Books › Musical Courier 1913-11-12: Vol 67 Iss 20, 1913 › scan 12
Scan 12
Musical Courier 1913-11-12: Vol 67 Iss 20, 1913
73 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 13. See the scan on archive.org.
1as Sammy Strang, formerly of the New York Giant baseball team, gets through coaching the baseball nine at West Point, he comes over here and begins studying singing again with Charles Bowes. His voice is every bit as good as his throwing arm used to be, too, and he has learned a great deal about singing. When I have had an opportunity to hear Mr. Nicklin before an audience, I shall write more about him. Among other students at Mr. Bowes' studio this winter are Natalie Gaskin, who is with him for the third season. C. A. Inglis, of Chicago, has also begun study there.
3Yvette Guilbert began the series of evenings of old French music and poetry, which were mentioned in last week's letter, on Wednesday evening at the Salle Gaveau. My representative, a native born Parisian, who undoubtedly understood the thing much better than I should have, tells me that she is still the eternal Yvette with all the old charm of her art, though the voice is no more in its pristine condition. Her assisting artists and her program were both very mixed as to quality. Jan Reder, a good baritone, who sang some "Chansons a boire et a manger," was the honorable exception.
5Mme. Fitz-Randolph, whose pleasant studio in Neuilly is the center of a large musical circle, numbers among her pupils this season Caroline Svendsen Sauers, a niece of Christian Svendsen, the composer. Other pupils, newly enrolled, are: Ada Hitchcock, of Middleton, Conn.; Muriel Oaks, of Greenwich, Conn.; Mary Snyder, Bethlehem, Pa.; Dorothy Steele, Norwich, Conn., and Mary Dawes, of London, England.
7Thuel Burnham is regularly continuing the Sunday afternoon series of informal piano recitals which took place at his studio all the past summer. Last Sunday he gave a MacDowell program, playing the "Sonata Tragica" and a number of the smaller pieces, all being in preparation for his coming tour, for which he leaves here about Christmas. Two pupils of Mr. Burnham's, Addie Givens Wynne and Marguerite Kraeger, both of Kansas City, will give recitals here during the season.
9An important new addition to the library of the Opera is the printed score of "The Flying Dutchman" containing the French text written in red ink by Wagner himself, with the necessary changes in the vocal parts, where the syllabic differences between the French and German text made changes necessary and also with several changes in the orchestral score, which had evidently seemed improvements to Wagner after having heard his own score played. There are also parts where the French text is in the handwriting of Charles Nuitter, who assisted Wagner in preparing the French version. Wagner has some very interesting things to say in his "My Life" concerning this collaboration, if I remember aright, not at all flattering to M. Nuitter.
11Arnold Stephenson, the American soprano, will take part during November in a series of twelve ensemble recitals in Brussels, Liege, The Hague, Rotterdam, Amsterdam and other important Belgian and Dutch cities, together with Henri Enrique, the English tenor, and R. E. Schmitz, conductor of the Orchestre Schmitz, pianist and accompanist. Miss Stephenson will sing two groups of songs at each recital and the choice which she has made well illustrates what a thorough command of the entire field of song literature she has, including, as it does, compositions from Carissimi, Beethoven, Brahms, Schubert, Franck, Debussy, Moussorgsky, Handel, Schubert, and a number of modern Russian songs.
13Richard Northcott, the well known English writer on subjects of musical history, has been kind enough to send me his new booklet on "Parsifal," which he himself describes as "the story of 'Parsifal' told in simple language, some notes on its compositions, a bibliography, a record of its first representations in Europe and America and a list of historic performances of Wagner's other operas." It is an excellent work for the layman who is going to be immersed in the "Parsifal" deluge which is due January 1, and it is an invaluable book of reference for the critic, the statistics having been very carefully and accurately compiled. The publisher is Percy Findley, London.
15Mrs. Lawrence Townsend, of Washington, who will soon return to America for the winter season, gave a tea one afternoon last week at which Arthur Alexander, tenor, sang a short impromptu program of songs to his own accompaniment. The guest of honor was the Grand Duchess of Mecklenburg-Schwerin, mother of the Crown Princess of Germany, and among the other guests invited to hear Mr. Alexander were Mrs. Potter Palmer and Mrs. Belmont.
17Most of the orchestral conductors are "playing safe" next week, the only novelties being those which will be offered at the concert of the Societe des Nouveaux Concerts, where a number of composition of the modern Spanish school will be heard under the direction of E. F. Arbos, of Madrid. The works to be given are as follows: "La Procession del Procio," J. Turina; "Guajiras" and "Tango" (even here!), Arbos; "La Divina Comedia," Conrado del Campo; "El Puerto et Evocation," I. Albeniz, all for the first time at Paris; also the "Catalonia," of Albeniz, which has already been played here.
