Books › Musical Courier 1910-03-02: Vol 60 Iss 9, 1910 › scan 38
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Musical Courier 1910-03-02: Vol 60 Iss 9, 1910
93 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 39. See the scan on archive.org.
1hears from some serious American propagandist who gets his work performed out of courtesy (or to save profanity). There are even some composers in America who might do pretty well at the trick, if they tried. Take Julian Edwards and Reginald De Koven and Gustav Erlanger, for example. They know the orchestra thoroughly and their heads are saturated with tone colors, they have invention to burn, but because they have written so much music that is beautiful and has become popular they are sentenced to the George M. Cohan class for life by the so-called American musicians who are producing reams and reams of rot with which to drive courteous conductors to the booby hatch. The moral of which is that a great deal more can be accomplished by getting right down on the ground among the people than by sitting on a cloud with your feet hinging over. In the words of Teresa Del Riego, "O Dry Those Tears." one of two readings
2hears from some serious American propagandist who gets his work performed out of courtesy (or to save profanity). There are even some composers in America who might do pretty well at the trick, if they tried. Take Julian Edwards and Reginald De Koven and Gustav Er- langer, for example. They know the orchestra thoroughly and their heads are saturated with tone colors, they have invention to burn, but because they have written so much music that is beautiful and has become popular they are sentenced to the George M. Cohan class for life by the so-called American musicians who are producing reams and reams of rot with which to drive courteous conductors to the booby hatch. The moral of which is that a great deal more can be accomplished by getting right down on the ground among the people than by sitting on a cloud with your feet hinging over. In the words of Teresa Del Riego, "O Dry Those Tears." one of two readings
4Mrs. W. O. Fryberger gave an explanatory lecture on Smetana's "The Bartered Bride" before the Thursday Musical at the meeting this week. She was assisted by Jessie Ware Libby and Lois Tennant, pianists, who played the overture; Alberta Fisher Ruettell, soprano; Temie Murphy, contralto; A. P. Kim, tenor; Joseph Granbeck, tenor; Maurice Edelsheim, baritone, who sang the principal solos and choruses, and Mrs. Frederick E. Church, pianist, who played the accompaniments.
6The Brahms Quartet was advertised for the Miles Theater this week and out of curiosity the writer thought he would see what ten cent vaudevillians had to do with Brahms. And would you believe it, here were four young women who knew their business and were worthy of their name. They opened their act with a trio for piano, violin and cello, playing a couple of the Brahms Hungarian dances. This was followed by some Brahms songs accompanied by the trio of instruments, and then there were solos for violin and cello—transcriptions of Brahms' songs, save the Sarasate "Ziegenuerweisen" played by the violinist. So there they were, serious young musicians appearing in low priced vaudeville, each one a splendid artist and spreading the cause of good music. Their names are: Bessie Führer, violinist; Lucy Führer, cellist; Betty Paterson, soprano; Henriette Thaxter, pianist.
8The annual singing contest between Dovre Singing Society, John Tonning, director, and the Arpi Male Chorus, Hjalmar Nilsson, director, took place at the First Baptist Church, Wednesday night. The choruses were small, there being only twenty-two of the Arpis and twenty-four of the Dovres, but they could sing. There were four songs in which the choruses were united and four in which they sang separately as contestants. It was all very beautiful work and the judges, E. V. Johnson, John Dahle and William H. Pontius, awarded the prize, the Sabin cup, to the Arpi chorus. Helga Jensen, violinist, added variety to the program with two solos. one of two readings
9The annual singing contest between Dovre Singing Society, John Tonning, director, and the Arpi Male Chorus, Hjalmar Nilsson, director, took place at the First Baptist Church, Wednesday night. The choruses were small, there being only twenty-two of the Arpis and twenty-four of the Dovres, but they could sing. There were four songs in which the choruses were united and four in which they sang separately as contestants. It was all very beautiful work and the judges, E. V. Johnson, John Dahle and William H. Pontius, awarded the prize, the Sabom cup, to the Arpi chorus. Helga Jensen, violinist, added variety to the program with two solos. one of two readings
11On the evening of March 14 the Johnson School of Music will present Charles D. Ostergren in a violin recital at Handicraft Guild Hall. At this recital the St. Paul Quartet, assisted by Gustavus Johnson, pianist, will make its initial appearance, playing two interesting numbers which have never been heard here, the A major piano quintet of Saint-Saëns and a Servais duet for violin and cello on a theme by Beethoven. Practically the same program will be given in St. Paul on Friday evening, March 11, under the auspices of the St. Paul College of Music, of which Errico Sansone is the head. The St. Paul Quartet consists of Errico Sansone, first violin; Charles D. Ostergren, second violin; Fram Anton Korb, viola, and Roberto Sansone, cello.
