars up. The Borough of Brooklyn has a population of 1,400,000 people. Among these 1,400,000 there must be 100,000 who would gladly give $5 apiece; that would mean $500,000, about what is lacking to complete the fund of $1,250,000.
9Besides the December concerts under the auspices of the Brooklyn Institute the following events are announced: Samuel A. Baldwin's composition concert, Monday night, December 4, Historical Hall; Brooklyn Apollo Club, December 5, at Association Hall; Chaminade Club concert, December 12, Pouch Gallery; Brooklyn Amateur Musical Club, Heights Casino.
11Emma Squire, a pupil of Shanna Cumming, is to give a song recital at Miss Squire's residence, 88 Hancock street, next Tuesday evening.
13The choir of the Clinton Avenue Congregational Church, corner Lafayette avenue, gave a concert for the benefit of the Memorial Hospital in the chapel of the church Thursday evening, November 23. Mrs. Albert E. Chandler, soprano; Mary Porter Mitchell, alto; J. Lester Janeski, tenor; James F. Nuno, bass, sang solos, duets, two quartets, and encores, receiving much applause. Mary Henry, violinist, played solos, and the obligato to the closing number, the Bach-Gounod "Ave Maria." A large audience attended, and a substantial sum was realized for the charity. The concert was under the direction of F. W. Riesberg, the organist and musical director. The choir was afterward entertained at supper.
15Pascal to Give a Recital.
17JULIAN PASCAL, who numbers many distinguished men and women in New York society among his patrons, is to give a recital in Mendelssohn Hall Monday afternoon, December 4. During the past summer this gifted pianist was engaged by Mrs. Vanderbilt to play at "The Breakers," in Newport; by Mrs. Fish and other women of social distinction.
19PUGNO'S FIRST RECITAL.
21RAOUL PUGNO, the popular French pianist, gave his first recital at Mendelssohn Hall on Thursday afternoon, November 23. This was the program:
23Prelude et Fugue, F minor………………………………………Bach
24Gigue, B flat major……………………………………………..Bach
25Prelude et Fugue, D major………………………………………Bach
26Concerto Italien…………………………………………………….Bach
27Allegro animato. Andante molto expressivo. Presto giocoso.
28Gavotte, G major (de la 14th Suite)……………………………Handel
29Gigue, G minor (de la 9th Suite)……………………………….Handel
30Les Roseant………………………………………………………..Couperin
31Le Reveil Martin…………………………………………………Couperin
32Prelude………………………………………………………..Rameau
33Comante………………………………………………………..Rameau
34Le Rappel des Oiseant…………………………………………..Rameau
35Piece, A major…………………………………………………Scarlatti
36Moderato de la Eleventh Sonate, F major………………………..Paradies
37Sixth Sonate, A major…………………………………………Paradies
38Andante Varié, F minor………………………………………..Haydn
39Rondo, A minor, op. 71………………………………………..Mozart
40Sonate, D major……………………………………………….Mozart
41Allegro. Adagio. Allegretto………………………………………Mozart
42Alla Turca………………………………………………………Mozart one of two readings
43Alla Turca………………………………………………………..Mozart one of two readings
45Pugno's rare mastery of every style and school of pianism has been too often set forth in these columns to need any further elucidation today. When Pugno plays, the critic has but to lay his pen aside and to admire, and how much more is this the case with the mere reporter who goes to a concert to enjoy, and to note the pleasure of the audience, but never by any chance to criticise. What sort of artist is above criticism if not Pugno? What must a pianist do and be, in order to escape the snarling and snapping at his heels of the half dozen or so picayune quill drivers who practice the choice profession of "music criticism" in our daily papers? Excepting the New York Herald, the Daily News, the Evening Post, the Evening Mail, the Evening Telegram and the Progressivo Italiano, what must Pugno's sensations be when he reads in the New York daily papers the accounts of his public performances here? It is to cry, but somebody who knows says that Pugno laughs, irrespective of whatever the "criticism" might happen to be, good, bad or indifferent.
47In the program of last Thursday, Pugno was delightful in each and every number, and charmed his hearers throughout the entire list with his limitless resources of tone, touch and accents, and his unfailing musicianship and imagination. He was made the recipient of a well earned ovation, and had to pay for his popularity with liberal recalls and encores.
49Compositions by Mrs. Freer.
