Scan 39
Musical Courier 1905-11-29: Vol 51 Iss 1340, 1905
86 lines. Read by computer on 24 September 2026. No printed page number was found. 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.
1MINNEAPOLIS.
2MINNEAPOLIS, Minn., November 23, 1905.
3THE Apollo Club will give their first concert of the season Tuesday evening, November 28, at the First Baptist Church. They will present a varied program, the chief number of which is the cantata "The Farewell of Hiawatha," by Arthur Foote. The part of Hiawatha will be taken by Hal J. Stevens. Madame Wellington will be the soprano soloist.
5J. Victor Bergquist, whose new oratorio has received much favorable comment, is arranging to have the work presented here in the spring. There will be a chorus of four hundred voices with eminent soloists. The orchestral parts will be given by the Minneapolis Orchestra.
7Harold Bauer's piano recital was given at the Plymouth Church before a select and appreciative audience. The Beethoven sonata, op. 53, with which the program opened, was undoubtedly the best of Bauer's numbers. His conception of tone value was wonderful and his playing was exquisite. He played Brahms and Chopin numbers, which were much enjoyed. The Weber rondo was beautifully played. The Schubert Hungarian march was his last number, and at its close he was insistently recalled and was obliged to respond with an encore. He selected the "Presto," from Mendelssohn's "Songs Without Words," which he played exquisitely.
9Grace Wassall's "Shakespeare Cycle," given under the auspices of the Thursday Musical at the Plymouth Church Tuesday evening, was an artistic success. Of the four soloists, David Bispham held the honors. From his opening solo to the "Danny Deever," encore sung by special request, he held the audience spellbound. The Schubert songs were finely sung. Kelley Cole, the tenor, has a sweet lyric voice, yet capable of much dramatic force. His solo "Shall I Compare Thee?" from the cycle, was excellent, while the songs "Salome," by Hans Hermann, and "Mary," an old Scotch melody, were enthusiastically encored. Madame Shotwell-Piper's solo work in the cycle was well done. Katherine Fiske was in fairly good voice. Her best song was Nevin's "O, That We Two Were Maying." Ethel Cane Cole played the accompaniments artistically.
11The annual concert of the faculty of the Johnson School of Music, Oratory and Dramatic Art was given last evening at the Plymouth Church. The program was varied. H. S. Woodruff opened the program with Faulke's concert overture. He also gave the third movement from Bostert's E minor sonata with good shading. Allgretto and cantabile was also well played by Mr. Woodruff. A number of unusual interest was Mr. Johnson's playing of his recently published composition, "Suite Populaire," a series of six pieces for the piano. The "Valse Caprice" is one of the most attractive of the suite, and Mr. Johnson played them well. Madge Moore's reading of Lessing's "A Daughter of Israel" was an artistic success. Harry E. Phillips sang "It Is Enough" from "Elijah." Edna F. Hall sang a number from "Carmen." Franz Zedeler played Handel's sonata in A major. Gertrude Sans Souci played the Liszt transcription of Isolde's "Liebestod." A most interesting number of the evening was the performance of the scenes from "Peer Gynt" by Mrs. Charles Mead Holt and Gustave Johnson. Mrs. Holt chose "Ase's Death" and "In the Halls of the Mountain King," and after each selection Mr. Johnson played the music from the Grieg suite, illustrative of the Ibsen scenes. She was obliged to respond to six recalls.
13The Thursday Musical held their regular meeting this morning at the Unitarian Church. Margaret Drew opened the program with a Schumann number. The vocal selections were furnished by Louise Hickey and Elizabeth Brown Hawkins. The club was given a delightful treat when Carlo Fischer, the 'cellist (who leaves this evening for Cincinnati to resume his place in the orchestra there), gave several selections. With Eulalie Chenevert at the piano, Mr. Fischer gave a sonata by Hans Hubber and then selections from Pergolese, Dunkler and Cui. The next meeting of the club will be held December 7.
15C. H. SAVAGE.
17Big Month for Miss Goetz.
19MARGARET GOETZ'S busy season of concerts and recitals has just opened with the following engagements for November: New York recital, November 3; New York concert, November 6; New York recital, November 9; Brooklyn recital, November 13; New York concert, Women's Philharmonic Club at Waldorf, November 14; Cleveland recital, November 18; Conneaut, Ohio, recital, MacDowell Club, November 20; Buffalo Saengerbund concert, November 21; New York recital, November 24.
21Following are some press opinions of Miss Goetz's singing:
23Assisting the society was Margaret Goetz, alto, from New York. A stranger to Buffalo, and coming practically unheralded, she made an instantly favorable impression by the quality and control of her voice, and by her musically singing. With an easy range of over two octaves, the voice is even, richly colored and fluent. In spite of a severe cold, which made vocal freedom impossible, the singer's work was very enjoyable and her interpretative ability was unmistakable.—Buffalo Express.
