Books › Musical Courier 1910-03-02: Vol 60 Iss 9, 1910 › scan 47
Scan 47
Musical Courier 1910-03-02: Vol 60 Iss 9, 1910
81 lines. Read by computer on 26 September 2026. Printed page 48. See the scan on archive.org.
1PHILADELPHIA, Pa., February 28, 1910.
3The second Wagner program of the season, played by the Philadelphia Orchestra on Friday afternoon and Saturday evening, drew two immense audiences to the Academy of Music. Pohlig gave a masterly interpretation of the music, his conception of the "Tristan and Isolde" number being particularly idealistic and poetic. The Funeral March was also played with splendid sweep and solemn impressiveness. The following numbers made up the program:
5A Faust overture.
6Bacchanale, Der Venusberg, Tannhäuser.
7Tannhäuser's Pilgrimage to Rome, Tannhäuser.
8Overture, Tannhäuser.
9Vorspiel and Liebestod, Tristan und Isolde.
10Siegfried's Schmiedlieder, Siegfried.
11Waldwehen, Siegfried.
12Funeral March, Die Göttterdammerung.
13Vorspiel, Parsifal.
15At the Friday and Saturday concerts to be given this week three familiar works will be contrasted with a symphony by W. W. Gilchrist, conducted by the composer. Prof. Cornelius Rübner, of Columbia University, will be the soloist.
17Dr. Wüllner's recital took place on Tuesday evening at Witherspoon Hall. The great interpreter has been heard here a number of times before, yet his marvelous singing, acting and declaiming still astonish and rouse his audience to the greatest enthusiasm. Surely no other singer of this generation possesses his power to give the last shade of meaning to every song, to every sentence, to every word.
19One of the most interesting recitals announced for this season in Philadelphia is that by Thaddeus Rich, which has been arranged for the afternoon of Friday, March 18, at the Academy of Music. The work of Mr. Rich as concertmeister of the Philadelphia Orchestra is very well known. The accompanist will be Ellis Clark Hammann, who makes his work tell in a most attractive manner.
21The Philadelphia Musical Academy celebrated its fortieth anniversary with an interesting concert at Musical Fund Hall on Monday evening, February 21. Wassili Leps was the speaker of the evening, and a silver loving cup was presented to Richard Zeckwer, founder of the Academy. The fine musical program included a Bach concerto for four pianos, violin solos by Paul Meyer, "Una Voce Poco Fa," from "The Barber of Seville," with Jenny Lind's variation, charmingly sung by Marie Zeckwer, cello numbers by D. E. Ezerman, and piano works played by Messrs. Richard Zeckwer, Leps, Camille Zeckwer, Bawden, Golz and Clark.
23Agnes Lee Golden was heard in a song recital at the Fuller Building on Tuesday evening, February 15. Miss Golden is a pupil of Grace Welsh-Pepper, and sang in a way that must have pleased her instructor as well as the audience.
25The Boston Symphony Orchestra was heard Wednesday evening at the Academy of Music in an interesting program, containing the lovely Schubert "Unfinished" symphony and the Rachmaninoff symphonic poem, "The Island of the Dead," played here for the first time. The Brahms concerto for violin and cello was also a novelty to most of the audience. Willy Hess, violin, and Alwin Schroeder, cello, were the soloists. The program closed with "Till Eulenspiegel's Merry Pranks."
27"For those who love children" would have been an appropriate heading for the program of the Saturday afternoon recital at the Combs Conservatory of Music, as much as the performers were little tots from eight to twelve years of age. This does not mean that a really musical program was not given, for the music was well played in a delightful, straightforward, childish way.
29The third recital of the Philadelphia Trio was given at the Acorn Club on Wednesday afternoon. The Trio does splendid work, and it is hoped that this first season will be followed by many more. Alexander Schmidt, violin; Herman Sardby, cello, and Selden Miller, piano, comprise the Trio.
31The Mendelssohn Club concert, with Thaddeus Rich as soloist, took place on Thursday evening at the Bellevue-Stratford. Under W. W. Gilchrist's able direction the club was heard in two choruses from Schumann's "Paradise and the Peri," a "Laughing Song" by Van der Stucken; "Spanish Serenade," Elgar, and "Land Sighting," Grieg. Mr. Rich played Wieniawski's "Faust" fantasia and other pieces.
33At the last of the Philadelphia popular concerts to be given on Wednesday evening, March 2, the program will contain the following numbers chosen by popular vote:
34"Peer Gynt" Suite, Grieg……………………………………………..234 votes
35"Imitations of America," Pohlig………………………………………200 votes
36"Midsummer Night's Dream," Mendelssohn………………………..182 votes
37"Lohengrin" Vorspiel, Wagner………………………………………155 votes
38"Sakuntala" Overture, Goldmark…………………………………….124 votes
40Antoinette Szumowska, the Russian pianist, gave a recital at the Bellevue-Stratford on Monday afternoon. She was heard in a Chopin sonata, a Mozart fantasia and other numbers. Needless to say, every number was rendered with a clean cut perfection of detail in which this artist excels.
42WILSON H. PILE.
44BALTIMORE MUSIC.
45BALTIMORE, Md., February 26, 1910.
