Books › Musical Courier 1913-12-10: Vol 67 Iss 24, 1913 › scan 11
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Musical Courier 1913-12-10: Vol 67 Iss 24, 1913
139 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. Printed page 12. See the scan on archive.org.
1BOSTON ORCHESTRA AND KREISLER IN BALTIMORE.
3Splendid Program That Included Beethoven's Seventh Symphony and Tchaikowsky's Violin Concerto—Piano Recital by Josef Hofmann.
5Phone, Tuxedo 752 F.
6213 Prospect Avenue, Roland Park,
7Baltimore, Md., December 5, 1913.
9The Boston Symphony Orchestra presented a delightful program for its second concert of the season. The symphony was the Beethoven seventh. Fritz Kreisler was the soloist, playing the wonderful Tchaikowsky concerto, a combination that could not be improved upon. The program ended with the overture to "The Bartered Bride"—or, as Dr. Muck's program put it, "The Sold Bride"—by Smetana.
11Josef Hofmann gave the fifth Peabody recital, last Friday, before an audience that filled every cranny of the hall. Mr. Hofmann's rendition of the Liszt B minor sonata was the high water mark of the recital. The program follows:
12Variations in D minor ………………………………………Handel
13Sonata Pathetique ………………………………………Beethoven
14Aufschwung ……………………………………………..Schumann
15Warum …………………………………………………….Schumann
16Ende von Liede …………………………………………Schumann
17Sonata in B minor ………………………………………Liszt
18Polonaise Fantasie ………………………………………Chopin
19Waltz in F minor ……………………………………….Chopin
20Mazurka in B major, op. 56 ……………………………Chopin
21Nocturne in B major, op. 32, No. 1 …………………..Chopin
22Waltz in E flat major …………………………………..Chopin
24A new pipe organ was dedicated last Sunday at Boundary Methodist Episcopal Church. The organ was given in memory of Samuel H. Cole, by his widow. Special music was sung by the choir of seventeen voices, under the leadership of L. Belle Grim, organist, who gave an organ recital in connection with the service.
26Songs have been sent me this week by two Baltimore composers for review. The first to arrive are two childhood songs, by Dorothy Dasch Reese, entitled "The Way to Shadowtown" and "Cradle Song." The cradle song is a very pretty setting of Tennyson's "What Does Little Birdie Say?" "The Way to Shadowtown" is a dainty little barcarolle arrangement of Eugene Field's well known lullaby. Mrs. Reese is a newcomer to Baltimore, who will prove a decided acquisition to musical circles here. She is a singer, a former pupil of Emma Thursby, and has already established a class in this city. The other group of songs is by Otto R. Ortmann; and one of them, strange to say, is another setting to Tennyson's "What Does Little Birdie Say?" Mr. Ortmann has given the words a gay and rollicking little melody that is very attractive. The second song of the group is called "The Sea Sobs Low," a short song, with beautiful harmonies. The last of these songs, and the best of all those submitted, is a spring song, "Ermunterung." This is a brilliant and thrilling song, twelve-eight time, allegro con brio; an excellent number for any program.
28Minna Adt, soprano, and August Hoen, basso, have been engaged for the choir of Grace and St. Peter's Church.
30The Ladies' Social Union of Brantly Baptist Church held a musicale on Thursday, at which Hobart Smock was the soloist.
32At the Y. M. C. A. meetings for men, held at Ford's Theater every Sunday afternoon, music is being made a special feature. Hobart Smock has charge of the arrangements, and he is engaging the best soloists in the city. On November 23 Mr. Smock himself sang "In the Night Shall My Song Be of Him," from "The Triumph of David," by Dudley Buck. On November 30 Dr. Merrill Hopkinson sang "The Ninety and Nine," by Edward Campion, and "The Penitent," by Van de Water.
34The announcement that Mabel Garrison Siemonn has been chosen to sing in the opening performance of Oscar Hammerstein's new opera house, in New York, is gratifying to many Baltimoreans. Mrs. Siemonn was a great favorite here, both in church and concert work, and her career has been followed with much interest ever since she left this city to join the Aborn Opera Company. Her voice is a light lyric soprano of rare sweetness and flexibility. Her singing in "The Tales of Hoffman" was one of the best events of the opera season here last spring. Mrs. Siemonn's role for the Hammerstein opening will be Juliet, in Gounod's "Romeo and Juliet." D. L. F.