25The soloist was Margaret Goetz, of New York, a mezzo contralto possessing many excellent qualities. She chose for her selection songs of genuine musical value, and displayed in their interpretation the highest musical intelligence and admirable control of her vocal resources and beautiful German diction. The audience showed its appreciation by recalling her several times.—Buffalo Evening News.
27Miss Goetz has a strong, rich voice of wide range, and over it she has a remarkable control. Her tones are full and musical, and her interpretation of a varied program was excellent. "Nymphs and Shepherds" and "My Laddie," two sprightly songs at the close of the first part of her program were among the favorites of the audience.—Conneaut Evening News.
29The work done last evening by Miss Goetz will long live in the minds of those who attended, and a great deal of thanks is due to the members of the MacDowell Club in bringing a singer here of such great merit. Miss Goetz at once won the admiration of her listeners and her work was repeatedly encored.—The Conneaut Daily Post Herald.
31HARRISON BENNETT IN BOSTON.
33THE critics of the Boston daily papers were unanimous in their opinions of Harrison Bennett in song recital. The reviews follow:
35Harrison Bennett, a bass singer, who, after study in Italy, and various operatic and concert experiences abroad, visited Boston two seasons ago as a member of Mr. Savage's English Grand Opera Company, gave a song recital yesterday afternoon in Steinert Hall.
37Mr. Bennett sang Handel's "Ruddier Than the Cherry," Mozart's "Who Treads the Path of Duty," airs from Massenet's "Griselda," Ponchielli's "Gioconda," Glinka's "Life for the Tsar," Thomas's "Caid," and songs by Tosti, Morelli, Vannini, Paine, Wilbye, Finden, Cowen, Tschakowsky, Glinka, Bleichmann and Rubinstein.
39The bass has for years had an unhappy lot in opera. Doomed for a long time by the Italians to appear only in comic opera, he at last came into favor and was chosen as the interpreter of heavy parts—cardinal, king, priest, stern father, morose and inexcusably jealous husband. He is often obliged to wear cumbersome robes that give him an incongruously mincing gait. Think, too, of the many basses that figure in the long gallery of operatic bores; the cardinal in "The Jewess," Marcel, Henry the Fowler, the Landgrave, and above them all the bore of bores, doddering King Mark, who keeps asking Tristan, "Oh, why did you do so?" No wonder that a bass wishes occasionally to show himself in citizen's dress, and let the world know that he, too, is human, and may have his lighter movements. In a song recital, however, his task is an arduous one.
41Mr. Bennett has naturally a manly, flexible and sonorous organ. Yesterday his use of open tones was far too frequent, and the effect of climatic phrases suffered especially thereby. He has of late probably given more attention to purely operatic effects than to the vocal characterization of the poetic and the musical phrase. In his wish to make every phrase effective he often lost sight of a rhetorical crescendo and a compelling climax. He was much more effective in the little song, "Kashmiri," by Finden, than in more ambitious numbers, and it was here that he first showed sustained power gained through repose. In the more taxing songs his nervous vibrations were too strained and too frequent, and the hearer, not having been prepared for the singer's mood, could not sympathize with it.—Boston Herald.
43Harrison Bennett, a young Bostonian, who for two years was principal bass with the Savage Grand Opera Company, was heard in recital at Steinert Hall yesterday afternoon. The program included numbers in English, German and Italian, among which were famous arias from the "Magic Flute," "La Griseldalis" and "La Gioconda."
45Mr. Bennett has a bass voice of great power and robustness, which he uses with discretion and agility. He is a pupil of Cotogni, of Rome, and following that method his tones are all open. His voice has great possibilities, however, for it is wonderfully rich and musical in quality.—Boston Journal.
47Harrison Bennett, basso, gave a song recital at Steinert Hall yesterday afternoon before a fair sized and appreciative audience. The program included arias from Mozart's "Magic Flute," Massenet's "Griseldalis" and Ponchielli's "La Gioconda," also numbers by Handel, Tosti, Morelli, Vannini, Paine, Wilbye, Finden, Cowen, Tschakowsky, Glinka, Bleichmann, Rubinstein and Tomas.
49Mr. Bennett was in excellent voice and his efforts gave much pleasure. Among the many numbers Finden's "Kashmiri" was exceptionally well done, as was also Morelli's "Bianca Rosa" and Rubinstein's "Asra."
51Mr. Bennett proved that his voice is well adapted for the concert stage, although it is as an opera singer that he is best known, from his recent association with the Henry W. Savage Company. His future appearances will be awaited with interest by those who were present yesterday.—The Boston Post.
53Steinert Hall held a fair sized audience yesterday afternoon on the occasion of the debut of a new basso—Harrison Bennett. It is seldom that the bass is welcomed with the effusion that is accorded a tenor. In opera the bass is almost always a villain of the deepest dye, who acts with blood curling atrocity towards the innocent soprano who has set her young affections upon the tenore di grazia.
