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Books › Musical Courier 1910-02-16: Vol 60 Iss 7, 1910 › scan 13

Scan 13

Musical Courier 1910-02-16: Vol 60 Iss 7, 1910

86 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. No printed page number was found. 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.

1LONDON, England, February 5, 1910.
3Owing to the enormous demand for tickets for the Thomas Beecham forthcoming grand opera season at Covent Garden, and in response to the demand for additional performances, the management has arranged to extend the season. This will involve the postponement, temporarily, of Mr. Beecham's American tour, for which he had made all arrangements, but further particulars will be announced later.
5Richard Strauss will receive £200 (in American money, $1,000) for each performance of "Elektra" that he conducts for the Thomas Beecham grand opera season at Covent Garden.
7Elena Gerhardt will sing the following program at her recital at Bechstein Hall, February 10:
9Das Meer hat seine Perlen…………………………………………………Franz
10Ständchen………………………………………………………..Franz
11Im Herbst………………………………………………………..Franz
12Der Nussbaum………………………………………………………..Schumann
13Ins Freie………………………………………………………..Schumann
14Waldegespräch………………………………………………………..Jensen
15Am Ufer des Flusses………………………………………………………..Jensen
16Ein Schwan………………………………………………………..Grieg
17Mit einer Wasserlilie………………………………………………………..Grieg
18Hoffnung………………………………………………………..Grieg
19Kein Lichtlein glänzt mehr durch die Nacht…………………Tschakowsky
20Im wogenden Tanze………………………………………………………..Tschakowsky
21Du denkst mit einem Fädelchen nach zu fangen………….Hugo Wolf
22Der Freund………………………………………………………..Hugo Wolf
24Miss Gerhardt is to be assisted by Paula Hegner, who will make her London debut on this occasion as a solo pianist.
26Ruth Vincent, who has been engaged for the principal soprano role in Delius' "The Village Romeo and Juliet," is preparing with Hermann Klein. Miss Vincent is also studying with Mr. Klein the role of Gretel (Humperdinck's "Hänsel und Gretel"), which she is to create in the English version.
28The most important program of the Queen's Hall Symphony Orchestra concert, January 29, was César Franck's charming and effective symphony in D minor. It is a valuable addition to orchestral literature and goes far to prove that the genius of music has no nationality and is not governed by the boundary lines of geography. Mr. Wood and his efficient orchestra gave a notable performance of this notable work. George Henschel was the vocal soloist, in a scene from Hubert Parry's "King Saul," and Hans Sachs' monologue from Wagner's "Die Meistersinger." These were sung and declaimed as only Mr. Henschel can, especially with regard to enunciation, phrasing and accent, and were an object lesson for singers. Marie Hall gave a charming interpretation of Joachim's variations for violin and orchestra, which was evidently appreciated by the audience.
30On the afternoon of January 29 occurred the second of Wolford Davies' three lectures on "Music in Relation to Other Arts," at the Royal Institution. These excellent dissertations show a good deal of scholarship and original thought, and if they are published in book or pamphlet form they ought to be widely read.
32The program of the London Symphony Orchestra concert, January 31, was constructed of Strauss' "Death and Transfiguration," concerto grosso for string orchestra by Handel; the "Good Friday Music" from "Parsifal," Wagner; and Elgar's symphony, op. 55. In the Strauss tone poem, that pessimistic wail of death, with its apotheosis, was played so harshly that very few could have enjoyed it. The trumpets, and especially the trombones, were so strident and unmusical they destroyed utterly the other parts of the score, which was in fact, ruthlessly suppressed. But the concerto grosso was excellently performed and the giant Saxon would have nodded assent could he have heard the sixty-five string instruments interpreting his score. Who, nowadays, can conceive such clear, positive designs in which even the polyphony is transparent! The criticism has been passed that Handel had not in mind such a large body of strings, but in view of what preceded this number, and of the large proportions of Queen's Hall, Mr. Safonoff would have, undoubtedly, lost more than he gained had he employed a small orchestra. And it is also to be remembered that Handel's view was usually from a wide horizon. The beautiful "Good Friday" music was given in true Wagnerian style, even the brass choir deserved praise. Of Elgar's A flat symphony—it has been praised and condemned so often that a record of the facts as demonstrated at this concert will suffice: It was played con amore; the large audience evidently enjoyed Safonoff's reading; and national patriotism (a commendable quality) manifested itself by cheering loud and long.
