Books › Musical Courier 1907-03-20: Vol 54 Iss 12, 1907 › scan 36
Scan 36
Musical Courier 1907-03-20: Vol 54 Iss 12, 1907
27 lines. Read by computer on 25 September 2026. Printed page 37. See the scan on archive.org.
1CLEVELAND CHATTER.
2719 THE ARCADE,
3CLEVELAND, March 11, 1907.
5Here is a rather good bon mot anent a music critic. It applies to a class of musical "boosters" who are dined and gastronomically entertained by the "boostees." Probably New York has a few, more or less, as have the provincial towns—even Cleveland. I give it as I overheard it in one of our popular cafés recently: Miss A (to escort in confidential tones)—What do you think of Blank's musical critiques? Mr. B. (in penetrating and convincing tones)—Oh, they serve Blank well as meal tickets.
7A critic named Blank
8Keeps hot air in a tank,
9Which is tapped by just pressing a button;
10To artists of rank
11It is merely a thank,
12But to others the pay is in mutton.
14Rudolph Friml, who concertized with Kubelik on his last tour, spent a week or so in the city recently, and during that time was in popular demand among our Bohemian citizens. At their solicitation he gave a piano recital one day last week, and did some playing that surprised me not a little. He is a young artist with an astonishing technic and an exuberance of temperament. To this may also be added an unusual gift for improvisation. He played at this recital pieces like Chopin's A flat polonaise and the Schultz-Elver "Blue Danube" transcription in a style that was at once musically and brilliant. To the latter composition he imparted a Viennese lilt and swing that even so great an artist as Lhévinne did not realize. Friml has the stuff in him that makes pianistic eminence, and I am sanguine that he will make a name for himself before many seasons. As a composer, too, he has decided talent. I heard several of his piano compositions at the recital, as also in private, and was much impressed by their merit. Some concert studies are pianistic and brilliant and possess a decided original note. Among more pretentious efforts are a piano trio, of which I heard a menuetto full of antique flavor and modern harmonization, and a piano concerto. Schirmer has a number of his pieces in print, which have the twang of musical feeling in them, notably a "Valse Poétique" and a brilliant character piece, "Murmur of the Woods." I write thus eulogistically of Friml, for he is a modest as well as gifted musician.
16Herbert Sisson, who has been the organist of Epworth Church for five and a half years, retires from the position to assume a similar one at the East End Baptist Church. The last Sunday of his Epworth service he gave a recital devoted exclusively to compositions by Guilmant, with whom he studied last summer. Sisson's new organ is one of the largest and best in the city, having four manuals and all the modern mechanical stop combinations. It will afford Sisson abundant opportunity for the exploitation of his organistic talent, since he is one of our best local organists.
18Sunday, March 10, the Bach Choir of Woodland Avenue Presbyterian Church, under direction of C. A. Radde, gave a praise service, of which the entire program was compositions of James H. Rogers. This is a deserved compliment to our talented local composer and worthy of emulation by other choirs here and elsewhere. For the past number of years Director Radde has devoted one special service to Cleveland composers, and thereby displayed his loyalty and generosity to local talent. At the service first mentioned, Francis Sadlier, baritone, and Ella Erdmann were the soloists. John R. Frampton is the church organist.
20Yesterday afternoon the last Sunday "Pop" was given at Keith's Theater. The program, under Johann Beck, included movements from the "Pastoral" symphony, a concert overture by Marinus Salomons, directed by the composer; the "Rakoczy March" of Berlioz, and other pieces of minor importance. Emil Ring played, with orchestra, two movements of the Henselt piano concerto. Harriet Mintz sang an aria from Costa's "Eli." The playing of the orchestra was hardly up to its best standard. In fact, it had the tang of a rehearsal about it, and notwithstanding Beck's batonic efforts, the attacks were ragged and the ensemble devoid of artistic coloring and effects. There was a lack of unanimity, due, evidently, to a misunderstanding as to time employed. Some used standard and the balance sun time. Ring gave a creditable reading to the concerto. In fact, the spirit of his interpretation was better than its technical expression. It was musically, however, and for that reason enjoyable. Salomon's overture proved a well conducted work, showing more craftsmanship that inspiration. The handling of these themes was of much greater import than the themes themselves. The composition, like the composer's playing, displays clever musicianship rather than any great depth of emotionalism or musical thought. This was the last "Pop" of the season. Whether these concerts will be revived next season depends upon public interest and support. It seems strange that in a city of nearly half a million inhabitants there is not enough public interest to support adequately enterprises of this kind, and, what is still more to be wondered at, is that, with all our wealth and supposed culture, there are none of sufficient philanthropic spirit to establish a guarantee for the permanent support of concerts for the enlightenment and entertainment of the commoners. The "Pops" have paid expenses, and that is about all. The musicians have received but a bare pittance for their services. I have suggested in the Press that we pedestal a statue of Rip Van Winkle in our public square to remind us that we must wake up after twenty years of artistic somnolence. We are not dead, but only slumber, with an occasional musical snore to remind those who are awake that some time there will be an awakening. But when? Beck and Ring have given to the "Pops" their best efforts, and the men of the orchestra have seconded their endeavors to the best of their ability. But if we are ever to have a permanent orchestra the "Pop" orchestra must furnish the artistic and educational leverage and form the nucleus of something better. The class of people attending the "Pops" can hardly afford the more expensive series of symphony concerts we are having under the auspices of the Fortnightly Club; neither is this class sufficiently advanced in art appreciation to really enjoy the highest epics of symphonic art. And therein lies the trouble: the supporters of the symphony concerts are not interested in the popular efforts of the "Pops" and the "Pop" patrons cannot afford the more expensive symphony concerts. When the "Pop" audiences have attained the symphony standard, then, and then only, can we have our local symphony orchestra. But when Rip wakes up it will happen, whether or no the Chatterer is here to see it.
22WILSON G. SMITH.
24Students in Ibsen Play.
26The first production in this country of Ibsen's "The Vikings at Helgeland" will be given on the afternoon of March 22, at the Empire Theater, by the American Academy of Dramatic Arts. This production will be the final performance of the season to be given by the Academy, the cast including the entire membership of the graduating class.
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