19Tina Lerner, the capital Russian pianist, will make her first Paris appearance this season on November 23 at the
21STATUE OF RABELAIS, CHINON, FRANCE.
22From the Theosophical Path.
24Lamoureux Concerts, Chevillard directing. She will give a recital at the Salle Gaveau on January 22 and another in April, just before her extended tour in Spain and Portugal. Miss Lerner is as much of a favorite here as in America, which is saying quite a good deal.
26Mrs. A. J. Goodrich, who makes a specialty of teaching children not only how to play the piano well, but what music really is—quite a different thing—is already very busy, though the season is hardly started as yet. Mr. and Mrs. Goodrich have a charming studio at their apartment in the Avenue Victor Hugo, filled with souvenirs of their many musical friends and of their interesting and varied summer travels.
28Going into the studio of Marquis de Trabadelo the other day I met the well known tenor, Charles Dalmore, just coming out from his daily lesson. As Mary Garden and Geraldine Farrar are also annual pilgrims to the studio of the Marquis, it seems as if the opera singers had a great deal of confidence in his ability as a specialist in voice production.
30Byron Hagel sat in the office armchair.
31"It has always been my ambition," said he, flicking off his cigarette ash, "to sing the role of Nilakantha in 'Lakme.'"
32"A strange ambition!" said I. "In the first place you are not a singer, and in the second, it is a pretty ordinary sort of a part. Why?"
33"Because," replied he, "Nilakantha is allowed the inestimable privilege of stabbing an opera tenor in full career."
34H. O. Osgood.
36PIANOS IN PARIS
37Weber & Steck Pianos, Pianolas, Pianola-Pianos
38We invite comparison with any and all French makes both as regards quality and price.
39Renting for Music Students a Specialty
40THE AEOLIAN CO., 32, AVENUE DE L'OPERA
42Spalding Applauded by The Hague Public.
44Albert Spalding, the American violinist, resumed his triumphs in The Hague recently. The following press comments emphasize the "spotless playing," "an elegantly developed technic," that he has become "richer in temperament," with "real strength and convincing power," and that "his art of interpretation has become still riper" and "his technic even more finished" since his appearance in that city less than a year ago.
46Particular mention is made of the "note personelle" in his own compositions:
48Less than a year ago the American violinist, Albert Spalding, presented himself to The Hague public and immediately gained their admiration. His elegant playing, based on an elegantly developed technic, left no doubt in one's mind that although one always felt his power of virtuosity actually today this power seems greater than ever. Spalding also demonstrated last evening that he need fear no difficulties whatsoever. Whether it was a modern or classic master he had to present, it all sounded as easy as child's play to him. Spalding's program was in the first part devoted to Tartini and Bach. In the "Trille du Diable" one is more impressed by the virtuosity, especially in regard to the trills, as they were supposed to have been played when the devil appeared to Tartini in his dreams, Spalding trilled up and down, so that it became a sheer delight. Not only in the trills, however, but in what came before or after them. It was what one could safely call spotless playing. Neither the perfection of technic nor the tonal beauty were in the least neglected, no matter what the difficulties. The suite of Bach was played in a masterly way, and this was an entirely different problem for the artist, especially as regards interpretation. In this regard Spalding revealed himself in a very favorable light. The full measure of his great violin talent we were allowed to enjoy after the intermission, when he gave a few lighter pieces in the very best style. Two of his own compositions were far from uninteresting. The first, "Musical Period II," a fine mood picture of rather melancholy character, and the second, a scherzo giocoso, here and there very original in harmony, with highly dangerous but well placed double stopping. Finally the Wagner-Wilhelmj "Preislied," from "Die Meistersinger," and his own arrangement of Paganini's "La Campanella," which Spalding seems evidently not to have found difficult enough in the original. Double harmonics flew out of the violin as if they were a couple of little whistling birds. Encores were, of course, demanded to which Spalding graciously responded. A great deal of the success is merited by the accompanist, André Benoist, who did his share of the work with fine discretion and understanding.—Nieuwe Rotterdamsche Courant, The Hague, October 25, 1913. one of two readings