36La Palme Is a Pleasing "Marguerite."
38Beatrice La Palme, who sang the role of Marguerite at the recent "Faust" production of the Century Opera Company, New York, appears in the accompanying photographs taken at Maison Lafitte, near Paris, the country home of M. and Mme. Carré. The others were the guests of the Carré's after a successful first night performance.
40From left to right are M. Jusseaume, painter of most of the scenery at the opera-comique, Paris, with young Mlle. Carré, M. Carré, director, Mme. Carré, Hector Dufranne,
42AN INTERESTING GROUP.
44Lucien Fugere, M. Francell (tenor), Cazeneuve, Beatrice La Palme, Ricou (secretary), and Jean Perrier on the ground.
46Following are some of the references to Miss La Palme's successful first appearance with the Century Opera Company, New York:
48There was another newcomer in the cast, in Beatrice La Palme, who showed that she owned a serviceable voice and knew the traditions belonging to Marguerite. This, at least, was one thing that a far more widely known soprano apparently does not know.—New York Tribune, December 3, 1913.
50Miss La Palme has a fresh, young voice of considerable power and sweetness, and she uses it exceedingly well. Her Marguerite was appealing from every side.—New York Evening Mail, December 3, 1913.
52On the other hand Beatrice La Palme, who sang with a French accent not at all displeasing, was the daintiest, trimmest and smallest Marguerite within memory. Her conception of this immortal role was the conventional one, tempered by the sweetness of her personality and enhanced by her clear, flexible voice. Unfortunately this little soprano is not to appear at any of the subsequent performances of "Faust" at the Century.—Brooklyn Standard Union, December 3, 1913.
54Miss La Palme sang the garden scene with much sentiment.—New York Times, December 3, 1913.
56Beatrice La Palme, of Montreal, was true to French tradition in costume and bearing, a Marguerite refreshingly free of sophistication or smirk.—New York Evening Sun, December 3, 1913.
58Beatrice La Palme sang Marguerite acceptably. Histrionically and visually she was a joy. She was at her best in the upper register.—New York Evening World, December 3, 1913.
60A new Marguerite was presented to New York in the person of Beatrice La Palme, who hails from the Opera Comique in Paris. Her voice, though lacking in power, is of a clear and pleasing quality, and her diction is a particular delight.
62It is decidedly to the credit of this young Frenchwoman that her English gets across the footlights well.—New York Press, December 3, 1913.
64The new Marguerite, Beatrice La Palme, has a pleasant voice, which is particularly good in its upper register. She is small in stature and gives the appearance of real girlishness—an effect not always achieved by prima donnas who try to sing the role.—New York Evening Telegram, December 3, 1913.
66Perhaps the best impression of the evening was made by Beatrice La Palme, a newcomer in the cast. She has an excellent voice and demonstrated to the delight of the listeners that she knew to the last degree the traditions which go with the part of Marguerite.—New York Evening Globe, December 3, 1913.
68Beatrice La Palme appeared as Marguerite and gave a pleasing and intelligent performance. To be sure her voice has a few "white" spots, but these are balanced by a freshness of quality and flexibility both valuable and effective. Her acting in the garden scene was naive and girlish, while her singing of "The King of Thule" and the "Jewel Song" was received with marked enthusiasm. Her diction deserves praise for its clarity and purity.—New York Journal of Commerce, December 3, 1913.
70The Marguerite was Beatrice La Palme, who displayed a good soprano voice with effective tone color.—New York Commercial, December 3, 1913. (Advertisement.)
72DELIGHTFUL PROGRAM OF SONG AND HARP SELECTIONS.
74Francis Rogers and Ada Sassoli Provide Artistic Matinee Entertainment.
76New York's Little Theater was completely filled on Tuesday afternoon, December 2, when Ada Sassoli, harpist, and Frances Rogers, baritone, gave the following program:
78Air from Scipione ………………………………………Handel (1726)
79Air from Oedipe ………………………………………Sacchini (1785)
80Mr. Rogers.
81Loure …………………………………………………….J. S. Bach (1685-1750)
82Sonata …………………………………………………..B. Galuppi (1706-1785)
83Adagio—Allegro—Maestoso—Presto.
