Books › Musical Courier 1907-03-20: Vol 54 Iss 12, 1907 › scan 40
Scan 40
Musical Courier 1907-03-20: Vol 54 Iss 12, 1907
81 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 41. See the scan on archive.org.
1"Pignus Futurae Glorise," for orchestra and chorus, taken from his "Litany" in D minor, also his "Spanish Mass."
3CONCERTS OF THE WEEK.
4Boesendorfer Hall—
5d'Albert, piano.
6Rose Quartet, chamber music.
7Gustav Maeruer, violin.
8Soldat-Roeger Quartet.
9Tilly Koenen, lieder.
10Julia Culp, lieder.
11The Bruenners, piano and voice.
12Ehrbar Hall—
13Godowsky, piano.
14Karoline Peczenik, piano.
15Willy Scheneyda, violin.
16Wind Instrument Verein, chamber music.
17Opera—
18"Die Walküre," "Hänsel und Gretel," "Die Verkaufte Braut," "Don Giovanni," "Lohengrin," "Die Lustigen Weiber von Windsor."
19M. MARVIN GRODZINSKY.
21Musical News from Seattle.
22SEATTLE, Wash., March 12, 1907.
23The late February concerts included a Mozart-Haydn program at the Columbia College of Music, played by Mr. and Mrs. Edward L. Busch and other members of the faculty. The one vocal number of the evening, "Boiling, Foaming Billows" (Haydn), was sung by Karl Schwerdtfeger.
25At his recent concert in the Unitarian Church, Gerard Tonning had the assistance of Mesdames Woodward, Cunningham, Doheny, Jones, Moore, Shead, Gilman, Colman, Tiffany, and Messrs. Atkins, Pinney, Palmer, Lumbard and Shaffer.
27J. Edmonde Butler played organ numbers from the works of Bach, Dvorák, Nevin and Guilmant at his February organ concert, at Trinity Parish Church. Mary Lionberger Scott, Ellen M. Kollock and Bowman Ralston were the assisting vocalists.
29Frederic C. King, musical director of the Queen Anna Methodist Church Choir, presented the cantata "Daniel," supported by the choristers and these soloists: Mesdames Jenner, Mifflin, Israel, Nutt and Mr. Svarz.
31Edward Gashel, 'cellist, Nicolas Oeconomacos, clarinetist, and Howard C. Gratton, piano, assisted Nina Martin Hatcher, at her concert on February 27.
33A large and delighted audience attended the performance of "Madam Butterfly" at the Grand Theater recently. The Savage Company is one of those rare organizations that fulfills every expectation.
35DAVID SCHEETZ CRAIG.
37Virginia Listemann's Concert Notices.
38Virginia Listemann, the lyric soprano, of Chicago, is meeting with great success in her concert work this season, as may be seen by the following press comments:
39The concert given by Bernhard Listemann and Virginia Listemann was a brilliant one, and a great musical treat. A large and enthusiastic audience greeted the performers, and hearty and continued applause attested the pleasure of the music lovers throughout the program. Virginia Listemann's rendition of "La Juive," by Halevy, was given with dramatic intensity and secured an encore. Her voice is a beautiful, rich soprano of natural sweetness. The four songs of Henssel, Van der Stucken, Strauss and Chaminade are just as different as different can be, and offered a fine opportunity for a discriminating and varied interpretation. Miss Listemann sang them all well, but with a possible degree of exaggerated dramatic fervor. She need not have done so, for she has a beautiful voice, and also plainly shows elaborate training. In Mascheroni's song, with violin obligato, she did some exceptionally fine work and brought down the house.—Commonwealth, Ripon, Wis.
41Virginia Listemann was the soloist. Her voice is a pure, high soprano, and her beauty and splendid vitality predict a brilliant career for the young artist. Her voice has all the charm of freshness, with the fullness and sweetness of perfect physical development. Not a small part of Miss Listemann's charm is due to her beauty and vivacity.—Star, Monmouth, Ill.
