Books › Musical Courier 1913-05-28: Vol 66 Iss 22, 1913 › scan 22
Scan 22
Musical Courier 1913-05-28: Vol 66 Iss 22, 1913
116 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 25. See the scan on archive.org.
1May 28, 1913.
3Lud" and "wig," points with irresistible force to the Lord Chancellor.
5Lastly, the identification of Bacon with the Leipzig cantor leaps to the eye when the two names Bacon and Bach are set side by side, the "H" having been added merely as a blind.
7Professor Bilger is also inclined to believe that Bacon was Spohr, but the chain of evidence is not yet complete. He has, however, shown that Bacon is "Speck" in German, and "speck" in English—"spot," the difference of which from a Spohr is so slight as to be negligible.
9That keen witted journalistic lancet, The Triad, of Wellington, New Zealand, comments on the Bacon symphony screed as follows:
11"All this is very interesting and quite convincing, but poor Shakspere must not be left entirely in the cold. Here is 'confirmation strong as Holy Writ' of the contention that Shakspere wrote the Psalms. There are two spellings of the immortal dramatist's name that hold the field, Shakespere and Shakspere, the former with eleven and the latter with nine letters. There are five letters in the word Psalm. Now if we multiply the number of letters in the long spelling of the name by five, we get fifty-five; subtract nine and we get forty-six. Turn to the forty-sixth Psalm and count forty-six words from the beginning of the Psalm, and we get the word shake. Then count forty-six words from the end of the Psalm and we get the word spear. Put the two together and we get Shakespeare. This not only gives us the true author of the Psalms, but also the proper spelling of his name. Honorificabilitudinabobibus!" one of two readings
12"All this is very interesting and quite convincing, but poor Shakspere must not be left entirely in the cold. Here is 'confirmation strong as Holy Writ' of the contention that Shakspere wrote the Psalms. There are two spellings of the immortal dramatist's name that hold the field, Shakespere and Shakspere, the former with eleven and the latter with nine letters. There are five letters in the word Psalm. Now if we multiply the number of letters in the long spelling of the name by five, we get fifty-five; subtract nine and we get forty-six. Turn to the forty-sixth Psalm and count forty-six words from the beginning of the Psalm, and we get the word shake. Then count forty-six words from the end of the Psalm and we get the word spear. Put the two together and we get Shakespere. This not only gives us the true author of the Psalms, but also the proper spelling of his name. Honorificabilitudinabobibus!" one of two readings
14"Silently and assiduously the members of the Mission Choir have been practising for their concluding concert."—Tynemouth Priory Parish Magazine.
16The ideal choir practice.—Punch.
18An English physician who examined Caruso recently says: "His very bones are musical. If you tap one of his knuckles it gives out a higher pitched and more resonant sound than that of the average person." In other words, neither Caruso's bones nor his high tones crack.
20Henry T. Finck states an undeniable fact when he writes that "the unkindest things ever written about Wagner are in the first chapters of his recently published autobiography."
22Customer—But is he a good bird? I mean, I hope he doesn't use dreadful language.
24Dealer—'E's a saint, lady; sings 'ymns beautiful. I 'ad some parrots wot used to swear something awful, but, if you'll believe me, lady, this 'ere bird converted the lot."—London Bystander.
26Isn't there also a Claque Hand Society in New York?
28J. Cuthbert Hadden contributes this one from London: "At a recent recital here two of the tribe were talking to each other during the music. The people near them were vastly irritated, as their remarks were audible ten feet around. 'Dear,' he said, 'have you ever tried listening to music with your eyes shut?' A voice came from behind: 'Try listening to it with your mouth shut,' and henceforward there was silence in that particular quarter."
30A veritable stage tragedy is reported from Arganasilla in Spain. The baritone and the tenor of an operatic company being rivals in love, agreed that the continued existence of one of them was superfluous. In order to decide which of the twain it was, they further agreed to fight to the death, but in order not to interrupt the course of the season, the duel was postponed to the final performance. In the third act of "Carmen" the spectators were horrified to witness a sanguinary duel between Don José and Escamillo. The conflict was short, and the tenor fell dead at the feet of his rival.—London Musical News.