13Aagot Julsrud, the young coloratura soprano of whom mention has been made before, gave a concert in Red Wing last Tuesday evening that was highly spoken of by the papers in that city. Miss Julsrud will give concerts in Duluth, Cannon Falls, Superior and several other cities of the State this spring. She was assisted in this concert by Frederic Southwick, tenor, and Professor La Villa, her teacher.
15Julius Johnson, a pupil of Gustavus Johnson, is preparing a recital in which he will play exclusively compositions by his teacher, including the first movement of a piano concerto in D minor. Gustavus Johnson goes to Willmar on March 7 to play a recital in conjunction with Oliver Colbertson, one of Duluth's talented violinists.
17Rehearsals are in progress for the second act of "Martha," which is to be given March 2 in the Y. M. C. A. auditorium by the pupils of Arthur Vogelsang of the Northwestern Conservatory. Ragnhild Holmquist will sing the role of Martha, Julia will be taken by Lillian Skinner, Lionel by B. Eugene Scott and Plunkett by Ray Moorehouse. Eva Higgins will be at the piano. The second part of the program, "Barbara," a drama, in one act, by Jerome K. Jerome, will be presented by pupils of Frederic Karr, under his direction. Those cast for the characters are Helen Vogelsang, Harriet Blixt, Bertel Meurling and Willard Webster.
19On Tuesday evening, March 1, the pupils of Mr. and Mrs. Charles M. Holt, of the dramatic department of the Minneapolis School of Music, Oratory and Dramatic Art, will present "The Physician in Spite of Himself," a comedy by Molière, the greatest of all French dramatists. The story of the play is laid in France in 1650. It is a satire on the doctors of the time, and is full of humorous situations and witty lines. The chief character, a whimsical wood-chopper, who gulls the public as a doctor, will be played by Frank Ganley, who has appeared successfully in a number of important roles at the school during the past two years. The beautiful little one act romance "The Violin Maker of Cremona" will be given as a curtain raiser. Both plays will be appropriately costumed. Following is the full cast:
21THE VIOLIN MAKER OF CREMONA.
22A Romantic, One-Act Play by François Coppée.
23Taddeo Ferrari (a master violin maker) ……………..Lyle Clement
24Filippo (apprentice to Ferrari) …………………….Gerard Van Etten
25Sandro (apprentice to Ferrari) ……………………..Leslie Wilcox one of two readings
26Sandro (apprentice to Ferrari) ……………………Leslie Wilcox one of two readings
27Giannina (Ferrari's daughter) ……………………….Gertrude Frambach one of two readings
28Giannina (Ferrari's daughter) ……………………..Gertrude Frambach one of two readings
29Scene—Cremona. Time—1750.
31THE PHYSICIAN IN SPITE OF HIMSELF.
32Comedy in Three Acts by Jean Baptiste Molière.
33Sganarelle (Martine's husband) ……………………..Frank Ganley one of two readings
34Sganarelle (Martine's husband) ……………………Frank Ganley one of two readings
35Martine (Sganarelle's wife) ………………………….Macy Will one of two readings
36Martine (Sganarelle's wife) ………………………..Macy Will one of two readings
37M. Robert (Sganarelle's neighbor) …………………..George Witt one of two readings
38M. Robert (Sganarelle's neighbor) …………………George Witt one of two readings
39Valere (Geronte's attendant) ………………………..Leslie Wilcox one of two readings
40Valere (Geronte's attendant) ……………………….Leslie Wilcox one of two readings
41Lucas (Jacqueline's husband) ………………………..Lyle Clement one of two readings
42Lucas (Jacqueline's husband) ……………………….Lyle Clement one of two readings
43Geronte (Lucinde's father) ………………………….Gerard Van Etten one of two readings
44Geronte (Lucinde's father) …………………………Gerard Van Etten one of two readings
45Jacqueline (Lucas' wife and nurse at Geronte's) …….Anna Fay one of two readings
46Jacqueline (Lucas' wife and nurse at Geronte's) ……Anna Fay one of two readings
47Lucinde (Geronte's daughter) ……………………….Marie Foley one of two readings
48Lucinde (Geronte's daughter) ………………………Marie Foley one of two readings
49Leandre (Lucinde's lover) ……………………………Leslie Wilcox one of two readings
50Leandre (Lucinde's lover) ………………………….Leslie Wilcox one of two readings
51Thibaut (Perrin's father) ……………………………George Witt one of two readings
52Thibaut (Perrin's father) ………………………….George Witt one of two readings
53Perrin (a countryman, Thibaut's son) ……………..Harold Hawkins
54Act I—A Forest.
55Act II—Lawn in front of Geronte's house.
56Act III—Same.
57Time—1650.
