Books › Musical Courier 1913-05-28: Vol 66 Iss 22, 1913 › scan 12
Scan 12
Musical Courier 1913-05-28: Vol 66 Iss 22, 1913
112 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 15. See the scan on archive.org.
1pated with the feeling that he would be appreciated, but the greater part of the audience was scarcely prepared for the remarkable power of the voice, which must have been heard easily beyond the confines of the hall. In Harold O. Smith, Mr. Rains had an efficient accompanist, whose work made each number complete. The second part of the program was given over to a Wagner memorial, and in this he sang the "Traume," followed by "O, Thou Sublime Sweet Evening Star," with consummate style and splendor of musical color. It made such an appeal to the audience that an ovation followed. So prolonged was the applause that Mr. Rains finally returned and sang another Wagner number, the "King's Prayer" from "Lohengrin." The singing by the Maennerchor was unusually good. Rudolph Heyne, the director, produced results that nothing short of genius could gain from a large number of singers. The singing of the Maennerchor motto, with which every concert is opened, was probably never better than that night, and it put the audience in just the right spirit to listen. The mixed chorus gave an especially clever reading in the Wagner memorial of the "Apotheosis" of Hans Sachs from "Die Meistersinger," and again in the march and chorus from "Tannhäuser." The accompaniments for the chorus were played by Paula Kipp with artistic and adequate support. Under Mr. Heyne the chorus has acquired great efficiency, and the applause after each song was enough to make the singers know how well all enjoyed it.
3SAMUEL E. MACGREGOR.
5NASHUA MUSIC FESTIVAL.
7The Nashua Oratorio Society, Eusebius G. Hood, conductor, gave its twelfth annual music festival in City Hall, Nashua, N. H., on May 15 and 16. The following assisted: High school chorus of two hundred voices, Boston Festival Orchestra, John W. Crowley, principal; Anna Melendy Sanderson and Ruth Ashley, pianists. The soloists were Grace Bonner Williams, soprano; Rose Bryant, mezzo-soprano; Paul Althouse, tenor; Reinald Werrenrath, baritone; Willard Flint, bass, and Miriam Genevieve Dowd, piano.
9The program of the first concert was:
11The Seven Last Words of Christ (an oratorio for soloists, chorus and orchestra) ………………………………………Theodore Dubois
12Overture, Rosamunde ……………………………………………..Schubert
13Boston Festival Orchestra.
14Banjo Song ………………………………………………………..Homer
15Hendemeeer's Stream ……………………………………………..Gatty
16La Zingara ………………………………………………………..Donizetti
17Miss Bryant.
18Celeste Aida, from Aida ……………………………………………..Verdi
19Mr. Althouse.
20Entree triomphale des Boyards …………………………………….Halvorsen
21Boston Festival Orchestra.
22Night, and the Curtains Drawn …………………………………….G. Ferrata
23Little Mary Cassidy ……………………………………………..Old Irish
24Danny Deever (by request) ………………………………………Walter Damrosch
25Mr. Werrenrath.
26Mad Scene, from Lucia di Lammermoor ………………………..Donizetti
27Mrs. Williams.
28Gallia ………………………………………………………..Charles Francois Gounod
30Of this first concert the Nashua Telegraph said: "It means much to the musical future of Nashua that, in opening the twelfth annual festival at City Hall last night, Eusebius G. Hood and the High School Chorus were able to produce two such works as 'The Seven Last Words of Christ,' by Dubois, and Gounod's 'Gallia,' to sing them with musical intelligence and with an understanding of the text that would put many a chorus of more mature years to the test. Seldom either has a better group of soloists appeared here. Given in addition the excellent work of the Boston Festival Orchestra and the musicianly support of Ruth Ashley at the piano, and it will be seen that the instrumental portion was in capable hands."
32Of the soloists the Telegraph continues: "Mrs. Williams met every requirement of the score in an almost ideal manner. Mr. Althouse caught the spirit of the work and sang with artistic expression and beautiful quality of tone. He was at his best in the 'Celeste Aida,' which he sung with dramatic feeling and intensity that gave an idea of the qualities that won for him a place on the operatic stage. It aroused the audience instantly to enthusiasm.
34"Mr. Werrenrath overcame admirably an incipient cold, which indeed was hardly noticeable in the first part of the program. Here, too, is a singer who makes the text tell its story—a singer who adds to a naturally fine voice the insight and intelligence of the true artist. The group of songs by Mr. Werrenrath was decidedly interesting. 'Night and the Curtains Drawn' (Ferrata) displayed a beautiful quality of tone. In 'Little Mary Cassidy,' an old Irish ballad, there was a fetching touch of the brogue that pointed its humor. He was obliged to repeat 'Danny Deever.'" Of the other numbers of the program the writer continues in high praise.
36The second concert, Friday afternoon, May 16, 1913, was called an "Artists' Matinee." This was the program:
38Overture, Der Freischutz ………………………………………Weber
39Boston Festival Orchestra.
