Scan 15
Musical Courier 1906-09-05: Vol 53 Iss 1380, 1906
103 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 16. See the scan on archive.org.
1musical preparation of the festival plays, running parallel with private, indefatigable study of German local history and mediæval legend and of the technics of drama and music. The fruits of this double apprenticeship, carried on as it was in that unique spirit of intensity and ideality of purpose that characterizes Bayreuth, soon became evident.
3"When in 1896 Siegfried made his debut, conducting in alternation with Hans Richter the enormously difficult 'Ring of the Nibelungen,' his command of the intricate details and the inspiring breadth of his conception proclaimed the born leader who could well dispense with the years of practical routine necessary to the less talented. Similarly his first opera—we shall not at the moment attach any distinctive importance to the designations, opera and music drama—the 'Barenhauter' shows not a trace of the amateurish inadequacy so common to first works, but is, technically considered, a masterpiece of workmanship. one of two readings
4"When in 1896 Siegfried made his debut, conducting in alternation with Hans Richter the enormously difficult 'Ring of the Nibelungen,' his command of the intricate details and the inspiring breadth of his conception proclaimed the born leader who could well dispense with the years of practical routine necessary to the less talented. Similarly his first opera—we shall not at the moment attach any distinctive importance to the designations, opera and music drama—the 'Bärenhäuter' shows not a trace of the amateurish inadequacy so common to first works, but is, technically considered, a masterpiece of workmanship. one of two readings
6"Of special interest to Americans is the following appreciation of our lamented Anton Seidl. Referring to the older personal disciples of the master he writes: 'We all have been given time to develop ourselves; this was denied Siegfried. He had to be at once what he is and had to become it at once, too. * * *'
8"Germany, however, has witnessed the composition and production in rapid succession since 1899 of four broadly conceived music dramas—'Barenhauter,' 'Herzog Wildfang,' 'Kobold' and 'Bruder Lustig,' and were it considered less a presumption for a man to undertake a work of art, less a sin to be the son of a great man; finally, were public opinion less influenced and distorted by incapable and malign criticism, Siegfried Wagner would enjoy the love of the people as he does the admiration of the unbiased. one of two readings
9"Germany, however, has witnessed the composition and production in rapid succession since 1899 of four broadly conceived music dramas—'Bärenhäuter,' 'Herzog Wildfang,' 'Kobold' and 'Bruder Lustig,' and were it considered less a presumption for a man to undertake a work of art, less a sin to be the son of a great man; finally, were public opinion less influenced and distorted by incapable and malign criticism, Siegfried Wagner would enjoy the love of the people as he does the admiration of the unbiased. one of two readings
11"The spontaneous acclamations of delight which greeted the first performance of each of these works prove how well founded is his claim to popular appreciation. The whole trend of his talent is popular and national; popular in the noble sense of an appeal to the ideals and yearnings common to all, national in the use of types and symbols conversant and endeared to his countrymen by centuries of tradition and legend. * * *
13"Recurring in all his works we find his father's great ideal of redemption of sin through sacrifice—may we say of man's unconscious sin through woman's conscious sacrifice?—reduced from the scale of world encompassing magnitude to humbler, but all the more human proportions. * * * One further salient characteristic may be finally mentioned. It is the author's deep love for the people and his sympathy with their strife for freedom from oppression. In 'Herzog Wildfang' the revolt of the burghers from their wayward, misguided 'madcap princelet,' who sells the blood of his subjects to pay his debts, is the substructure of the whole play, and in 'Bruder Lustig,' the town council avert the threatened destruction of their homes by boldly capturing King Otto, who has come to wreak vengeance on them for harboring the insulter of the Crown's majesty.
15"Little need be said of Siegfried Wagner's poetical diction and musicianship. Both show absolute naturalness, a perfect fitness and sensitive adjustment of the ever varying requirements of the scene and of the emotions of his players. Both approach that ideal; the subordination and disappearance from view of technical aids in master works of art. * * *
17"'His music is, technically considered, above criticism. In spirit it is thoroughly modern, without, however, partaking of the exaggerations and wilful experiments of the self-styled advance school. In conformity with the simple nature of many of his characters and episodes, he has not feared to write light and tuneful, but never trivial, melodies where they are in place, reserving for the moments of involved psychological interest his mastery over all the intricate and manifold means of expression.
