Scan 9
Musical Courier 1908-04-01: Vol 56 Iss 14, 1908
49 lines. Read by computer on 24 September 2026. Printed page 10. See the scan on archive.org.
1their credit. The accompaniments were most sympathetically played on both occasions by F. B. Kiddle.
3Walter Hyde, whose brilliant work in the "Ring" placed him at once in the front rank of English tenors, has been engaged for the Italian season at Covent Garden, a well earned and well deserved tribute to this serious young singer and his art. To achieve success at Covent Garden puts the "hall mark" upon an artist for the whole world. So it will not be a surprise if Mr. Hyde is heard of in a short time as booked for one or the other of the New York opera houses.
5Many are interested in the concert of English songs that Hermann Klein gave in New York, that is to say, songs by English and American composers. There are some excellent songs published here that never attain publicity outside a few friends or perhaps by chance are discovered by an earnest student. Not all of these are by well known composers, naturally, and if some of the obscure songs could be brought forward they would be found to contain much merit.
7The industry of the British composer, particularly the young composer, is one of the signs of the times of the interest being taken in British music. The orchestral concert of the Royal College of Music Patrons' Fund is to take place in the summer, and compositions are now being sent in for approval and appearance on the program. Fifty have been already received, three of them by female composers. The list includes about everything in the way of subject, concertos, symphonic poems, etc., etc., and the committee has no easy task to make its decision. In connection with the Patrons' Fund, it may be said that recently grants have been made toward the cost of publishing Felix Swinstead's "Four English Ballets," Geoffrey Palmer's Dublin prize cantata, "The Abbot," and Hubert Bath's "Four Rossetti Sonnets." Thomas Dunhill was aided to give chamber concerts of British music, and Hilda Lett, violinist, will, through this fund, be enabled to study abroad.
9The Misses Sassard arrived in London recently, and have most enthusiastic accounts to give of their American trip. It would seem that these young sisters have aroused as much interest and enthusiasm in their own country as they have always done here, their artistic solo and duet singing being one of the features of the professional and social world of London, where their engagements during the season keep them on a constant rush. Their reception by the Queen's Hall audience was a warm one, when they appeared at the Chappell Ballad Concert a day or two after reaching London, and they are engaged for the two remaining Ballads, the one this week and for the last one, a fortnight from that time. All who have the pleasure of knowing these interesting sisters realize the serious work and study that they give to perfect themselves in their art. They deserve the success they have attained, and we are all pleased to welcome them back to London once more.
11Gabriel Fauré, director of the Paris Conservatoire, is paying us a visit, and a concert of his compositions will be given this week.
13When "The Bride of Lammermoor" is produced at Glasgow next week Norman O'Neill will direct the performance of the incidental music, which he has just completed for that production. It consists of overture, entr'actes and other music.
15At Albert Hall last Sunday afternoon Blanche Marchesi was one of the vocalists. Her first number was Handel's "Sweet Bird," with accompaniment of orchestra and flute. In this aria Madame Marchesi departed from the usual custom, and sang the andante, which, it is said, has not been sung in England for over fifty years. It takes a high, dramatic soprano voice to carry the andante through successfully, but Madame Marchesi's consummate art is always equal to any demands made upon it. Gounod's "Ave Maria," with organ, piano and flute accompaniment, brought such continued and enthusiastic applause that she was finally induced to sing an encore, Tosti's "Goodbye," a great favorite with London audiences, causing an outburst of enthusiasm that could have easily been used to excuse a repetition of the song.
17Philip Brozel has been paying a visit to England, taking a short holiday from his busy life in Vienna to attend to business, and also some social duties. Since his arrival in London about a fortnight ago he has been receiving much attention from friends, and finds his time fully occupied with dinners, theaters, etc. On Monday evening he was one of the guests at a dinner given by Percy Burton, manager for Sir John Hare, and afterward attended at His Majesty's, where he saw Beerbohm Tree in "The Beloved Vagabond." The evening ended with a quiet supper at the Criterion. Yesterday Mr. Brozel went to Birmingham, where he is to visit Granville Bantock and Ernest Neumann, then returning to London, he will spend a few days with his relatives, leaving for Vienna next week to resume his duties as principal tenor of the Royal Opera.
19At the last symphony concert of the Queen's Hall Orchestra there was a novelty by Haydn, a "Divertimento for Wind Instruments." This composition contains for its second movement the "Chorale St. Antonii," which became famous by being used by Brahms as the theme for his orchestral variations. The "Divertimento" is scored for two oboes, two horns and three bassoons, or two bassoons and a "serpent," and it is said that this unusual combination of instruments is due to the fact that the suite was written for opera air use, primarily for the regimental band of Prince Esterhazy. The group from which this work is taken dates from 1781. May Harrison was the soloist, playing Bach's E major concerto for violin, organ and strings. Other numbers were the "Eroica" symphony of Beethoven, the "Funeral March" from "Götterdämmerung," and the "Ride of the Valkyries."
21The following verses are taken from the Musical News:
23NOT MUCH!
24(Dr. Naylor's prize opera is to be given in Italian by foreign artists.—M. N.)
25Native tongue for Norway!
26Ditto for the Dutch!
27English for the Englishman?
28Bless my soul! Not much!
30Operas are German,
31Italian, French, or such!
32English for the Englishmen?
33Gracious me! Not Much!
35Works for native artists,
36Publishers won't touch!
37English for the Englishmen?
38Out you get! NOT MUCH!
40—H. E. Hunt.
42When the Moody-Manners Opera Company appeared at Aberdeen, Scotland, "Tannhäuser" was one of the operas sung. Joseph O'Mara was Tannhäuser, and one of the critics said: "Joseph O'Mara's assumption of the title role was the bright particular performance of the evening. Mr. O'Mara's voice has all the compass and power necessary for the work. His tone is uniformly good, his enunciation delightfully distinct, and he sings with marked intelligence—an intelligence which extends to his acting and governs every action, every expression. Both as singer and actor Mr. O'Mara is to be highly complimented on his Tannhäuser."
44When Alys Lorraine gives a concert in London this spring, she will, in place of the conventional groups of songs representing composers, illustrate how a number of well known poems have been set to music by various musicians. Her first program will be devoted to "Flower Songs," while the second, it is said, will be made up of numbers devoted to sport.
46The following resolution proposed by G. Bernard Shaw was adopted at a meeting of the Betterment of London Association last week:
48That the attention of the Home Secretary be again directed by the Street Noise Abatement Committee to the inconsiderateness of allowing mechanical pianos, and musical instruments generally, to be played in public thoroughfares to the annoyance and disturbance of private life and the serious hindrance of the work of the pro-
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