Books › Musical Courier 1909-03-17: Vol 58 Iss 11, 1909 › scan 45
Scan 45
Musical Courier 1909-03-17: Vol 58 Iss 11, 1909
83 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 46. See the scan on archive.org.
1MINNEAPOLIS, Minn., March 13, 1909.
3The Dr. Ludwig Wullner recitals Monday and Wednesday evenings in the Y. M. C. A. auditorium were the most interesting features of the week's music. We have to thank Fraulein Schoen-Rene, for it was she who brought the great German lieder singer here. There was not much of an audience for the first concert, but for the second recital the hall was well filled, and should Dr. Wullner appear here again, it is almost a sure thing that he would fill the Auditorium. At the second recital, every one who makes any pretensions in music was to be seen in the audience, and the enthusiasm which Dr. Wullner evoked from first to the last was something remarkable. Dr. Caryl B. Storrs, musical critic of the Tribune, had this to say:
5Dr. Wullner moves the emotions irresistibly; one shudders at his "Doppelganger," shivers at his "Erl King," laughs at his "Rat Catcher," and sinks to the sudden sudden depths of Strauss' terrible "Stonebreaker," and thrills with the love fervor of "Cecile." But one listens vainly for a tone of pure music and wonders if this marvelous actor would engender, in the creators of these triumphs of tonal romance, feelings of unalloyed pleasure and satisfaction.
7Stuart Maclean, critic of the Journal, says:
9But the more one studies Wullner the more one is persuaded that his work as it is offered in the form of finished product contains little of the hit or miss. In the last lines of Rubinstein's "Der Astra" he demonstrated the possession of a big, warm, powerful voice, the voice of the singer, smooth and resonant as the singer is, only to sacrifice its singing to its effect in such songs as Hugo Wolf's "Der Tambour," or to combine the two magnificently in the grim mockery of Sinding's "Ein Web." one of two readings
10But the more one studies Wullner the more one is persuaded that his work as it is offered in the form of finished product contains little of the hit or miss. In the last lines of Rubinstein's "Der Agra" he demonstrated the possession of a big, warm, powerful voice, the voice of the singer, smooth and resonant as the singer is, only to sacrifice its singing to its effect in such songs as Hugo Wolf's "Der Tambour," or to combine the two magnificently in the grim mockery of Sinding's "Ein Web." one of two readings
12There were few in his audiences who did not enjoy every moment of the recitals.
14Sibyl Sammis and Henry J. Williams were the soloists at the "pop" concert last Sunday, and with all due deference to the ladies and to such an admirable singer, as Miss Sammis, it must be said that Mr. Williams carried off the honors of the occasion. Mr. Williams is the harpist of the orchestra, and has not been heard very often since he came here, but that he is popular was evident from the ovation which he received Sunday. He played the Zabel concerto, and gave the audience some idea of the powers of the instrument over which he presides. It is often said that the harp is limited in its capacity for producing music, but under the hands of such a master as Mr. Williams it seemed as if there was nothing in the way of technical difficulties or tone color that could not be overcome. Of course we know that chromatic runs and one or two other things attainable on the piano are not for the harp, but, on the other hand, there are harmonics, and few other things attainable on the harp and not on the piano. Mr. Williams put everything possible and many things seemingly impossible into his harp playing, and carried the house by storm. He was applauded to the echo, and was obliged to respond with two encores. Miss Sammis sang "O, Priests of Baal," from "The Prophet," as her principal number, and three songs with piano for her second number. These were "Ecstasy," by Walter Rummel; "Charity," by James MacDermid, and "Your Kiss," by John Thompson. Margaret Gilmore played her accompaniments. The orchestra was heard in D'Albert's overture, "A Carnival in Padua"; "Divertissement," from Massenet's "Les Ermynes"; the "Candle Dance," from Rubinstein's "Feramors," and five numbers from Elgar's suite, "The Wand of Youth." The Elgar suite grows in favor the more it is heard, and it was certainly heard to good advantage in this concert. But probably the gem of the program was the Massenet number, and it was played with a delicacy and finish that made it especially enjoyable. The Schubert "March Militaire" opened the concert, though it was not on the program, and it made some of the numbers appear a little lifeless in comparison.
