Books › Musical Courier 1911-03-22: Vol 62 Iss 12, 1911 › scan 46
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Musical Courier 1911-03-22: Vol 62 Iss 12, 1911
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1Brahms. The Russian selection is Rachmaninoff's "Morning." In the French group Mr. Borroff will sing Wekerlin's "Chassant dans nos forets" and "Disons le Chapelet," an old folksong by Ducoudray, and Bemberg's "Soupir." The last group of the program will include English songs by Bell, Goodhart, Woodman and a humorous song, "Blow Me Eyes," by the Chicago composer, Arthur Dunham.
3Anton Foerster will give a piano recital in Ziegfeld Hall on Tuesday evening, March 28, at 8 o'clock. Mr. Foerster is a comparatively recent addition to Chicago's musical colony, having come here only last year from his home in Germany to accept a place on the faculty of the Chicago Musical College. His teaching duties have thus far so engaged his time that it has been impossible for him to contribute often to the public appearance calendar of local teachers.
5A chamber music recital by Hugo Kortschak, violinist, and Arthur Rech, pianist, will be given in Ziegfeld Hall, Tuesday evening, April 4. They will play, among other numbers, a sonata (MS.) by Adolphe Brune, a well known Chicago composer and assistant to Eric DeLamarter as musical critic on the Chicago Inter-Ocean.
7The Chicago Musical College was made defendant in a suit of $15,000 damages filed in the Superior Court Wednesday, March 15, by the Sam S. and Lee Shubert corporation. The action is in connection with the leasing of the Ziegfeld Theater. Last October the Shuberts signed a lease with the Chicago Musical College for the rental of the playhouse known as the Ziegfeld Theater. The price to be paid was quoted as $10,000 a year, and when the terms were drawn up the Shuberts paid $1,000 as a deposit and were to pay $5,000 on November 15, when they were to take possession, but some trouble arose through the objections of James Heyworth, the owner of the building.
9Curtis Barry, one of the youngest musicians of Chicago and for some time conductor of the Ravenswood Choral Society, died last Wednesday, March 15, at the residence of his parents, Mr. and Mrs. F. M. Barry, at 1705 Bloomer place, Evanston, Ill. The instrument, which was strictly private, took place Friday, March 17, at Oak Hill.
11Baroness Elsa von Wolzogen, who made such a sensational success at her recital in Music Hall the early part of this month, will appear again in song recital in Music Hall, Sunday afternoon, April 2. She will accompany herself on the ancient German lute.
13Paul W. McKay, basso, and Frank Waller, organist, furnished the program at the residence of Harry McIntosh last Sunday, March 12. Mr. Waller played several organ numbers and Mr. McKay sang selections by Schumann and Brahms, both artists being highly complimented for their work by the host as well as the guests.
15Dr. and Mrs. F. Ziegfeld have returned from Detroit, where they were the guests of their daughter, Mrs. Willis Buhl.
17Marion Green, the basso, has been very busy throughout the season. Some of his most recent engagements filled are as follows:
19Northfield, Minn., recital.
20Fargo, N. Dak., recital.
21Grand Forks, N. Dak., recital.
22Valley City, N. Dak., "Rose Maiden."
23South Side Women's Club, recital.
24Chicago Beach Hotel, recital.
25Chicago Culture Club, recital.
26West End Women's Club, "Nonsense Songs" and recital.
27Highland Park Club, recital.
28Kennelworth Club, recital.
29Kennelworth (Trear) recital.
30Warren Avenue Congregational Church, concert.
31Evanston, Ill., "Beatitudes."
32Klio Association, recital.
33Union Club, recital.
34Wilmette Country Club, recital.
35Town and Country Club (second engagement), recital.
36Illinois Athletic Club, concert.
37Metropolitan Club, concert.
38First Presbyterian Church, Evanston, recital.
39Colonial Club, Oak Park, recital.
40Colonial Club, Chicago, recital.
41Congregation Church's banquet (annex).
42Milwaukee, Wis., recital.
44Mrs. Edwin Stanton Fechheimer gave the seventh piano recital in the series of nine individual recitals of Regina Watson's artist class, before a crowded house in the school building last Saturday afternoon, March 11. Mrs. Fechheimer played the Beethoven sonata in D major, Chopin's mazurka in D major, nocturne in E minor, etude in C sharp minor and ballad in G minor, Brahms' rhapsody B minor, Leschetizky's "Canzonetta Toscana," Kopylow's etude in double notes, Blumenfeld's etude de concert and Grieg's concerto in A minor. The pianist played this varied program with such freedom and authority as to compare most favorably with many prominent pianists before the public today. She has all the qualities necessary to make up the true musician, viz., a beautiful singing tone, capable of wonderful color, a sure and very fluent technic particularly noticeable in her splendid octave playing, great strength and a remarkably reliable memory. Mrs. Watson is to be congratulated on the character of work she achieves and demonstrates through her pupils.
