Books › Musical Courier 1910-03-02: Vol 60 Iss 9, 1910 › scan 17
Scan 17
Musical Courier 1910-03-02: Vol 60 Iss 9, 1910
79 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 18. See the scan on archive.org.
1of real worth as a writer and of individuality—as evidenced in his music.
3The other concert, which, like the O'Niell recital, was given in the Salle Erard, on the evening following, was that of a blind American pianist, Francis Richter, and Marcel de Bouzon, a Hungarian singer. The pianist included Mendelssohn's "Variations Sérieuses"; a Chopin group; the Chopin A flat polonaise, followed by two compositions of his own; two Debussy compositions and an elaborate improvisation on a theme furnished by the Swedish composer, Emil Sjögren, who happened to be in the audience. Francis Richter is young, tall and blond, and quite blind. His playing is clean-cut and decisive—astonishingly so for one who can but feel his way. He is very sure at the keyboard and in all respects plays like a pianist with perfect sight. He is measured and deliberate, cool and collected. Has tremendously strong wrists and fingers. But with all his force, power and endurance, his touch is never hard or heavy. His improvisation was a tour de force. It was a remarkable exhibition of technical skill—embodying everything known to brilliant virtuosity. Marcel de Bouzon sings like a one-time baritone growing to be a tenor. He has some splendid upper tones of tenor quality. Sings in the manner of a baritone, but who should by nature have been a tenor. Three Hungarian melodies by Palotasy-Gyula were sung remarkably well in the singer's native tongue—with much expression and a deal of abandon. Other selections of the singer were the "Spring Song" from the "Walkure" and "The Tale of the Wild Wind," composed and accompanied by the pianist, Francis Richter.
5"Thoughts for the Singer." one of two readings
6Delma-Heide. one of two readings
8"Some Thoughts for the Singer." one of two readings
10Dudley Buck, Jr., has just issued an attractive booklet entitled "Some Thoughts for the Singer." The frontispiece is an excellent likeness of the young American tenor and teacher; the paper and type are of the best and the text matter comprehensive, lucid and valuable. The various divisions are: sounds and sensations, vocalization, overtones, some new thoughts on breathing, the tongue and the lips, voice development a slow process, the esthetic side of the singer's art, how to practice, why are singers as a rule such poor musicians? and poor enunciation.
12The author says rightly that "singing is an art that cannot be learned from reading or hearing lengthy discussions on the subject, but only through months and months of personal effort in the hands of a master. Nevertheless, the reading of this little pamphlet will repay any student, any singer and any musician. Mr. Buck's studios are at Carnegie Hall and are open all the year. He has a summer course at special rates, and has, as associate, James O. Boone.
14The two hundredth anniversary of the birth of the Italian composer Pergolesi occurred on January 3. He was born at the village of Jesi, near Ancona, and died in Pouzzole at the early age of twenty-six years. He is best known to posterity by his "Stabat Mater" and the opera "La Serva Padrona."
16Bonn is to have a three days' Schumann festival, on May 3, 4 and 5. The Berlin Philharmonic will be the orchestra.
18Paris Welcome to Seagle.
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21Oscar Seagle was given a royal welcome at the Vitti Academy meeting last week when he sang there for the first time since his return from America. His numbers were "It is Enough" and "Is Not His Word Like a Fire," from "Elijah," also a group of miscellaneous songs. After numerous recalls, he sang "The Ninety and Nine" with such reverential simplicity that it brought tears to many eyes.
23At a soiree given by Mrs. Seagle, recently, an opportunity was granted to many professional and social friends to hear of the triumphs won by Mr. Seagle on his recent American tour.
25During the evening Mr. Seagle was heard in a number of arias, that from "Tosca" being given with splendid verve, beautiful phrasing and tone coloring. Mlle. La Flague, a professional pupil of Jean de Reszke, joined in the duet from "Hamlet." Though Mr. Seagle will do less teaching this season, on account of concert and repertory work, his pupils will be looked after by his assistant, Charles Bowes, basso, of Los Angeles, Cal. Eloise Baylor, a pupil of Mr. Seagle, who has been in America on a short visit, has given several very successful recitals in Richmond, Chattanooga, etc. She returns to Paris in March to continue her studies with Mr. Seagle.
