Scan 29
Musical Courier 1906-09-26: Vol 53 Iss 1383, 1906
75 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 30. 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, September 22, 1906.
5Conductor Fritz Scheel is expected home on September 26.
7In all probability Thaddeus Rich, concert master of the Philadelphia Orchestra, will be the first of the roster of artists to appear with the orchestra.
9Lilian Briggs Fitz-Maurice, pianist and principal of the Virgil Clavier Piano School, will resume teaching on September 26, at her commodious studio, in the Fuller Building. Mrs. Fitz-Maurice is a most painstaking, conscientious teacher, who has had the advantage of comprehensive study in this country and abroad, and is a teacher, not alone of the technic of piano playing, but of the interpretive, musical content of composition, from the lowest to the highest grade.
11September 26 the Philadelphia Operatic Society will begin rehearsals under S. Behrens, musical director, in preparation for a series of operatic performances, to be given this coming winter. Rehearsals will be held every Wednesday evening during the season and a repertory of four operas prepared for public presentation—"Faust," "Pagliacci," "Cavalleria Rusticana" and "Bohemian Girl." The local field presents many opportunities to a skillful, able manager. There is sufficient talent, capable and artistic, to give to Philadelphia audiences opera that shall be consistent with legitimate ideals. With a feeling of harmonious good fellowship, a unanimous effort to place before the public a perfectly artistically complete performance, from the leading role to the chorus, with a just appreciation of the ensemble, there is no reason to doubt but what the venture will meet with deserving support in every way.
13Now that the Philadelphia Operatic Society is an organized fraternity with officers, an executive board, cast and chorus, and about to take its first step in the anticipation of a career, one may ask the why and the wherefore of its existence. What is to be its function, its object?
15Primarily if the necessity for its existence is to be felt and appreciated it must make itself worth while. It must be educational for both participants and audience, it must be representative in technic, conception and staging, and it must be free from all partisanship, favor and the nefarious disintegrating "star" system.
17If Philadelphia is to have a permanent operatic society, it must stand for legitimate ensemble opera; title role, minor roles, chorus, orchestra, stage settings, appropriate scenery, all must receive their respective dues. If, however, it is to be the vehicle for the exploiting of individual talent and capability, then it will prove an utter waste of time and energy for all concerned. One prima donna, male or female, does not make an opera. If the permanency the necessity for the permanency of this society is to be created, then local grand opera must be nourished in all its branches, that a stultified, deformed apology may not be the result.
19The productions must be many degrees removed from the usual amateur productions, which are invariably the acme of dull mediocrity. With the usual aggregation of material for local musical ensemble affairs, the eventually, haphazardly, "somebody," "anybody," must be accepted for the minor roles, and the result a glorious farce on all that pertains to ensemble or concerted music. The productions should not be given as "society events," for "charity"; the society must exist in itself, by itself and for itself, and if by any chance of good fortune there should be a surplus, a fund should then be established for future references, that the labor of love of this first year may in the next and succeeding years be recompensed, for "the laborer is worthy of his reward," as we have it on very good authority.
21Considering the talent available in this musically appreciative town, it is not only possible to introduce the legitimate performance of opera as a foil to the professional, sham, imitation performances based on commercial interests alone, but the opportunity to become a power, the force and far reaching effects of which are easy to imagine, presents itself now if right principles are adhered to. Who can prophesy the heights to which it may reach? Perhaps a national training school for opera in the vernacular.
23Obviously, the many obstacles confronting the production of grand opera, the lighter opera of the genre grand, mean that all those now offering personal support must fortify themselves with a courage, a concentration of purpose, an energy and conviction that the consummation, the final achievement, may be a credit to the Quaker City, and the public, a pretty good judge of things tagged with an admission fee, be subtly cajoled into furnishing the wherewithal to continue the propaganda. The sopranos of the society are: Florence Hinkle, Agnes Thomson Neely, Harriette Woods Bawden, Helen Frame, Lulu Heintzleman, Emma Rihl and M. Staller. The mezzos and contraltos are: Nance France, Elizabeth Pattee-Wallach, Anna E. Kelly, Vesta Williams-Potts and Susanna Dercum. The tenors are: William H. Pagdin, Wilbur Herwig, Edwin S. Van Leer, Nelson A. Chestnut, J. J. Neely and Mr. Zulick. The baritones are: Louis Kreidler, George Russell Strauss, Harry Saylor, D. L. Davis, Horace Dumont, W. Preston Tyler, Franklin Wood and Joseph McGlynn. The bassos are: Th. F. Why, Henry Hotz and Guido Ferrari.
