Books › Musical Courier 1907-05-08: Vol 54 Iss 19, 1907 › scan 32
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Musical Courier 1907-05-08: Vol 54 Iss 19, 1907
78 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 29. 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., May 4, 1907.
6The seventeenth annual festival of the Choir Guild and the thirty-first annual festival of parish choirs began May 1, and constitutes an event of special moment to the musical side of the prominent Episcopal churches in the diocese. There are forty-three choirs connected with the Guild, and the number of choristers is about 1,400, but of the membership a limited number each year make application to sing at this festival, the primal object being to develop new ideas, a new stimulus for the study of good music, and a general upliftment musically which such festivals would bring to a number of choir boys, many of whom live in small towns, and never hear any other music aside from their own church work. The object, then, is striking, and is appreciated enough to have been materialized in a number of successes. On May 1 the Church of the Advent (Boston) was the scene of action, when five choirs sang under Albert Snow, choirmaster, and Walter N. Kilburn, organist. The present festival includes about 150 voices. The second one followed at St. Paul's, the third at the Church of the Advent, and the fourth and final one will take place at the Church of the Messiah, with William Alden Paull, choirmaster, and Walter Kilburn, organist. On Mr. Paull's evening, Wednesday, May 15, his own choir, which has been most excellently trained, will sing with the choirs of St. John's Memorial, Cambridge; Holy Trinity, Marlboro; St. James, New Bedford, and Christ Church, Hyde Park. Mr. Paull is said to have one of the finest and best trained choirs of boys in the city. These children know how to use breath and their diction is exceptional. The order of the service follows: Organ prelude, chorale in A minor, César Franck; processional, Psalm, 118; "Magnificat," in B flat, Tours; "Nunc Dimittis," in B flat, Tours; anthem, "We Beseech Thee, O Lord," West; anthem, Stainer; hymn, anthem, "The Lord is My Shepherd," Smith; offertory, "Cantilene Pastorale," Higgs; "Te Deum Laudamus," in E flat, Brewer; recessional, Parker; postlude, fugue in G minor, Bach.
8A very promising young French-Canadian girl of fifteen years gave a program at the residence of Richard Platt, on Saturday afternoon. Mr. Platt considers her as possessing exceptional talent, and her rendering certainly showed it. She has mature technic, uses much intelligence and gives her emotion the right value. Her program was received by the guests present with great enthusiasm. Her numbers were: D'Albert's gavotte, a barcarolle by Rubinstein, a novelette by Schumann; Debussy's "Arabesques," another Rubinstein number, Godard's "Cavalier Fantastiques," Liszt's "Liebestraum," No. 3, and a couple of Chopin pieces. Mr. Platt announces a recital by some of his New York pupils in that city later in the month.
10With the close of the Symphony concert season the annual revival of the "Pop" concerts takes place, and the change is doubtless good for even the stolid musician, who passionately dotes on symphonies and such like for his winter and spring diet. The present will be the twenty-second season of these concerts, which will continue for eight weeks, instead of the usual nine. The conductors will be Timothée Adamowski, Max Zach and Gustav Strube, with an orchestra of fifty-five Symphony men. Mr. Adamowski announces several novelties to be played at the "Pops," on which he has been busily occupied during the past winter. The list includes a military march by Richard Strauss, written in his younger days; Luders' "The Grand Mogul"; and suites Nos. 1 and 2, Bizet; selections from "Madam Butterfly" and "Tosca," Puccini; fantasia, "Coppelia," "Le Jongleur de Notre Dame," "Manon," Laven; "Dall' Italia," Acerbi; "Dans les Fleurs," Mascheroni; "Kinderlitzchen," Morena; "Entrance of Gladiators," Fuscik; "Suite Nuptiale," Hoffman; "Lustspiel" overture, Glikh; "La Charmeuse," Fleuron; "A Day in Venice," Nevin; waltz, Zierher; "Cupid's Waltz," Lehar; "Ver- schmacht Liebe" and "Nachfalter" waltzes, Lincke; "Cupid's Garden," Eugene; "Les Marionettes," Laume; "Marche-Tartare," Ganne.
