Books › Musical Courier 1913-11-12: Vol 67 Iss 20, 1913 › scan 34
Scan 34
Musical Courier 1913-11-12: Vol 67 Iss 20, 1913
102 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. Printed page 35. See the scan on archive.org.
1SCHUMANN-HEINK ACCLAIMED
2A CITIZEN OF SPOKANE.
3Great Contralto Presented by the Mayor with Scroll—Sings Before Three Thousand School Children—At Her Concert People Were Turned Away.
5210-211 Auditorium Building,
6Spokane, Wash., November 3, 1913.
8The American Theater was entirely too small to hold the throng that wanted to hear Mme. Schumann-Heink at the opening concert of Mrs. H. W. Allen's course, October 27. At 7.30 standing room was at a premium, and people were turned away. The famous diva had sung for three thousand school children the previous afternoon, and, in acknowledgment of her generosity, the mayor appeared on the stage after the program Monday night, and presented her with a scroll acclaiming her a citizen of Spokane. Nina Fletcher's numbers were greatly appreciated and too much cannot be said of Katharine Hofmann's accompaniments. This sterling artist has become so much a part of Schumann-Heink's programs, that it is hard to imagine how they could be complete without her.
10George Buckley, violinist, assisted by Eunice Krech, one of his artist-pupils, and Edgar C. Sherwood, pianist, appeared October 24 in the following program: Concerto in A major, Saint-Saëns; romance, F major, Beethoven; mazurka, Zarzycki; serenade for two violins and piano, Sinding; "Liebeslied," Kreisler; Hungarian Dance, No. 7, Brahms; "Wiegenglied," Schubert; "La Rondo des Lutins," Bazzini. A large audience greeted the players who were heartily applauded after each number. Mr. Buckley's playing is now so well known that it is hardly necessary to make comment, except to say that each appearance establishes him more firmly with music lovers. Miss Krech played beautifully, proving herself a worthy pupil of a worthy teacher. Mr. Sherwood's accompaniments are always an enjoyable part of any program.
12ELMO M. MINEHART.
14"America's Foremost Concert Soprano."
16Before the occasion of Corinne Rider-Kelsey's New York song recital at Carnegie Hall, November 2, Henry T. Finck, critic of the New York Evening Post, has repeatedly called Mme. Rider-Kelsey "America's foremost concert soprano," and in his "Success in Music" he had said that Rider-Kelsey was "among the world's most famous singers." But commenting upon her recital of Sunday, November 2, Mr. Finck was inspired to write in still more glowing terms of praise, in which he proclaims her "A star of the first magnitude" and adds that there are "only two or three living sopranos who can equal her."
18The Tribune, after comparing Mme. Rider-Kelsey with Sembich and saying that she would have sung certain numbers quite as well as Sembich but for the lack of understanding on the part of her accompanist, added that:
20Mme. Rider-Kelsey has gifts and graces which place her among the aristocratic few. She pursues the ideals which present themselves to the vision of the elect, and she pursues them intelligently, affectionately, and, what is much to the purpose, effectively. . . . No local singer could have sung Scarlatti's "Se tu m'ami" and Pergolesi's "Se Florindo" as she sang them, or displayed a nicer sense of the essential things in which their beauty lies. . . . In all her songs Mme. Rider-Kelsey's voice was exquisite in quality. Its purity, integrity of texture, steadiness and responsiveness to the demands made on it by the sentiment of the songs were in themselves a joy, and her diction was alike admirable in Italian, German, French and English.