40Abendstern, from Tannhäuser …………………………………….Wagner
41Mr. Werrenrath.
43My Heart Is Weary, from Nadeschda …………………….Goring-Thomas
44Miss Bryant.
45Romance ………………………………………………………..Faure
46Valse lente …………………………………………………….Oswald
47Venezia e Napoli ……………………………………………..Liszt
48Gondoliera.
49Tarentella.
50Miss Dowd.
51All in All ………………………………………………………..Jordan
52Mr. Althouse.
53Intermezzo, from The Jewels of the Madonna ………….Wolf-Ferrari
54Allegretto, from Symphony No. 8, op. 93 …………………Beethoven
55Boston Festival Orchestra.
56Valse ………………………………………………………..Bemberg
57Ou Song …………………………………………………….Donizetti
58Miss Bryant.
59Love Song …………………………………………………….Haesche
60Here on the Brae ……………………………………………..Jordan
61Lamp of Love ……………………………………………….Salter
62Mr. Althouse.
63Liebesgestusler ……………………………………………….Andrea one of two readings
64Liebesgufuster ……………………………………………….Andrea one of two readings
65Boston Festival Orchestra.
66Witch Woman (MS.) ………………………………………Deems Taylor
67Open My Windows to the Stars ……………………………S. Liddle
68The Ringers …………………………………………………Hermann Lohr
69Mr. Werrenrath.
70Marche, from Scenes Pittoresques ………………………….Massenet
71Boston Festival Orchestra.
73On the evening of May 16, 1913, Gounod's "Faust" was given with the cast as follows:
75Margarita …………………………………………………Grace Bonner Williams
76Siebel ………………………………………………………..Rose Bryant
77Martha ………………………………………………………..Rose Bryant
78Faust ………………………………………………………..Paul Althouse
79Valentine ……………………………………………………Reinald Werrenrath
80Mephistopheles …………………………………………….Willard Flint
82On this evening, as on the previous one, the work of the soloists was highly commendable. Of the work of the chorus a local paper states:
84"The chorus, of course, had its great opportunity in the Kermesse, with its rapid movement and changing rhythm. The male chorus sang with a life and vigor that the effervescent students of Goethe's poem drama might well have envied. There was a rollicking dash in it that never flagged. In the waltz chorus the ladies' voices kept up the dance rhythm admirably and the entire scene roused the audience to intense enthusiasm. Later, of course, the stirring soldiers' chorus was another fine opportunity for the male voices, supplemented in the finale by the entire chorus with splendid martial swing. The music of the church scene and the Easter hymn at the close of the opera, entirely different in character, were beautifully done.
86"The trio in the prison scene brought the work of the soloists to a magnificent climax. The effect of the opera was greatly heightened by the fine work of the orchestra."
88MUSIC IN OREGON.
90445 Sherlock Building,
91Portland, Ore., May 10, 1913.
93A large crowd turned out on April 29 to hear the tenth concert of the Apollo Club, William H. Boyer, director. For a number of years this excellent body of forty-eight men has held high the standard of choral singing in Oregon. Among the club's offerings were Dvorák's "Heart Ache," Gilchrist's "Spring Song," Parker's "About Clocks," Brewer's "Lord of the Dunderberg" and Schubert's "Omnipotence." Frank G. Eichenlaub, who has occupied the concertmaster's chair of the Portland Symphony Orchestra, played with smoothness and delicacy a violin obbligato to "The Night Has a Thousand Eyes." Mr. Boyer, as usual, conducted with authority and obtained fine results from his singers. The soloist, Ina Herbst Wright, soprano, was eminently pleasing in works by Weber, Verdi and Brahms. Edgar E. Course and William C. McCulloch furnished beautiful accompaniments.
95Last Wednesday the Orpheus Male Chorus gave its second concert of the season before an audience of medium size. William M. Wilder has under his control a chorus of about forty-five members, and their phrasing, enunciation and tone production are a high tribute to his ability as a director. The organization made a decidedly good impression in Cole's "Ashes of Roses," Bayley's "Long, Long Ago," and Kjerulf's "Last Night." Laurent de Rille's work, "The Destruction of Gaza," was also an interesting number. All the selections were sung unaccompanied. George Hotchkiss Street, baritone, the assisting soloist, was not in his best vocal form. However, he was cordially received. His contributions included an American composition, "A Fool's Soliloquy," by Campbell-Tipton. Elsie Bond-Bischoff presided at the piano.
97Rosa Blackmore, of Portland, was heard in recital in the Multnomah Hotel on May 8. This gifted pianist made her debut in London with Ellen Beach Yaw, the noted soprano. Miss Blackmore's program included Schumann's "Etudes Symphoniques," and she made light of its immense difficulties. She also won approval in works by Chopin and Liszt. Aaron H. Currier, baritone, assisted. His voice and method are much admired here, and he sang with especial beauty and charm. R. J. Hutchison, a sterling musician, played the accompaniments.
99JOHN R. OATMAN.
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