46Last Tuesday afternoon, March 14, the Pianola Piano recital was attended by a large and enthusiastic audience, which assembled in Music Hall to greet one of the most popular singers in Chicago, Rose Lutiger Gannon, contralto. Mrs. Gannon sang Lehmann's "The Worldly Hopes Men Set Their Hearts Upon," from the "Persian Garden," which won a rousing reception for the singer. Mrs. Gannon being at her best, it is almost needless to say that an encore was called for, which was graciously granted by the recitalist. In the second part of the program Mrs. Gannon was heard in Tchaikowsky's "Nur wer Sehnsucht kennt," Schumann's "Widmung" and Denza's "May Morning," which won another triumph for the singer, whose enunciation of the German and English is remarkably for its clarity. James J. MacDermid, beside furnishing worthy and artistic accompaniments on the Pianola Piano, rendered several solo numbers, demonstrating his skill with that instrument.
48"May," by Carl Busch, of Kansas City, is the title of the new prize children's cantata to be sung by the chorus of 1,500 children's voices at the children's matinee to be given in connection with the North Shore Music Festival at Evanston, March 25, 26 and 27. Madame Gadski will be the soloist on the same afternoon.
50The new choral work, "The Dance of Death," by Felix Woyrsch, has been sung twenty-six times in Germany since published and each performance is claimed to have been received with great favor by the critics and musical public. The Apollo Musical Club's fourth presentation of the work on April 10 in the Auditorium Theater, will be the first in America as well as the first in English anywhere.
52The members of the Musical Art Society received on March 15 voucher checks on the Western Trust and Savings Bank. Previously it was announced in this column that $3 would be paid for attendance at each rehearsal. This must have been a mistake, because at least one member received a voucher for $2 and another member for $4. This proves this paper's contention that the performance was far below that of last year. This was due to the lack of rehearsals.
54RENE DEVRIES.
56Clarence Eddy in the West.
58Clarence Eddy, the distinguished American organist virtuoso, is making what might be called a musical campaign, as he has been visiting nearly every city of prominence in the West where he has been meeting with tremendous success. Mr. Eddy expects to open the new organ in the First Presbyterian Church, Salt Lake City, on April 3. He will play in Mitchell, S. D., March 13, Topeka, Kan., March 20, with a lot of engagements pending. Following are several recent press comments:
60The organ recital in the First Presbyterian Church last night was fully demonstrative of all that has been said and written about Clarence Eddy. The church auditorium was packed to its capacity, extra chairs being required to seat the most representative audience that ever assembled in a Helena church.
62Mr. Eddy's easy dominance, perfect control, and inexhaustible ingenuity gave the added popular estimate to his magnificent musicianship. From the fine organ at his disposal he evoked the ultimate limit of its power and resource.
64Mr. Eddy's great and powerful grasp of the meaning of every phrase, the color opulence of his interpretations, the sweep and majesty of the more dignified passages, the infinite precision and tenderness of the more fragile portions of the program, won earnest and sustained applause.—Helena, Mont., Daily Independent, March 7, 1911.
66For two hours last night Clarence Eddy, the world-famous organist, held a large audience in the Presbyterian Church in a grip of tone and melody that only a master musician can. His hearers listened with every faculty to the flood of music that welled from the pipe organ of the edifice.
68Mr. Eddy is a master of the organ, and his recital calls for nothing but words of praise. His technic is prodigious, and his interpretative art comprehensive.
70The beautiful music which floated from the great organ was now soft and limpid, like the babbling of hidden brooks; again it welled forth in solemn thunderous tones like the roar of the ocean that is harassed by the storm. The program was long and varied. The artist at the keyboard treated his auditors to a musical menu that was calculated to suit every palate.—Chico, Cal., Record, February 22, 1911.
72Mr. Eddy performed wonders by his really artistic work on a pipe organ with which he is not familiar. One rebellious organ stop in the diapason department bothered him and would not "speak" when called upon. Most organists would not have noticed the occurrence, but Mr. Eddy is particular. At the conclusion of his rendition of the Crawford toccata in F Mr. Eddy mentioned that the stop referred to was working badly and asked someone familiar with the mechanism of the organ to try to remedy the defect. Two organists answered and the recital proceeded.
