Scan 33
Musical Courier 1906-12-19: Vol 53 Iss 1395, 1906
57 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. 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.
1CINCINNATI.
3Cincinnati, Ohio, December 15, 1906.
5With a brilliant fanfare, arranged by Herman Bellstadt, Jr., from his "Marche Hetasique," M. Camille Saint-Saëns, the great composer and musician from France, was welcomed by the Cincinnati Symphony Orchestra yesterday afternoon as he modestly stepped out on the platform to begin his Concerto No. 5, in F.
7Historic significance was attached to the event, for with yesterday's performance and that of tonight, it is said, on the best of authority, Saint-Saëns will close his public career as a pianist, which he began sixty years ago, when he was a mere boy of twelve. To more impressively emphasize this phase, he consented to play his last concerto in place of the second, G minor, which was originally on the program.
9As a pianist M. Saint-Saëns fits well into his concerto. He showed a towering musicianship without the startling, thundering dynamics of the modern virtuoso. His virtuosity lies more in the direction of subtle effects, and he caresses the most beautiful tone out of the keyboard with a touch of velvet. In passages of tremendous velocity this power never fails him. The aesthetic sense is asserted supreme at all points of his interpretation. The concerto in F does not penetrate deep into the musical soil, it does not reach any fire or tumult of the elements, but, skipping over the surface, easily delights and fascinates. It reflects the temperament of the man, and to a large extent typifies the music of the French school, with all its clearness of expression and directness of purpose.
11The movements of the concerto (not even excepting the andante) hold forth much dramatic posing, with "brilliant coloring and embellishment, but they declare no message to stir up the emotions. The very finesse of style is attained in the piano playing of Saint-Saëns. In the subsequent twain of numbers which he played with string orchestra, he further demonstrated this fact, for his readings were of consummate lightness and grace. As compositions they show great technical resources, with superficiality. The caprice valse, "Wedding Cake," contains some delicious confection, but is so variously treated that one wonders what kind of cake it is.
13M. Saint-Saëns was overwhelmed with applause at the close of the last number by orchestra and audience, and on behalf of the former Mr. Van der Stucken presented him with a huge laurel wreath. As an encore he played a fantaisie of his own composition on "Samson and Delilah."
15Mr. Van der Stucken presented an entire Saint-Saëns program with the orchestra. The orchestral support in the concerto and the two solo numbers was given with the closest affinity to the composer's intentions. The opening symphonic poem, "La Jeunesse d'Hercules," was read with verve and intensity. The symphonic poem, "Phaetor," spoke its message with sincerity and vitality. The "Danse Macabre," one of the most familiar of the composer's works, was least satisfactory in its performance. The orchestra failed to bring out the uncanny, weird features of the dance by playing it too heavily.
17In the last number, "Suite Algerienne," C major, the orchestra brought out its resources into brilliancy. All the divisions worked splendidly together—unity of purpose and promptness in the attack. The third movement, "Evening Reverie," with its exquisite restful poetry, was given a beautiful interpretation.
19The matinee audience in size was a record breaker in the history of the Orchestra Association.
21The Musical Art Society, at its initial concert, Thursday evening, December 13, in the Auditorium, under the direction of Edwin W. Glover, raised a new standard for chorus work in this city.
23If good results can be achieved from a mixed chorus of average quality trained to accomplish something by arduous discipline and continuous rehearsal, what may be expected from a body of voices, each one of whom has the advantage of professional experience and a tested knowledge of requirements? It was this foundation of excellence that prevailed upon Frank Damrosch, of New York, to establish a Musical Art Society, capable of studying the whole range of choral composition, from the old Italian masters of polyphonic music up to the present day.
25It was the design of Mr. Glover to take this organization as a model in founding the Cincinnati society and by its side strive for the same ideals and the same achievements. Mr. Glover is to be congratulated upon his success. It may be safely said that no such chorus singing, with so much to commend it, was ever heard in this city before. To be sure there is a reason for that, for it is the first time that a body of exclusively professional talent presented itself on the Cincinnati concert stage. Yet with this fact in view the achievement could not have been made without the ability of the director and the enthusiasm with which each individual member of the chorus worked.
27The program, with the exception of the last number—new Brahms "Love Songs"—was altogether of a religious and partly of a Christmas season character. Perhaps Mr. Glover meant even the last to be consistent with the other selections, on the ground that love is the inspiring motive and foundation of all religion. The first part, introducing two numbers by Palestrina, one by Vittoria and a fourth by Signor Albino Gorno, of the College of Music faculty, the latter fitting into the scheme by reason of its Gregorian chant treatment, seemed to transfer the audience into another atmosphere of historic beauty and mediæval devotion. In these and throughout the evening the chorus proved an exceptionally fine balancing in the voices—a blending together that in the ensemble showed the beauty and firmness of an organ tone—a quality that was intensely musical.
