Scan 26
Musical Courier 1906-12-19: Vol 53 Iss 1395, 1906
61 lines. Read by computer on 26 September 2026. Printed page 25. 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.
1BOSTON.
3HOTEL NOTTINGHAM,
4BOSTON, MASS., December 15, 1906.
6Two chief events of interest the past week were the programs by Mmes. Gadski and Eames in Symphony Hall. These were the repeated successes of other cities, and reminded some listeners of the old time glory of all art—always new because always interesting. Both singers drew large audiences, and the one began, and the other finished a very brilliant week musically. Mme. Gadski was assisted by Frank La Forge, who has attracted attention for some compositions. There was a group of classical songs with English text, including Schumann's "Somebody," Franz's "Mother, Oh Sing Me to Rest," Schubert's "Sylvia" and "Hark, Hark the Lark," Saint-Saëns' "Aimous-nous," MacDowell's "A Maid Sings Light," Mrs. Beach's "June," Strauss' "Freundliche Vision," Wolf's "Verborgenheit" and "Er Ist," songs by La Forge and others. She was overwhelmed with encores and enthusiasm.
8Mme. Eames, on Saturday afternoon, gave groups by Gluck, Giordani, Horn, Scubert, Strauss, Dvorák, Brahms, Schubert, Parker, Henschel, Liszt, Hahn, Massenet and others. Mme. Eames who formally studied for several seasons with Boston's distinguished teacher, Clara Munger, was heard by scores of friends and schoolmates.
10The Cecelia Society Sings.
12The general verdict, after the rendition by the Cecelia Society of a very interesting program, was felt to be that music may delight aside from presenting severe technical difficulties. B. J. Lang, conductor, has been the typical program maker of the day, always selecting interesting and rather unfamiliar works, and having them presented in a most tasteful manner. Mr. Lang may sometimes mistake his audience, yet so far has pleased the critical standards of Boston in a large measure. The chorus work was admirably drilled, but there was often a slight overbalance of one or the other of sopranos or lower voices. Mr. Lang has seldom done more effective work, however, in his conducting. The program showed good work, and gave pleasure generally. The solo singers were Gertrude Holt, soprano; Mary Desmond, contralto; John Daniels, tenor; Whitney Tew, bass; B. L. Whelpley, organist, and Mary Ingraham, pianist. Mrs. Holt gave a very beautiful rendering of the "Agnus Dei." Miss Desmond, who has sung before the royalties of Europe, or so she was heralded, sang Wagner's "Träume," Elgar's "After" and "All Soul's Day," by Richard Strauss. Miss Desmond has by nature a beautiful organ, but has not the right conception of the use of emotion, making her songs weakly sentimental. The other soloists were affective.
14Sunday Chamber Concert.
16The thirty-sixth Sunday chamber concert was given by the Adele Margulies trio. The sonata in F major, for piano and 'cello, Strauss; violin solos and trio in D minor, Arensky, were played, by Arele Margulies, pianist; Leopold Lichtenberg, violinist; and Leo Schulz, 'cellist, gave much pleasure to an audience which filled Chickering Hall. Both solo and ensemble work was highly artistic.
18Frank Morse Pupils.
20A few days ago advanced pupils of Frank E. Morse's gave "The Messiah." There was a careful attention to artistic detail, and the work generally went off with fine effect. Soprano solos were sung by Louise Chisholm, Elsa Thielscher, Mrs. E. J. Smith, Elizabeth Morse and Christine Johannett; tenor solos by Hubert Perry and Herbert Bishop, followed by bass solos by Frank Gillis and Edmund Snow; the latter has been engaged as basso in the Beacon Universalist Church, Brookline. Grace Valkey, alto, another pupil of Morse, has just been engaged to sing in the quartet at the North Unitarian Church, North Andover, Mass.
22Marcy Ingles James' Lecture.
24A long list of counter attractions for every night in the week, yet a very select and attentive audience of both teachers and pupils gathered at Potter Hall on last Friday evening to hear Mrs. Ingles-James talk on "Scientific Tone Production," so called from the interesting treatise written by this teacher on the subject. Mrs. James showed, in a very logical thesis, the perfect and natural analogy between a pure tone and properly placed vocal organs, backed of course by breath. She reinforced her arguments by stereopticon views, showing the anatomical side of the work, which is wholly new to three-fourths of the singing teachers of today. There was not a statement unsupported by Mrs. James, and while she did not seek to decry other methods in any way, she thoroughly substantiated her system for voice training as being one with science. It proved a most interesting and educative talk, highly enjoyed by all who heard her.
26Some Faelten School Souvenirs.
