Books › Musical Courier 1909-05-05: Vol 58 Iss 18, 1909 › scan 39
Scan 39
Musical Courier 1909-05-05: Vol 58 Iss 18, 1909
30 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 40. 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.
1THE MUSICAL COURIER
3BOSTON
5HOTEL NOTTINGHAM one of two readings
6HOTEL NOTTINGHAM, one of two readings
7BOSTON, MASS., MAY 1, 1909.
9The progress on Boston's new opera house is nearing the detail stage, thus seemingly slower than usual. The work of getting ready is necessarily tremendous, and yet the movements of the management are quiet and amazingly smooth. This week, May 4, Henry Russell leaves for Europe, presumably to close contracts with other singers. The subject of costumes is just now of engrossing interest to those concerned, and THE MUSICAL COURIER's Boston representative was allowed to examine some newly arrived samples from London and Paris shops, and it was no less entertaining to listen to wise heads, men at that, discuss the whys and wherefores of color and fabric, fringe or no fringe, and note the hair-breadth differences in prices—all showing the enormity of the undertaking. Away down on North street, dozens of women, skilled in handicraft and artistic designing and creating according to traditions in costuming, are hard at work, fashioning the stuffs purchased into what goes to make, in some degree, at least, the success of the operas to be heard on our Boston Opera House stage next fall. This side, pre-eminently essential in the successful production of opera, is often forgotten, that is, the Needle behind the Art, after all, is pretty much the dominating feature, if one stops to think about it. We hear about this and that singer, this and that conductor, and so on, but we seldom hear anything concerning the army of artists back of the beautiful costumes. It is an interesting sight, this North street sewing room, and would prove so to the many who will ere long clap and praise the wearers of this toggery now under way. Then, as to scenery: over ninety complete sets are in process of construction, under the direction of Delfino, whom Mr. Russell brought over from Europe for this special line of work.
11A very interesting service, held in Temple Israel, Friday evening, and constituting what is known as "Music for the Synagogue," with its accompanying ritual of the Jewish Church, drew a large audience. Henry L. Gideon, organist of this church, prepared the program, besides playing a solo in the middle of the service. Arthur Foote composed this music while at East Gloucester in the summer of 1901, and it was sung by the regular quartet which sings at the synagogue's Saturday service, and the chorus which sings on Sundays, Frances Dunton Wood, soprano; Bertha Cushing Child, contralto; Bruce Hobbs, tenor, and John Phillips, bass, making the regular choir, with Mr. Adelheim as the cantor of the Temple, and singing most of the incidental solos in Mr. Foote's beautiful work. Rabbi Charles Fleischer, a man of indefinable grace and charm of presence and speech, gave a valuable talk and explanation of the service, and especially endorsed Mr. Foote's treatment of the subject, showing how the latter had served the purpose in his musical numbers, and caught the simplicity of the Jewish service, whether orthodox or not. There are fifteen numbers written by Mr. Foote, all of these being short, and these, with the exception of two, were sung. There is much real rhythm and beauty in the work, and its production engrossed the hearers. Mr. Foote conducted, and this gave all a new enjoyment to the evening.
13The musical season is past, or is so considered, after the final concert by the Boston Symphony Orchestra has been given in Boston. Conductor Max Fiedler's first season in Boston as head of one of the world's greatest orchestras has been, blessed with comparatively few if any complaints from the fanatics who aggressively arrogate to themselves yearly the prerogative of selecting the programs for Boston's delectation. That Mr. Fiedler has pleased his audiences, individually and collectively, means much, and seems sufficient to stamp him as a superlatively great conductor, a musicianly musician, and a man of superior judgment and intelligence. The final rehearsal and concert, then, were of sufficient public interest completely to fill Symphony Hall. The program, including as it did Beethoven's colossal ninth symphony in D minor (participated in by the Cecilia Society and four soloists, to wit: Laura Combs, soprano; Gertrude May Stein, contralto; Theodore van Yorx, tenor, and Myron W. Whitney, bass), and Mozart's symphony in D major (K 385), anticipation naturally ran high. On the whole it was an ideal performance; many splendid climaxes, and a play of imagination and poetic feeling marked the Beethoven number. The choral part was not long, only a beautiful climax to the final movement, and the soloists were not given much showing, but the work done by them was a complement, as it were, to the whole. The soloists, then, were not as individual singers, for Beethoven seems to have had another purpose, but the quartet did fine work. The chorus singing was of extraordinary value, and was trained by Wallace Goodrich. The demonstration was enthusiastic on all sides, and Mr. Fiedler's first Boston season closed with applause of the genuine kind from a great concourse of musical devotees and admirers of this admirable conductor and gentleman.
