Books › Musical Courier 1907-12-04: Vol 55 Iss 23, 1907 › scan 35
Scan 35
Musical Courier 1907-12-04: Vol 55 Iss 23, 1907
110 lines. Read by computer on 23 September 2026. Printed page 36. 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.
1PHILADELPHIA, December 2, 1907.
3The event of last week was the opening performance of the Metropolitan Opera Company, of New York. Boito's "Mefistofele" was presented with Chaliapin in the title role and Geraldine Farrar as Margarita. The tenor was Ricardo Martin Ferrari conducted.
5One of the most enjoyable programs presented by the Philadelphia Orchestra, under the leadership of Carl Pohlig, was at the pair of concerts last week. The symphony presented was Mozart's in G minor, and Mr. Pohlig's interpretation served to deepen and strengthen his hold upon the large audience, which has become the regular feature of the concerts, and to confirm the prevailing judgment that a great artist has been secured for the local organization.
7The other orchestral numbers were Brahms' "Tragische" overture and Berlioz's instrumentation of Weber's "Invitation à la Valse." The assisting artist was Vladimir de Pachmann, who played Mendelssohn's concerto in G minor. His superb pianissimo, the quality of tone and matchless singing quality place him in a class all his own.
9For this week a change in arrangement is announced for the Philadelphia Orchestra. The evening concert will be given on Thursday, December 5, while the afternoon concert will, as usual, occur on Friday. The symphony will be the No. 6 of Tchaikowsky and the soloist will be Horace Britt, a member of the orchestra, who will play Saint-Saëns' concerto in A minor for violoncello and orchestra. The other orchestral numbers announced are Goldmark's overture, "Sakuntala," and Weber's overture, "Der Freischütz."
11Estelle Stamm-Rodgers gave an interesting song recital in Griffith Hall on Monday evening, November 25. Her varied program, consisting chiefly of German songs, was rendered with style, breadth and feeling.
13The Hahn Quartet gave its opening concert in Griffith Hall on Friday evening, playing with great technical fluency Schubert's quartet in D minor and Mozart's piano quartet in G minor. Two of Mr. Hahn's compositions, "Mon Desir" and "Minuet," were also given, and the remaining number was a cello solo, "Variations Symphoniques," by Boellmann. The assisting artist was T. von Westernhagen. The second concert of the series will be given on December 20, when Lilian Briggs Fitz-Maurice will assist.
15Zaidee Townsend Stewart gave an artistic song recital in the Bellevue-Stratford on Friday evening. A large and fashionable audience was present.
17The Manuscript Music Society gave a private concert in the Orpheus Club rooms on Wednesday evening, November 27. The feature of the more than usually interesting program was a quintet for soprano, violin, cello, horn and piano, by Bruno Oscar Klein, presented by Marie Kunkle Zimmerman, Frederick E. Hahn, W. A. Schmidt, Anton Horner and Philip H. Goepp. Two groups of songs by Mr. Klein were sung by Perley Dunn Aldrich in his finished and artistic manner.
19A "Legende" for two violins, viola, cello and piano, written and conducted by Frank G. Cauffman, was performed by the Hahn Quartet and Philip H. Goepp, pianist. The same Quartet also played the two compositions of Mr. Hahn which were heard at Griffith Hall on Friday evening.
21Helen W. Henderson.
23New Orleans Welcomes Schumann-Heink.
25Madame Schumann-Heink's recital at the Tulane, in New Orleans, on the afternoon of November 24, attracted an immense audience. The singer was received with great demonstrations of approval. The following paragraphs are taken from lengthy reviews in the leading New Orleans papers:
27Mme. Schumann-Heink opened her concert with a Mozart aria, which at once set at rest any doubts one might have held as to the state of her vocal powers. The "Titus" music is of a kind to keep at a distance all but the most cultivated vocalists, and for a voice of such magnitude as Mme. Schumann-Heink's success became a veritable triumph. After that it was plain sailing, for in those greater roles from Myerbeer and Wagner, with which her name has become inseverably linked, there could be no possibility of failure. One could only long for the added pleasure of a full orchestra to lend its weight to such grandiose vocal effects. The Mozart music was sung in Italian, the Wagner, Saint-Saëns, Ambroise Thomas, Brahms, Schubert and Schumann in German, the Fides aria in French, and there was a delightful series of English songs rendered in English, which closed the program and raised popular enthusiasm to the highest pitch.—New Orleans Times-Democrat.