32Pity for Don José must be restrained until we find out what kind of a tenor he was.
34Epigram by Mrs. George Wemyss, novelist: "Married life is very like two people playing a duet on the piano. The happiness depends entirely on who puts down the pedal."
36Wagner now is 100 years and six days old.
38Ysaye to Play in Atlantic City.
40Helena Meroney, of Atlantic City, has made arrangements for Eugen Ysaye, the great violinist, to give a recital in Atlantic City, N. J., at the Music Hall on the Steel Pier, Monday evening, June 2. Miss Meroney has been aided in the project by members of the Crescendo Club and many prominent people throughout the city have shown great enthusiasm. The affair promises to be one of the city's social and musical triumphs. Mr. Ysaye will be assisted by his son, Gabriel, and Camille Decreus, pianist. One of the features of the program will be Bach's violin concerto for two violins, played by Mr. Ysaye and his son.
42After this concert Mr. Ysaye will return to New York and leave at once for Albany, where he plays on Tuesday evening, June 3. He will sail for Europe on the steamship La France, June 5, after having played 110 concerts in America this season. R. E. Johnston, his manager, has signed a contract with the celebrated violinist to return to this country next January for thirty concerts only.
44Amy Titus Worthington Recital.
46Amy Titus Worthington's recital of her vocal and piano compositions at Hotel Plaza, New York, took place Monday evening, May 26, when an interested audience heard songs sung by Estelle Burns-Rourke, soprano; Umberto Sorrentino, tenor, and other music, all of which will be reported in the next issue of THE MUSICAL COURIER.
48Hamlin in Demand.
50An extensive concert tour for George Hamlin, leading tenor of the Chicago Grand Opera Company, is now being booked for next season by Haensel & Jones in the Eastern States, and by Alma Voedisch, Mr. Hamlin's personal representative, west of Chicago.
52Mr. Hamlin, together with Mrs. Hamlin and their children, Anna and Jack, sailed recently on the Hamburg-American liner Hamburg for Naples.
54The Mediterranean trip will be practically the sole relaxation Mr. Hamlin will permit himself after his strenuous season of operatic and concert engagements, as his summer plans include the learning of several new operatic roles, as well as a diligent search for interesting novelties to add to his recital programs.
56Gustav Strube Engaged by Peabody Conservatory.
58The news of Gustav Strube's resignation as first violinist of the Boston Symphony Orchestra and acceptance of a position at the Peabody Conservatory of Baltimore, Md., comes as a matter of keen regret to this musician's host of friends and well wishers in Boston. During his twenty-two years with the Boston Symphony Orchestra Mr. Strube has filled with distinction the position of first violinist, has conducted the orchestra in performances of his own compositions at their regular concerts, and has been leader of the "Pop." concerts for fourteen years. He has also conducted members of the Boston Symphony Orchestra at the Worcester Music Festival and at numerous concerts in and around Boston.
60Highly regarded by all who know him as a sterling musician of fine attainments, it is as a composer, however, that Mr. Strube is most widely known, his compositions having been performed by many of the leading orchestras of this country. In Boston the Symphony Orchestra has played many of his works, among them two symphonies, two violin concertos, two overtures and several symphonic poems and smaller pieces.
62A particularly happy feature of Mr. Strube's new position as teacher of theory and composition at the Peabody Conservatory, is the considerable spare time it will give him to devote to his own compositions, something which he long has wished for, but has been unable to obtain owing to the exactions made on his services in Boston.
64Mr. Strube leaves September 1 to take up his new duties and residence, and with him go the sincerest and best wishes of the entire musical fraternity. One may truly say in this case that Boston's loss is Baltimore's gain.
66Julia Culp's Recent Tour.
68Antonia Sawyer, the American manager of Julia Culp, sends the following list of dates which Madame Culp filled during the season just closed. As stated in a previous issue of THE MUSICAL COURIER, Julia Culp will return for her second American tour about January 1, 1914
70January 10 ………………………………………….. Recital, New York
71January 16 ………………………………………….. Cincinnati, Ohio
72January 21 ………………………………………….. Denver, Colo.
73January 28 ………………………………………….. Recital, New York
74February 1 ………………………………………….. Chicago, Ill.
