Books › Musical Courier 1907-12-04: Vol 55 Iss 23, 1907 › scan 17
Scan 17
Musical Courier 1907-12-04: Vol 55 Iss 23, 1907
82 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 18. See the scan on archive.org.
1thought into their music and performed subject instead of self. People would wake up and listen and enjoy and show it. Because they would be lifted out of their own dead "self" which is the province of music.
3Why not get in touch with people as well as pupils? Why not show them the difference between good music and the cheap and flimsy? Why not make it plain sometimes, that the bad must not always be desirable, the good ever dull and stupid? Why not indicate to parents what is meant by the educative in music, the practical value of doing things right, not wrong. Why not interest people in just what they (the great artist teachers) are trying to do, want to do, for the sake of the parent, for the sake of the pupil, for the sake of music? Why not form pupils into a class before parents, testing ear and training eye for music, or why not use the all important, ever neglected phonetic charts, to illustrate the reason why it is that no human being can hear or understand one word out of four, sung by one out of four of any type of vocalist (including the artist teacher himself). Intense interest, entertainment, amusement even, can be induced while giving valuable and practical instruction in pronunciation and enunciation and the carrying power that results from training in them.
5What teacher artist, or no artist, ever thinks of any of these things? Yet these are but a few meager suggestions, haphazard desultory. Means of interest and enthusiasm are endless and delightful in the music teaching field. Why not vary the program of musical instruction? Why not use resources instead of blaming people who need them? Why not profit by the resources of musical attraction and inspiration? How can one possessed of these resources prevent himself or herself from utilizing them? Why lay resources on the shelf and then fret and sign over their "loss"? Why not go into the woods and lead people out? Why not wake up one's self, and do something besides whine about what people do not have, and which nobody ever attempts to give them?
7FANNIE EDGAR THOMAS.
9Cesare Benedetti, the violoncello virtuoso and teacher at the Roman National Conservatory (of which Mascagni is director), died recently after a brief illness.
11Carl Organ Recitals.
13William C. Carl played three novelties at the second in the series of free organ recitals in the "Old First" Presbyterian Church, Monday, November 25. Hans Kronold assisted in the following program:
15Prelude and Fugue in B flat………………………………………Bach
16Verset in E major (new)………………………………………Claussmann
17Pastorale (harvest festival music, new)…………………Alfred Hollins
18Allegro Appassionata (Sonata V)……………………………Guilmant
19Cello, sonata in A major (No. 6), Adagio, Allegro………….Bocherini
20Hans Kronold.
21Allegro from the Sixth Organ Symphony…………………….Widor
22Christmas, Pastorale (introducing three Christmas carols)..Max Birn
23Marche Nuptiale (wedding music, new)…………………….Filippo Capocci
24Cello, Devotion, Lotus Flower, Fairy Dance (from the suite In the Forest)……………………………………………..Popper
25Hans Kronold.
27This was the one hundred and twenty-sixth organ concert that Mr. Carl has given in this church. The educational importance of the work carried on by this American musician has attracted wide notice. Many of his programs have been copied and the artist has received the heartiest tributes from his colleagues, the critics and music lovers generally.
29Nothing new can be said of Mr. Carl's playing, unless it be to add that he is playing better than ever this season. There is no style of music written for the organ that has not been introduced at the Carl concerts. Many notable transcriptions will be found on his lists.
31A large assemblage of students and music lovers, many of them strangers in town, enjoyed the program from first to last. Mr. Kronold's cello solos added much to the occasion. The last in the series of concerts took place Monday afternoon, December 2. The music for this occasion was on the order of the concerts given by the Mottetten Choir, of the Thomas Kirche in Leipsic, where John Sebastian Bach played. The choir of the "Old First" assisted Mr. Carl in presenting a program of unusual interest.
33Francis Rogers' Recital.
