Scan 20
Musical Courier 1906-06-13: Vol 52 Iss 1368, 1906
168 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 21. 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.
1PHILADELPHIA.
3PHILADELPHIA, June 9, 1906.
5J. Henry Kowalski presented his more advanced pupils in recital at the New Century Drawing Room on June 8, in the following program:
7Lucia de Lammermoor, Chorus……………………………Donizetti
8Linda di Chamounix, Cavatina……………………………Donizetti
9Gertrude Davis.
11Duet, Nina……………………………………………..Guerca
12Mrs. Bronson, Mr. Cosgrove……………………………Thomas
13Mignon, Polacca………………………………………Rozelle Connel
14Faust, Dio Possente…………………………………Gounod
15Orpheus, Che Faro…………………………………..Gluck
16Don Juan, Serenade…………………………………Tchaikowsky
17Stabat Mater, Duet…………………………………..Rossini
18Mesdames Bronson and Hancher………………………..
19Queen of Sheba, Recitative and Aria…………………..Gounod
20Betty, Aria…………………………………………..Donizetti
21Anna Elaine Fisher.
22Carmen, Toreador's Song…………………………….Bizet
23Aida, Recitative and Aria…………………………..Verdi
24Coeur de la Main, Ballade…………………………..Lecoq
25Huguenots, Page Song……………………………….Meyerbeer
26Creation, Rolling On Foaming Billows…………………Haydn
27Duet, Break, Diviner Light…………………………..Allitsen
28Mrs. Hancher, Mr. Dowdell.
29Song Cycle, In a Persian Garden……………………..Lehmann
30Elizabeth Blake Nock, soprano; Anna Sara Powell, contralto; Howard Berry, tenor; Russell Wagar, basso.
32Mr. Kowalski's pupils were exceptionally interesting, showing splendid ease and quality in their tone production; absolutely correct intonation and general good style. Mr. Kowalski played for all his pupils.
34The graduates of 1906 of the Philadelphia Musical Academy presented the following program at Musical Fund Hall on May 26:
36Overture, Fingal's Cave………………………………Mendelssohn
37Pupils' Orchestra under Direction of C. Samans.
38Piano Solo, Scherzo, C sharp minor…………………..Chopin
39Miss E. Claire John.
40Concerto, for Piano and Orchestra…………………….Mendelssohn
41Mary G. Carroll.
42Concerto (last movement)…………………………..Grieg
43Henrietta E. Groeneveld.
44Concertstück…………………………………………Weber
45Roy W. Sechler.
46Vocal, Aria, Il re pastore…………………………..Mozart
47Edna F. Smith, Violin Obligato, Edna T. Bradfield.
48Concerto, for Piano and Orchestra…………………….Schuett
49Amy M. Young.
50Concerto, Adagio, Allegro vivace…………………….Liszt
51Helen Baumann.
52Concerto, D minor…………………………………..Rubinstein
53J. George Bauer.
54Scherzo……………………………………………..D'Albert
55Marie d'Inville.
56(Receiver of the Gold Medal.)
57Distribution of Diplomas, Teachers' Certificates and Gold Medals.
58From Foreign Parts, Spanish………………………..Moszkowski
59Pupils' Orchestra.
61Harriet Duer, contralto soloist at Grace Episcopal Church, is one of Philadelphia's most promising singers. As a teacher Miss Duer has met with much success and patronage.
63Adele Fabiani, a graduate of the Conservatory of Mariella, Naples, will open a studio in the early autumn. The signora has many excellent press notices from abroad of her piano playing.
65William Beatty, Jr., will close his studio in the Presser Building about June 15, and will spend the summer at Beverly, N. J.
67Frederic Leonard, whose pupils were recently heard in a most successful presentation of Sullivan's opereta "Trial by Jury," is a very enthusiastic and conscientious teacher. Mr. Leonard will close his studio the last of June, when he will start on a cruise of about four weeks. In August Mr. Leonard will sail for Europe, returning about the middle of September.
69Dorothy Cook will spend the summer at Ocean City. Louise Githins will be the soprano soloist at the Auditorium at Ocean City on July 1 and 8. Miss Cook and Miss Githins are arranging for a fine commodious suite of rooms for next season on the floor above their present studios.
71The Allemania Singing Society, Herman G. Kumme, director, will sing at Willow Grove, August 8. Mr. Kumme will begin his classes in piano playing at Atlantic City on June 18.