29Hers is the art of song which belongs to no school or no nationality, because it is true art. She is a true exponent of the Italian bel canto, and joins with that the splendid declamation of the German Wagnerian singers. This big voice of hers, which seems able to hold, sustain and swell a tone for limitless time, is at the same time as flexible as a reed, and her coloratura could put to shame the efforts of many a chanteuse legere. Mme. Schumann-Heink's versatility is another wonder. She sings the heavy operas with all the wealth of voice and warmth of temperament that she possesses and also sings ballads and songs with the same delightful charm of voice and expression. It is difficult to decide which one likes the best the rich, full tones in all their glory, or the delicate shading and real meaning expressed in the lighter numbers. Her program was long and varied, yet it seemed all too short and did not seem to tax the singer's powers in the least. The first number was the recitative and aria for Mozart's opera, "Titus." This was sung in Italian. The recitative was given with fine effect, and the aria, in the florid style, gave the singer opportunity to display the flexibility and sweetness of her voice. These coloratura passages were sung mezzo voce, every note as clear and true as a silver bell. The next number was from Saint-Saëns' opera, "Samson and Delilah." It was the familiar "Mon coeur s'ouvre à ta voix," and was sung in German, and the sustained tones showed the splendid voice in all its beauty. The favorite song from "Mignon" followed, with Goethe's beautiful words, and then came the two Wagner selections, from the "Götterdämmerung" and "Rienzi." Here the singer triumphed in her familiar roles. One saw the Valkyrie, daughter of the gods, lamenting her sister's fate. To any role which she assumes she lends a dignity, through her seriousness of purpose, finished art and compelling personality. Following these operatic selections came the ballads, first a religious piece, "Die Allmacht," sung with deep fervor; then "A Spring Night," by Schumann, given with exquisite lightness; then the six Gypsy songs by Brahms, six little gems of wild melody and charming words, sung with a touch of comedy and tender sentiment. One of these so captivated the audience that the singer sang it a second time. The group of English songs came next, and the most exquisite of these was the "Danza," by Chadwick.—New Orleans Picayune.
31Willard Flint's Season.
33W. S. Bigelow, Jr., announces a prosperous season for Willard Flint, the basso, of Boston. Several dates have already been booked: "The Beatitudes" with the Cecilia Society, December 17, and "The Redemption" with the People's Choral Union, January 19, both in Symphony Hall, Boston. Mr. Flint will also sing in "The Messiah" with the Choral Society of New Bedford, Mass., on December 22.
35Mr. Rummel Sails.
37Walter Morse Rummel sailed for Germany last week to resume his studies with Godowsky and Hugo Kaun, in Berlin.
39THE PHILADELPHIA ORCHESTRA
40(80 MUSICIANS)
41CARL POHLIG, Conductor
42Address all Communications to
43CHAS. AUGUSTUS DAVIS, Business Representative
441312-13-14 Pennsylvania Building, Philadelphia
46PHILADELPHIA ADVERTISEMENTS.
48MARTIE NASSAU
49THE HAHN VIOLIN SCHOOL
50(FREDERICK E. HAHN, Director, Formerly First Violinist of the Boston Symphony Orchestra.)
51The Sevick Method a specialty.
52THE HAHN QUARTETTE
531524 Chestnut Street, Philadelphia, Pa.
55CONRADI
56PIANIST
57RECITALS
58INSTRUCTION
60SOPRANO
6110 South 18th Street
62PHILADELPHIA, PA.
64THE STERNBERG SCHOOL OF MUSIC
65CONSTANTIN VON STERNBERG, Principal
66Complete musical education in all branches.
67Write for catalogue.
68Fuller Building, 10 South 18th St., Philadelphia.
70LEEFSON-HILLE
71Conservatory of Music
72Weightman Bldg., Philadelphia, Pa.
74DR. GEO. CONQUEST
75BASS-BARITONE
76RECITALS AND ORATORIO. 1535 Chestnut St., Phila., Pa.
78ANTHONY
79CLARA ANNA YOCUM
80CONTRALTO SOLOIST
81Oratorio, Concerts, Recitals.
82Address, 631 S. 49th St. Tel. 1015 W. Preston, Philadelphia, Pa.
84EDWIN EVANS
85BARITONE
86ORATORIO—CONCERT—RECITAL
87NEW YORK: 51 East 64th Street
8810 South 18th Street, PHILADELPHIA
90EDWARD SHIPPEN
91VAN LEER
92TENOR
93Concert, Oratorio, Recital
9410 South 18th Street
95Philadelphia
97PERLEY DUNN
98Song Recitals
99Teacher of Singing,
1001710 Chestnut Street
101Philadelphia, Pa.
103ALDRICH
104STAMM-RODGERS
105Contralto
10620 South 18th Street
1074631 Wayne Avenue
108PHILADELPHIA
109Phone: Gtm. 1601 V
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