29The Palestrina numbers—"Ave Maria" and "Adoramus te"—were given with the simplicity and unction of the inner spirit of the music. These and the "O Magnum Mysterium" of Vittoria, and the beautiful "O Salutaris" of Albino Gorno inspired devotion. The latter was particularly interesting as an instance of how grateful a piece of church music can be evolved from a plain chant foundation.
31The solo quartet, composed of Miss Parks, Miss Wilson, Mr. Chilton and Mr. Hersch, acquitted itself superbly. Mr. Chilton's tenor voice asserting all its sweetness and tenderness. The triumph of the chorus came in the Bach cantata, "Bide With Us." Here virility of tone was contrasted with exquisite delicacy, and the interpretation was of Bach's type of noble simplicity. The soloists—Mrs. West, Miss Callahan, Mr. Hoffmann and Mr. Kellerman—supported the chorus splendidly, entering fully into the spirit of the music.
33The Christmas and New Year's numbers came in the third part—the old German folkong, "Christmas Night," arranged by Frank Damrosch; "The Adoration of the Magi," by Cornelius, and "Ring Out, Wild Bells," by Dr. Leopold Damrosch. Between the latter two was given the "Cherubim Song," by Tchaikowsky, presenting the novelty of the old chant from the Russian Church liturgy. The Russian selection was interpreted with much spirit and energy. In the Brahms' "Liebeslieder" the chorus exploited its most effective work, singing them with swing and character. Mr. Durst deserves praise for his artistic accompaniments.
35Frederic Shailer Evans, of the Cincinnati Conservatory of Music, on Monday evening, December 3, presented in recital Martin Read, Jr., a pianist student of uncommon equipment and intelligence. Mr. Read tested himself in a difficult program embracing the Mozart concerto D minor (first movement); the Beethoven sonata, op. 2, No. 3, C major; a Chopin group of mazurka, op. 17, No. 1, nocturne op. 32, No. 1 and valse, op. 34, No. 1; MacDowell's improvisation, op. 46, No. 4, and Czarda's op. 24, No. 4; Paderewski's polonaise, op. 9, No. 6, and the "Rhapsodie d'Autvergne," by Saint-Saëns. Mr. Read emphasizes not only intellect, but a great deal of temperament. The latter was shown to advantage in the MacDowell numbers and Chopin group, as well as in the rhapsody. To a virile capacity he adds much that is of the tender and poetic, and he is not without brilliancy. He put thought and conviction into the Beethoven sonata. His reading of the Mozart concerto, with Mr. Evans at a second piano for the orchestral accompaniment, evinced strict sense of rhythm and clarity of expression. one of two readings
36Frederic Shailer Evans, of the Cincinnati Conservatory of Music, on Monday evening, December 3, presented in recital Martin Read, Jr., a pianist student of uncommon equipment and intelligence. Mr. Read tested himself in a difficult program embracing the Mozart concerto D minor (first movement); the Beethoven sonata, op. 2, No. 3, C major; a Chopin group of mazurka, op. 17, No. 1, nocturne op. 32, No. 1 and valse, op. 34, No. 1; MacDowell's improvisation, op. 46, No. 4, and Czarda's op. 24, No. 4; Paderewski's polonaise, op. 9, No. 6, and the "Rhapsodie d'Auvergne," by Saint-Saëns. Mr. Read emphasizes not only intellect, but a great deal of temperament. The latter was shown to advantage in the MacDowell numbers and Chopin group, as well as in the rhapsody. To a virile capacity he adds much that is of the tender and poetic, and he is not without brilliancy. He put thought and conviction into the Beethoven sonata. His reading of the Mozart concerto, with Mr. Evans at a second piano for the orchestral accompaniment, evinced strict sense of rhythm and clarity of expression. one of two readings
38Douglas Boxall, of the Cincinnati Conservatory of Music faculty, introduced quite a novelty last Tuesday at his pupils' recital in the Conservatory Concert Hall, which was that the more advanced played compositions by MacDowell, which they had prepared entirely without the assistance of a teacher. The plan was to ascertain the value of personality in the pupil and encourage the habit of self reliance. It was astonishing how much groundwork of musical acumen was thereby discovered. Virginia Reece played MacDowell's "Bluette"; Lily Lee Smith, MacDowell's "Winter"; Chalmers Clifton, MacDowell's "Improvisation"; Henri Breeden, MacDowell's "The Eagle," and Cosby Dansby, "The Polonaise," E minor, by the same composer. The swoop of the eagle was very fierce and emphatic in Miss Breeden's reading. The general results of the plan can only be described as encouraging, and more of this kind of work ought to follow. It is distinctly a valuable factor in the Leschetizky regime, which prevails in his famous Vienna school.
40"The Messiah" will be given on Christmas night by the May Festival Chorus, under the direction of Mr. Van der Stucken. The soloists are to be Viola Waterhouse, soprano; Mrs. Anna Taylor Jones, contralto; Evan Williams, tenor, and Herbert Witherspoon, basso.