51ELEANOR EVEREST FREER, whose songs and piano pieces have been favorably reviewed in THE MUSICAL COURIER, has just put out some further products of her fertile pen, and they reveal a perceptible growth in the largeness and significance of Mrs. Freer's musical utterances. "Five Songs to Spring" (published by William A. Kaun Music Company, Milwaukee) is a series of melodious lyrics, instinct with poetry, and fine harmonic perception. The voice part is never asked to do the impossible, nor does it serve merely as an obligato to the accompaniment—defects to be found in some of the songs of many of our most famous composers today. The Freer "Spring Songs" must be heard to be appreciated, and detailed analysis will not help their cause one half as much as an earnest appeal to singers to examine the songs themselves. A separate opus, No. 5 (also published by Kaun), contains two songs, "The Shepherdess" and "There is a Woman Like a Dewdrop." Both of them are ingratiating lyrics, well conceived and of fine musical facture. They should have exceptional vogue with recitists in search of "grateful" novelties. A "Lyric Intermezzo" for piano, and a "Rondo" for piano (Kaun) complete the list of new Freer publications.
53Bispham will sing the following ten Freer songs at his only Chicago recital, on December 3: "The World Beautiful," "Before the Rain," "The Harvest Moon," "My Garden," "To the Western Wind," "A Kiss," "Circe," "A Tear," "A Greek Gift," "Urceus Exit."
55Kneisel Quartet Opening Concert.
57THE Kneisel Quartet, now permanent residents of New York, opened their local season on Tuesday evening, November 21, at Mendelssohn Hall, before the usual large and appreciative audience. The program was made up of Beethoven's F minor quartet, op. 95; Saint-Saëns' characteristic septet, op. 65, for trumpet, two violins, viola, contrabass and piano, and Schumann's quartet in A. The assisting players were Adolphe Dubois, trumpet; L. E. Manoly, contrabass, and Harold Randolph, piano.
59The Quartet has acquired a high degree of technical and musical finish by virtue of faithful rehearsing and conscientious attention to details of phrasing and accentuation, and these qualities were again in full evidence at the opening concert last week. Their performances gave the listeners much pleasure, as manifested by warm applause.
61The Beethoven quartet is a dull work, probably a "practice" opus, written by the composer in the full knowledge that he was not being prompted by divine inspiration. The opening movement especially is insufferably monotonous. The Schumann quartet needs no description here; it usually tells its own lovely tale.
63Saint-Saëns' septet is one of the most interesting compositions presented in New York for a long time. Saint-Saëns' genius is clearly revealed in this music, his fecundity of noble and telling musical ideas, his endless resource in instrumental combination and contrapuntal skill, and his never failing rhythmic and melodic charm. The work was written for a Parisian musical club called the "Trumpet" and Saint-Saëns himself was the piano playing member.
65M. Dubois did his part with excellent results, revealing a soft, pliable tone and fine tact in dynamics. Harold Randolph is one of the best ensemble pianists heard in these parts for many a moon, although his work in that field is by no means unfamiliar in the metropolis. He has a polished technic, splendid musicianship, and artistic discretion of the most refined sort.
67Edward Johnson in Boston.
69THE Apollo Club, of Boston, opened its season on November 15, with Edward Johnson, tenor, as soloist. The press makes the following comments on Mr. Johnson's work:
71Mr. Johnson began his entirely praiseworthy work with a florid air from Puccini's "La Bohème," and as an encore was vigorously demanded, he sang the "Flower Song" from "Carmen." Three well contrasted songs came in the final group, and for an encore to these he sang a charming fragment, "The Four Leaf Clover," one of the cleverest "pièces de résistance" ever held up the sleeve, so to speak, of any soloist. His hearers have a welcome already "up the sleeve" for Mr. Johnson.—The Boston Daily Globe.
73Mr. Johnson sang his work with much intelligence and a very pleasing voice.—Daily Herald.
75The Handel and Haydn Society of Boston have engaged Mr. Johnson for their February concert with Eames, and the Festival Orchestra of Boston have also procured his services for their spring tour. Besides these, a large number of the choral societies in the vicinity of Boston have booked him for their winter concerts.
77A Splendid Technic.
79(From a Chicago Exchange.)
81ON a wager with her father, in which the stake was a new piano and a year at a Chicago musical college, Alice Iseminger, the eighteen year old daughter of one of the best to do farmers in this vicinity, broke the record by husking and cribbing 130 bushels of corn between sunrise and sunset.
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