Books › Musical Courier 1909-05-05: Vol 58 Iss 18, 1909 › scan 35
Scan 35
Musical Courier 1909-05-05: Vol 58 Iss 18, 1909
15 lines. Read by computer on 26 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.
1CHICAGO
2CHICAGO, Ill., May 1, 1909.
4The 1908-09 season of the Theodore Thomas Orchestra has been, as always, one of great interest musically and educationally. Besides the regular repertory of standard works, the orchestra has presented several works, new and in the form of novelties; the complete repertory numbered, in all, 147 compositions. The list of the new works and novelties embrace the following: at the first concert, October 23, Boelhe's charming symphonic poem, "Taormina," was heard for the first time in Chicago; at the third concert, October 30, Heinrich Gottlieb Noren's "Kaleidoscope" (op. 30), received its first American hearing; the fourth concert, November 6, Liadow's "Baba Yaga," tableau music, was given; and at this same concert Emil Sauer played his own concerto, No. 1, in E minor, which was its first Chicago hearing; the fifth program brought forward an Elgar op. 1a novelty, in the form of a suite entitled "The Wand of Youth"; the sixth program, November 25, contained three pieces for orchestra (suite), op. 126, by Marco Enrico Bossi; at the seventh program, November 28, Grieg's "Old Norwegian Romance," with variations (op. 51), was heard, and also Frank van der Stucken's march, "Louisiana"; the ninth program was notable for two new works by two contemporary Italian writers, the overture, "Le Baruffe Chiozzotte," for orchestra, by Leone Sinigaglia, and Sgambati's concerto in G minor, played by Ernesto Consolo; at the eleventh concert, December 25, Pierné's concertstück for harp, was played by Enrico Tramonti; the first concert of 1909, the twelfth concert of the season, brought forward Pfitzner's overture, "Das Christ Edlein" ("A Christmas Fairy Tale"), op. 20; the thirteenth concert contained the prelude and double fugue by Klose, on a theme by Bruckner, for organ, four trumpets, and four trombones, the organist being Wilhelm Middelschulte; at the fourteenth concert Glinka's "The Life for the Tsar" was given its first hearing, and also Borodin's symphony in B minor, No. 2; at the fifteenth concert, January 22, De Swert concerto for violoncello was heard, played by Walter Unger, also serenade for wind instruments, by Walter Lampe; at the sixteenth concert, three novelties were heard, Debussy's "La Mer," Ernest Schelling's suite for orchestra and piano, the composer as pianist, and Gretry's three dance pieces from "Cephale et Procris"; at the twenty-second concert, March 12, Paderewski's symphony was heard; and at the twenty-fifth concert, April 2, three pieces for small orchestra by Hugo Kaun received their first hearing. The question of nationality, always an interesting one in music, was divided among the German, Russian, Italian, French, English, Belgian, Polish, Norwegian and Texas-German nationalities. All the Germans represented belong to the contemporary period: Boelhe, Noren, Lampe, Kaun, Klose and Sauer; of the four Russians, Liadow and Pfitzner, the latter a Russian-German or vice versa, are contemporaries; of the three French composers, Debussy and Pierné are contemporaries; of the Italians, Bossi, Sgambati and Sinigaglia are also contemporaries; the English, Elgar; the Belgian, De Swert; the Polish, Paderewski, and the Texas-German, Frank van der Stucken—are also of the contemporary day. The soloists who have appeared with the Thomas Orchestra besides those mentioned as exponents of new works were: Marie Rappold, who sang November 13-14 the aria "Wienachte mir der Schlummer" from "Der Freischütz," by Weber; Albert Spalding, who played December 4-5, the Saint-Saëns concerto for violin, B minor, op. 61, No. 3; Johanna Gadski, who sang January 1-2 the "Dove Sono" and "E Susanna non vien," from "The Marriage of Figaro," by Mozart; Mischa Elman, who played January 15-16 the Tchaikowsky violin concerto; Alexander Petschnikoff, who played February 5-6 the Mendelssohn violin concerto; Katharine Goodson, who played February 26-27 the Brahms D minor piano concerto; Paderewski, who played March 13-14 the Saint-Saëns C minor concerto; Leopold Kramer, who played March 19-20 the Sibelius violin concerto; Ludwig Becker, who played April 2-3 the Wieniawski D minor violin concerto; and Fannie Bloomfield Zeisler, who played April 16-17 the Liszt E flat concerto. March 5 and 6 the Mendelssohn Choir, of Toronto, was heard in conjunction with the orchestra in a capella and accompanied numbers.
