Books › Musical Courier 1910-02-16: Vol 60 Iss 7, 1910 › scan 36
Scan 36
Musical Courier 1910-02-16: Vol 60 Iss 7, 1910
68 lines. Read by computer on 25 September 2026. Printed page 37. See the scan on archive.org.
1third number of the evening will be a quartet made up of Walter R. Root, W. E. Johnson, F. H. Collins and Dr. William F. Larkin.
3Saturday afternoon, February 10, Adolph Weidig, Heniot Levy and Louise Robyn will give a recital of chamber music at Kimball Hall, assisted by Miss Ellerman, contralto. The program includes the Brahms sonata in D minor; a suite by Max Reger and the suite by Schuett in D minor. Miss Ellerman will sing two songs by Brahms, with viola obligato played by Mr. Weidig.
5Tilly Koenen will be heard in a farewell recital at Music Hall next Sunday afternoon, February 20.
7Lester Bartlett Jones, of the University of Chicago, will give a series of lecture-recitals, tracing the development of song from its earliest forms down to the present, at the Abraham Lincoln Center on Tuesday evenings, beginning February 15 and closing on March 22.
9Sunday afternoon, February 20, Martin Bailmann, conductor of the orchestra bearing his name, gave an unusually fine concert of classic numbers.
11Gustav Holmquist, the distinguished baritone, who has just returned from a tour in the Dakotas, meeting with his usual success, was the guest of honor at a banquet tendered by Fargo and Moorhead, given at Pirie Hall, after his song recital in Fargo under the auspices of the Dakota Conservatory. Two hundred guests were present on this occasion. Mr. Holmquist will leave shortly for Sweden, his native land, to fill a number of professional engagements, and expects to be away from Chicago about two years.
13Dr. Ludwig Wüllner will give a recital in Music Hall on Saturday afternoon, February 28, on which occasion he will present for the first time Schubert's entire cycle, "Die Winterreise." No artist before the public today has created more of a sensation in the past two seasons than this great lieder singer.
15Otto Meyer, the young American violinist, assisted by Marie Meyer, his sister, will be heard in a recital on Sunday afternoon at Music Hall. At the close of Mr. Meyer's American tour he will go abroad to concertize in England, Norway, Germany, Sweden and Russia.
17The Bohumil Michalek Quartet will give a soiree in Assembly Hall in April. The Quartet consists of B. Michalek, first violin; Charles Fahnestock, second violin; Orville Cavanah, viola, and W. H. Ransom, cello.
19Ferruccio Busoni, the distinguished pianist, will give a return recital in Orchestra Hall on Easter Sunday afternoon (March 27). This artist created a sensation by his wonderful playing at his last appearance here.
21Edgar Nelson and Mr. Barbor will give a joint recital on February 24 in the Auditorium Recital Hall.
23RENE DEVRIES.
25The Tollefsen Trio.
27Of the many combinations of instruments, one of the most agreeable is that of violin, cello and piano. The great masters were cognizant of this fact and wrote many fine trios. As in string quartet playing, each member must be not only an artist but able to link his art to that of his companions in such a manner as to produce a good ensemble. Augusta Schnabel-Tollefsen (piano), Carl H. Tollefsen (violin) and Vladimir Dubinsky (cello) constitute a trio which is specializing in this particular form of chamber music. Artistic success has attended their every appearance and their popularity is steadily increasing. Both Mr. and Mrs. Tollefsen are also frequently desired for solos and duets. At a reception given on January 27 by Mrs. W. J. Gaynor at the Mayor's Brooklyn residence, Mr. Tollefsen was the soloist, and at the concert of the Brooklyn Sängerbund Ladies' Society on February 2 both Mr. and Mrs. Tollefsen were on the program. The trio has several dates booked, among them being for Bloomfield, N. J.; Defiance, Ohio; Savannah, Ga., and a concert at the Brooklyn Academy in March. Mr. and Mrs. Tollefsen are equally successful as instructors.
29On January 28, G. Harrold Hickerson, a fourteen year old pupil of Mrs. Tollefsen, made an artistic debut in a recital at the Brooklyn Academy, playing the Beethoven "Sonata Pathétique" and the Grieg sonata in E minor. The lad is said to have well developed fingers, musical intelligence and artistic instinct, and bids fair to become a successful pianist.
31Tetrazzini Has Triumphs on Concert Tour.