43Three criticisms from The Eagle, St. Clara's College, Sinsinawa, Wis.:
44A special welcome awaited Virginia Listemann, who made her first public appearance in America before a St. Clara audience a year ago. Possessing the rare gift of song, Miss Listemann has worked with an energy admirable in one so young in the art that love makes a pleasure, and a noticeable development of tone is the result of the years of study. Very beautifully were the grand arias from "Freischutz" and "Carmen," rendered with a sweetness and freedom in the high tones that called forth exclamations of delight. Ardit's blithe music was given with artistic abandon, while the pathos of the Irish folksong was most suggestive of the Celtic spirit. Perfect as was each number on the program, it was the charming encores that sang themselves into each heart and wove their magic spell of melody around the young artist. one of two readings
45A special welcome awaited Virginia Listemann, who made her first public appearance in America before a St. Clara audience a year ago. Possessing the rare gift of song, Miss Listemann has worked with an energy admirable in one so young in the art that love makes a pleasure, and a noticeable development of tone is the result of the years of study. Very beautifully were the grand arias from "Freischütz" and "Carmen," rendered with a sweetness and freedom in the high tones that called forth exclamations of delight. Ardit's blithe music was given with artistic abandon, while the pathos of the Irish folksong was most suggestive of the Celtic spirit. Perfect as was each number on the program, it was the charming encores that sang themselves into each heart and wove their magic spell of melody around the young artist. one of two readings
46Miss Listemann's voice has rare dramatic expression, and in the aria from "Traviata" particularly her voice showed to advantage. She is now reaping the reward of years of patient and earnest application to the study of her art. Miss Listemann's selections were most happy, and her interpretation of the beautiful English songs appealed to all.
47Miss Listemann possesses a decided and charming individuality. Her voice is of wonderful range and flexibility and well trained. She responded graciously and delightfully to the numerous encores. All the numbers were very pleasing and artistically given, but the closing song with violin obligato won the hearts of all.
49Praise for Elsa Ruegger.
50The New York critics were warm in their praise of Mlle. Elsa Ruegger when she appeared in recital in Mendelssohn Hall March 6. The following excerpts indicate the favor with which her playing was received:
51The audience was delighted.—Tribune.
52Miss Ruegger played a sonata by Locatelli with a good deal of style, and some shorter pieces by Schumann and Saint-Saëns with exquisite finish.—Sun.
53Miss Ruegger plays with astonishing effectiveness.—American.
54Her tone was full and well rounded and her playing free of all affectation. In the Locatelli sonata she displayed a great deal of sympathy for this music, and in the lighter compositions she voiced a wholesome sentiment that is as rare as it is admirable.—World.
55There is fine finish and polished technical achievement in everything that she does, and this breadth of style was shown in this piece by a pre-classical composer (Locatelli's sonata).—Times.
56There is not a suggestion of affectation or exaggeration in her playing or in her manner. Reserve, distinction, exaltation mark her interpretation at all times. Never a suggestion of sentimental extravagance; yet sentiment, life, blood, in full measure, though tempered always by artistic dignity and good taste.—Press.
58Ethel Crane in Ohio.
59Ethel Crane, the soprano, sang in Columbus, Ohio, February 20, February 24 and February 25; in Fostoria, February 26, and in Mount Vernon, February 27. In all these places she won much approval, as the following press excerpts show:
60Ethel Crane, the New York soprano, who has been here for the last two musical mornings, has quite established herself as a favorite in Columbus. Her voice is big, true, enunciation perfect, and her temperament adapts itself to any style. Miss Crane has uncommon resourcefulness of expression and her interpretations are remarkable for affording a restful satisfaction. Genuine musiciansly singing Miss Crane always gives, and she never sacrifices beauty of tone for dramatic effect. Her readings are significant for sincerity and splendid musicianship.—Columbus Dispatch, March 3, 1907.
61Ethel Crane, the visiting artist, has a beautiful soprano voice, under fine control, and her interpretation of a group of songs added much to the interest of the recital.—Ohio State Journal, February 24, 1907.
