Books › Musical Courier 1913-11-12: Vol 67 Iss 20, 1913 › scan 25
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Musical Courier 1913-11-12: Vol 67 Iss 20, 1913
94 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. Printed page 26. See the scan on archive.org.
1SOUSA DELIGHTS LARGE AUDIENCE IN THE NEW YORK HIPPODROME.
3The "March King" Fascinates by His Unique and Graceful Conducting—Program Trebled by Generous Encores—The Big Band Is in Fine Form.
5Last Sunday evening, November 9, John Philip Sousa and His Band made their first appearance of the season in New York at the Hippodrome, which was crowded with lovers of all the styles of music of which the "March King" is so able and so generous an exponent.
7The Sousa organization returns to New York in the full possession of all those sterling qualities which long ago made it one of the formidable instrumental factors in modern reproductive music. The homogeneity of the band remains a striking example of tonal perfection, and the impressive organlike quality of the brasses, reinforced by uncommonly mellow tubas and the sonorous Sousaphone, still is the wonder of experts in orchestral conducting.
9Last Sunday evening the assisting soloists were Herbert L. Clarke, cornetist; Virginia Root, soprano, and Margel Gluck, violinist, and the printed program was as follows:
11Descriptive overture, The Chase of Prince Henry………….Mehul
12Cornet solo, Caprice Brilliant………………………………….Clarke one of two readings
13Cornet solo, Caprice Brilliant…………………………………….Clarke one of two readings
14Herbert L. Clarke.
15Suite, The American Maid (new)……………………………Sousa
16You Do Not Need a Doctor.
17Dream picture, The Sleeping Soldiers.
18Dance hilarious, With Pleasure.
19Soprano solo, Aria, Caro nome……………………………Verdi
20Virginia Root.
21Nocturne, Kammenoi-Ostrow……………………………Rubinstein
22Intermezzo, A Night in Spain, from La Verbena (new)…..Lacome
23Oriental concerto, Kismet (new)……………………………Markey
24March, From Maine to Oregon (new)……………………..Sousa
25Violin solo, Adagio and Rondo, from concerto in E……..Vieuxtemps
26Margel Gluck.
27African Dance, Danse Negre (new)………………………..Ascher
29In addition to the above list Mr. Sousa willingly granted the following extra numbers, performed in this order: "El Capitan," "Girls Who Have Loved," "Gilding Girl," "King Cotton," "Hands Across the Sea," "Fairest of the Fair," "Semper Fidelis," "Snooky Ookums," "Knockout Drops," "Stars and Stripes Forever," "Manhattan Beach," and "High School Cadets." The Sousa marches were uproariously applauded, showing that these captivating martial compositions remain perennially green in the affection of the public.
31The opening overture by Mehul sounded rather fragile to modern ears. However, Mr. Sousa and his musicians gave it a performance that elicited a volley of applause, resulting in several encores at the start of the program.
33The "American Maid" suite, comprising selections from Sousa's recent comic opera of that title, made an irresistible appeal to the assemblage, for in this series of fascinating tonal pictures the "March King" has revealed all of his old-time subtleness in constructing flowing melody, and all the familiar Sousa verve and rhythm.
35The new march, "From Maine to Oregon" (also from the "American Maid") found immediate favor. It is written in Sousa's most compelling style and promises to become one of the big march hits with this band.
37In Rubinstein's "Kammenoi-Ostrow" the work of the brasses won unstinted admiration.
39Mr. Clarke's encore selections were "Moonlight Bay" and "Carnival of Venice." So well did this master cornetist perform that it would have been easy for him to have appeared again and again, the audience being insistent in its demands to hear as much as possible from Mr. Clarke.
41Miss Root sang "Caro nome," and then, in order to satisfy her auditors, she had to add as an encore Sousa's "Will You Love Me When the Lilies Are Dead?"
43Miss Gluck is a prepossessing and talented young violinist, and after the programmed Vieuxtemps number granted two encores, the "Thais" meditation with harp accompaniment, and Kreisler's "Liebesfreud," accompanied by the woodwind choir.
45It was a typical Sousa seance and the audience dispersed at nearly 11 o'clock completely satisfied with the evening's liberal and varied entertainment. In conclusion, it might be added that the restoration of the famous old "High School Cadets" march to the Sousa list of encores met with joyous approval on Sunday night.
47NEW YORK SCHOOL OF MUSIC AND ARTS GIVES 348TH CONCERT.
49Vocal Pupils of Ralfe Leech Sterner Distinguish Themselves—Faculty Members Assist—Next Concert Today at Wanamaker Auditorium.
51The 348th concert given by the New York School of Music and Arts at Carnegie Chamber Music Hall, was attended by an audience quite filling the hall, which sent flowers to the performers, and applauded in a way that showed great enjoyment of the affair. Vocal pupils of Mr. Sterner and members of the faculty furnished piano, violin and elocutionary numbers. This gave the concert much variety, and held close attention through such means. "Style" seems to be the watchword of the Sterner singers, for they all sing with spirit, intelligence and effectiveness. Coloratura arias of great difficulty, pathetic ballads, Italian arias were done with quite professional aplomb, showing thorough preparation. There was "action," "go" and "ginger" in the style of the young singers which appealed to every one, along with proper expression when required.