84Pastorale ……………………………………………..Scarlatti-Tausig (1683-1762) one of two readings
85Pastorale ……………………………………………….Scarlatti-Tausig (1683-1762) one of two readings
86Gavotte ……………………………………………..J. Ph. Rameau (1683-1764) one of two readings
87Gavotte ……………………………………………….J. Ph. Rameau (1683-1764) one of two readings
88Miss Sassoli.
89An eine Aelsharfe ………………………………………Brahms
90In Waldesinsamkeit ………………………………….Brahms one of two readings
91In Waldesinsamkeit …………………………………….Brahms one of two readings
92The Old, Old Story ………………………………….Grieg one of two readings
93The Old, Old Story …………………………………….Grieg one of two readings
94Love Song of the Idiot ……………………………….Moussorgsky one of two readings
95Love Song of the Idiot …………………………………Moussorgsky one of two readings
96Field Marshal Death …………………………………Moussorgsky one of two readings
97Field Marshal Death …………………………………..Moussorgsky one of two readings
98Mr. Rogers.
99Kammenoi Ostrow …………………………………….Rubinstein
100Gavotte ……………………………………………..Sgabatini one of two readings
101Gavotte ……………………………………………….Sgabatini one of two readings
102Chant du Voyageur …………………………………..Paderewski one of two readings
103Chant du Voyageur ……………………………………Paderewski one of two readings
104Arlequine ……………………………………………Chaminade one of two readings
105Arlequine ……………………………………………..Chaminade one of two readings
106Valse de Concert …………………………………….Hasselmans one of two readings
107Valse de Concert ………………………………………Hasselmans one of two readings
108Miss Sassoli.
109To the Moon (Byron) ………………………………..Schumann one of two readings
110To the Moon (Byron) …………………………………Schumann one of two readings
111Sylvelin ……………………………………………..Sinding one of two readings
112Sylvelin ……………………………………………….Sinding one of two readings
113Snow …………………………………………………..Lle
114Chanson Triste ………………………………………Duparc one of two readings
115Chanson Triste ……………………………………….Duparc one of two readings
116Embarquez-vous …………………………………….Godard one of two readings
117Embarquez-vous ………………………………………Godard one of two readings
118Miss Sassoli and Mr. Rogers.
120Frances Rogers has already an established reputation as a baritone who well understands the vocal art. The same good taste, purity of diction, beauty of tonal emission and fine musical concept, which have heretofore characterized this singer's work, were evident in each of his numbers on Tuesday afternoon.
122The first two groups were sung to piano accompaniment, skillfully rendered by Isadore Luckstone; the final one to harp accompaniment played by Miss Sassoli.
124Sinding's "Sylvelin" and Lie's "Snow," which had to be repeated, deserve especial mention both for their exceptionally fine vocal rendition and excellent accompaniment of the harp.
126Miss Sassoli was well received for her skillful harp renditions.
128Concerts at Portland, Me.
130Portland, Me., December 2, 1913.
132At the fourth subscription organ recital on November 13, Will C. McFarlane was assisted by Walter Lawrence, boy soprano. He sang "With Verdure Clad" (from "The Creation"), the Bach-Gounod "Ave Maria" and a group of songs, displaying extraordinary technical proficiency.
134Thanksgiving evening, Mr. McFarlane and Reed Miller, tenor, gave a delightful program. Mr. McFarlane's own compositions, "America the Beautiful" and "Storm Fantasie" were received with much enthusiasm. Mr. Miller's tenor is of beautiful quality, and very smooth throughout its range. His interpretations revealed splendid musicianship.
136A program of Verdi music was enjoyed at the Rossini Club, November 20, in Pythian Hall, and on December 4, a special morning of German lieder and Liszt transcriptions was given.
138A very appreciative audience listened to the third concert of the Steinert Series at City Hall, November 24. Mme. Gadski and her assistants, Marie Caslova, violinist, and George Harris, Jr., tenor, responded generously throughout the evening. Gadski's numbers with organ accompaniment by Mr. McFarlane, "Liebestod" ("Tristan and Isolde") and "Elizabeth's Prayer," from "Tannhäuser," were especially well liked.
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