59OSCAR HATCH HAWLEY.
61HOWARD DAVIS
62Address: ANTONIA SAWYER, 251 West 83th Street
63S. C. BENNETT
64VOCAL INSTRUCTION
65Metropolitan Opera House Building, Suite 37
66Wednesdays and Saturdays
68SYRENA SCOTT
69Dramatic Reader
70CONCERTS, RECITALS, READINGS WITH MUSIC
71Personal Address—134 Carnegie Hall, New York City. Management—J. H. Pond Bureau, Metropolitan Life Ins. Bldg., N.Y.
73TOLLEFSEN TRIO
74MME. SCHNABEL-TOLLEFSEN
75CARL TOLLEFSEN
76VLADIMIR DUBINSKY
77CONCERT TOUR BOOKING
78Exclusive Management: WALTER R. ANDERSON, No. 5 West 88th Street, NEW YORK CITY
80Olitzka's Boston Triumphs.
82The following Boston criticisms tell of Rosa Olitzka's triumphs in recital with Mrs. Beach:
84A large audience in Jordan Hall yesterday afternoon enjoyed a program of more than usual excellence. The eminent contralto, Rosa Olitzka, and our famous resident composer, Mrs. H. H. A. Beach, were the two artists appearing. The larger share of the numbers were given by Madame Olitzka, who was in good voice and evidently entirely in sympathy with the numbers she had chosen. The German school and Mrs. Beach's songs preponderated in these and the selections showed that Madame Olitzka is a musician of taste as well as a singer. The first vocal number, "Ah Mon Fils," from Meyerbeer's "Le Prophet," was given with just the dignity and sorrow that fitted the operatic situation of the afflicted mother. Many make this song too vehement, but this pitfall was avoided in this instance. . . . In Schubert's "Junge Nonne" the mighty climax was worked up to in most dramatic fashion, but to us the next Schubert number, "Die Stadt," was the greater work and the more expressively sung. . . . It was pleasant also to see that Madame Olitzka does not follow the latter-day fashion of ignoring Robert Franz, as great a vocal composer as Schubert, or Schumann, or Wolf, or Brahms. His one little "lied" was charmingly interpreted. It was one of the chief beauties of the program. A group of three songs by Mrs. Beach was perhaps the most interesting point of the concert. These were "Ah Love, but a Day," "June" and "After." . . . An encore was obligatory and another of Mrs. Beach's songs was beautifully sung, "Where Did You Come from, Baby Dear?" In all her songs Madame Olitzka displayed surety of intonation, noble breadth in the lower register, and much dramatic power. . . . The last group of songs ended with a pastoral by Bizet, which was exceptionally interesting. It had considerable coloratura work and it reminded of some of the touches found in the music of "Carmen." It was sung by Madame Olitzka with especial brilliancy and resulted in another encore at the end of the program. It was pleasant to find that Madame Olitzka is more versatile than most opera singers, and were there a little closer union of her exceptionally broad lower register with the middle tones of her voice she would rank with the greatest contraltos. She has advanced greatly since she was heard in Boston in previous seasons.—Louis Elson, in the Boston Advertiser.
86Rosa Olitzka and Mrs. H. H. A. Beach gave a joint recital at Jordan Hall yesterday afternoon. . . . Madame Olitzka is a singer of marked dramatic instinct, indicated in her fervid delivery of Fides' aria from "The Prophet." . . . There was also clear appreciation of quiet beauty in lyric phrase. The concluding measures of "Es hat die Rose" and of Grieg's lovely song, "Ein Schwann," proclaimed it. . . . The singer was particularly admirable for the beautiful color of her soft voice in the upper register. It was repeatedly an effective means of interpretation during the afternoon.—Boston Globe.
88Rosa Olitzka, the distinguished contralto of the Boston Opera Company, gave a recital at Jordan Hall yesterday afternoon, with the assistance of Mrs. H. H. A. Beach, the Boston composer and pianist. Madame Olitzka offered an unusually varied program, including songs seldom heard, by Bunrutt and Sommer, and also paying tribute to Mrs. Beach by singing three of her songs, "Ah, Love, but a Day," "June" and "After." In all the singer showed again her well-known beauty of voice and style, her consummate skill and her remarkable musical intelligence. As a lieder singer, Madame Olitzka today is without many rivals. Her success was first made on the concert stage and there her talent shines now as brilliantly as ever.—Boston Journal.
90Heinrich Meyn Sings for Charity.
92No singer before the American public has given more of his valuable time "for charity's sake" than Heinrich Meyn. Numerous hospitals and other charities have benefited by his liberality. Mr. Meyn has consented to sing for five hundred poor but deserving young men at the Bowery Mission next Tuesday night, in a program of songs, in English, and with one exception from the pens of American composers.
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