16The Sansone Quartet concert Tuesday evening was particularly enjoyable, because Mr. Sansone played his own concerto for the first time in this city. It is a splendid work, beautiful in its thematic material, and worked out with a fidelity to the old school of master composition that makes it especially enjoyable in these days of tuneless, keyless music. Mr. Sansone was accompanied by strings and piano. The Mendelssohn capriccio, op. 81, for string quartet, opened the program, and the Brahms piano quintet, op. 34, closed it. The only other number was two movements of the Grieg sonata for cello and piano, played by Roberto Sansone and Mrs. Hermann Scheffer. This is the last of the chamber concerts which have been given during the winter under the auspices of the Northwestern Conservatory.
18Two weeks ago the Minneapolis Symphony Quartet gave the last of its winter series of concerts. Tuesday afternoon it began with a new series of concerts in Handicraft Guild Hall, and these are under the auspices of the Woman's Club. Just how many concerts will be given has not been determined, but three at least, and probably more, depending on the attendance. The opening concert was a splendid one, and the hall was completely filled with lovers of chamber music. The program was opened by the Mozart quartet in G, No. 12, Edition Peters, and closed with the "Fantasiestück," op. 5, of Coleridge-Taylor. There was also on the program a Cherubini scherzo and Schumann's "Abendlied," arranged for quartet. The only solos were by Mr. Korb, first violinist, who played the St. Lubin "Lucia" fantasy for violin alone. He was given a loud encore, and, after much persuasion, played again. The concert was very enjoyable, and in many respects was the best given by this organization this winter.
20The Euterpean Club of the University of Minnesota had another successful concert Thursday afternoon in the University chapel. The soloist was Augustus Milner, who was so favorably heard with this female organization at the Baptist Church two weeks ago. The program was very nearly a duplicate of the one given at the Baptist Church, and if possible it was better than on that occasion. Certain it is that this chorus sings with a virility that makes every moment intensely interesting. Carlyle Scott directed.
22Advanced pupils of William T. Spangler were heard in recital Tuesday evening. Those appearing on the program were: Gladys Hodson, Jeanette Erickson, Sumner Engberg, Olga Hosse, Stella Reed, Alice Jones, Mabel Freedlund, Millie Rye and Lillian Wright.
24Advanced pupils of the Tappan School of Music gave a piano recital Friday of last week. Those who appeared were: Mrs. E. P. Crew, Mrs. M. C. Gard, Mary Schutz, Gertrude Baird, Emma Fisher, William Schoemaker, Delmar Hills, Roy Bausserman, Joseph Goldonick and Edward Landberg. There were also numbers by the school string quartet and the school orchestra.
26This afternoon the following pupils of Alma Ekstrom gave a recital: Mabel Peterson, Mabel Ewald, Ruth Frederen, Astrid Homer, Julia Jacobson and Marjorie McFarland.
28A Chopin program was given by the pupils of St. Margaret's Academy last Saturday. Those participating were Lillian Taaffe, Emma Hartman, Isabel Guertin, Katherine Pickett, Teresa Hanley, Mary Hallinan, Rose Pouliot, Mary Lane and Teresa Kennedy.
30OSCAR HATCH HAWLEY.
32She Is Mrs. Turner.
34ST. PAUL, Minn., March 6, 1909.
36Editor THE MUSICAL COURIER:
38Since Maud Powell and the Mukle girls were here a couple of weeks ago, a discussion has arisen as to whether or not Miss Powell is married. It was decided to leave the matter to you, since no one here seemed to be very definitely informed.
40OSCAR HATCH HAWLEY.
42Maud Powell is Mrs. H. Godfrey Turner, having, some years ago, married an English manager of that name. So far as this paper knows Mrs. Turner has never made any effort to disguise this fact and does not need to do so. She would play exactly the same as Maud Powell as she does as Mrs. Turner and, in fact, she does. If she was not with Mr. Turner when she was in St. Paul, he must have been here or somewhere where she was not, and for professional reasons it frequently becomes imperative for the husband or the wife not to sojourn in the same place together where the performance takes place.
44Jomelli in Ohio.
46Madame Jomelli, the prima donna, had great success at her concert in Canton, Ohio, March 10, for which she was obliged to cancel her New York recital. The following criticism is from the Canton News of March 11:
48Her voice is of that delightful quality which, while possessing all the full, rich and mellow tones of the mezzo, still has the full range and ringing properties of the high soprano. One notable feature of her voice is the ease and grace with which she passes from one register to another. In this she retains volume and tone quality to a degree equalled by but few vocalists.