34It is a noteworthy fact, that when a boy of fourteen can attract a large audience in London to a violin recital, it saves many comments from the reviewer. Such is Eddy Brown. Putting aside all considerations as to the age of the young artist, it was from first to last, good violin playing. Great facility of finger and bow technic; surety of intonation; exquisite harmonic effects; accurate double stopping; a remarkably good sense of rhythm; tone generally musical, and often of the human voice quality; fair musicianship, and considerable repose of manner, all, may truly be said of Eddy Brown. With added years and a broader tone, he will, without doubt, rank with the few stars of the first magnitude. His program was selected from the works of Handel, Paganini, Saint-Saëns, Sarasate, and Beethoven. The assisting artist was Ada Forrest, the South African mezzo soprano, whose beautiful quality of voice, repose and charm of manner, combined with a fine musical understanding, make her a valuable addition to any concert. She sang a group of old English songs and a group of old German lieder. Charlton Keith was the accompanist for both vocalist and violinist, and his work was marked by precision and musicianship, and was effective in every way.
36The regular grand opera season at Covent Garden, London, will open April 23 (earlier than usual), and close July 30. During this period eighty-five performances of opera are scheduled for presentation. The directors have decided on two complete cycles of "Der Ring des Nibelungen," under the direction of Dr. Hans Richter. Not in three seasons has the "Ring" been given in German at Covent Garden. Two performances of "Tristan and Isolde" will also be given under Dr. Richter. The repertory for the season includes Debussy's "Pelléas and Mélisande"; Laparra's "Habanera"; Saint-Saëns' "Samson and Delilah"; Gounod's "Faust," and "Romeo and Juliet," all in French. The Italian works to be presented include Verdi's "Otello," "Aida," "Rigoletto," and "Il Trovatore"; Puccini's "Madam Butterfly," and "Manon Lescaut." Baron d'Erlanger's "Tess," will be given again this season, and "Cavalleria" and "I Pagliacci." Tetrazzini will be heard in the "Barbiere," "Lucia," "La Sonnambula," and "Traviata." Also Donizetti's "Linda di Chamounix," and Delibes' "Lakmé." The principals include besides Tetrazzini, Madame Melba, Mrs. Saltzmann-Stevens, Kirkby Lunn, Edith Clegg, Edna Thornton, Madame Edvina, Miss Kousnietzoff, Madame Bérat, Van Rooy, Mr. Cornelius, Mr. Bechstein, Mr. Warnery, Maurice d'Oisy, Walter Hyde, John McCormack, Mr. Marcoux, Mr. Sammarco, Riccardo Martin, Mr. Zerola, Mr. Zocchi, Mr. Franz, and Mr. Baklanoff.
38A very interesting concert was that given by Keith Seth-Smith and Evelyn Seth-Smith at Aeolian Hall, January 27. Miss Smith played a well chosen program of cello solos and Mr. Smith sang a varied and well constructed list of songs. Both artists were in excellent form and their audience appreciative and generous in applause.
40EVELYN KAESMANN.
42Marie Zeckwer's Engagements.
44Marie Zeckwer, soprano, has the following engagements for February: February 3, Cleveland, Ohio, with the Harmonic Club and Pittsburgh Orchestra; February 4, Springfield, Ohio, private musicale; February 17, Choral Society of Philadelphia; February 21, forty-fifth anniversary of Philadelphia Musical Academy; February 24, musicale, School of Industrial Art, Philadelphia.
46Just Like a Sonata.
48"Was the sermon today to y'r liking, Pat?" inquired the priest.
50"Troth, y'r riverence, it was a grand sermon intirely."
52"What seemed to take hold of ye?" the priest inquired.
54"Well, now as ye are for axin' me, begorra, I'll tell ye. What took houl't of me most was y'r riverence's parseverance—the way ye wint over the same thing agin and agin and agin."—Ladies' Home Journal. one of two readings
55"Well, now as ye are for axin' me, begorrah, I'll tell ye. What took houlth of me most was y'r riverence's parseverance—the way ye wint over the same thing agin and agin and agin."—Ladies' Home Journal. one of two readings
57Mrs. Sawyer's Musicale.
59At her musicale Monday morning of last week Antonia Sawyer presented the young coloratura soprano, Beatrice Bowman, and Julian Pascal, the pianist.
61After hearing this lyric play ("L'Attaque du Moulin") the dramatic and pictorial features are far more prominent in mind than the music. Indeed, the impression remains at the end that Bruneau's score is not only uninspired, but remarkably ineffective operatically.—N. Y. Press.
62(no line here) one of two readings
64SINGING one of two readings
65Mr. John AGTON one of two readings
66Recommended by Dr. HANS RICHTER one of two readings
67Studios: 54 Great Marlborough Street, W. one of two readings
68Consultation by Appointment one of two readings
70CERNIKOFF one of two readings
71TEACHER OF PIANO one of two readings
72Studio at Bluthner's, 9 Wigmore Street, London, W. one of two readings
74GODFREY NUTTING one of two readings
758 Bryanston Street, W., London one of two readings
76Latest Songs "THE GARDEN I LOVE," "WITH YOU" one of two readings
78THE DELLE SEDIE SCHOOL OF SINGING, Ltd. one of two readings
80DIRECTORS: one of two readings
81MR. INGO H. SIMON, MME. ELEANOR CLEAVER SIMON; MISS GERTRUDE GRISWOLD, MRS. J. EDGAR RUDGE, Managing Director. one of two readings
83FOR TERMS, ADDRESS one of two readings
84SECRETARY, 12 Hill Road, St. John's Wood one of two readings
85LONDON one of two readings

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