Books › Musical Courier 1909-06-02: Vol 58 Iss 22, 1909 › scan 27
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Musical Courier 1909-06-02: Vol 58 Iss 22, 1909
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1Among the pleasant musical entertainments of the warm days soon to be here will be the public performance of George W. Chadwick's new work, entitled "Noel," a Christmas pastoral, which is written for a quartet of solo voices, a mixed chorus and orchestra, and which will receive its initial presentation this coming Wednesday evening, June 2, at the Stockel Music Shed, at Norfolk, Conn., when it is to be sung by Madame Rappold, Madame Homer and George Hamlin, with the Litchfield County Choral Union and an orchestra of seventy pieces. Here is something interesting concerning the chorus: it is made up of several different groups of singers in choirs here and there throughout that section, and is 350 strong, being, in other words, a union of three of the five choruses of Torrington, Salisbury, Winsted and Canaan. Another unique and interesting feature is the fact of these concerts being by invitation only, all commercialism being totally discarded. It might be asked by those who are accustomed to "run" such affairs—How are expenses met, and by whom?—for it is evident that the financial end must be considerable, when such artists as the above are engaged—but that is in Connecticut, and its people probably may not look to that "almighty dollar," but believe in art for art's sake.
3Wallace Goodrich, organist at Trinity (or what is still called by many—"Phillips Brooks' church") since 1902, has resigned his position so as to enter upon his duties at the Boston Opera House next fall, wishing to be less hampered by such care as a church like the above necessarily imposes. Mr. Goodrich is also engaged at the New England Conservatory, where he has been employed for several years in the organ department, and since the active interest the management of this institution has taken in the Boston opera opening here next fall, it is a natural consequence that Mr. Goodrich should be placed in some important position in the company, and this proves to be one of special prestige, namely, that of conductor.
5Mary Grace Maguire, a pupil of Mary Desmond, gave a recital at the Tuileries, Commonwealth avenue, Saturday afternoon, before a large number of her friends and invited guests, assisted by Mrs. Allen Jones, soprano; Suzanne Cawley, violinist, and Jessie Davis at the piano. With the aspect of many beautiful summer frocks and attractive headgear worn by the feminine portion of the audience, and a generous sprinkling of handsome bouquets for the performers, it proved a most attractive recital—adding, lastly, the fact that Miss Maguire and her assistants were altogether de rigueur in their charming gowns. As to the recital itself—there was a program prepared with excellent taste, most beautifully carried out by those presenting it; especially may this be said of Miss Maguire, who owns what might be more properly termed a mezzo soprano voice of fine timbre, and she has gained considerably in its artistic use. Some of her best numbers were Schubert's "An die Musik"; "Hora Novissima," Parker; Lang's "Summer Noon," and "The Danza," by Chadwick. There were so many encores that all count was lost, and it was called one of the most enjoyable musicales of the season. Miss Desmond, the teacher of Miss Maguire, was called out and quite an ovation followed.
7Charles Martin Loeffler and Heinrich Gebhard, both Boston musicians, were on the committee of judges of the National Federation prizes awarded last week at the convention held at Grand Rapids, Mich., and of which the only full account has been given in the columns of THE MUSICAL COURIER, Boston observes that Henry K. Hadley was one of the successful contestants, winning the $1,000 prize for his rhapsody, "The Culprit Fay."
9The "Pop" concerts are more popular than ever this season, is safely assumed by those who keep account at the box office, which, after all, is the surest way of knowing. Gustav Strube is always very much in demand as a conductor, but last Saturday evening closed this musician's allotted time as such for the season, and Arthur Kautzenbach, one of the cellists of the orchestra, took his place. Large parties come from out of town and nearby seashore and country resorts on special evenings, and the jolly times are very evident, all through the attractive music on the program.
11At the funeral services of H. H. Rogers, at Fairhaven, Mass., the summer home of the family, the choir of the Rogers' Memorial Church sang several selections in an impressive way. This choir is as follows: Elizabeth Busiel Lister (Mrs. Robert N. Lister), soprano; Frederic A. Kennedy, tenor; Henrietta Rice, contralto, and Millard Bowdoin, bass. This quartet is fast becoming famous for its ensemble work, and on the occasion of Mr. Rogers' funeral the singing was memorable.