22The Sun made the following comment:
24This singer's beautiful voice has never been heard here to better advantage than yesterday, nor has her fine vocal skill been disclosed more fully. It was a high level of artistic excellence which her delivery reached in an old French selection called "L'Insensible" (mennet, 1735) and again in Handel's "Oh, Sleep, Why Dost Thou Leave Me" which she sang with exquisite feeling. In such charming numbers as these and in the songs following, some of which called for even more sentiment, it is to be said that, save a few lapses in clearness of enunciation, Mme. Rider-Kelsey's singing throughout was a delightful evidence of vocal art highly developed. one of two readings
25This singer's beautiful voice has never been heard here to better advantage than yesterday, nor has her fine vocal skill been disclosed more fully. It was a high level of artistic excellence which her delivery reached in an old French selection called "L'Insensible" (menuet, 1735) and again in Handel's "Oh, Sleep, Why Dost Thou Leave Me" which she sang with exquisite feeling. In such charming numbers as these and in the songs following, some of which called for even more sentiment, it is to be said that, save a few lapses in clearness of enunciation, Mme. Rider-Kelsey's singing throughout was a delightful evidence of vocal art highly developed. one of two readings
27Following a headline which contained the sentence "Singer Reveals Beautiful Voice and Almost Perfect Method," the New York Press said:
29If Corinne Rider-Kelsey, who has devoted most of her time to singing in oratorio [this is an error] fails to win enthusiastic recognition in the domain of the song recital, which she entered alone yesterday afternoon in Carnegie Hall, instead of with the co-operation of Claude Cunningham, who was indisposed, the responsibility will rest on the public. No more beautiful voice than hers has been heard this season, nor have any of her recent predecessors on the concert platform shown a more nearly perfect method of singing, a more nearly perfect diction and finer artistic intelligence.
31In the past Mme. Rider-Kelsey's singing had seemed at times somewhat cold, somewhat colorless. Yesterday, however, that was far from being the case. There were no outbursts of impassioned vehemence, to be sure, but her interpretations, which revealed the insight, the analytical study and the careful preparation of a true artist, had real emotional vitality, whatever the mood of her songs, and more than once she penetrated into the heart of music and poetry.
33Mme. Rider-Kelsey's lower register has acquired richness of timbre and volume, a warmth and expressiveness which it formerly did not possess. The quality of those tones, so full, so clear, so ear filling, is that of a mezzo rather than a soprano. But it was not only the beauty of the singer's voice that compelled admiration. Her skill in continuing distinct and intelligent diction, as she did, for instance, in Wolf's difficult "Mausfallen Sprüchlein," with a production of smooth and free flowing resonance; her fine command of breadth, her perfect attack and suspension of tone, her remarkable legato, her quiet dignity and repose, were several of many points of excellence.
35Few singers have ever inspired these conservative New York musical editors to such unqualified and enthusiastic analysis of their art, and in justice to her it must be said that Mme. Rider-Kelsey's first Carnegie Hall recital has placed her, not only at the head of her profession in America, but among the few great singers of her time. (Advertisement.)
37EVAN WILLIAMS' ALL ENGLISH PROGRAM.
38Popular Tenor Reveals Polished Art Before Enthusiastic New York Audience in Aeolian Hall.
40To an audience which in its warmth of admiration fairly rose to greet the eminent Welsh tenor, Evan Williams presented a deeply interesting all-English program on Friday evening, November 7, in Aeolian Hall, New York.
42In the Handel oratorio numbers, recitative, "Deeper and Deeper Still," and aria, "Waft Her Angels" ("Jeptha"), with organ accompaniment, and recitative, "My Arms Against This Gorgias," and aria, "Sound an Alarm" ("Judas Maccabaeus"), this tenor again gave ample proof of that ability, which has won for him widespread fame in this particular field of song.
44In agreeable contrast the B. ethoven song cycle, "To My Distant Beloved," followed, showing the versatile interpretative ability and vocal adaptability of the tenor.
46The Schubert group, Holmes' "An Irish Noel," Brahms' "Cradle Song" (which had to be repeated), and Homer's "The Youth's Departure to War" received each its due share of hearty applause.