25The chorus list comprises many who will later on be chosen for the different casts, and is as follows: Edith Bitting, Elizabeth Masbrout, Mr. H. Hotz, A. C. Bunt, Caroline B. Schrenk, Lola Chalfont Parker, Emma B. Michael, Ottillie Woerthle, Evelyn Paul, Adela Bowne, Bella Bump, Lillian Wood, Helen Easlin, Miss Lehnert, Violetta Allen, Georgie Bewley, Regina M. W. Mahoney, Mabel Baird Grismer, Mabel D. Morton, Francis Bailey, Mrs. George Kempton, Mary Morgan, Marion C. Ritchie, M. Reed Achelberger, Florence M. Gingrich, Elsa Bents, Mary Crosson, Helena O'Reilly, Rebecca Conway, Caroline Fraser MacBeth, Estelle Stam Rogers, Mary Ryland, Katherine Strauss, Mabel Gihon, Lucetta De Wald, Edythe E. Binns, Miss Brinton, Miss Heisch, Beatrice Waldu, Josephine A. Baldwin, Anthony McNichol, Harold Martin, James Davenport, D. E. Hogan, Harry MacNamee, Edward W. Salisbury, P. V. Byone, Charles Law, Harry Sharp, S. E. Eichelberger, W. D. Wegefarth, David Nixon, Walter S. Heed, William Curtis, John A. Matchett, J. Howell, Walter S. Hutton, Louis A. Fasy, William J. Boehm, J. C. Potts, Morris Ware, J. Lawrence Solly, Richard Daniel, E. Ridgeway, George W. Mintz, Forest Held, Charles B. S. Wynkoop, Edward E. Arnade, T. Vincent Kelly, Fred. Rees, W. J. Donnelly, Harry S. Weidner, Charles Baker Gilbert, H. Y. Ball, Thomas Mohr and Charles Bookmyer. one of two readings
26The chorus list comprises many who will later on be chosen for the different casts, and is as follows: Edith Bitting, Elizabeth Masbrout, Mr. H. Hotz, A. C. Bunth, Caroline B. Schrenk, Lola Chalfont Parker, Emma B. Michael, Ottillie Woerthle, Evelyn Paul, Adela Bowne, Bella Bump, Lillian Wood, Helen Easlin, Miss Lehnert, Violetta Allen, Georgie Bewley, Regina M. W. Mahoney, Mabel Baird Grismer, Mabel D. Morton, Francis Bailey, Mrs. George Kempton, Mary Morgan, Marion C. Ritchie, M. Reed Achelberger, Florence M. Gingrich, Elsa Bents, Mary Crosson, Helena O'Reilly, Rebecca Conway, Caroline Fraser MacBeth, Estelle Stam Rogers, Mary Ryland, Katherine Strauss, Mabel Gihon, Lucetta De Wald, Edythe E. Binns, Miss Brinton, Miss Heisch, Beatrice Waldu, Josephine A. Baldwin, Anthony McNichol, Harold Martin, James Davenport, D. E. Hogan, Harry MacNamee, Edward W. Salisbury, P. V. Byone, Charles Law, Harry Sharp, S. E. Eichelberger, W. D. Wegefarth, David Nixon, Walter S. Heed, William Curtis, John A. Matchett, J. Howell, Walter S. Hutton, Louis A. Fasy, William J. Boehm, J. C. Potts, Morris Ware, J. Lawrence Solly, Richard Daniel, E. Ridgeway, George W. Mintz, Forest Held, Charles B. S. Wynkoop, Edward E. Arnade, T. Vincent Kelly, Fred. Rees, W. J. Donnelly, Harry S. Weidner, Charles Baker Gilbert, H. Y. Ball, Thomas Mohr and Charles Bookmyer. one of two readings
28The executive board is composed of the following: President, John Curtis; vice president, J. C. Potts; secretary, C. K. Bawden; treasurer, W. Dayton Wegefarth, S. Behrens, musical director; Mrs. John Curtis, Helen Pulaski, Joseph S. McGlynn, Warren C. Crawley, Marion C. Ritchie, Henry M. Neely, George Rogers, Stanley Muschamp, William R. Murphy, Robert M. Law and William Sylvano Thunder.
30The initiation fee is $1, yearly dues $3, and all who have trained voices or have studied sufficiently to read well are invited to join, application to be made to S. Behrens, musical director. Rehearsals will be held at the Fortnightly Rooms, Fuller Building, and "Faust" prepared for production some time in January, 1907. Later in the season a week of opera will be given.
32Helen Pulaski has returned from a very enjoyable summer spent in the New England States and the White Mountains. Miss Pulaski has very ambitious plans for the Chaminade Club, of which she is director. A new song cycle is to be given, a concert devoted exclusively to the compositions of Philadelphia composers, and a new work of Von Fielitz, to be presented for the first time in America.