12The second Pension Fund concert at Symphony Hall seemed to appeal in many ways to Boston's public, for there was a packed house from gallery to pit, and standees sufficient to justify the belief that they were there either on account of actual love and commiseration for the Fund and its significance, or wholly for the erudite Wagner, whose memorable works made up the entire program. It was what is known as a repeated program, having been given by Dr. Muck earlier in the season at a couple of the regular Symphony concerts, and was played with marked brilliance, causing the Wagnerites to respond cordially. The Wagnerites! There are many in Boston, although it can be recalled how slim the audiences were at certain grand opera performances here a few seasons since—that is, whenever Wagner works were given. But there are performances and performances, be it granted! The fund's program included the overture to "Rienzi," "The Flying Dutchman," "Tannhäuser," preludes to "Lohengrin," "Tristan and Isolde," "The Meistersinger," "Parsifal," and the "Funeral March" from "Götterdämmerung." Dr. Muck was repeatedly applauded, and after the extraordinary rendering of "Tannhäuser," the orchestra arose to its feet and acknowledged the ovation.
14What constituted both a charming musical and social afternoon was the program rendered on May 1 by Mary Montgomery Brackett at her studio, when she sang fully a dozen and a half songs, each one displaying a truly poetic and musical intelligence in the various schools they represented. The singer's voice was in admirable trim, fresh and brilliant and sympathetic where needs be. As the program advanced the interest of the guests waxed stronger, and several of her songs had to be repeated, for example, Chadwick's "The Maiden and the Butterfly," Manney's "I Love and the World is Mine," and Messager's "Si j'avais vos ailes," all interpreted and sung so delightfully. Diction, moods and color were excellent, and when Jessie Gaynor's "The Shoemaker" was sung, its catchy little humor brought out by Mrs. Brackett made it necessary to be repeated. Few singers are able to give just the kind of program which Mrs. Brackett furnished. Its variety shows her artistry and versatility. The numbers included Salvator Rosa's "Star Vicino (1615), Handel's air from "Parthenope"; followed by the group, "Komm Wir Wandeln" (Peter Cornelius), "Aufträge" (Schumann), "Primula Veris" (Grieg), and "Botschaft" (Brahms). Three other groups, varied in kind and style, were: "Le Bonheur est chose Legere" (Saint-Saëns), with violin obligato; "Pastoral" (Bizet), "Si j'avais vos ailes" (Messager), "Mermaids' Song" (Haydn), "Phyllis" (Old English), "Shepherd Thy Demeanor Vary" (Dr. Arne). In the final group was "Poplar Leaves," a beautiful number, yet in manuscript and kindly loaned by the composer, Margaret Lang, followed by one of Whelpley's, another of Chadwick's, and numbers by Gaynor, Woodman and Manney, the last with violin obligato, which Daniel Kuntz, of the Symphony Orchestra, played, while Lida J. Low, that excellent accompanist, furnished admirable assistance to an admirable program.
16A joint program of instrumental vocal music by John Orth's pupils and several of Arthur Hubbard's furnished an unusually interesting evening at Steinert Hall on the 29th. It was generally conceded by a crowded house that it was far in advance of what is generally known as a pupils' concert, and the Hubbard singers did some of the most creditable singing ever heard by pupils and by some calling themselves professionals. Mr. Provendie gave the famous Prologue from "Pagliacci" and Whelpley's "I Know a Hill" with good effect. Grace Pierce and Winifred Lakin also showed a special training in diction and tone, besides musical intelligence, which are unusual. The final duet, Hildach's "Farewell of the Birds," was beautifully given by Miss Pierce and Miss McCarthy—beautiful in production and finish. It was a lengthy program. Mr. Orth's piano pupils showed great strides since last heard, and the numbers were exceedingly ambitious for pupils. On account of the length of the program there were no encores given, but applause was very insistent. The vocal recital, at which Liza Lehmann's "In a Persian Garden" was to be heard and booked for May 27, by Arthur Hubbard, has been postponed until early in the autumn.
18Mrs. Robert N. LISTER SOPRANO
19Concerts, Oratorio, Etc.
20Address: Care Musical Courier, Hotel Nottingham, Boston
22Katharine GOODSON
23The English Pianist
24Who has made her American Debut this Season at the Boston Symphony Concerts, will tour the United States in 1907-08
25ENGAGEMENTS NOW BOOKING, NOVEMBER, 1907, TO THE END OF MARCH, 1908
26Managers, Clubs and Musical Organizations are cordially invited to correspond with
27HENRY L. MASON, 492 Boylston Street, Boston
28Regarding Dates, Terms and all particulars
29Her performance was one of rare brilliance. She was recalled again and again.—Boston Herald.
