Books › Musical Courier 1911-03-22: Vol 62 Iss 12, 1911 › scan 15
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Musical Courier 1911-03-22: Vol 62 Iss 12, 1911
57 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 16. See the scan on archive.org.
1BUFFALO MUSICAL RECORD.
2BUFFALO, N. Y., March 14, 1911.
3Seldom are Buffalonians vouchsafed such a treat as that which came last week, when the Cincinnati Symphony Orchestra appeared here for the first time, under the direction of the young and marvelous conductor, Leopold Stokowski, in Convention Hall; nor is it often that one finds an audience so entranced during the performance of a program and so wildly enthusiastic at its close. Some said: "Oh, if it were not solely a Tchaikowsky program," but later the audience remained seated as though loath to leave a scene so fraught with intense musical enjoyment. The program included the "March Slav," B flat minor concerto, with Olga Samaroff, pianist, and the "Pathetic Symphony." Mr. Stokowski created a sensation as a conductor. Never did Tchaikowsky's "Pathetic Symphony" have a more exquisite reading in Buffalo. Madame Samaroff is a great favorite in Buffalo. In response to insistent recalls, she responded with two solos, "Waldesrauschen" by Liszt, and Paul Juon's dainty "Nymphs of Spring." This was the final concert of six, under the able management of Mae Davis Smith.
5It is rumored that Mary Garden will be heard in a song recital during April.
7One always expects to hear a fine concert when Alfred Jury announces the Clef Club to prove the fact. Last night the concert attracted a big audience to Convention Hall to hear the splendid chorus of 200 mixed voices. The program opened with a waltz song, "The Magic Spring," Weinzierl, with piano accompaniment played by Mr. Bagnall; "The Night Has a Thousand Eyes," part song à capella (Van der Stucken); "O Day of Penitence," six part motet à capella (Gounod); "Evening" (a gem), four parts à capella; Lassen (repeated); "Maiden and the Birds" (Neidlinger), Women's Chorus with soprano obbligato, sung by Madame Maconda; "Bold Turpin," romance, four parts à capella (Bridge); "You Stole My Love," Macfarren, madrigal à capella, and the stirring Welsh folksong, "The Men of Harlich," arranged in eight parts à capella by Rutland Boughton, also repeated, besides two good encore numbers. One thing is certain, and that is that outside of Toronto no more impressive choral work has ever been heard here than that which characterized the Clef Club numbers, particularly in "O Day of Penitence." The Clef Club is to be highly commended for its unswerving spontaneity, its spirited enthusiasm and its exquisite tonal charm, particularly among the sopranos and altos. The men are progressing and their work was throughout good. It is choral work closely akin to that of the Toronto Mendelssohn Choir. Evidently its unspoken thought is "Not on the heights but near them" and the watchword is "Excelsior." Conductor Jury was in his happiest frame of mind, as well he might be with such loyal response to his painstaking efforts to bring the Clef Club to the highest state of perfection. Charlotte Maconda, the New York soprano, who has sung in Buffalo before, was greatly liked. Her opening number, the polonaise from "Mignon," was followed by songs of Schumann and Strauss; a second group in English included Rachmaninoff's "Lilacs," Cadman's "Land of the Sky Blue Water," the latter being repeated. Madame Maconda was recalled many times to receive flowers, an armful of American Beauties, and gave additional pleasure by singing an aria from "The Magic Flute" and Louis Victor Saar's "Little Gray Dove." Her vocalism is exquisite, her middle voice extremely rich and satisfying. Her upper notes are as clear as a bell. Her charm of manner and graceful stage presence enhance her gifts as a vocalist. one of two readings
8One always expects to hear a fine concert when Alfred Jury announces the Clef Club to prove the fact. Last night the concert attracted a big audience to Convention Hall to hear the splendid chorus of 200 mixed voices. The program opened with a waltz song, "The Magic Spring," Weinzierl, with piano accompaniment played by Mr. Baghall; "The Night Has a Thousand Eyes," part song à capella (Van der Stucken); "O Day of Penitence," six part motet à capella (Gounod); "Evening" (a gem), four parts à capella; Lassen (repeated); "Maiden and the Birds" (Neidlinger), Women's Chorus with soprano obbligato, sung by Madame Maconda; "Bold Turpin," romance, four parts à capella (Bridge); "You Stole My Love," Macfarren, madrigal à capella, and the stirring Welsh folksong, "The Men of Harlich," arranged in eight parts à capella by Rutland Boughton, also repeated, besides two good encore numbers. One thing is certain, and that is that outside of Toronto no more impressive choral work has ever been heard here than that which characterized the Clef Club numbers, particularly in "O Day of Penitence." The Clef Club is to be highly commended for its unswerving spontaneity, its spirited enthusiasm and its exquisite tonal charm, particularly among the sopranos and altos. The men are progressing and their work was throughout good. It is choral work closely akin to that of the Toronto Mendelssohn Choir. Evidently its unspoken thought is "Not on the heights but near them" and the watchword is "Excelsior." Conductor Jury was in his happiest frame of mind, as well he might be with such loyal response to his painstaking efforts to bring the Clef Club to the highest state of perfection. Charlotte Maconda, the New York soprano, who has sung in Buffalo before, was greatly liked. Her opening number, the polonaise from "Mignon," was followed by songs of Schumann and Strauss; a second group in English included Rachmaninoff's "Lilacs," Cadman's "Land of the Sky Blue Water," the latter being repeated. Madame Maconda was recalled many times to receive flowers, an armful of American Beauties, and gave additional pleasure by singing an aria from "The Magic Flute" and Louis Victor Saar's "Little Gray Dove." Her vocalism is exquisite, her middle voice extremely rich and satisfying. Her upper notes are as clear as a bell. Her charm of manner and graceful stage presence enhance her gifts as a vocalist. one of two readings
10VIRGINIA KEENE.