6Gustaf Holmquist, one of the best bassos of the West, has begun a spring tour with the New York Symphony Orchestra.
8The musical season now about over has been one of great strenuousness and strain for both the patron and the pocketbook. The regular Chicago season may be said to open formally with the first Theodore Thomas Orchestra concert, in October, and to close with the opera, with a supplementary season of semi-professional concerts and graduating exercises. This year Chicago will also inaugurate her first music festival season. The North Shore Festival Association will father the giving of a three days' festival in the fine new University Gymnasium, June 3, 4 and 5. Four concerts are scheduled with a festival chorus of 500 voices, a children's chorus of 1,000 voices, the Theodore Thomas Orchestra and a list of soloists, including Schumann-Heink and David Bispham. Mendelssohn's "Elijah" and Handel's "Dettingen Te Deum," and the children's cantata, "Into the World," by Benoit, will be sung. The programs also include many interesting miscellaneous works for solo voice, for orchestra, and for boys' and girls' choruses. The North Shore Festival Association is composed of the following prominent Chicago people: William F. Hypes, president; Chancellor Jenks, vice president; Frank S. Shaw, vice president; John H. Hilton, secretary; John R. Lindgren, treasurer; Carl D. Kinsey, business manager. Executive committee: M. Cochrane Armour, D. H. Burnham, Dr. Abram W. Harris, C. W. Spofford, Frederick P. Vose, and H. B. Wyeth. The trustees, including officers and the executive committee, are: F. H. Armstrong, Dr. M. C. Bragdon, Mrs. H. D. Cable, C. B. Congdon, W. A. Dyche, Frank M. Elliot, Mrs. F. M. Elliot, Thomas L. Fansler, F. W. Gerould, R. C. Hall, Irving Hamlin, William Hudson Harper, C. M. Howe, Mrs. W. F. Hypes, Arthur B. Jones, Rollin A. Keyes, F. C. Letts, Mrs. John R. Lindgren, P. C. Lutkin, Dr. J. N. Mills, James A. Patten, Mrs. James A. Patten, Joseph E. Paden, Irwin Rew, and Mrs. C. L. Woodyatt. The guarantors are: Wm. D. Allen, M. Cochrane Armour, Dr. M. C. Bragdon, D. H. Burnham, W. H. Bartlett, W. L. Brown, W. W. Buchanan, Charles Baird, Geo. S. Bridge, E. J. Buffington, J. M. Barnes, A. R. Barnes, Thos. Bates, C. T. Boynton, W. B. Bogert, Mrs. H. D. Cable, C. H. Chandler, H. C. Colby, J. J. Charles, Chas. P. Cleveland, E. F. Carpenter, Dr. Abram W. Harris, W. F. Hypes, John H. Hilton, James T. Hatfield, C. M. Howe, N. Dwight Harris, John H. Hardin, F. A. Hardy, H. G. Haugan, W. A. Heath, C. D. B. Howell, Arthur Hawkhurst, Richard C. Hall, Irving Hamlin, W. A. Illsley, Chancellor Jenks, Arthur B. Jones, J. W. Kepler, Rollin A. Keyes, H. N. Kelsey, F. S. Kretsinger, J. G. Orchard, Joseph E. Paden, James A. Patten, Mrs. James A. Patten, Conrad C. Poppenhusen, H. A. Pearsons, George H. Peaks, H. J. Patten, W. H. Redington, Victor A. Rossbach, Wm. F. Rollo, Irwin Rew, H. B. Riley, J. C. Shaffer, J. C. Spry, Charles N. Stevens, Walter B. Smith, Frank S. Shaw, Edwin Sherman, John W. Scott, George M. Sargent, C. B. Congdon, W. H. Damsel, Rufus R. Dawes, Charles G. Dawes, William Deering, W. H. Dunham, W. A. Dyche, Frank M. Elliot, C. W. Elphicke, Thomas L. Fansler, Frank P. Frasier, William Francis, A. L. Fanning, D. R. Forgan, C. E. Graves, M. M. Gridley, Mrs. E. P. Griswold, Charles