75February 4 ………………………………………….. Washington, D. C.
76February 9 ………………………………………….. New York
77February 10 ………………………………………….. Recital, Boston, Mass.
78February 11 ………………………………………….. New York
79February 17 ………………………………………….. Pittsburgh, Pa.
80February 18 ………………………………………….. New York
81February 24 ………………………………………….. Recital, Boston, Mass.
82February 25 ………………………………………….. Buffalo, N. Y.
83February 28 ………………………………………….. Baltimore, Md.
84March 2 ………………………………………….. Recital, Chicago, Ill.
85March 4 ………………………………………….. Omaha, Neb.
86March 11 ………………………………………….. Montreal, Canada
87March 16 ………………………………………….. Boston, Mass.
88March 17 ………………………………………….. Philadelphia, Pa.
89March 22 ………………………………………….. St. Louis, Mo.
90March 24 ………………………………………….. Columbus, Ohio
91March 28 ………………………………………….. Recital, New York
92March 30 ………………………………………….. Providence, R. I.
93April 1 ………………………………………….. Baltimore, Md.
94April 3 ………………………………………….. New York
95April 4 ………………………………………….. Washington, D. C.
96April 5 ………………………………………….. Cincinnati, Ohio
97April 6 ………………………………………….. Recital, Chicago, Ill.
98April 9 ………………………………………….. Montreal, Canada
99April 12 ………………………………………….. Boston, Mass.
100April 14 ………………………………………….. Recital, New York
101April 19 ………………………………………….. Portland, Ore.
102April 22 ………………………………………….. Seattle, Wash.
103April 24 ………………………………………….. Portland, Ore.
104April 27 ………………………………………….. San Francisco, Cal.
105April 28 ………………………………………….. Berkeley, Cal.
106May 1 ………………………………………….. San Francisco, Cal.
107May 4 ………………………………………….. Kansas City, Mo.
108May 9 ………………………………………….. Cleveland, Ohio
109May 15 ………………………………………….. New York
111Combs Broad Street Conservatory.
113A Schumann lecture-recital of much interest was given Wednesday afternoon, May 21, by Elnora Frantz, of the faculty of the Combs Broad Street Conservatory, Philadelphia, Pa. A short sketch of the composer's life opened the program, after which came the musical numbers, each preceded by a few brief, but thoroughly clear and concise, explanatory remarks. Miss Frantz performs with authority and brilliancy, her playing of the "Romanzen" especially showing that she is not lacking in real musical feeling. Her reading of the various selections was most satisfactory, and the entire program showed a thorough knowledge of the subject in hand. Following is the program: "Humoresque," op. 20; "Warum" and "Grillen," from "Fantasiestucke," op. 12; "Romanzen," op. 28, No. 2; "Novellette," op. 99, No. 9; "Nachtstucke," op. 23, No. 4; "Carneval," op. 9; preambule, "Arlequin," "Coquette," "Chopin," "Aveu," "Promenade," "Pause," "Marche des Davidbundler contra les Philistines."
115The twenty-seventh annual commencement of the Combs Broad Street Conservatory was held Tuesday evening, May 27, at 8 o'clock, in Scottish Rite Hall, when thirty-three graduates received their diplomas and certificates in the various departments. Those receiving the piano diplomas were Amy Pinner, Ruth Pauline Row, Lillian Louraine Ruche, and Emma Semmelbeck; organ diploma, Henry Stermer; violin diploma, Paul Simons Carpenter; teacher's certificates in piano, Ruth Bankes, Eva Barwick, Iva Snyder, Sarah Stone, Violet Thomson, Mollie Turner, Nelle Weber and Ruth Williams; teacher's vocal certificate, Ruth Bankes; certificates in public school music supervision, Edith Chalfant, Sue Dechant, Bertha Eckhardt, Leokadia Glowacki, Myrtle Heck, Marian Kirk, Miriam Lawyer, Mabel McCollister, Margaret Miller, Margaret Musser, Anna Williams, Viola Withers and Verena McConeghy; piano tuning, Don Foye, Harry Hunt, Jesse Neuman and Leroy Stauffer.
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