Books › Musical Courier 1913-12-10: Vol 67 Iss 24, 1913 › scan 12
Scan 12
Musical Courier 1913-12-10: Vol 67 Iss 24, 1913
98 lines. Read by computer on 26 September 2026. Printed page 13. See the scan on archive.org.
1FREE ORGAN RECITALS POPULAR IN BUFFALO.
3Visiting Masters of Keyboard, Pedals and Stops Heard Frequently—Franz Egenieff to Give Song Recital—Orpheus Club Assisted by Herbert Witherspoon.
5Telephone, N. 1445 J.
6819 Richmond Avenue,
7Buffalo, N. Y., November 28, 1913.
9The free organ recitals given at Elmwood Music Hall on Sunday afternoons continue to be as popular as ever. The organist for November 16 was Dr. Percy J. Starnes, who has been heard here with delight in a number of past seasons. He was assisted by the MacDowell Male Quartet, a local organization, which will appear at the first four concerts. At the second concert, on November 23, Edwin Lemare was the soloist.
11Franz Egenieff, the distinguished German baritone, whose recital was postponed on account of illness, will give a concert in the ballroom of the Hotel Statler, on December 10. Mr. Egenieff will be assisted by Dr. Jeno Kentler, pianist. This singer comes to Buffalo under the local management of Mrs. William Hart Boughton, who has also arranged for the appearance of Myrtle Elvyn, pianist, with Vera Barstow, violinist, and Ottilie Metzger, contralto.
13A piano recital of interest was that given by Mary M. Howard at the Twentieth Century Club, on Tuesday evening, November 25, when she presented her pupils, the Misses Elsie Davison, Gladys Gardner, Olive J. Davis and May Meacham. The painstaking and excellent instruction which they had received was revealed in the technical and artistic accomplishments which marked their performance. Developed with their ability to execute was the art of memorizing long and difficult selections. Katherine Kronenberg, soprano, a pupil of Frances Helen Humphrey, sang several numbers, her lovely voice giving much pleasure. She was accompanied by Gladys Campbell.
15The Buffalo Orpheus gave its first concert of this season at Elmwood Music Hall, on Monday evening, December 1, with its usual large audience to enjoy the program. The soloist for this concert was Herbert Witherspoon, basso. Mr. Lange, director of the Orpheus, chose his program with good judgment, presenting numbers that are worthy, yet not too heavy to be appreciated by the average hearer. The men of both chorus and orchestra responded well and gave a performance of great credit. Mr. Witherspoon sang twice, the first time an aria from Mozart's "Marriage of Figaro," and the second a group of Scotch and English songs.
17CORA J. TAYLOR.
19Russian Musical Society's Aims.
21The Russian Musical Society held its first meeting November 30 at the studio of Mrs. William Schupp. Constance Purdy, who acted as chairman of the meeting, in a brief address outlined the purpose of the society. Its aim is twofold: first, to make Russian music, especially its trios, quartets and choral music, better known in America; and second, to encourage the production of American compositions in Russia. Among the speakers were Isabel Happgood, Mrs. Charles Johnston, Ivan Narodny and Walter Bogert.
23The substance of Miss Purdy's address in opening the first meeting of the Russian Musical Society was as follows:
25"The fundamental purpose of this society is to further the best interests of Russian and American music, to make the music of Russia better known in America and to raise the standard of American music in Russia. We propose to give during each season one public concert and at least three concerts for members. At these concerts we hope to produce the best representative music of Russia, both vocal and instrumental. Our musical director, Alexis Rienzi, has in formation a Russian chorus, and we have been assured of the co-operation of Mr. Petrovsky with his Lithuanian chorus; of Mr. Uksila and his Finnish chorus and of the Armenian chorus under the leadership of Col. Prince Mesrap Nevtov. The hope of making American music better known in Russia is a more difficult undertaking. Our first step in that direction is to ask our American artists who visit Russia, and every year more are doing so, to include in their programs representative American compositions. And we shall ask, too, that Russian artists look a little more closely into American musical literature when making up their concert programs. We understand that this is not to be accomplished in a moment, but we have confidence that it will ultimately come, and desire to do our part toward that end.
27"We have been asked why we have selected the Russian music in our reciprocal alliance. We have chosen it not only for its intrinsic beauty, though that cannot fail to have an influence, but because as America hopes to develop a truly representative music it can as an aid to that end find more in Russian music than in that of any other nation in Europe. And that is because the Russian nation has the widest development of national music of any country of Europe. We look to Russia for our comparison also because it is the latest European nation to develop musically, and we ourselves are only in the making. Russia is therefore not too old and established musically but that we might hope that it would look with sympathy on our attempt at reciprocity and in its turn hold out a welcoming hand to the work of the American composer."
29The yearly dues are three dollars. A meeting of members for the transaction of necessary business will be announced shortly. Applications for membership may be addressed to Constance Purdy, 400 Riverside Drive, New York City.
31Quite So.
33"Waiter," ordered the peevish diner, "tell the orchestra leader to play something sad and low."
34"Yes, sir," said the waiter. "Any tune in particular, sir?"
35"I don't care what it is," returned the peevish one, "so long as it has a softening influence on this steak."—Atlanta Georgian.
37You Can Never Tell.