49Less than a year ago the American violinist, Albert Spalding, presented himself to The Hague public and immediately gained their admiration. His elegant playing, based on an elegantly developed technic, left no doubt in one's mind that although one always felt his power of virtuosity actually today this power seems greater than ever. Spalding also demonstrated last evening that he need fear no difficulties whatsoever. Whether it was a modern or classic master he had to present, it all sounded as easy as child's play to him. Spalding's program was in the first part devoted to Tartini and Bach. In the "Trille du Diable" one is more impressed by the virtuosity, especially in regard to the trills, as they were supposed to have been played when the devil appeared to Tartini in his dreams, Spalding trilled up and down, so that it became a sheer delight. Not only in the trills, however, but in what came before or after them. It was what one could safely call spotless playing. Neither the perfection of technic nor the tonal beauty were in the least neglected, no matter what the difficulties. The suite of Bach was played in a masterly way, and this was an entirely different problem for the artist, especially as regards interpretation. In this regard Spalding revealed himself in a very favorable light. The full measure of his great violin talent we were allowed to enjoy after the intermission, when he gave a few lighter pieces in the very best style. Two of his own compositions were far from uninteresting. The first, "Musical Period II," a fine mood picture of rather melancholy character, and the second, a scherzo giocoso, here and there very original in harmony, with highly dangerous but well placed double stopping. Finally the Wagner-Wilhelm "Preislied," from "Die Meistersinger," and his own arrangement of Paganini's "La Campanella," which Spalding seems evidently not to have found difficult enough in the original. Double harmonics flew out of the violin as if they were a couple of little whistling birds. Encores were, of course, demanded to which Spalding graciously responded. A great deal of the success is merited by the accompanist, André Benoist, who did his share of the work with fine discretion and understanding.—Nieuwe Rotterdamsche Courant, The Hague, October 25, 1913. one of two readings
51After what we wrote about Albert Spalding we can afford to be brief this time. We will simply observe that his art of interpretation has become still riper, his tone deeper and warmer, his technic even more finished, if that were possible. His performance of Tartini's "Trille du Diable" was a masterpiece of violin art. Several manuscripts and small violin numbers he played with much taste, feeling and nobility of style. That he is a serious musician shows itself in the fact that he never plays mediocre music. The suite of Bach also was very beautifully played. Also as composer, Spalding shows what he really is: tasteful, never ordinary, musical, but especially violinist. Spalding, who was accompanied splendidly by André Benoist, played as an encore Kreisler's "Liebesfreud" after stormy demands.—Nieuwe Courant, The Hague, October 25, 1913.
53To the opinion we gave last season of Albert Spalding we have but little to add and nothing to revise. He began the program with Tartini's "Le Trille du Diable" and Bach's suite in E major. That was Bach playing! Clear to the very depths, alive and luminous, a rhythmic and melodic feast of self contained melody. No more tone given than the beauties of the light and transparent sonata in E major could stand, but more than enough. Spalding is now, on the whole, richer in temperament than last year, and thus this young man arrives at real strength and convincing power and reveals to us a full and noble taste. It is a pleasure to the eye to see how he uses his bow. Nothing ostentatious in his bearing! Besides his undoubted musicianship, his technic is entirely free from tricks and splendid. He never lets his right hand know what his left hand does, that is to say, one does not interfere with the other, and each one does what it pleases. His playing of octaves, thirds, tenths and sixths is simply amazing, as demonstrated in his arrangement of Paganini's "La Campanella" and Schumann's "Am Springbrunnen." It was a pleasant surprise to make the acquaintance of Spalding as composer—a "Musical Period II" and a scherzo giocoso. In the latter he is a little too long perhaps in his search after interesting harmonies; in the first one, however, he was more natural, and in both one heard distinctly a "note personelle."—The Hague Het Vaderland, October 25, 1913. (Advertisement.)
55Fonzaley Quartet's First New York Concert.
57The Fonzaley Quartet will give the first concert of its Aeolian Hall series on Monday evening, December 1. The program will include quartets of Schubert, Moor and Haydn.
59ALICE
60PARIS: Grand Opera, Opera-Comique, Galé Lyrique.
61In America Season 1913-14
62VERLET
63Management: M. H. HANSON, 437 Fifth Ave., New York
64"The NEW QUEEN OF SONG" one of two readings
66"The art of Mlle. Verlet is well-nigh perfect."—Daily Express.
67"A voice of singular beauty—its production is perfect."—Morning Post.
68"Her singing suggested that she almost stands alone."—Morning Advertiser.
69"Her voice is a phenomenon of the vocalist's world today."—Hull Times.
70"There is gold of the purest in Mlle. Verlet's voice."—Daily Express.
71"Mlle. Verlet has been christened 'The French Tetrazzini.'"—Daily Mirror.
72"Her appearance may be considered in every way a triumph."—The Tatler.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.