73Anne McDonough, director of "The People's Sight Reading Class," deserves the admiration and support of all musicians for her work of endeavoring to make more universal the knowledge and necessity of "sight reading." The following demonstrative exhibition was given at Musical Fund Hall June 4:
75Singing at Sight and at Random from Chart, Intervals and Major Mode.
76Two Part Singing.
77Dictation, Recognizing Sounds as soon as Heard.
78Chorus—
80(no line here) one of two readings
81Departure…………………………………………..Mendelssohn
82The Nightingale…………………………………….Mendelssohn one of two readings
83The Nightingale……………………………………Mendelssohn one of two readings
84By Combined Classes.
85Singing from Staff in any of the Major Keys.
86Reading at Sight from the Staff a Four Part Exercise.
87Singing at Sight, Major and Minor Intervals and Modulations.
88Drill in Syncopated Time with Staff Notation.
89Singing from Staff in any Major or Minor Keys.
90Melody Sung from Staff at Sight; to this the Class will Testify.
91Chorus, Lady Bird………………………………….Cower one of two readings
93Chorus, Lady Bird…………………………………Cower one of two readings
94Intermediate Class.
95A Mendelssohn Quartet, Sung for the First Time, from the Staff, the Class again being called upon to testify.
96Singing from Chart Intervals and Modulations in Major and Minor Mode.
97Recognizing Sounds as Soon as Heard, Major and Minor.
98Singing from Staff in any of the Keys.
99Reading Staff Exercise for First Time, Notes and Key Selected by Stranger in the Audience.
100Singing from Staff for the First Time, Two Part Exercise.
101Three Part Study in E minor………………………..Panseron
102Swing Song, Two Part………………………………Lober
103Address…………………………………………….Barnby
104Chorus, O Lord, How Manifold Are Thy Works………….Barnby one of two readings
105Chorus, O Lord, How Manifold Are Thy Works………..Barnby one of two readings
106All the choruses have been studied by note from the staff without the aid of an instrument.
108Carl Schachner, baritone and vocal teacher, will spend the summer at "The Maple Crest," East Parsonfield, Me.
110Dorothy Johnstone, harpist, was soloist at the closing exercises of the Keystone State Normal School, Reading, June 1.
112Abbie Winnery, after a short trip to Ohio, will sail for Europe on July 7. Miss Winnery will resume vocal teaching on September 15 at her studios in the Fuller Building.
114Ethel Firmin, whose playing gives much promise, has many interesting plans for next season.
116Mary Gregory Murray closes her studio the last of June. Mrs. Murray leaves for Centre Sandwich, N. H.
118Beta Chapter, Sinfonia, the musical fraternity of America, whose chapter rooms are in the Combs Broad Street Conservatory of Music, held its annual election of officers June 6. The Sinfonia was organized for the mutual welfare and brotherhood of music students and the advancement of music in America.
120E. Miller, of the Miller College, will conduct a school of expression and elocution at Pocono Pines, from July 9 to August 6.
122Should vocal teachers play for their pupils? This question has been received more or less attention in the past, but it is gradually coming to be conceded by those in authority to decide that teachers should. It is presumed that when a teacher presents pupils in recital, interpretation has been considered from its manifold sides, and a decision arrived at. That the voice part and piano part should be consistent in the interpretation is certainly acknowledged. Consequently, if teachers have not the piano technic necessary for a finished interpretation, granting they may have the musical sense, then it is their duty to engage one who is an authority, and with whom they agree, that the pupils may learn the value and importance of this part and the numbers on their program be presented in a musically legitimate manner. There never was a more wrongly applied term than "piano accompaniments." There is no such thing, except in the simple folksong and ballad, perhaps. A review of musical history would reveal the light in which composers have viewed the piano part of their songs. Each song has its own special character, and in the delineation of this we expect to hear definitely outlined the phrases in their entirety; if the voice begins a phrase and the piano ends it, we listen for the symmetrical close, and vice versa. In the harmonic structure of the voice, if the voice has the lesser important note, and the important note is concealed somewhere in the piano part, we would like to hear it. We would enjoy hearing the phrases for voice and piano given in affinity, and the closely interwoven parts revealing the fact that what pertains to one part reflects the others. Each song has its ego, which should shine forth and not be buried beneath thoughts centered on "tone production," "breath control," &c., ad infinitum.