33Madame Tetrazzini's concert tour resulted in a series of triumphs for this brilliant and popular prima donna. The following notices refer to appearances in Detroit, Pittsburgh, Columbus and Milwaukee:
35MADAME TETRAZZINI STANDS SUPREME AS SONG BIRD.
37Madame Tetrazzini's tones are exquisitely clear, with a crystal, rippling quality, and a greater mistress of coloratura singing the musical world does not know. Cadenzas, scintillating with vocal gymnastics, ripple from her throat with an ease that would make a nightingale hide from envy. The tones are full and round, the production of them as nearly perfect as any being, not supernatural, could hope to attain, and as lovely in color as a rainbow. There is no fault to be found with Madame Tetrazzini's natural endowments or her acquired art—she simply stands supreme as a song bird. To have missed hearing her is to have lost one of the golden opportunities.
39Madame Tetrazzini gave the "Ah! fors e lui," from "Traviata," in its entirety, not often the case on the concert stage, and sang it as no great singer has given it before in Detroit. Her other big number was the "Perle du Brazil" aria with flute obligato, one of the old war horses of the coloratura soprano.—Detroit Times.
41WORLD'S MOST WONDERFUL COLORATURA SOPRANO SINGS HIGH E AS EASILY AS WINKING.
43The Tetrazzini voice is assuredly the greatest in many respects that has been heard in Detroit within the experience of the present generation. There is no singer among the present day stars who can equal it in its purity, its freshness, its velvety qualities when exercising the most difficult runs and scales. The sensation the auditor experiences when Tetrazzini runs down the scale from a high note or makes a graceful turn or quaver is exquisite because of the delicacy and smoothness, and one cannot imagine anything except a flute perfectly played that compares with it.—Detroit Journal.
45Madame Tetrazzini's voice might have been a model for the man who designed the first flute had it existed when the inventor lived, so clear and white is it. This pure crystalline beauty constitutes its chiefest glory. The Tetrazzini voice intones at will the elemental human passions, love, hate. It sometimes trills in happiness, it warbles and it revels in cadenza.—Detroit Free Press.
47TETRAZZINI SUPREME.
49She is a coloratura singer of the first water, and, furthermore, she is artistic. She can do things that no other soprano would dare to attempt. Her portamento, her phrasing of florid passages and the wisdom and naturalness with which she handles her work are unexcelled in this school of singers. Her arias brought a sympathetic response and the usual number of curtain calls common with every appearance.—Pittsburg Dispatch.
51PEERLESS DIVA APPLAUSED ENTHUSIASTICALLY BECAUSE OF SKILL AND CHARM.
53Possessed of a voice of crystalline purity and with a technic absolutely dazzling, she is able to deliver the coloratura music in a way that has rarely been equalled in the history of the operatic stage. I have never heard any one sing with such perfect ease and freedom.
55Her first selection was the "Ah! fors e lui" from "Traviata." This selection has long been a favorite with coloratura singers. She delivered the air in superb style. The "Semper Libre" was given with exquisite grace, and the trills and difficult runs with a remarkable facility. The artist created genuine enthusiasm with her superb rendition of this number, and after many recalls, responded with an encore.—The Ohio State Journal.
57Endowed with a naturally pliable soprano sforzato well under the control of the singer, and which has been trained in the ascending register until it reaches a high D and even an effective E flat discolto with ease, and which is royally employed in a staccato, solcato, trillo, trilletto and catena di trilli, together with all other coloratura specialties cultivated in the Italian school in such perfection that it cannot fail to dazzle. Madame Tetrazzini will always be sure to surprise and astonish the people at large.—Milwaukee Free Press.
59Corinne Rider-Kelsey at Louisville.
61"Mrs. Corinne Rider-Kelsey's Singing Feature of the Evening at Woman's Club" was the heading of an article on the Calvary Church choir concert in the Louisville Courier-Journal of February 8, 1910. Regarding Mrs. Kelsey's work the paper commented as follows:
63The audience fairly "lost its head" and refused to be content with less than two additional numbers.
65In this most difficult and intellectual style of music Mrs. Rider-Kelsey proved herself an artist of high rank, but the selections from Puccini's "Tosca" displayed to better advantage the glorious power and sweetness of her voice. From this point her conquest of the audience was complete.
67Very few sopranos on the concert stage have the charm combined with the high standard of art which is Mrs. Rider-Kelsey's.
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