F. Grey, F. W. Gerould, C. C. Linthicum, S. J. Llewellyn, F. C. Letts, William S. Lord, Frank E. Lord, E. S. Lacey, P. C. Lutkin, J. R. Lindgren, Mrs. J. R. Lindgren, W. S. Mason, George P. Merrick, Frank H. McCulloch, H. H. C. Miller, James Macdonald, Dr. J. N. Mills, George W. Maher, Charles R. Murray, W. Irving Osborne, James F. Oates, C. W. Spofford, Paul Tietgens, Thomas Templeton, Leroy D. Thoman, Arthur W. Underwood, Frederick P. Vose, Mrs. R. H. Wilson, H. J. Wallingford, Charles P. Whitney, W. H. Warren, C. P. Wheeler, Eugene Willoughby, Milton H. Wilson, John E. Wilder, Carl S. Williams, H. B. Wyeth, J. F. Ward, and D. L. Zook.
10That Chicago has several excellent music schools to her credit has long been recognized among those who are at all interested in the art of music. Like many another Western and Middle West city, Chicago was in its early stages of pioneer environment thrust upon itself to create for itself all it needed for subsistence, physical and mental, shut away as it was in its prairie fastness from all the realms of art and literature. Necessity, however, again became the mother of invention and found a way to give form and substance, outward manifestations, to the impulses and aspirations of a skillful and ambitious people in a new world. Gradually assuming shape in various forms and by various manner of means, the ideals of the West became tangible assets in the making of Chicago not only the representative commercial city of the West, but in the creating of conditions that place Chicago among the foremost American cities in its educational advantages, especially for the study of music. The oldest musical institution in Chicago is the Chicago Musical College, founded in 1867 by Dr. Ziegfeld. Now in its forty-sixth year as one of Chicago's leading musical institutions, it will move into its new building, which has just been completed, at 246 Michigan avenue, about May 1. Equipped with all modern conveniences and containing an auditorium to be known as Ziegfeld Hall, with a seating capacity of 750, the Chicago Musical College will hold its formal opening in the near future, when a concert will be given by several new artists engaged for next season's faculty.
12Another most worthy institution for the study of music is the American Conservatory of Music, founded and incorporated in 1886. Now entering on its twenty-third year it is a monument to the energy and ideals of one man, John J. Hattstaedt, president of the conservatory. There is no doubt but that time will also see this institution in a building more commensurate with its present demands and advancing development. Plans are now under way with Mr. Hattstaedt and his associates for the acquiring of more adequate accommodations. Both these schools of music employ a corps of instructors of the very best obtainable caliber of both European and American nationality and training, many of the artists being of international fame. Among those recently associated with these two schools are: Ernesto Consolo, Hugo Heermann, Wilhelm Middelschulte, Heniot Levy, Herman Devries, Karleton Hackett, Allen Spencer, Silvio Scionti, Louis Falk, Walter Knipfer, Ragna Linne and Victor Garwood.
14Other schools of less gigantic proportions are the Sherwood School of Music under the personal direction of William H. Sherwood, a staunch advocate of all things
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