39William Tell and the Austrian governor were discussing the morrow's target practice.
40"I can shoot that apple off with my eyes closed," said the Swiss hero, confidently.
41The Austrian smiled grimly.
42"You never can, Tell," he answered, drily.—New York Evening Sun.
44LIBRETTO PRIZE.
46In order to facilitate the efforts of American composers to obtain a suitable libretto for the $10,000 prize competition offered by the National Federation of Musical Clubs, the Musical Courier offers a prize of $200 for the best libretto on an American subject which shall conform to the regulations of the above mentioned prize competition.
48These conditions are as follows:
49I.—The librettist must be a citizen of the United States;
50II.—The opera must be grand opera, one, two or three acts, but must be of such length that the entire performance will not exceed three and one-quarter hours including intermissions;
51III.—The libretto must be in English, and the text be worthy of the sponsorship of the National Federation of Musical Clubs.
53The librettos to be submitted for the Musical Courier prize must be received by us before December 31, 1913; and the prize will, if possible, be awarded before January 31, 1914. The libretto will remain the absolute property of the author. The Musical Courier arrogates to itself no rights of any kind whatsoever. In order that the requisite anonymity should be preserved, the name of the author of the winning libretto will be made public, but not the title of his work.
55If the author of the prize-winning libretto desires, the Musical Courier will make an effort to place him in communication with a composer who will set the work to music.
57Manuscripts must be marked "Libretto Prize" and include full name and address of the author.
58N. B.—It need scarcely be added that the Musical Courier Prize is in no way associated with the prize offered by the National Federation of Musical Clubs.
60HELENE KOELLING
61Prima Donna Soprano
62Montreal Grand Opera Company
64Boston Orchestra Visits Hartford.
66Hartford, Conn., November 27, 1913.
68One of the notable musical events of this season was the concert on Wednesday, November 26, by the Boston Symphony Orchestra. As is usual at these events, every seat was occupied and the audience was enthusiastic. Sylvain Noack left his place by the side of the concertmaster, and gave a brilliant rendition of the Saint-Saëns concerto. The program was as follows:
69Symphony in B flat major, No. 5, op. 55………….Glazounoff
70Overture to Bartered Bride………………………..Smetana
71Concerto in B minor for Violin and Orchestra…….Saint-Saëns
72Dramatic overture, Husitska, op. 67………………Dvorak
74The New England Quintet, consisting of Clara Oakes Usher, soprano; Florence Fiske Stamy, contralto; Herbert P. Stedman, tenor; J. Ralph Stamy, bass; Wyllys Waterman, pianist and accompanist; announce the opening of their concert season. The members of the quintet are all prominent soloists in church and concert work in this vicinity. They have a large repertoire of part songs and song cycles in which the ensemble work is particularly good.
76On Monday, November 24, a piano recital was given at the South Church Chapel in New Britain, by Martha Tryon and Elsie Teal, pupils of Wyllys Waterman. The program, consisting of numbers by Chopin, Mendelssohn and Moszkowski, was well rendered. Laura Eaton Wheeler, violinist, assisted.
78It is with pleasure that the musical public of Hartford looks forward to the concert of the Choral Club of Hartford, on December 8. Evan Williams, the Welsh tenor, will be the soloist. Ralph L. Baldwin is the conductor of the club.
80H. D. PRENTICE.
82Alice Garrigue Mott's Recommendations.
84Bertha Kalich, the celebrated actress, who is a voice pupil of Mme. Garrigue Mott, writes of the latter in the following complimentary manner:
85Alice Garrigue Mott ranks as one of our finest teachers of the voice. She combines the best of European schools with a rare method of her own that is wonderful in its result. No matter how broken or lethargic the spirit, a lesson with Mme. Mott is an elixir to mind and body, for there speaks not only the method of a great teacher, but the spirit, intuition and soul of a great woman. With love and best wishes to this unique teacher.
86From your friend and pupil,
87BERTHA KALICH.
89The artist producer of plays, Manager Harrison Grey Fiske, writes:
90New York, September 26, 1913.
91MY DEAR MME. MOTT—Apropos of the article that is to appear in the Tribune regarding your work, I should like to halve the opportunity to hear testimony of its value.
92I remember several years ago, when Bertha Kalich, while acting under my management, found trouble with her voice. For the first time in her experience she discovered that it failed to answer to the demands she was obliged to make upon it. She consulted a celebrated throat specialist. He said: "This is not a case for a physician; it is a case for Mrs. Mott." Mme. Kalich consulted you and placed herself under your instruction. She had fallen involuntarily into a faulty method of voice production. The transformation that you made in her case in a brief time was most remarkable, and she was restored to her full vocal powers.
93Since then, as you know, I have recommended to you several artists in whose work I was interested, and in each case you have taken them from the path of error and sent them on their professional way with new vocal powers and resources. Unhesitatingly and emphatically, I commend your admirable method to those who do not understand the correct method of producing and using the voice.
94Sincerely yours,
95HARRISON GREY FISKE.
97See deep enough and you see musically; the heart of nature being everywhere music, if you can only reach it.—Carlyle: "Heroes and Hero Worship." ("The Hero as Poet.")
The computer misreads some letters and numbers. Where a name matters to you, read the scan.