124Marvelous conceptions are sometimes built of the simplest material. The theme may be most charming or most trivial; it alone does not constitute an art work, but the harmonic structure makes or mars. Subject matter and form, these bugbears must be considered. The song, no matter to what species it belongs, is the form; the subject matter, the content, the ego, is the combination of the voice part and piano part (or orchestration). In the intricacy of harmonization we meet with all kinds and conditions of chords; the voice being limited to the production of but one tone at a time, what becomes of the rest of the chord or chords? When singers realize that the piano part is not the background of a dull, dark drab color, that it is not an accompaniment, but a codevelopment, a coalescing of voice and piano, and when teachers teach this, and can play as they teach, or have the assistance of an authority, the general public will have a higher conception of songs than now exemplified at the usual song recital, when we hear the piano part in interpretation based in a most limited technic and lack of musical sense, because "most any one will do" for the accompaniments.
126EVELYN KAESMANN.
128MUSIC ACROSS THE HUDSON.
130JERSEY CITY, N. J., June 6, 1906.
132Mary L. Lockhart's piano pupils gave their yearly recital in the auditorium of the People's Palace, June 1, before an appreciative audience of 500. The pupils, from a little girl of five to those of adult years, reflected the conscientiousness and thorough instruction of their teacher. Miss Lockhart makes a special feature of memory work for her pupils. Special mention must be made of the quartet, "Moment Musical," by Schu ert, played by the children with a true conception of time and expression. The players were Marjory Lockhart, Constance Hoar, Helen McLaughlin and Thomas Dorward. The pupils included Irene Allardice (aged five years), Thomas Dorward, Constance Hoar, Helen McLaughlin and Marjory Lockhart, Olive Holt, Emma Erb, Alein Illingworth, Agnes Ebert, Florence Smith and Sadie Barney. To vary the program there was a triple trio, "The Dawn," by Max Bruch, soprano solo and obligato by Annie Leith Lockhart, other parts by Mrs. Bender, Miss Sutphin, Mrs. Cavalli, Mrs. Ward, Miss Rowland, Miss Watson, Mrs. Laney, Miss Oakley and Mrs. Smith; string accompaniment, Miss Allen, Mr. Aliardice, Miss Wittpen, Mr. E. Watson, Mrs. Schmidt and Mr. Hankin. It was efficiently conducted by Moritz E. Schwarz, so well given that an encore was demanded. They also sang the "Minuet" by Boccherini. The program closed with the brilliant ballet music from "King Manfred" (Reinecke), by Miss Lockhart and pupils, Miss Oakley, Miss Barney and Mrs. Hinton, with string accompaniment.
134Emily Blanche Allen will again join the forces of Tali Esen Morgan at Ocean Grove as one of the first violins.
136The pupils of the musical department of Hasbrouck Institute are preparing for the annual musicale, the junior pupils' recital being Saturday morning.
138Prof. A. D. Barry gave recently a very successful piano recital at the People's Palace.
140Before his departure for Europe, June 20, Moritz E. Schwarz will give an organ recital at the First Congregational Church, on June 14. Johanna Lehman-O'Connor, soprano, and Paul Petry, baritone, will assist.
142J. B. L.
144ATLANTA.
146ATLANTA, Ga., June 8, 1906.
148Jenny Cramer's piano pupils played for their friends at Miss Cramer's studio on the afternoon of June 2. The program was presented artistically by Clyde Rapp, Eva Beatie, Eloise Adams, George Foote, Marie Adams, Annie McCall, Mary Gray, Clara Marshall, Hazel Kirk, Pauline Coulter, Marion Wayne, Madge Bingham, Lois Crosby and Annali Mullin.
150Hannah Spiro played the following program at the Kindworth Conservatory, June 4:
152Prelude, from English Suite, in E minor………………Bach
153Rondo à Capriccio, op. 129…………………………..Beethoven
154Two Mazurkas, op. No. 1 and op. 24, No. 4………….Chopin
155Fantaisie, No. 49……………………………………Chopin
156Concerto, op. 34, Orchestral Accompaniment on Second Piano, Schumann
157Etincelles…………………………………………….Moszkowski
158Der Wanderer………………………………………Schubert-Liszt
159Overture, Tannhäuser……………………………….Wagner-Liszt
161Mrs. R. Wayne Wilson introduced a number of her talented pupils on June 1. The composers presented included Bach, Jensen, MacDowell, Boccherini, Tchaikowsky, Moszkowski, Clementi and Schütt. The young players were Sara Coates, Flora Bowick, Mary Anderson, Helen Hawkings, Julia Dunning, Lutie Jordan, Elizabeth Morgan and Evelyn Ragland.
163H. C.
165Leoncavallo Premiere Here.
167Rudolph Aronson cables THE MUSICAL COURIER that he has secured for a "premiere" production in America next season Leoncavallo's new and unperformed opera, "Figaro's Youth," text by Sardou. The composer will conduct.
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