50MUSICAL ATLANTA.
52ATLANTA, Ga., March 9, 1909.
54At present Atlanta is suffering from musical hysteria over the coming May festival, when Caruso will be one of the soloists.
56One of the best concerts in Atlanta recently was given by the ever popular David Bispham, assisted at the piano by Harold Osborne Smith.
58Hunter Welsh, the pianist, played numbers by Beethoven, Schumann, Tschaikowsky, Rachmaninoff, Grieg and Chopin at a recent meeting of the Atlanta Musical Association. Mr. Welsh is a recent acquisition to the professional ranks in Atlanta. He is a former pupil of Emil Sauer and Robert Fischof, of Vienna.
60February 27, Dr. August Geiger gave his second talk before the Atlanta Musical Association on the subject: "Music and the Home." It contained many helpful suggestions. February 13 and 20 other musicians appeared before the association. On the first date Mrs. Alexander Stirling, soprano; C. E. Buchanan, violinist, Raymond Thompson, cellist, and Kurt Mueller, pianist, united in the program. On the second night, Richard Schliwen, the violinist, played numbers by Sarasate and Vieuxtemps, and Lucius Perry Hills read several of his poems.
62Lula Clarke King is doing much for voice culture in Atlanta, and her Studio Talks are most beneficial. An instructive feature of the last one was a talk on the "Physiology of the Voice," given by Dr. R. R. Day, formerly of New York. A group of songs by Von Fielitz was a delightful feature offered by William Tucker, who possesses a rich baritone voice, and is a pupil of Miss King.
64Mendelssohn's "Elijah" was repeated March 2, with much success, J. W. Marshbank conducting.
66The St. Cecilia Society, of Washington Seminary, under the direction of J. Fowler Richardson, gave a carefully prepared production of "Olivet to Calvary" at St. Philip's Cathedral February 28. The society has rehearsed for months, which alone insures good work. It was assisted by the choirs of St. Philip's and the Church of the Incarnation, and had, in all, over two hundred voices. Miss Lovelace, J. W. Marshbank and John Mullin were the soloists.
68February 26 the pupils of Mr. and Mrs. Paul Schwarz-Wagner were heard in recital at the Atlanta Conservatory of Music.
70The tremendous program given at the Klindworth Conservatory of Music by Mrs. Kurt Mueller is worthy of more than passing interest, and was as follows: Schubert's "Die Forelle," "Die Junge Nonne," "Rueckblick," "Fruehlingssehnsucht," "Taubenpost," "Erstarrung," "Der Lindenbaum," "Gretchen am Spinnrad," "Eifersucht und Stolz"; Schumann's "Belsazar," "Mein Garten," "Mignon," "Schmetterling," "Kinderwacht," "Zwei Zigeunerliedchen," "Schneegloeckchen," "Marienwuermchen," "Fruehling's Ankunft," "Heimliches Verschwinden," "Geisternache, Roeslein," "In's Freie." Kurt Mueller was the excellent accompanist.
72At the Klindworth Conservatory Kurt Mueller has, in a series of sonata recitals, given all of Beethoven's sonatas. They were an educational uplift.
74The Schliwen String Quartet, with the following personnel, Richard Schliwen, Erwin Mueller, C. Edward Buchanan and Raymond Thompson, is filling a few dates in Georgia and Alabama.
76The Dell-Fox Concert Company will appear before the Atlanta Musical Association in its clubrooms March 22.
78Two violin recitals by the pupils of the Theodora Morgan Violin School were given on the afternoon of February 15 in her studio and at night on the same date in the clubrooms of the Atlanta Musical Association. The pupils appearing were Edna Behre David Love, Nellie Joe Johnson, Elliott Johnson, Alexa Stirling, Bess Wall, Grace Le Craw, Amy Webster, Marian Harlan, Ralph Le Craw, Henry Brown, Ethel Aram, Eva Maie Willingham, George Woodruff, Roy Le Craw and Margaret Lowman a pupil of Annie Thomas Anderson also Elizabeth Hancock, a pupil of Mrs. Charles P. Glover.
80Mrs. Zay Rector-Bevitt presented one of her gifted pupils, Ruth Law, in a piano recital at the Atlanta Conservatory of Music February 19. She was assisted by Professor Schliwen and his son, Edgar Schliwen, and Mary Agnes Pearson, a pupil of Anna Hunt, violinist.
82BERTHA HARWOOD.
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