Books › Musical Courier 1910-02-16: Vol 60 Iss 7, 1910 › scan 14
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Musical Courier 1910-02-16: Vol 60 Iss 7, 1910
61 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1LATER PARIS NEWS.
2JANUARY 31, 1910.
4The seventh concert of the Société Philharmonique was given on Tuesday last with the Russian Trio—Vera Maurnina Press, Michael and Joseph Press—and Oscar Seagle, baritone. Two fine trios constituted the opening and closing numbers of the Russian organization, whose members were heard here for the first time. In the first number, a trio of Schubert in B flat, while they seemed to play well together—that is, the pianist accompanying perfectly the violinist or the cellist—the ensemble as such was not nearly so interesting as in the later trio, written in memory of a great artist (Nicholas Rubinstein) by Tschaikowsky, I. Pezo elegiaco; II. (a) Tema con Variazioni; (b) Variazioni, Finale e Coda (in A minor), a really fine trio admirably performed. Between these two concerted numbers, the brothers Press gave a Handel-Press "Passacaglia" for violin and cello. Oscar Seagle made his first appearance at these concerts, it being also his first public singing since returning from America. He was in fine vocal condition and was greatly appreciated by his many friends in the audience. His first group embraced "Bussched," by Beethoven; "Als die alte Mutter" and "Zigeunerlied," by Dvorák; "Ach, weh, mir unglückhaften Mann" and "Heimliche Aufforderung," by Strauss. Mr. Seagle's second group was more of a mixed nature and was composed of the "Danza fanciulla," by Durante; Henschel's "Morning Hymn," the "Ständchen" of Brahms (always a favorite selection with the Philharmonique audience) and "Is Not His Word Like a Fire?" by Mendelssohn. All these songs were beautifully accompanied by that brilliant pianist, Camille Decreus. one of two readings
5The seventh concert of the Société Philharmonique was given on Tuesday last with the Russian Trio—Vera Maurnina Press, Michael and Joseph Press—and Oscar Seagle, baritone. Two fine trios constituted the opening and closing numbers of the Russian organization, whose members were heard here for the first time. In the first number, a trio of Schubert in B flat, while they seemed to play well together—that is, the pianist accompanying perfectly the violinist or the cellist—the ensemble as such was not nearly so interesting as in the later trio, written in memory of a great artist (Nicholas Rubinstein) by Tschaikowsky, I. Pezo elegiaco; II. (a) Tema con Variazioni; (b) Variazioni, Finale e Coda (in A minor), a really fine trio admirably performed. Between these two concerted numbers, the brothers Press gave a Handel-Press "Passacaglia" for violin and cello. Oscar Seagle made his first appearance at these concerts, it being also his first public singing since returning from America. He was in fine vocal condition and was greatly appreciated by his many friends in the audience. His first group embraced "Bussched," by Beethoven; "Als die alte Mutter" and "Zigeunerlied," by Dvorák; "Ach, weh, mir unglückhaftem Mann" and "Heimliche Aufforderung," by Strauss. Mr. Seagle's second group was more of a mixed nature and was composed of the "Danza fanciulla," by Durante; Henschel's "Morning Hymn," the "Ständchen" of Brahms (always a favorite selection with the Philharmonique audience) and "Is Not His Word Like a Fire?" by Mendelssohn. All these songs were beautifully accompanied by that brilliant pianist, Camille Decreus. one of two readings
7Henri Etlin, a young pianist, premier prix of the Conservatoire and pupil of Diémer, gave his first public concert at the Salle Erard, in which he had the attractive assistance of Aline Vallandri, of the Opéra-Comique, accompanied in two groups of songs by the respective composers, Théodore Dubois and Louis Diémer. A young pianist of agreeable manner and sympathetic, musical nature, with the ability to construct a program such as M. Etlin composed for this occasion, can surely count on success in Paris. Here are the composers from whose works he made selection: Chopin, sonata in B flat minor; Dubois, three songs; Rameau, gavotte Couperin, "Le Tic Tac Choc"; Saint-Saëns, etude (form of valse); Fauré, "Dolly" (berceuse); Dubois, "Etude de Concert"; Debussy, "Poissons d'Or"; Diémer, "Le Chant du Nautionier"; Diémer, three songs; Wagner-Liszt, "Tannhäuser" overture. Henri Etlin possesses excellent execution, which would seem still more brilliant were he not so dreamily musical in style; he might, for example, accentuate his rhythm to advantage. Debussy's "Poissons d'Or" was played so daintily neat that it was clamorously redeemed. Madame Vallandri, an Opéra-Comique favorite, was warmly received and achieved much success. Her soprano voice of beautiful quality was heard to excellent advantage in choice songs authoritatively interpreted. Parisians love to listen to good songs accompanied by their composers, and this occasion proved to be one of the "heartily applauded" sort. Madame Vallandri was obliged to repeat "Le Sentier" of Diémer.