35The annual New York recital of Francis Rogers, which occurred at Mendelssohn Hall Tuesday afternoon of last week, afforded music patrons of the city an opportunity to hear the baritone in a program of unusual excellence. Mr. Rogers was in fine voice and happy mood and his singing evoked deserved and enthusiastic appreciation. New York hears in concert and recital during the season many capable singers, none of whom has a more thorough knowledge of the possibilities of vocal expression nor uses that knowledge with better effect than does Mr. Rogers, who, at his recital last week, rose to real heights, whether in the simplicity of Franz's "Es Hat Die Rose," or in the impressive splendor of "Dido's Lament," while the quaint, humorous German and Irish ditties toward the close of the afternoon bore able witness to his versatility and provoked a merriment which was not a tribute to the songs alone.
37Mr. Rogers' program included two songs by resident composers. The first of these, "The Dying Christian to his Soul," by Bruno Huhn, is solemn in theme, massive in construction and inspiring throughout. Its climax is superb. Altogether it has qualities which would make it a splendid choral number. Mr. Huhn played the accompaniment. "Love's Symphony," the second of the songs, is written in very light vein and is thoroughly charming. Isidore Luckstone, the accompanist of the afternoon, is the composer.
39The program follows:
41Sylvia, Now Your Scorn Give Over……………………………Purcell one of two readings
42Sylvia, Now Your Scorn Give Over…………………………..Purcell one of two readings
43More Love or More Disdain I Crave………………………….Purcell one of two readings
44More Love or More Disdain I Crave……………………………Purcell one of two readings
45I'll Sail upon the Dog Star………………………………….Purcell one of two readings
46I'll Sail upon the Dog Star………………………………………Purcell one of two readings
47Dido's Lament (Dido and Aeneas)……………………………Purcell one of two readings
48Dido's Lament (Dido and Aeneas)…………………………..Purcell one of two readings
49Lungi dal caro Bene…………………………………………Sarti one of two readings
50Lungi dal caro Bene……………………………………………..Sarti one of two readings
51Down Among the Dead Men…………………………………..Dyer one of two readings
52Down Among the Dead Men……………………………………Dyer one of two readings
53Serenade, Die Post…………………………………………….Schubert one of two readings
54Serenade, Die Post……………………………………………….Schubert one of two readings
55Now That Thou Leav'st Me…………………………………..Tschakowsky one of two readings
56Now That Thou Leav'st Me……………………………………Tschakowsky one of two readings
57Belsatzar (Heine)……………………………………………..Schumann one of two readings
58Belsatzar (Heine)……………………………………………….Schumann one of two readings
59Es hat die Rose……………………………………………….Franz one of two readings
60Es hat die Rose………………………………………………….Franz one of two readings
61Mädchen mit dem roten Mündchen………………………….Franz one of two readings
62Mädchen mit dem roten Mündchen……………………………Franz one of two readings
63On the Way Home…………………………………………….Grieg one of two readings
64On the Way Home……………………………………………..Grieg one of two readings
65Zur Johannissnacht……………………………………………Grieg one of two readings
66Zur Johannissnacht……………………………………………..Grieg one of two readings
67The Dying Christian to His Soul (Pope)…………………….Huhn one of two readings
68The Dying Christian to His Soul (Pope)……………………Huhn one of two readings
69Love's Symphony (O'Shaughnessy)………………………….Luckstone
70Ich und Du…………………………………………………….Fleck one of two readings
71Ich und Du………………………………………………………Fleck one of two readings
72D'une Prison (Verlaine)………………………………………Schlesinger one of two readings
73D'une Prison (Verlaine)……………………………………….Schlesinger one of two readings
74Malia………………………………………………………..Tosti
75Spinning Song (German ditty)……………………………….Chadwick
76Kitty of Coleraine (Irish ditty)……………………………..Chadwick one of two readings
77Kitty of Coleraine (Irish ditty)……………………………….Chadwick one of two readings
78The Danza…………………………………………………….Chadwick one of two readings
79The Danza………………………………………………………Chadwick one of two readings
81Alfred Gruenfeld, imperial and royal chamber virtuoso, has consented to act as a member of the faculty and examiner at the Brixel Conservatory. This position was held by Ignaz Brill, who died recently.
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