28Among the souvenirs which were collected by Mr. and Mrs. Reinhold Faelten in their European travels during the past summer are some which are highly interesting to collectors of autographs and handwritings. Among them are a two-page letter written by Robert Schumann, as editor of his paper, to Carl Montag. It is dated October 21, 1837, and touches upon various topics of interest. Second, a manuscript of a short composition by Liszt, a musical greeting, "Gluck auf," to a singing society in Riga. Third, two cards in Liszt's own handwriting, and one in that of his friend, Countess Sayn-Wittgenstein. There are also letters and cards of Cosima Wagner, Alex. Guilmant, Edward Hanslick, Louis Koehler and the German poets, Hofmann von Fallersleben and Herder.
30Palmer Pupils' Recital.
32Notwithstanding the fact that there were several other attractions at the various halls on the night of the 12th inst., the two Palmer pupils, Lilian Salmon and Norma Drexel, in a very musical and interesting program drew a good sized audience to Potter Hall.
34Miss Palmer, a progressive teacher, with ideas calculated to establish her outside of the so called "conservative" field, foresees that frequent public recitals for pupils are of invaluable importance; that the public should regard such as mile posts in a pupil's career, and that criticism, if from the proper point of view, is of much worth to the pupil.
36Miss Salmon has immense possibilities, for her voice has the quality therein which will charm most highly, when her real self is awakened to its own powers. Her rendering of "My Lady Chloe" was especially effective, and in the "Magnetic Waltz" (Arditi) she showed her beautiful voice and operatic instincts in their fullest measure. Her daintiest work was in the final "Faust" scene, in costume, with full stage setting and orchestra, when Miss Salmon's histrionic powers were unfolded in a surprising manner.
38Miss Drexel showed nervousness at first, but later became another surprise in her beautiful French songs and the Arditi waltz song, "Se Saran Rose." An orchestra, under Henri G. Blaisdell, assisted, and Miss Palmer was the accompanist. It was a very pleasing and effective recital, and it is to be hoped that other teachers will emulate Miss Palmer in such work.
40Francis Macmillen Plays in Boston.
42An American violinist has played in Boston and delighted the "authorities" and a long list of music lovers. Francis Macmillen played the program: "Ciacona," Vitali; Paganini's concerto in D major; andante and rondo, Mozart; Bech's "Chaconne"; Sinding's "Romance," in E minor; minuet, Mozart; aria, Goldmark; "Passacaglia," Handel-Thompson.
44Mr. Macmillen did not produce any abnormal impression, but rather a healthful one, which is decidedly in an artist's favor. He is richly endowed with talent, with a future of great promise, it is not to be doubted, and which must necessarily be one of expressed individuality, a result of experience and years. His growth and exuberance are abundant, and his teaching, now strongly evident, of the broadest and most approved style. The Boston critics were enthusiastic over this violinist's admirable playing, and foresee many greater things to come. There is an inborn spirit of art in the musician which must finally add even a richer exotic flavor to his work, and place him where his ambition now leads him.
46Heinrich Gebhard's Engagements.
48One of the most exclusive and representative of audiences greeted Gebhard's program of piano music, played on December 4, at Milton, Mass., when the enthusiasm became almost an extravagant ovation. The program opened with Schubert's "Impromptu," followed with Bach, Liszt, Chopin and Gebhard compositions, and each proved an artistic success. Mr. Gebhard has been in frequent demand for drawing room work, playing a program to some delighted guests at a Beacon street home on a recent Sunday evening, and which created such results that Mr. Gebhard has been engaged to repeat the same numbers for another distinguished audience.
50On December 3 this pianist played with the Kneisels in Cambridge, and on the 17th inst. appeared in concert in Philadelphia, at the regular course of concerts by the Kneisels in that city. Mr. Gebhard is fast occupying a most dignified position among American pianists of note and authority.
52Eben Howe Bailey Pupils.
54The pupils of Bailey are reaping successes in various portions of the country. Evelyn Johnson, of Providence, R. I., has been engaged by Jules Jordan to sing in a local opera produced in that city during the season. Mrs. Johnson has a beautiful high soprano, and will assume the chief role.
56Bertram Wetmore, who owns a splendid, rich baritone voice, has booked several important engagements in the East. Another pupil, Ruth Johnson, of Rowley, Mass., a contralto, has been singing very acceptably now for several seasons, yet constantly at study with Mr. Bailey. Mrs. Bailey is now assisting in her husband's studio work, so crowded has the student list become.
58The Choral Art Society's Performance.
60The Choral Art Society, with Wallace Goodrich conducting, gave a Jordan Hall performance which established without doubt the Choral Art's place among the few excellent musical organizations in America. Mr. Goodrich conducts with power, and while possibly a prodigious mental side dominates and makes at times a too mathematical conciseness, yet the work of the society commands attention for its superiority of vocal strength under the admirable leadership of Mr. Goodrich. The program showed something which should make Boston proud. It is somewhat unique, inasmuch as every voice heard there has been trained, and it becomes an organization of picked voices, directed by a musically strong man. The program included part songs by Palestrina, Wilbye, Leslie, Loefler, Franz, Chausson and Tschaikowsky, and a trio of old
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