9Marguerite Cassini made her début as a singer in her own concert at the Théâtre Femina, achieving considerable success. It was an afternoon affair in an elegant chic little concert hall, or theater, if you prefer, so to name it, and the audience, composed largely of the fair sex, had come to see, to hear, to talk, to criticise, and some to listen and to judge. It was easy to feel the tension of excitement and curiosity throughout the hall—for the name "Cassini" is known in Paris (as in America) as belonging to the diplomatic world, and the circles of society. It seems quite natural, therefore, that a singer thus attractively started on a career should challenge attention. It cannot be denied that Mlle. Cassini has naturally a good voice; but the voice is not yet sufficiently well poised and trained (especially in the upper range) to enable her to carry out her laudable ambition of singing successfully in grand opera. As just remarked, Mlle. Cassini has a voice of good quality, naturally, and she is a good linguiste. She is intelligent and has a charming personality. But her vocal training is not, at present, equal to her other charms and accomplishments. Mlle. Cassini sang in Italian, in German, and in French. The composition of her program was excellent, interesting, ambitious; and she was not wanting in style in its delivery. There is no reason why Mlle. Cassini should not find and acquire the one thing at present lacking, to enable her to achieve a glorious success in her chosen career.
11The second concert, or, as it is styled by the managers, "Festival Musica," had with Gabriel Fauré, the Quatuor Geloso, Mlle. Chénal and M. Cortot as much success as the first and presages that of those to follow.
13Advanced pupils of Wager Swayne have recently been coming to the front in surprisingly creditable performances. Of Mrs. Norman Lee, the Daily Mail remarked: "At the meeting of the British Embassy Church Working Party, held at the Hotel d'Iéna, Paris, an exceptionally interesting musical program was provided. Mrs. Norman Lee, after playing a Chopin valse and Sinding's 'Frühlingsrauschen' with great delicacy and grace, gave a fine interpretation of Mendelssohn's G minor concerto, the orchestral part being played on a second piano by Mlle. Jeanne Joliet (another Swayne pupil). Elsie De Voe, who is an accomplished solo performer, has also been taught to play accompaniments musically and helpfully. At a reunion of the students she accompanied Georges Bare in his violin concerto of Tschaikowsky; in the Paganini "Witches Dance," and "Humoreske" of Dvorák. On a "Beethoven" night, with the Orchestra Touche, Miss De Voe played the sonata in C (op. 2, No. 3), winning much applause from the large audience. At an artistic soirée of the Russian Society, given in the Salle Hoche, Miss De Voe was again applauded when she played three etudes from op. 25, of Chopin, the "Sonnet de Pétrarque" and "Un Soupir," both by Liszt. Georgia Richardson, who, a short time ago, played so successfully the Beethoven "Emperor" concerto with the Touche Orchestra, more recently gave an excellent interpretation of the Chopin sonata in B flat minor, at one of the Students' Atelier Reunions; later, Miss Richardson played an "Arabesque" on the themes from the "Blue Danube," by Strauss-Schultz-Evler. At another of the Atelier Reunions Mlle. Jeanne Joliet performed the Beethoven "Pastorale" sonata in D (op. 28), and a group of pieces by Paderewski, "Légende" (op. 16), "Le Rossignol" of Liszt, and a gavotte (op. 125), by Raff. Mlle. Joliet gave evidence of much improvement during the last season. Margaret McCrane, a young American violinist (formerly with Sevcik, in Prague, but now studying in Paris), was heard to advantage on the same evening in Wieniawski's "Légende" and a "Moderato," with the "Perpetuum mobile," of Ries.