42The Cincinnati professional debut of Merlitta Silvio, soprano, who returned to this city recently after a four years' sojourn abroad, spent in serious study under the masters of Europe, was decidedly an event on Tuesday night, November 27, in the Odeon. Mlle. Silvio was assisted by Richard Schliewen, violinist, and Charles A. Graninger, pianist, who also played the accompaniments. The singer proved herself an artist of no mean degree. The distinction of Mlle. Silvio's voice lies in its exquisite purity and exceptionally musical quality. The remarkable clarity of her singing was perhaps best illustrated in Wagner's "Träume." She sang a little gem of Mr. Graninger's composition, "Summer Roses," which is bound to ride into popularity. Her singing of Van der Stucken's "O Come With Me in the Summer Night" was touched with dramatic expression. On account of her indisposition she was obliged to omit some of the more pretentious numbers. Mr. Schliewen, violinist, played the adagio of the Bruch concerto and the polonaise of Wieniawski with fine temperament and technical finish. Mr. Graninger displayed taste and musicianship.
44Ruth Woodford Morgan, a young soprano of the College of Music, is rapidly forging to the front in the ranks of the local musical profession. She possesses a remarkably pretty voice, which, under the excellent training of Lino Mattioli, has attained unusual development. Miss Morgan appeared in a trio from the college in a concert at Batesville, Ind., on last Friday evening. Sunday evening she will be one of the soloists on the musical program preceding the lecture by Rev. J. E. Sullivan, S. J., for the benefit of the St. Vincent de Paul Society, at St. Xavier's Church. And Thursday evening Miss Morgan will be a soloist at the Grand College Chorus and Orchestra concert in Music Hall.
46The enthusiasm that prevailed at the first Orpheus Club concert Thursday evening, December 6, in the Auditorium was just in keeping with the appreciation of progress that is being made from season to season by this male chorus under Edwin Glover's direction. Like a skillful general, Mr. Glover, at the beginning of each season, makes the selection of his material, retaining the best and adding such voices only as will improve the entire chorus.
48That the chorus is steadily climbing to the achievement of better results and the realization of higher ideals, was amply demonstrated by the work of its initial concert. Taking in the totality of impression it struck the listener with force that Mr. Glover trains his men to the finest nuances, and that as a body they are plastic and responsive to his directions. He holds them in splendid control. The program itself was exceptionally interesting and well contrasted in its construction.
50There were a few familiar numbers, but the general complexion was entirely new. "King Olaf's Christmas," by Buck, and a Christmas hymn, by Jungst, paid tribute to the coming holidays. In the former Mr. Davies sang the tenor solo, Mr. Drury the baritone solo and Harry Froehlich played the organ accompaniment. The Vogrich transcription of Chopin's Funeral March was given so intensely that it was demanded da capo. The magnificent baritone of Marcus B. Kellermann asserted itself to fine power and musical quality in the solos of Trottere-Nevin. The capacity for exquisite nuance and delicacy in the chorus was, perhaps, best demonstrated in the beautiful "Cradle Song," by MacDowell. There was the color and expression of martial powers and rugged strength in the chorus reading of Bullard's "The War Song of Gamelbar." In fact, its dramatic fire and intensity spoke in no uncertain tones. One thing is certain. Never before in the history of the Orpheus Club has there been so perfect and splendid balancing of the voices. The tenors and basses are finely proportioned in volume as well as quality.
52The soloist, Corinne Rider-Kelsey, soprano, after her triumphs at the last May Festival, needs hardly much comment. She sustained all her claims to distinction for an exceptionally pure voice, which she manages with consummate art. Her selections included Liszt's "Die Lorelei," "Die Blume der Ergebung," by Schumann, and "Heimliche Aufforderung," by Strauss. Her second group was a song by Horn and three Henschel songs—the last one, "Spring," being interpreted with the warmest of temperament. She gave it da capo. In the concluding chorus, "Eventide," by Meyer-Olbersleben, she sang the incidental solos.
54The first chamber concert of the Marien String Quartet recently given in the Odeon was striking in its contrast, the classic Haydn and Beethoven quartets being followed by the "Dumky" trio of Dvorák, with its local coloring and strange fascinations of moods. The quartet is composed of the same talent it had last year, with the exception that Percy Fullenwider, a pupil of Mr. Marien, takes the viola. His playing, especially in the solo phrases of the Beethoven quartet, showed a fullness of temperamental tone and youthful freshness that will make him a strong acquisition. The "Dumky" trio was delightfully interesting, and George Rogovoy in the 'cello work proved himself an exceptional artist, sustaining always a noble tone; and appreciating the ensemble requirements. In the Haydn quartet, with its tender simplicity of thematic treatment and truly Viennese good humor and happiness of expression, the second violin, Gisela L. Weber, fit admirably into the interpretation of the work, sustaining the artistic standard in every respect.
56J. A. HOMAN.
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