30Dr. Muck smiled as though he enjoyed the tributes of appreciation bestowed upon the English visitor.—Boston Globe.
31She has a technical art command which obeys her sovereign will as if it were a matter of course.—General Anzeiger, Dusselford.
32Throughout her performance of Schumann she showed a fine sense of tone color and artistic taste.—Leipziger Neueste Nachrichten.
33In everything there was revealed a highly developed and remarkable technical power combined with healthy musical feeling and finely educated taste.—Musikalische Wochenblatt.
34She has a rare power of emotional expression which never degenerates into affectation.—London Times.
35Miss Goodson is a young artist of remarkable temperament and her playing of Beethoven's great sonata in A flat was an astonishing performance.—Musical Courier.
36I have known many artists in my life, many soloists, but the true musician-artists I can count on the fingers of one hand; d'Albert, Ysaye, Paderewski—to these names I now add Miss Goodson.—Arthur Nikisch.
37In Miss Goodson the technical and interpretative qualities are balanced to an uncommon degree.—Boston Transcript.
38From the very first phrase the performance was full of authority. There was a remarkable breadth and a display of wrist action such as rivaled d'Albert himself. The wildest applause and recall after recall followed.—Boston Daily Advertiser.
40RICHARD PLATT
41PIANIST
42STEINERT HALL, BOSTON
43New York Studio: 10 West 40th Street
44MASON & HAMLIN PIANO
46FELIX FOX
47PIANIST
48Address RICHARD NEWMAN
49Steinert Hall, Boston, Mass.
51HEINRICH GEBHARD
52PIANIST
53Direction: HENRY L. MASON
54492 Boylston Street, Boston
55MASON & HAMLIN PIANO
57BOSTON BREVITIES.
58At the reunion of the Salon Francaise of Boston, last week, Alice Wentworth MacGregor, who is called a very French woman on account of her exceeding proficiency in the language, gave a monologue most cleverly. Ruth Cady, a pupil of Marie Everett, sang several charming French airs.
60The last morning recital by pupils of Marie L. Everett took place in her studios, and although the weather was most forbidding, a number of guests assembled. There were English, Italian and French songs. Ruth Cody, a Kansas girl, did some charming work, especially in "Who is Sylvia?" and Charpentier's "Depuis le Jour" (from "Louise"). Her diction was good and her voice rounded and well used. Marian Hobbs excelled in her singing of Godard's "Arabian Song" and closed the program with "Nuit resplendissante," Gounod, which she gave a brilliant
62Faeltten Pianoforte School
63CARL FAELTEN, Director
64Special attention given to thorough training of Music teachers. Teachers educated in this school are meeting with superior success wherever they establish themselves. Send for catalogue and pamphlet on Faeltten System. Eleventh school year will open September 16, 1907. Opportunities for summer study. A COMPLETE MUSICAL EDUCATION
6530 HUNTINGTON AVENUE, BOSTON
67Frederick N. Waterman
68177 Huntington Avenue
69BOSTON, MASS.
70Baritone and Teacher of Voice
71OPERA, ORATORIO, CONCERT, RECITAL
73PALMER VOICE CULTURE
74SBRIGLIA METHOD
75Teacher of Winnifred Spaulding, Soprano with the Hap Ward Co.; Lillias Salome, Soprano, King St. Church, Lowell, Mass.; Marian Gelso, Convent, Universalist Church, Lowell, Mass.; Agnes Selma Gibson, Instructor in Red Wing Seminary, Minnesota; Elizabeth Crawford, Soprano, Dallas Texas; Norma Drexel and others. one of two readings
76Teacher of Winnifred Spaulding, Soprano with the Hap Ward Co.; Lillias Salome, Soprano, King St. Church, Lowell, Mass.; Marian Gelso, Convent, Universalist Church, Lowell, Mass.; Selma Gibson, Instructor in Red Wing Seminary, Minnesota; Elizabeth Crawford, Soprano, Dallas Texas; Norma Drexel and others. one of two readings
77STUDIOS: Swan Building, Lowell, Mass. PIERCE BUILDING, Butler Exchange, Providence, R. I. BOSTON, MASS.
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