19"'Of the authors of the many musical dramas that have appeared since Richard Wagner's death, it may be safely asserted that his son is the only one who has fully comprehended his message, the only one, at least, who has uncompromisingly carried into effect the theories that the great reformer advocated in his aesthetic essays and formulated with such awe compelling genius in his later works. * * * Siegfried is his own dramatic author. He is, in fact, primarily a dramatist in whom poetry and music have a common origin and are indissolubly welded.
21"'In our days of overstrung nervous tension and morbid taste for the eccentric and hysterical, Siegfried Wagner brings us a priceless gift, the example of a brave man striving for a wholesome, unperverted and noble ideal.'"
23Eleanor Coryell, Violinist.
25Eleanor Coryell, a violinist who has had success playing before clubs and colleges, will be heard more frequently in public this coming season. Besides playing, Mrs. Coryell lectures, and illustrates the music herself. She has several novel programs, including one "Romance Recital," and another, "Romance Recital for Children." Mrs. Coryell also gives historical lectures, and her "Talks" about her student days in Paris are most interesting and helpful. This accomplished woman has a melodious, well placed speaking voice and a very agreeable personality. Mrs. Coryell will begin her public work this autumn under the management of Mrs. Babcock, of Carnegie Hall.
27A NOTABLE DRESDEN CONCERT.
29(From the Dresden Daily.)
31The large hall of the Hotel Bristol was filled to its fullest on Friday afternoon by a select audience who had accepted the invitation of Josef Kratina to hear his pupils play. As these numbered no less than nine, the majority bearing English names, and it is known that Herr Kratina teaches after the method of the famous Professor Sevcik, of Prague, to whom not only young students but teachers and leaders of orchestras go to school nowadays, great interest was shown in the proceedings. All the performances were listened to with great attention; indeed they were of a kind to compel attention, each being good in its degree, and all bearing the stamp of sound artistic instruction. Ella Gibbs, who is making rapid progress and gaining strength in tone and technic, played with great success the long and difficult violin concerto of Max Bruch, in which she had the valuable assistance of Fräulein Arzt, of the Royal Conservatorium, at the piano. Miss Chapell was heard in Borowsky's "Adoration," a touching composition, quite beautifully played, with purity of tone and feeling. Enid Mandy played the Bach air with full appreciation and tone, and won abundant applause; but her chief performance was to come later. Gladys MacLachlan gave her hearers a good idea of a graceful "Reverie" by Colberg, and effectively marked the rhythm of one of Brahms' Hungarian dances. Arline Pearsall and Fräulein Zeuner played each a dance movement honestly and well.
33Herr and Frau Kratina after the concert were surrounded by crowds of their guests and warmly congratulated. Fräulein Arzt was the efficient and sympathetic accompanist throughout the evening.
35A hazardous but strikingly successful enterprise was the double performance by two youthful musicians, Fräulein Lorchen Hasper and Valeria Kratina, who together played two neat compositions (Cooper) with surprising unanimity of phrasing and expression and exact precision of stroke. The interesting concert closed with a Haydn trio, played in faultless style by Enid Mandy (piano), Ella Gibbs (violin), and Rudolf Kratina ('cello). Enid Mandy's piano playing is delightful (she is a pupil of Walter Bachmann), and Rudolf Kratina's 'cello and ensemble playing most promising.
37RAFAEL JOSEFFY.
39LENA DORIA DEVINE
40VOCAL INSTRUCTION (Lamperti Method)
41Teacher of Bianche Duflot, Coloratura Soprano, Sousa's Band singers, Hans, Herbert, Cathedral Concerts, etc. Marie Sinner, soprano; Metropolitan Grand Opera Co., Italian Grand Opera, Italy; Marie Louise Gehle, Contralto; Clara M. Hammer, Coloratura Soprano, National Grand Opera Co.; Minnie Minck, Soprano; Aimee Delano, Coloratura Soprano; Louis Compton, Soprano; Joseph Miller, Bass; Edward W. Gray, Tenor; (Old First Presbyterian Church); Assunta De Rosa, Coloratura Soprano (first teacher of Bessie Abott, Soprano), Metropolitan Grand Opera Co., Grand Opera, Paris, etc., and many other successful singers. one of two readings
42Teacher of Bianche Duflot, Coloratura Soprano, Sousa's Band singers, Hans, Herbert, Cathedral Concerts, etc.; Marie Sinner, soprano; Metropolitan Grand Opera Co., Italian Grand Opera, Italy; Marie Louise Gehle, Contralto; Clara M. Hammer, Coloratura Soprano, National Grand Opera Co.; Minnie Minck, Soprano; Aimee Delano, Coloratura Soprano; Louis Compton, Soprano; Joseph Miller, Bass; Edward W. Gray, Tenor; (Old First Presbyterian Church); Assunta De Rosa, Coloratura Soprano (first teacher of Bessie Abott, Soprano), Metropolitan Grand Opera Co., Grand Opera, Paris, etc., and many other successful singers. one of two readings
43Studio: 136 FIFTH AVENUE, NEW YORK CITY.