12INDIANAPOLIS MUSIC.
13INDIANAPOLIS, Ind., March 16, 1911.
14The program given at the Propylaeum by the Indianapolis Ladies' Matinee Musical yesterday afternoon was devoted to the works of American and Russian composers. The names appearing were C. A. White, Henry Hadley Edward MacDowell, Charles Ayer, Charles Wakefield Cadman, Elis Levy, Carrie Jacobs Bond, C. Whitney Coombs and Rachmaninoff. While the program was unequally divided between the Americans and Russians as to numbers yet the time consumed by each evened matters considerably. Those taking part in the interesting musical treat were Emma Fern Brendel who sang a group of songs with pleasing voice and manner. The concerto in F sharp minor by Rachmaninoff was given by Mrs. Lafayette Page with a brilliancy that increased her standing, already very high, as a pianist. She interpreted this gratefully melodic number with true artistic taste and conception, presenting its beauties with a nicety of finish which pleased her listeners to such an extent that she was obliged twice to acknowledge prolonged applause. Mrs. Hanna Wolff Freeman played the orchestral parts on the second piano and drew no small portion of attention by her well modulated tone coloring of this part.
16Stella Haines (mezzo soprano), who returned recently after a period of study with Oscar Saenger, possesses a voice of excellent quality and stands before her audience with commanding presence. Her numbers, two selections from "Sayonara" (Cadman) were not suited, however, to reveal her full power as a singer, yet she gave them with as much feeling as the composition demanded. Much interest was manifested in the two numbers for violin as played by Katharine Bauer. There were two reasons. First the popularity of the soloist and second the fact that Elis Levy, the composer, was formerly an Indianapolis boy and student. The first selection was a berceuse-barcarolle, which is a delightfully beautiful number, but the second, while a brilliant and apparently difficult "Perpetuum Mobile," was not strikingly original. Miss Bauer played these numbers well and received the recognition of her audience. Mrs. George Carlon sang two very charming songs and was assisted by Ruth Murphy (violinist), who played an effective obligato to one of them. The accompanists for the afternoon were Mrs. S. L. Kiser and Mrs. S. K. Ruick.
18G. R. E.
20MUNICH MUSICAL NEWS.
21MUNICH, March 1, 1911.
22This is Ash Wednesday morning, and Munich has a wet towel around its head. The carnival ended yesterday with the fancy costume carriage parade and its accompanying snow storm of confetti in the afternoon, followed by the high jinks in the big cafés, and ending with the funeral service over Prince Carnival at midnight. And now comes the second half of the concert season. There will be two or three concerts practically every evening in March. There are, however, few names of international reputation on the list, the exceptions being Ossip Gabrilowitsch, Fritz Kreisler, and William Bachaus.
24There is only one Fritz Kreisler and only one Beethoven. They must be thorough friends, I imagine—at least they seem to understand one another perfectly. Kreisler was the soloist at the last subscription concert of the Konzertverein Orchestra under Ferdinand Löwe on Monday evening, playing the Beethoven concerto. It was, to use a much abused word with entire right, a wonderful performance. There is nothing new to be said about the Beethoven concerto or Kreisler's playing; I can only testify that for me it was the most perfect bit of music making I have heard this winter. The rest of the program consisted of the Beethoven "Egmont" overture, and the Bruckner E major symphony. The accompaniment for the concerto was tastefully done.
26The second concert of the Konzertverein Orchestra, with Ossip Gabrilowitsch as conductor, took place last week, and the program was as follows: Saint-Saëns' "Jeunesse d'Hercule," Elgar's "Symphonic Variations," Faure's music to "Pelleas and Melisande," Dvorák's "Carnival" overture, Brahms' double concerto for violin and cello. Gabrilowitsch strengthened the impression which he made here at his first concert. He is a leader of taste and fine sensibility. He has full command of the orchestra at all times, and a technic of conducting which might well be the envy of many a more experienced leader. Of the orchestra numbers, the Elgar variations, with its mighty close and the beautifully orchestrated suite of Fauré, must be mentioned particularly. The Brahms concerto was played by Prof. Hugo Heermann, violin, and Prof. Heinrich Kiefer, cello. Heermann played with fine tone, accurately and quietly, but, at least for me, not impressively. Kiefer played excellently, with much temperament. It is to be supposed that so eminent a soloist has a good instrument, but the tone he produced was directly unpleasant and by no means as beautiful as that of the cellos in the accompanying orchestra. Gabrilowitsch will direct his third and last concert of the season during the coming month with Frederic Lamond as soloist. Notwithstanding the counter attractions of Carnival, there was a large and very applause audience present at this last concert.