27At the regular monthly musicale of the Rue de Berri Church, at Salle Hoche, February 7, a fine dramatic soprano, Lucienne Darcy, a pupil of Mr. Seagle, who made a very successful debut as Carmen at Fecamp last summer, and Gordon Thomas, tenor, a pupil of Charles W. Clarke, were the soloists.
29Other Seagle pupils are: Elizabeth Randolph Cohen, contralto of the American Church, who has been heard in a number of concert and salon engagements recently; Elizabeth Clarke, contralto, of the Metropolitan, who sang with the Toronto String Quartet with splendid success; La Palme, soprano, with the Moody Manners Opera Company in England, who has had a great success in leading roles; Charles Bowes, basso and director of the choir of the American Church, who is fitting himself for an operatic career.
31Mr. Seagle has just received offers from Warsaw and St. Petersburg to sing for the Philharmonic societies in March.
33Roderick Pupils' Success.
34(no line here) one of two readings
36The following press criticisms relate to the success of two pupils of Emma Roderick, of 324 West Fifty-seventh street, New York:
38Isabelle Urquhart as Cerise is a handsome young lady and is gifted with a contralto voice which astonishes her audience on account of its richness and brilliancy. After having heard the waltz song from "Erminie" sung by other soloists, she steps forward and gives a revelation. She was repeatedly encored.—New York World.
40The success of last evening was Lucia Nola, who sang Leonora for the first time on any stage, and gave a remarkable performance under the circumstances. Her voice is one of exceptional range and compass, warm and beautiful in quality. Despite the fact that she sang in English the liquid phrases of the part, her enunciation was pure, smooth and dramatic. Her rendering of the famous aria, "On Rosy Pinions," was really a brilliant performance, and the more interesting because of the promise it revealed. The elements being propitious she will assuredly be heard of in the future.—Rochester, N. Y., Mail and Express.
42Richard Strauss conductor the twenty-fifth performance of his "Salome" in Frankfurt the other day.
44MUSIC IN DUBUQUE.
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47Dubuque, Ia., February 23, 1910.
48(no line here) one of two readings
50Lent seems to find musicales most attractive and many are being given and planned. The one hundred and fifty-fifth recital of the Friday Music Club was given on February 11, and consisted of a St. Valentine's Day program in charge of Bertha Lincoln Heustis. The following numbers were rendered: songs by Mrs. Heustis and Theodora Richards, piano selections by Martha Zehetner, reading by Anna Laird James.
52Mrs. George Ferguson was the soloist for the D. A. R. Washington's Birthday celebration.
54Clara Sass, accompanied by Grace Noyes, delighted the Monday Afternoon Club February 21.
56Vernita Hayes, soprano, charmed the Women of the Civil War Society, February 23. Grace Noyes pleased with her splendid accompaniments and a solo, and Luella McDonough sang most acceptably.
58The St. Cecilia Club gave one of its best programs, February 15.
60The Choral Club is progressing finely under the able direction of Alpheus Dress.
62Mabelle Kellogg, violinist, is winning commendation for her delightful work.
64The Dubuque Boy's Club was delightfully entertained by Joseph Michel, February 17. Mr. Eschen gave a cornet solo.
66The music teachers of Iowa are getting all the plans laid for a convention June 21 and 24.
68B. L. HEUSTIS.
70Elman Farewells.
71(no line here) one of two readings
73Mischa Elman at his farewell recital in Carnegie Hall on Wednesday afternoon, March 9, will play for the first time in a recital the Saint-Saëns concerto in B minor also the "Othello" fantaisie by Ernst. Following this recital, Elman will make another Western tour, playing in Indianapolis, Cincinnati, Louisville, a farewell recital in Chicago at the huge Auditorium, Milwaukee, Duluth, Minneapolis, Detroit, Toronto and Montreal. He will return to Europe early in April to rest until the early part of next October, when he goes to Germany for a long tour.
75Hutcheson's "Elektra" Readings.
76(no line here) one of two readings
78Ernest Hutcheson gave a second reading of "Elektra" at the Peabody Institute, Baltimore, on Thursday afternoon. He was greeted by a large audience which from time to time burst forth into enthusiastic applause. That Mr. Hutcheson stands high among the pianists of today in the recital and lecture field cannot be denied and that he is a favorite in the musical world is evident by his many return engagements. Rarely has any one engaged in this work been more fully equipped. Being a pianist of ability, he can illustrate the various orchestral scores on the piano.
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