34Samuel Myers, pianist, whose delightful series of musicales last year were so well appreciated and attended, announces he will resume the same order of things this year. Mr. Myers will begin his classes in piano instruction on September 24.
36Stanley Muschamp opens his studio September 25.
38Dr. Frank Walters, whose reputation as a voice builder is spreading far and near, announces his time almost entirely booked for the coming season.
40Signora Fabiani will open her studio for instruction in voice and piano on September 26.
42Nicholas Douty has returned from an extended trip abroad. Mr. Douty was accompanied by Mrs. Douty and Master Douty.
44H. G. Kumme will begin his classes in piano playing September 24.
46Lewis Charlton Murphy and Alice Lewis Murphy have returned to town.
48EVELYN KAESMANN.
50Schumann-Heink Receives a New Decoration.
52Madame Schumann-Heink received Saturday from Europe the King Ludwig II, Gold Medal for Art and Sciences which through a special degree of the Prince Regent Luitpold was conferred upon Madame Schumann-Heink on the 6th of September last, after her successful engagement at the Wagner Festival in Munich. This is the seventh honorary distinction conferred upon Madame Schumann-Heink. Other gold decorations were from the Grand Duke of Baden, Grand Duke of Oldenberg, Grand Duke of Saxe Weimar, the Duke of Saxon Coburg, and King of Wurtemburg.
54INDIANAPOLIS.
56INDIANAPOLIS, Ind., September 24, 1906.
58Public school music will be taught in classes in the city the coming season. This is something comparatively new, and certainly an acquisition to the field of music. Nannie C. Love, so long identified with the public schools of Indiana, is director. School music methods for supervisors of public school music and all branches necessary to strongest equipment will comprise the curriculum. An interesting feature will be the interpretation of children's songs. Miss Love's command of technical work and her consummate understanding of ways and means cause her to be especially qualified to conduct such a school.
60The imposing new church erected on Meridian and St. Clair streets will have one of the handsomest organs in the Middle West. It is to be a two manual instrument, with all the modern equipments. The committee submitted the designs to Charles Hanson, organist at the First Presbyterian Church, who made the selection. It was Mr. Hanson's excellent judgment, also, that decided on the instrument placed in St. Paul's and St. Peter's Church.
62Margaret Cook, a young Indianapolis woman, who has been a student of Leschetizky for several years, has recently returned to her home here, purposing to give a series of artists' recitals during the winter. Miss Cook is said to be a brilliant technician and one showing unusual musical qualifications.
64Indianapolis begins to be the Mecca of students of adjoining States, as well as many localities of the Far West, the Indianapolis Conservatory of Music booking many pupils from Washington Territory, Montana, San Francisco and other points equally distant for the coming season.
66The Jewish new year opened on September 19 at the Synagogue, of which Rabbi Feurlicht has charge, with an excellent song service prepared especially by the quartet, namely: Josephine Bremerran Edmunds, soprano; Florence Atkins Gavin, contralto; Homer Van Wie, tenor; Oliver Isensee, bass. "No Shadows Yonder," by Gaul, was rendered with excellent conception. Leo Riggs, choirmaster, is planning special Hebrew music for Yom Kippur, which is the fast day of the Jews, on September 29.
68Carrie Hyatt, so long the organist of a Central avenue church, has been assigned the organ of Roberts Park Church the coming season.
70Last spring there was an announcement in these columns of the prospective organization of a new choral society here. The large chorus choir of the Edwin Ray M. E. Church, of which Frederick Reddall is choirmaster, will form the nucleus of what will be known as the Indianapolis Choral Society. Further plans are pending and are to be announced later in these columns.
72August Motzer, who has just arrived from Prague, and for several years a pupil of Sevcik, has been engaged for the violin department of the Indiana Normal College at Muncie. William Bunch is re-engaged for piano, and Frederick Reddall, voice. Mr. Reddall has also been placed in charge of the vocal department at Tudor Hall, this city, with Mary Josephine Wight, director of piano.
74Edward Taylor, conductor of the Roberts Park Choral Society, is a live factor in the musical life of Indianapolis. Clarence Eddy will be brought here by him, and plays at the Roberts Park Church in a recital on Tuesday evening, October 16, assisted by Irma Wocher, soprano. The organ in question has been recently renovated, and new stops added, so that its condition is excellent. Mr. Taylor announces the following attractions for the season 1906-7: Emma Eames, December 4; Gwilym Miles, on January 9, in "The Messiah"; Gwilym Miles in a song recital on January 19, a: Caleb Mills Hall; Thaddeus Rich, violinist, in recital on February 19, at Caleb Mills Hall, and the Chicago Symphony Orchestra and quartet of soloists in two festival concerts on May 8.
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