62Miss Crane has a well trained voice of excellent quality, and sings with ease and artistic grace. Her group of songs were interpreted with delightfully keen appreciation of their varied characteristics.—Ohio Sun, February 24, 1907.
63George F. Granberry, director of the Granberry Piano School, will spend the remaining two weeks of March in the South. During his absence from the city Mina del Castillo will substitute for him. Mrs. del Castillo has been an instructor for the past five years in the Faelten Pianoforte School, of Boston. During the summer months she substitutes for Mr. Granberry at his Newport school.
65Cottlow Aids the MacDowell Fund—Press Notices.
66Augusta Cottlow, the pianist, gave a recital in Chicago recently, under the auspices of the Chicago Music Study Club, Mrs. E. E. Baker, president. The proceeds were added to the MacDowell Fund. Miss Cottlow is still in the Middle West, where she has played at many concerts and recitals. She expects to return to New York the end of March. Some notices follow:
67* * * She herself possesses a winning individuality that betrays itself in her selections, which on this occasion embraced the most difficult Bach, Chopin, Liszt and MacDowell compositions, the program being varied from the rippling, lighter melodies to the harsher, tragical phase of emotion typical of the MacDowell numbers.
68Her technic was superb, and the fingering was the noticeable feature of her playing. So firm and rapid was it that those selections where the tempo was accelerated, the individual notes were blended as one tone, the effect being most pleasing and rhythmical. This was more especially observed in the berceuse, op. 57, Chopin, and the tarantella, "Venezia e Napoli," Liszt, the latter being thought by many to be the best number on the program, although it is almost impossible to classify them according to the comparison.
69The organ prelude and fugue, arranged for the piano from Bach, by Feruccio Busoni, was brilliantly played by the young musician. "Papillons," op. 2, by Schumann, was wholly different, Miss Cottlow meeting the changes with marvelous executive talent. The Chopin numbers, barcarolle, op. 60, berceuse, op. 57, and the "Grand Valse," op. 42, were clearly indicative of Miss Cottlow's power of interpreting the old masters.—Winfield, Kan., Daily Courier.
70The music lovers thronged to Fraser Hall last night to hear the piano recital, by Augusta Cottlow of New York. Her first number was a modern transcription of one of Bach's organ preludes and fugues. Miss Cottlow is petite and slender and it was a surprise to everyone to hear her play with the breadth and power of a man.
71* * * Her second piece, Schumann's "Papillons," is one whose rapid changes of mood and style can best be rendered by a woman, and her playing of it was full of vivacity and charm. Her Chopin group contained the difficult barcarolle, which few pianists attempt; the charming berceuse and a brilliant waltz. Each of these was made a poem of distinct style and showed Miss Cottlow to be a versatile player of a wide range of experience.—Lawrence, Kan., Daily Journal.
73Tributes to Inez Barbour from Fall River.
74The following notices were received by Inez Barbour, soprano soloist at Temple Emanu-El, New York City, for her singing with the Fall River (Mass.) Choral Society, on February 26:
75Inez Barbour of New York, the chief soloist of the evening, has a beautiful soprano voice, very finely trained. For so high a soprano her voice is very sweet and quite remarkably full and strong. Her phrasing was perfect. * * * Miss Barbour's solo, "Love Ceaseth Nevermore," Eckert, was delightful. Recalled, she sang to her own accompaniment on the piano that dainty little song, "Celeste," and she sang it as daintily as it is written, and with marked expression.
76* * * The concert ended with the "Inflammatus et Accensus," from "Stabat Mater," sung by full chorus with the solo by Miss Barbour. She was here at her very best, her high C in the climax ringing full and clear above chorus and orchestra.—Fall River Daily Herald.
77Miss Barbour, who appeared here for the first time, won instant favor and her hold upon the audience steadily increased during the evening. She possesses a sweet and natural voice that was agreeable at all times, even at her highest notes. She had perfect control, plenty of power, and a charming personality and bearing.—Fall River Evening News.
79Rieger Engaged for Milwaukee Concert.
80William H. Rieger, the New York tenor, will sing in a performance of Bach's "Passion Music" (in German) in Milwaukee on March 22.
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