47The Metropolitan Opera Company was the means whereby those attending the performance on February 25 made a musical excursion backward to the time of "Stradella." Alma Gluck and Leo Slezak were in perfect form and gave an ideal portrayal of their separate roles of Leonore and Stradella. Miss Gluck has a beautiful voice, and to those who remembered her charming singing earlier in the season, her success was not a surprise. Otto Goritz and Albert Reiss were inimitable in the roles of Malvolio and Barbarino. "Pagliacci" was also sung with an entirely different cast (with the exception of Gilly as Silvio), to that of a month or more ago. Martin did his best singing here as Canio, and he is surely destined to take the highest rank in the days to come. Rita Fornia made a very acceptable Nedda and Forsell as Tonio. His voice is a fine, vibrant baritone of excellent range, and his interpretation of the part is marked by an originality all his own.
49It is indeed a sad duty to record the passing of W. Edward Heimerdahl on February 22. He was a talented musician, a man of rare gifts, an inspiring teacher, genial and helpful companion, whose sterling traits of character have been a valuable asset in the musical life and atmosphere of Baltimore during his twenty or more years of residence here.
51One of the many interesting features of the Commemoration Day exercises of Johns Hopkins University, at McCoy Hall, was the playing of the orchestra, under the direction of Edwin L. Turnbull. The labor union had forbidden its members to play under Mr. Turnbull's leadership, on account of his being an amateur. He was able nevertheless to secure from the Peabody a sufficient number of artistic string players and from the National Marine Band a full quota of wind instruments to make up a satisfactory orchestra; the result attained was hailed with no small degree of pleasure, and he deserved the success and congratulations he enjoyed.
53The Boston Symphony Orchestra, assisted by the Oratorio Society, Corinne Rider-Kelsey, soprano; Janet Spencer, alto; Daniel Beddoe, tenor, and Claude Cunningham, baritone, gave a concert at the Lyric on February 22 to the largest house of its season. The program was very interesting, consisting of the overture to "Genoveva," Schumann; concerto for violin, Mendelssohn, and the choral symphony, No. 9, Beethoven. Willy Hess, concert master, was the soloist. The last symphony of Beethoven was given a presentation never excelled, and, perhaps, never equalled, in this city, although it is possible that it might have been even more enjoyable, had some of the frequent repetitions been omitted. The chorus had been carefully and finely trained and did well. The quartet sang splendidly.
55The eminent English organist of St. Paul's Church, late of Southwark Cathedral, London, Eng., A. Madelry Richardson, gave a scholarly and highly interesting lecture at the third open meeting of the Woman's Literary Clubs on February 24, his subject being "Music, the Handmaid of Religion." He is a M. A. of Kibbe College, Oxford, a man of rare attainments and eminently qualified to do full justice to so noble a theme. He paid a well deserved tribute to Rev. J. S. B. Hodges, rector emeritus of St. Paul's, for his magnificent work for and contributions to the music for the American Church.
57Ernest Hutcheson, pianist, teacher and lecturer, gave an analytical exposition of Strauss' "Elektra" at the Peabody on the afternoon of February 24, and because of the vogue for this rather extraordinary work, the address was most timely. Mr. Hutcheson is a firm believer in Strauss, and for this reason and because of his study of theme and his eminent musicianship, he is qualified to present them in the best possible manner. Mr. Hutcheson illustrated the themes by means of the piano.
59The fourteenth Peabody recital was given by Josef Lhévinne, the great Russian pianist, on the afternoon of February 25. There have been a number of wonderful pianists in this really fine course of recitals, but it is perfectly safe to say that none of them has given greater pleasure than Mr. Lhévinne or aroused more spontaneous enthusiasm. His technical powers seem limitless, his intonation impeccable, his touch exquisite and his ability to interpret the varied numbers of an exacting program all that can be desired.
61Regular subscribers and occasional readers of THE MUSICAL COURIER (the latter class should promptly be transferred to the former) will please bear in mind that the paper is for sale at the music stores of the Kranz-Smith and the H. D. French Music Companies, and subscriptions can also be placed at these stores as well as at the Sanders & Stayman Company.
63M. H.
65Connell Sings in "The Crusaders."
67Horatio Connell was the soloist last week with the Philadelphia Choral Society. The following excerpts relative thereto are of interest:
69In "The Crusaders" Mr. Connell made an excellent impression, which was reinforced by his fine performance in "Taillefer." He has a voice of singular sweetness, which has been trained till it has become as fluent and flexible as though it were a lyric tenor. Mr. Connell's singing is never stentorian, and yet the restraint and refinement of his art involves no lack of carrying power.—Public Ledger, Philadelphia, February 18, 1910.
71Mr. Connell sang the part of Peter the Hermit with artistic appreciation, which, with the mellowness of his voice, made his numbers thoroughly enjoyable.—Evening Telegraph, Philadelphia, February 18, 1910.
73Mr. Connell, as Peter sang impressively, with fine authority and feeling. Mr. Connell's voice is singularly mellow and rich in quality, and his singing shows rare facility and refinement.—Evening Bulletin, Philadelphia, February 18, 1910.
75A Cottlow Triumph in London.
77LONDON, England, February 26, 1910.
78To The Musical Courier, New York:
79Great artistic success for Augusta Cottlow at her first London recital.
80E. K.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.