15Beecham Symphony Orchestra from London, England
1685 PERFORMERS
17THOMAS BEECHAM, Conductor
18By arrangement with Thomas Quinlan, London
19American Manager: R. E. JOHNSTON, 1133 Broadway
20IN AMERICA, SPRING, 1910
21Assisting KATHLEEN PARLOW, Violinist
22All Communications to R. E. JOHNSTON, St. James Building, Broadway and 26th St., New York
24QUEBEC MUSICAL NEWS.
25QUEBEC, Canada, February 3, 1910.
27One of the most brilliant musical events ever held in this city was the concert given by the Quebec Symphony Society under the distinguished patronage of His Excellency Earl Grey, Governor General of Canada, on Wednesday evening, January 26. There was an exceedingly large audience, comprising the elite of Quebec society, headed by His Excellency himself, who entered with his party to the strains of the national anthem. Mr. Vézina and his sixty musicians were applauded with enthusiasm. Beside the playing of the orchestra, the audience was accorded another treat in the singing of Alice Lakin, the English contralto, who displayed a sweet and unusually well trained voice. She was compelled to give encore numbers to satisfy her hearers. Following was the program: Overture, "Patrie," Bizet; "Mon Coeur s'ouvre à ta Voix" ("Samson et Dalila"), Saint-Saëns, Alice Lakin, with orchestra; "Ballet des Sylphes," Berlioz; "Humoreske," Dvorak; "La Farendale," No. 3, Dubois; "Adagio Lamentos," symphony No. 6, Tschaikowsky. Songs with piano: "Du Bist Wie Eine Blume," Rubinstein; "Du Bist Die Ruh," Schubert; "Fleur du Vallon," Godard; "L'Amour," Godard; "All Through the Night," Del Riego; "Happy Song," Del Riego, Alice Lakin; ballet music "Lakme," Delibes.
29Concert Direction J. A. Gauvin announces as probable the coming to this city early in April of Creatore and his band.
31Georgette Commettant, a young French violinist, who has recently arrived in this city from Paris, will give a concert on February 24. She will have the assistance of Paul Dufault, tenor, from New York, and a few local artists. Miss Commettant has joined the first violin class of the Quebec Symphony Society.
33The principal soloist of the last concert of the Ladies' Morning Musical Club was Ernestine Gauthier, a French Canadian girl, at present a resident of Springfield, Mass. Miss Gauthier created a very fine impression. She is the possessor of a well trained mezzo-soprano voice and has a great deal of musical knowledge and an artistic temperament.
35"Le Rajah," an opera bouffe in two acts, by Mr. Vézina, the conductor of the Symphony Society, will be given its première on March 14.
37I. REMI.
39Choir Positions Secured by Anderson.
40Walter R. Anderson's musical bureau has recently filled a number of excellent choir positions in Greater New York and vicinity. Among the contracts closed by the clever Mr. Anderson are solo soprano for the Brick Presbyterian Church, corner Fifth avenue and Thirty-seventh street; solo soprano, Plymouth Congregational Church, on Orange street, Brooklyn; solo bass, at the Central Congregational Church, on Hancock street, near Bedford avenue, Brooklyn; solo tenor at the Munn Avenue Presbyterian Church in East Orange, N. J.
42How did you like the music of "Elektra"?
43It was a terrible strain.—Exchange.
45MR. WILLIAM SHAKESPEARE'S
46Address in England is Mansfield Lodge, 15 Hamilton Terrace, St. John's Wood, London, N. W.
48THEODORE HOLLAND
496 Adelphi Terrace, Strand, London
50Latest Compositions: For Piano, Gavotte Pastorale
51For Violin, Chanson d'Amour
52Songs, "Im Tannenwald," "Die Rose"
54HERMANN KLEIN
55VOCAL STUDIOS
56Bechstein Hall, London, W.
58IBBS & TILLETT
59LEADING MUSICAL and CONCERT AGENTS
6019 Hanover Square, London, W. Cables: Organol, London
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