15Helen True, a young soprano, and daughter of Dr. True, of Marblehead, announces a song recital to be given at the Tuileries May 13, with a long list of patronesses at its head. The affair will be at high noon, and those who have heard Miss True sing anticipate a vocal treat, as she is especially gifted with musical intelligence and considerable vocal equipment for one who is still a pupil and who has essayed but little or no professional work. Miss True has not yet announced her program.
17Charlotte Greene, better known perhaps as Mrs. George Greene, will give a rehearsal with her voice pupils early in June at the Tuileries, and another in Beverly, at her summer home, which is quite near the water front, hence affords charming views. Esther, one of the daughters, will play several piano pieces, as she is a very talented young musician, and is a pupil of Richard Platt, of Steinert Hall. Her other twin daughter, Ruth, is engaged in study at the Art Museum, but possesses a good voice, hence will be heard at the recital.
19A chamber concert to be given by the Lekeu Club as a benefit for the Morgan Memorial Fresh Air Work is announced. The personnel of the club is: George Copeland, Jr., piano; Fred Mahn, first violin; Frank Currier, second violin; A. Gietzen, viola; T. H. Cabot, cello, assisted by Bertha Wesselhoeft Swift, soprano. The concert will take place in Steinert Hall Friday evening, May 14.
21Cora Cutter Wellman, daughter of E. Cutter, Jr., is just now singing at Park Street Church in the place of Caroline Gardner Clarke-Bartlett, who recently resigned on account of her fast growing work in both Springfield and New York. It has not yet been decided, however, who will fill Madame Bartlett's position permanently.
23Pupils of Everett E. Truette will give an organ and piano recital at Eliot Church, Newton, on the evening of May 6. The following pieces will be played: Toccata in C, J. S. Bach; intermezzo in D flat, Hollins; "Marche Religieuse," Guilmant; capriccio for piano, Mendelssohn-Bartholdy; vision in D flat, Rheinberger; sonata in D minor, Topfer; canzona in D, Wheedon; second sonata, Mendelssohn-Bartholdy; "Marche Funèbre et Chant Seraphique," Guilmant; "Christmas Fantasia," Dethier; concerto, G minor, with orchestral parts supplied by the organ, Mendelssohn-Bartholdy. All of the pupils appearing are announced on the program as having positions as organists in different well to do churches here and there.
25Heinrich Gebhard, the eminent pianist, will sail for Europe June 17, remaining there until November and probably until Christmas. Mr. Gebhard will give several programs while in the "old country," and will visit many historic places, among them the scenes of his early studies while in Europe. Mr. Gebhard has had one of the most brilliant seasons of his career, filling engagements from early fall till late spring.
27Clara Tippett, whose work is constantly growing, can boast of about as many professional pupils on her list, past and present, as the average teacher in the East. Among these are Grace Bonner Williams, who is to sing at the Springfield Festival; William Alden Paull, instructor and choir director at the Theological Institute at Cambridge, Mass.; Helen King Marshall, director of music in the school of Kennebunk, Me.; Ethelynde Sylvester Smith, of Portland, and who is winning many honors here and there in the New England States; Grace Horne, director of music in the Brookline schools; Florence Kimball (Chicago); Grace Homsted (Seattle), Louise Ross, Grace D. nkin and others, all of whom declare that they have never had so painstaking and artistic a teacher, also that when a program is announced by Mrs. Tippett as being ready for the public ear, it is really ready in every sense. Mrs. Tippett's public recital for her pupils will be given some time in May, and will be an invitation affair.
29It was a gala day down in Worcester, Mass., last Thursday when the Art and Music Department of the Woman's Club gave a brilliant afternoon "With New England Composers," a chorus of women having been trained and conducted by one of Boston's leading vocal teachers, Marie L. Everett, who has had a large class of voice pupils in that city for several years, so it was natural that the committee should seek one of Miss Everett's musicianship to direct these singers on so auspicious an occasion. Prior to the opening, Olive Brooks, chairman
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