74His rendition of Johnston's "Evensong" was splendid for registration and the well-remembered Bach fugue received fitting presentation. Hollins' "In Springtime" and the overture to "William Tell" (Rossini) were musical treats. Mr. Eddy won several recalls and he responded with one encore.—Morning Oregonian, Portland, Ore., March 4, 1911.
76Charles W. Clark Sings in New York.
78American singers on both sides of the Atlantic have done their part to spread the fame of Claude Debussy. Charles W. Clark, the American baritone as widely known in Paris as in his own country, arrived in New York recently from an extended sojourn in the French capital where he is regarded as a distinguished exponent of all that is lofty in vocal art. Friday afternoon of last week and Sunday afternoon of this week, Mr. Clark reappeared before a New York public at the pair of concerts given by the New York Symphony Orchestra. His offerings for these concerts included three new songs (or ballads as they were entitled on the programs) by Claude Debussy. Nothing in the way of song writing by this now eminent composer did more to impress his admirers than the numbers presented by Mr. Clark at these concerts. The settings are for three poems by Francois Villon, and these made an immediate impression because of their unique characteristics and Mr. Clark's beautiful and profound presentations.
80The first of the songs, "To His Love," is an impassioned appeal to one who seems evidently unworthy of the loyal devotion which the lover in this case had hidden away in his soul. Mr. Clark sang with feeling, fine phrasing and passion. It was a masterly rendition of an original and striking song. The second ballad in the form of a "Prayer to the Virgin" breathes the tortured soul who has confessed all and prayed devoutly for pardon. The music again suggested just the mood of the poet and Mr. Clark's delivery of it proved a very marked illustration of sublime vocal utterance. The last song, with its fascinating accompaniment, is named "The Dames of Paris." The music of this song recalls in some measures Debussy's "Mandolina" a song on the lists of a score of American singers. Here, there was lightness and gayety but the theme and the music were stamped with the peculiar charm which is manifested in all of Debussy's music.
82The effect these new Debussy songs made upon the listeners last Friday and Sunday afternoons was about the same as if they had been suddenly transported into a beautiful garden, where music descended from the clouds. It was so refreshing and elegant that no wonder many of the auditors were spellbound. The piano accompaniments were played by Walter Damrosch. It should be added that Mr. Clark has sung these songs in Europe with great success.
84The remainder of the program for the concerts consisted of Bach's "Brandenburg" concerto (No. 1) violin obligato played by David Mannes; canzonetta from Mendelssohn's E flat quartet arranged for string orchestra, and the "Pathetic" symphony of Tchaikowsky.
86Cecile Behrens for Germanistic Society.
88A splendid concert at the Waldorf-Astoria on Friday evening of last week, under the auspices of the Germanistic Society of America, attracted a representative audience of Germans and Americans of German descent. There was a long and varied program in which Cecile Behrens, the now popular pianist won a marked success. Madame Behrens has distinguished herself this season in America by an art that combines everything that is needed to make a performer attractive in the eyes of the public.
90Madame Behrens, in conjunction with the cellist, Leo Schulz, played two movements of the Rubinstein sonata in D for piano and cello. Later in the evening, Madame Behrens performed with great brilliancy of technic the Liszt Rhapsody No. 3. There are few women players who equal this pianist in her extraordinary command of the keyboard. She plays powerfully, but there is no pounding. Naturally, in the more delicate passages, Madame Behrens plays delightfully, but when a woman player possesses her emotional grasp and power, special attention must be called to her work.
92There were some orchestral numbers and other soloists to interest the audience.
94The officers of the Germanistic Society are: President, Edward D. Adams; honorary vice presidents, Hon. Andrew D. White, Hon. Seth Low; vice Society are: President, Edward D. Adams; honorary vice-presidents, Hon. Andrew D. White, Hon. Seth Low; vice-presidents, Arthur von Briesen, W. H. Carpenter, Antonio Knauth; recording secretary, Franz Boas; treasurer, Emil L. Boas; corresponding secretary; Rudolf Tombo, Jr.; directors, John W. Burgess, Hugo Reisinger, Nicholas Murray Butler, Archer M. Huntington, Leonard Weber, Paul M. Warburg, John Firman Coar, Rudolf Franksen; life members, Edward D. Adams, Allison V. Armour, E. J. Berwind, Felix M. Warburg, Emil L. Boas, George Blumenthal, Joseph Pulitzer, J. Pierpont Morgan, Archer M. Huntington, Thomas H. Hubbard.
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