53Mr. Sterner first of all secures good tone quality from his pupils, then builds a vocal technic which provides an adequate medium for carrying out the composer's intentions. All did well, as stated, but the vocal fluency and high notes of Hannah Timmins ("Vilanelle"), the high range of Ramee Rivas and the artistic singing of Arline Edgerton Felker ("Ah, fors e lui") and of Sara Reddy ("Vissi d'arte") deserve special mention. Others who sang were Gertrude Higgins Wilson, Belle McKinlay, Frederic Maroc, Rae Henriques Coelho and Edith Strangman. Harold A. Fix, solo pianist; DeV. Royer, violinist; Elizabeth G. Dormer, reader, and Helen Wolverton, accompanist, deserve praise for their well rendered portion of an interesting program. It is announced that the 349th concert will be held today, Wednesday, November 12, 2 p. m., at the Wanamaker Auditorium.
55At the latest Verona (Italy) performance of "Aida," the personnel refused to work unless their wages were increased. The request was granted.
57Interesting Program Rendered by Heinebund.
59At the Heinebund concert, given in Terrace Garden, New York, Sunday evening, November 9, Charlotte Lund (soprano), Emil Zeh (tenor), Andreas Gardhausen (bass) and an orchestra comprising forty members of the New York Symphony Orchestra furnished the program, the entire being under the direction of Louis Koemmenich.
61In the readings of the Wagner overture to "Tannhäuser," the only orchestral number, and in the accompaniments, Mr. Koemmenich attested again his ability as a scholarly director.
63Charlotte Lund sang an aria from Bruch's "Das Feuerkreuz," also one from Von Weber's "Der Freischütz." In the latter Mme. Lund was more successful in disclosing the pleasing tonal quality of her voice and powers of interpretation. In these and in the soli parts of the final number of the program Mme. Lund showed an even broader and more effective style of delivery than last season. For encore she chose Koemmenich's ever acceptable "Was It in June?"
65Emil Zeh, a young tenor, sang the aria from Von Flo-tow's "Martha" and the "Page" in the "Vom Pagen und der Königstöchter" (Volbach). His voice is of uncommonly good quality and his delivery praiseworthy. "Thurnwarts Minne" (Decker), "Mein Liebgesell" (Koemmenich), "Am Richen" (Engelskirchen) were the a capella numbers by the male chorus, lead by Mr. Koemmenich, and were up to the full standard of what this chorus has proved its ability to do in previous seasons.
67A German-American Festival Hymn with words by Emil Roller and music by Spieller (who was in the audience and shared the applause) was effectively given by the chorus and orchestra.
69Volbach's "Vom Pagen und der Königstöchter," a ballad for soli, mixed chorus, and orchestra, completed the program.
71It is unfortunate and rather to be wondered at, that among such a music respecting and music loving class of people as Germans are famed for being, there should be so much confusion and inattention during the presentation of such an especially good program, as was evident at Sunday evening's concert. In the "Fatherland" the slightest kind of disturbance during the delivery of the most simple program is frowned upon, and the greatest quiet observed from start to finish. Sunday evening late arrivals took their places during not only the orchestral, but also the solo numbers, and this with noise—accidental it was no doubt—but decidedly disconcerting and disrespectful to the performers, and likewise annoying to those who were taking pleasure in the program rendered.
73Leginska Under Richardson's Exclusive Management.
75Ethel Leginska, the pianist, desires it known that she is under the exclusive management of G. Dexter Richardson, Arbuckle Building, Brooklyn, N. Y. July 2 she made a contract covering a term of years with Manager Richardson, well known as representing many of the leading artists of the day, so that a notice in the last issue of the MUSICAL COURIER calling her "A B— artist" is incorrect.
77BUSY LOUISE GERARD-THIERS STUDIOS.
79Repertoire Rehearsals Begin—Fortnightly Saturday Evening Meetings—Operas Selected for This Season's Study—Wednesday Monthly Receptions.
81Saturday evening, November 1, marked the beginning of the repertoire rehearsals of the Louise Gerard-Thiers students at her studio, 805-6 Carnegie Hall, New York. Each year parts of grand operas (and opera comique) are carefully selected to suit the individual abilities of the pupils, and they are afforded an opportunity for ensemble work in the well known duets, trios, quartets and choruses, in the original languages.
83Being a versatile artist, singer as well as teacher, Mme. Thiers spent many years abroad, where she received most of her training and experience as a grand opera singer.
85But the well-rounded artist is not limited to the field of opera, and realizing this Mme. Thiers has regularly for the past seven years journeyed to the European capitals, and devoted the summer months working in languages and repertoire, gathering new material for her work in New York.
87Her instructors are among the best, and include William Shakespeare, the great oratorio teacher, of London, England; Randegger, Delle Sedie, a master who taught for fifty years and was one of the great teachers of Paris, and besides at Villa Fiorita, Milan.
89One would gather from this that Mme. Thiers is a very active personality, and one would have little difficulty in verifying this by visiting her studios. No pupil of hers is ever "drifting." Four months during the season, Wednesday afternoons are set aside for receptions. Always there is a program which includes a dozen of the pupils. Then, too, the Saturday evening meetings, which are held twice a month throughout the season, entail an immense amount of work. During these evenings the students perfect themselves in respective parts of the chosen operas for a final concert when they are "letter perfect" and able to suit the action to the part, as nearly as the restrictions of concert work will permit.
91The operas selected for this season's work include "Tosca," "Boheme," "Madama Butterfly," "Faust," "Lucia," "Aida," "Manon," "Romeo et Juliet," "Cosa Fan Tutte," "Trovatore," "Carmen," and "Philemon et Baucis."
93The accompanying photo shows Mme. Thiers on her last trip, bound for Paris on board the Imperator, on her maiden voyage.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.