13Elizabeth Busiel Lister (Mrs. Robert N. Lister), soprano; Bertha Cushing Child, contralto; Frances Dunton Wood and Barbara Einstein were the chief singers for the Harvard Menorah Society's lecture recital by Henry L. Gideon, the able organist of Temple Israel, at the Phillips Brooks House. There was a fine program, with musical illustrations being interspersed. The first of these was "Hebraische Gesaenge" (in German), by Carl Loewe, illustrated by Carlotta M. Dreyfus and Mrs. Einstein; "Ivanhoe," a romantic opera (in English), sung by Alice Wolf and Maurice Adelsheim; Jewish folk songs of Galicia and Russia—"Maschiachszeiten" and "Wiegelnied," and most beautifully sung by Bertha Cushing Child; "La Juive," grand opera (in French), Halévy, sung with artistic authority by Mrs. Lister, and "A Jewish Lullaby," a quartet for women's voices, by Henry L. Gideon, sung by Frances Dunton Wood, first soprano; Elizabeth Busiel Lister, second soprano; Bertha Cushing Child, first contralto, and Barbara Einstein, second soprano.
15The voice pupils of Robert N. Lister gave their final recital of the season at Lorimer Hall last Thursday evening, when a large number pleased many friends with the results of their year's work. The assisting violinist was Hildegarde Brandegee, and Vivian Beers and Aimee C. Lister were the accompanists. Those appearing were L. O. Waters, Laura F. Smith, Elsie Locke, Miss Lister, S. P. Hunnewell, Ada Lewis, Helen Small, Vivian Beers, P. B. Waters, Nettie Upham, Olive Hastings, Marion Bunker, G. E. Lawton, Carolyn Ulett, Miss Brandegee, Mary Malley and C. M. Eberhardt.
17A letter just received from Jo Shipley Watson, of Los Angeles, Cal., a wideawake and progressive teacher of the Faelten Pianoforte School system, says: "Once started the system needs no introduction; it speaks for itself." Which goes without saying that the work started here in Boston by that connoisseur of the art, Carl Faelten, a few years ago is not only growing to immense proportions all through the Eastern part of America, but likewise away out on the Pacific Coast, showing conclusively that the public is more and more convinced that in the Faelten system there is something of great and practical value to the student of piano, whether young or old. The system has attracted interest even in Europe, and it is only a question of time when it will be universally recognized as a standard by which excellent results may be obtained.
19At a recent meeting of the Handel and Haydn Society, held in Chickering Hall, William F. Bradbury was elected president of the organization, and Frederick Long, who has held the office of vice president for ten years, was re-elected with a vote of fifty-one to forty-four over his opponent, Eugene D. Russell. Other officers elected were: Leslie K. Storrs, secretary; M. G. Daniell, treasurer; Frank M. Leavitt, librarian; E. W. Bancroft, J. C. Brodhead, G. M. Brooks, C. A. Call, Robert Entwhistle, W. N. Eustis; S. L. Hills and H. F. Odell, directors.
21Carl Sobeski, lyric baritone, recently gave a song recital at Celago, Mexico, under the patronage of Mrs. Yates Ghoulson, a leading patron of art of that city. While a guest of Mr. and Mrs. Ghoulson, Mr. Sobeski was importuned to give a week's lessons, so he gave fifty in all before leaving for his next destination. "Caro Mio Ben" (Giordani), "Como Regio di Sol" (Storrrance), "Ariosa" (Massenet), "Du bist wie eine Blume" (Schumann), "Malgre Moi" (Pfifer), "Mother o' Mine" (Tours) and "Lisett" and "Celmine" (Wekerlin) were among the numbers contributed by this recitalist, who charmed his audience into an enthusiasm which resulted in request after request for the songs to be repeated. Mr. Sobeski is expected to be in New York and Boston soon—at least, for a flying visit before he goes West again for several recitals, then on to Mexico. Mr. Sobeski reports this as the most successful season of his entire career.
23Louise Orth Bosworth and Sybilla Orth, of Bay State road, gave their annual pupils' recital last Saturday at their residence with a long but most interesting program, including piano pieces from both old and modern writers, interspersed with violin and piano arrangements. A part of the program was given at half after ten o'clock on Saturday morning, and the remainder the same afternoon at three. Over fifty pupils took part in the program.
25Marjorie Bowersock, soprano and pupil of Marie L. Everett, of Boston, only real and authorized exponent of Madame Marchesi, of Paris, gave an invitation recital in the studios of Miss Everett last Tuesday evening, when a large number of friends listened to her work. Miss Goldstein assisted with cello obligatos. Miss Bowersock is a Kansas girl, a graduate of Wellesley College, and has a beautiful mezzo voice which has been entirely trained by Miss Everett. A strong personality coupled with her vocal gifts make Miss Bowersock's outlook most promising. Among her songs were Schubert's "Serenade," with cello, "Blossom Time," Needham; German folksongs, Eulenburg; "Under the Rose," William Fischer Armes, and Schubert's "Ave Maria," with cello obligato. Miss Bowersock's fine
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