48In the Mendelssohn "Sorrows of Death" ("Hymn of Praise"), sung to organ accompaniment, the full powers of voice and interpretation of the singer met the dramatic demands so sufficiently and made such a fitting climax to so well chosen a program that it seemed almost that the tumultuously demanded encore might prove a disappointment. But this singer of taste chose well in presenting the old Welsh melody, "All Through the Night."
50Throughout the evening the same wonderful quality and quantity of tone, the delicious vibrant tenor, the seemingly unlimited breath supply—all were at the command of the singer.
52The customary printed program of the words of the text was not used. It was not needed, so nearly does the dictation of this singer approach the perfect.
54Evan Williams is an artist, who wins his audience from the first. He sings with his whole soul and sings to each one in his audience. Encores were insisted upon and liberally granted at the close of each group of songs.
56Charles Gilbert Spross at the organ and piano proved his usual efficiency as skillful accompanist.
58This was the program in full:
60Recit., Deeper and Deeper Still (Jeptha)…………………….Handel
61Aria, Waft Her Angels (Jeptha)…………………………..Handel
62(With organ accompaniment.)
63Recit., My Arms Against This Gorgias (Judas Maccabaeus)….Handel
64Aria, Sound an Alarm (Judas Maccabaeus)…………………..Handel
65Song cycle, To My Distant Beloved……………………………Beethoven
66Wandering…………………………………………………Schubert
67Faith in Spring…………………………………………….Schubert
68Impatience…………………………………………………Schubert
69An Irish Noel……………………………………………..Holmes
70Cradle Song………………………………………………Brahms
71The Youth's Departure to the War……………………………Homer
72Sorrows of Death (Hymn of Praise)………………………….Mendelssohn
73(With organ accompaniment.)
75Karl Formes Follows Footsteps of Famous Grandsire.
77Karl Formes, a grandson of Karl Formes who was famous in opera a generation ago, will follow in the footsteps of his namesake. He is now preparing for an operatic career under the direction of Oscar Saenger.
79Cecile Ayres Engaged by Orchestra for Tour.
81Cecile Ayres, the pianist, has been engaged by the New York Symphony Orchestra as soloist for its tour of the New England States, Thanksgiving week.
83HENRI SCOTT
84Basso
85"THE AMERICAN PLANÇON"
87Engagements for the season 1913-1914:
88CHICAGO GRAND OPERA COMPANY
89CINCINNATI MAY FESTIVAL
90CHICAGO SYMPHONY ORCHESTRA, SPRING TOUR
92AVAILABLE FOR A LIMITED NUMBER OF CONCERTS DURING THE SEASON
94Press Notices:
95The Detroit Free Press said of Mr. Scott, in the Wagner Concert, June 2, 1913: "Henri Scott, basso from Chicago Grand Opera Company, divided solo honors with Mme. Fremstad, singing the Woman music in the 'Aida.' His voice is rich, well-modulated and flexible, and he invariably sings in a manner that satisfies the artistic sensibilities of his hearers."
97Mr. Scott literally took his audience by storm. His numbers were, with the exception of Schubert's "Der Wanderer" and the catalogue aria from "Don Giovanni," strange to most present, but highly enjoyed despite their novelty, or perhaps because of it. Mr. Scott was in splendid vocal form and gave his listeners a rare treat.—Philadelphia Record.
99Mr. Scott delighted the audience with the splendid resource of his noted voice with its rich timbre and ample range. He proved himself as great a singer of the lied as on the dramatic stage in his fine interpretation of German songs, classic and modern, as well as in operatic arias.—Philadelphia Telegraph.
101When Henri Scott appeared upon the platform it was plain from the applause which greeted him that his singing was what they most desired to hear. Mr. Scott's interpretation of a number from "L'Arlesienne," "Don Giovanni," strange harmony, was particularly well done, and his masterly singing of a group of German songs left little to be desired. But he got into closest touch with his audience in the rendition of Massenet's "Qu'en Je Suis En Appetit," from "Panurge," and Thomas' "Le Tambour Major," from "Le Cid."—Philadelphia Bulletin.
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