55Even when an occasional composer gives the bass a prominent role, as in the "Marriage of Figaro" or "Don Giovanni," the character of the deep toned party is not above reproach. If there is not so much injustice displayed upon the concert platform, there is still a degree of tenor pampering here also, until one is disposed to rebuke it with Von Bulow's sharp remark—"A tenor is not a voice, it is a disease!"
57Mr. Bennett gave a program which included all schools, from English ballads to Russian opera. His voice seems to be a "basse taillée," or bass-baritone, rather than a basso profundo, and in such numbers as Mozart's "Qui Sdegno," he was not at home. His very deep notes, although sweet in quality, were weak, and the massive power of Sarasato was not in evidence.
59Mr. Bennett has the merit of working up a climax powerfully, particularly if it is in the upper register, but his intonation occasionally swerves when he achieves great force.
61Nevertheless, in his more expressive numbers he is a singer who can render a good account of himself.
63Few singers could sustain as varied a program as Mr. Bennett gave, and in spite of the few shortcomings mentioned above, we consider that his merits are preponderant, and regard him as a singer of great possibilities.—Boston Daily Advertiser.
65Damrosch Symphony Concert.
67THE second Sunday afternoon concert of the New York Symphony Orchestra, Carnegie Hall, November 26, again demonstrated conclusively that Walter Damrosch now has brought his men fully up to the level of the best orchestral bodies in this country. The Beethoven symphony, No. 2, was given an unsurpassable reading, fine in conception, finished in performance, and alive with feeling and vitality. Although familiar in this city, the symphony sounded surprisingly fresh in the Damrosch conception.
69An "Introduction and Allegro" for strings, by Sir Edward Elgar, was one of the novelties on the program. It follows the "concerto grosso" idea of Handel, but of course is modern throughout in everything except form. The music in this new composition is melodious, and of much greater intrinsic worth than most of Elgar's recent output in the line of overtures, marches, &c. The orchestra played the novelty with precision and charm of phrasing and color, and closed the program with an inspiring performance of Lalo's delightful ballet suite, "Namouna."
71Giuseppe Campanari was the soloist of the concert, and, thorough artist as he is, his contributions to the program were among its most enjoyable features. The splendid baritone had not been heard in local musical circles for some time, but his absence has made no difference in the quality of his voice, or in the polish and refinement of his art. Campanari was not satisfied to sing any of the hackneyed opera arias last Sunday, and he chose for his two numbers the "Legend of the Sage Bush," from Massenet's "Le Jongleur de Notre Dame," and the monologue from Giordano's "André Chenier." In both works the singer revealed all his old time power of musical characterization, and his rare mastery of all the arts of vocalism and interpretation. He is a past master of song, and that sums up his accomplishments in a single phrase. The audience agreed with this estimate, for they showered unstinted applause on Campanari, and showed him that New York has not forgotten his performances in the days gone by, and appreciates to the full those that he vouchsafes local music lovers now, in his rare appearances here. The Massenet number is beautiful in conception and content and should be heard often on the concert stage. The Giordano excerpt was also well liked.
73The foregoing program was to be repeated at the second Tuesday evening concert of the New York Symphony Orchestra, scheduled for last night, November 28.
75The Wisconsin Conservatory.
77THE second term of the season 1905-06 at the Wisconsin Conservatory of Music, 558 Jefferson street, Milwaukee, opened Monday, November 20, and with a large increase in the enrollment of pupils. With the growth and expansion of the school has come a commensurate broadening of methods. The faculty has been strengthened from year to year, so that there is now in both the vocal and instrumental departments some of the most finished musicians and capable instructors to be found anywhere in the country. It is impossible to duly estimate the effect the conservatory has had in elevating the standard of musical taste. Equipped with a corps of trained teachers following a thoroughly systematic course of instruction, and admitting only the highest grade of music, there is no better agent for promoting genuine musical culture. The conservatory offers systematic courses of instruction in piano, voice culture, organ, violin, 'cello and other orchestral instruments; in orchestral and ensemble playing, harmony, counterpoint, canon and fugue, composition, art of conducting and history of music; in the art and science of teaching and in public school methods, physical culture, oratory, dramatic art and languages. The courses comprise five distinct departments of study, as follows: Introductory course of general musical instruction, advanced course, teachers' course, diploma course and post-graduate course.
79Ormsby Coming East.
81FRANK ORMSBY, the tenor, whose phenomenal successes in the West have made him the talk of musical circles throughout the country, will arrive in New York January 1, in order to make his choice from several of the best church positions which have been offered him in the metropolis, beginning with the new year. His manager, Fitzhugh W. Haensel, prophesies a sensational success for Ormsby in the East, and says that already the dates are coming in so fast that the supply of available time will be seriously threatened. The latest cities that have acquired Ormsby options are Philadelphia, Baltimore, St. Louis, Nashville, and many of the largest Canadian cities. Ormsby will appear several times in New York early in 1906.
83MAY 1870.
85MAY 1870.
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