45MR. AND MRS. JOHN DENNIS MEHAN
46CULTIVATION OF VOICE AND ARTISTIC SINGING.
47MISS MARIE LOUISE GITHENS,
48Special Teacher of Sight-Reading.
4970-80-81 Carnegie Hall, NEW YORK
51KATHRIN HILKE Soprano
52ADDRESS CARE OF
53HOTEL HIGHLANDS, 154 East 91st Street, NEW YORK
55ALBERT MILDENBERG
56PIANIST INSTRUCTION
57Studio, 826 Carnegie Hall
58Some pupils of Mildenberg's who are now successful teachers: Mr. A. Wiggers, Nashville, Tenn.; Miss Georgia Richardson, Detroit Conservatory Faculty; Miss Mabel Davison, Director of Nagasaki Conservatory of Music, Japan; Miss Celia Ray Murray, Director of Vincennes University Department of Music; Miss Ruth McLyons, Professor of Department of Music, Women's College, Charlotte, S. C.; Miss A. E. Brown, Los Angeles, Cal.; Miss Dolce Grossmeyer, Colorado Springs; Mr. A. Berne, Newark, N. J., and others.
60New York College of Music
61128-130 East 58th Street.
62(Formally ALEX. LAMBERT.) one of two readings
63(Formerly ALEX. LAMBERT.) one of two readings
64Directors: Carl Hein, August Fraemcke.
65Private instruction in Piano, Singing, Violin, 'Cello and all branches of music, by a faculty unsurpassed for its excellence.
66SPECIAL DEPARTMENT FOR BEGINNERS.
67All instrumental and vocal students receive free instruction in harmony, counterpoint, vocal sight reading, ensemble playing and free admission to concerts, lectures, etc., etc.
68Students received daily. Catalog sent on application.
70OSCAR SAENGER
71VOCAL INSTRUCTION
72Teacher of Mme. Josephine Jacoby, contralto, the Conried Grand Opera Co.; Mme. Marie Rappold, soprano, Conried Grand Opera Co.; Mme. Sara Anderson, soprano, Grand Opera, Graz, Austria; Mme. Pasquali, soprano, Grand Opera, Italy; Leon Rains, basso, Royal Opera House, Dresden, Germany; Joseph Baernstein, Grand Opera, Germany; Kathleen Howard, contralto, Grand Opera, Metz, Germany; Elizabeth D. Leonard, contralto; Bessie May Bowman, contralto, Hildegard Hoffmann-Huss, soprano; Ella Marshall, soprano; Alice Merritt, Coloratura Soprano; Grace Longley, soprano; Marie Stoddart, Soprano; Elizabeth Blamere, soprano; Millie Pottgiesser, contralto; John Young, tenor; George Murphy, tenor; Walden Laskey, baritone; Henri G. Scott, basso.
73Telephone: 3669 Plaza. Studio: 51 E. 64th St., New York
75G. SWEET
76(The Renowned Baritone)
77Announces opening his Studio in Florence, Italy—Spring, 1907.
78Opera and Drawingroom
79489 FIFTH AVENUE
80Address for particulars
81Special Summer Class for Teachers and Singers
82Teacher of Georg Ferguson, Shanna Cumming, Carl Duftt. one of two readings
83Teacher of Georg Ferguson, Shanna Cumming, Carl Duft. one of two readings
85HEINRICH MEYN
86Bass – Baritone
87Recitals and Oratorio
88ONTEORA CLUB
89Tannersville, N. Y.
91GRACE HAMILTON
92MORREY
93PIANIST
94For dates and terms
95address care of
96WOMEN'S MUSIC CLUB
97Columbus, Ohio
99ALEXANDER PETSCHNIKOFF
100RUSSIA'S GREATEST VIOLINIST
101Beginning November, 1906
102Management: HENRY WOLFSOHN, 131 East 17th Street
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