28Another artist who competed against the Carnival was Susan Metcalf, who gave a second recital last Friday evening, the program being made up of songs by Gluck, Scarlatti, Rontani, Fauré, Schubert, Schumann, Bungert, and Brahms. She was accompanied well by Wolfgang Ruoff.
30Notes from the Opera.—Paul Bender, the excellent bass of the Munich Opera, will appear as guest in Nuremberg on March 30, to create the title role in the first German performance of Massenet's "Don Quixote." Nuremberg is certainly to be congratulated on the enterprise of the management of its city theater. It was the first city to hear the "Rosenkavalier" after Dresden, and only two days after, and it will now have this important premiere. Marcella Craft appeared for the first time last Sunday as Sophie in the "Rosenkavalier," and made an excellent impression. Her work in the big trio in the last act was especially fine. Speaking of this trio, one is at a loss to understand why nearly every critic must mention in the same breath with it the quintet from "Meistersinger." The "Rosenkavalier" trio is indeed very beautiful and works up to a fine climax, but compare the splendid simplicity of Wagner's quintet with the complex and involved harmonic and melodic structure of the trio, and if Wagner has not achieved a much more overpowering effect with his straightforward voice leading and simple harmonies, then I am mistaken. That is always the supreme test of the great artist, be he composer, painter or author, the achievement of great results with simple means.
32Maud Fay sang recently in the Tonhalle at the concert of the Akademischer Gesangverein. She was in beautiful voice and was tendered an ovation such as is seldom heard in those classic walls.
34It looks very much as if Munich was going to lose that splendid alto singer, Frau Preuse Matzenauer. About a month ago she suddenly left Munich on leave of absence on account of domestic troubles. It was at first said that she would soon return, in fact she was scheduled for an appearance as Brünnhilde in the "Walküre," but she did not return, and now has applied to be made free from her contract. It is rumored that she will be heard in America. Her withdrawal would be a great loss to Munich.
36Felix Mottl will return in a day or two from a journey to the North, where he has appeared with great success as guest conductor in St. Petersburg, Moscow, Hamburg and Berlin.
38Massenet's "Manon" will be heard for the first time (!) in Munich next Monday evening.
40An interesting rumor, and one which is likely to be true, is that in case Frau Preuse Matzenauer is released from her contract here, she will become a member of the Hamburg ensemble, and that Munich will receive in exchange for her the well known American mezzo of the Hamburg Opera, Edyth Walker.
42H. O. Osgood.
44Pupils of Ross David Sing in Harrisburg.
45Ross W. David, one of the successful vocal teachers, an authorized pupil of Jean de Reszke, has recently witnessed more results of his work. Two of his pupils, Mabel Lyon Sturgis, soprano, and Mrs. N. Frederick Foote, contralto, appeared at a concert in Harrisburg, Pa., on March 8. This was an event that attracted considerable notice. The following paragraphs, from the Harrisburg Patriot, praise the work of Mr. David's pupils:
47The honors of the evening were equally divided among the participants in the program. Miss Sturgis possesses a lyric soprano voice of unusual quality, which lent itself admirably to the songs she had chosen. Mozart's "Deh! Vieni non Tardar," from "The Marriage of Figaro," was beautifully sung, particularly the difficult pianissimo ending which showed the young singer's careful study and excellent training. The interpretation and tone coloring of the old Scotch song, "Afton Water," left nothing to be desired.
49The majority of Mrs. Foote's songs were dramatic in style, well suited to her wonderful contralto voice of such exceptional range. Probably her best number was Rossini's aria, "Ah! Rendimi." "The Little Winding Road," of Landon Ronald, and the encore song, "Dearie," were in marked contrast and exquisitely sung.
51Too much cannot be said in praise of Miss David's work. Her accompaniments were artistically played and added much to the enjoyment of the program. Miss David is the sister of Ross W. David.
53Leon Rice Accepts Church Position.
54Leon Rice, the tenor, has accepted the position of tenor soloist in the choir of Trinity Chapel (Trinity Parish), of which Felix Lamond is organist. This is but one more step of progress which this young tenor is making in New York musical circles. He has been busy filling recital engagements in various cities, among which may be mentioned Worcester, Trenton, Utica, Middletown, Yonkers, Newark, East Orange, Morristown, Ossining, Bridgeport, South Norwalk and Brooklyn.
56M. Slezak, the tenor, says he is exhausted by the roles he sings. He is more exhausted by those M. Caruso sings.—New York Morning Telegraph.
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