Books › Musical Courier 1913-12-10: Vol 67 Iss 24, 1913 › scan 13
Scan 13
Musical Courier 1913-12-10: Vol 67 Iss 24, 1913
60 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 14. See the scan on archive.org.
1HELENE MAIGILLE AUTHORITY ON DEL CANTO AND VOICE PLACEMENT 42 West 28th Street, New York Voice examinations Mondays, Wednesdays and Saturdays at 2 o'clock
3VICTOR WITTGENSTEIN PIANIST 230 West 107th Street New York one of two readings
4VICTOR WITTGENSTEIN PIANIST New York 230 West 107th Street one of two readings
6EDITH HATCHER HARCUM (Pupil of Leschetizky) CONCERT PIANIST—TEACHING Bryn Mawr, Pa
8ALBIN ANTOSCH AUSTRIAN CELLIST MANAGEMENT: WALTER R. ANDERSON 171 WEST 57TH ST., NEW YORK one of two readings
9ALBIN ANTOSCH AUSTRIAN CELLIST MANAGEMENT: WALTER R. ANDERSON 117 WEST 57TH ST., NEW YORK one of two readings
11Mrs. CARL ALVES SPECIAL ATTENTION TO CORRECT VOICE PRODUCTION Opera, Oratorio and Lieder Leipsic, Kaiser Wilhelmstr., 61
13CORNELIUS VAN VLIET Dutch Cellist 2514 Emerson Ave. S., Minneapolis, Minn.
15The Eminent Austrian Pianist MME. MARIE VON UNSCHULD Piano Recitals and Lectures on Technic by Motion Pictures Piano Method illustrated by Motion Pictures EUROPEAN CONCERT BUREAU, 1320 P. St., Washington, D. C. Steinway Piano Used
17Emilio de Gogorza Baritone Management: Antonia Sawyer, 1425 Broadway, New York
19MARIE KAISER SOPRANO Management: WALTER ANDERSON, 171 West 57th St., New York
21PERCY HEMUS BARITONE Now booking recitals including dramatic readings to music with GLADYS CRAVEN at the piano HEAR THE HEMUS VICTOR RECORDS Address: The Clinton, 253 West 42nd Street, New York
23LILLIAN WIESIKE LYRIC SOPRANO IN AMERICA JANUARY TO APRIL, 1914 EXCLUSIVE MANAGEMENT: ANNIE FRIEDBERG 1425 Broadway (Met. Opera House)
25PAUL REIMERS Tenor Recitals and At Homes Address, Antonia Sawyer, 1425 Broadway, N. Y
27BEATRICE LA PALME PRIMA DONNA SOPRANO Covent Garden Opera, London Opera Comique, Paris Montreal Opera Co., Montreal Address: 4478 St. Catherine Street West, Montreal
29OVIDE MUSIN'S Virtuoso School of Violin Recognized as the HIGHEST SCHOOL of violin playing in the U.S. Instruction given by this world renowned Virtuoso in person, in the Authentic tempo style, fingering and bowing of the classical repertory, ancient and modern. Musin's SPECIAL SYSTEM greatly LESSENS time and difficulty spent in acquiring technique and bow control. Write for matter regarding his SPECIAL CORRESPONDENCE COURSE. PIANO, HARMONY, with eminent teachers. Voice production, technic, diction with Mme. OVIDE MUSIN, coloratura soprano. Dormitories for limited number of students. Practice unrestricted. CHAPERONAGE. Address, the REGISTRAR. 61 West 70th St. N. Y.
31BUSONI CONDUCTS AND PERFORMS AT LIVERPOOL.
33Famous Pianist Feature of Philharmonic Concert—Gounod's "Messe Solennelle" Conducted by a Woman—Rodewell Club Events—Halle Orchestra Heard in Interesting Program—Adequate Organ Needed.
35Liverpool, 47 Arnold Street, England, December 1, 1913.
37The presence of Busoni at the third concert of the Philharmonic Society in the triple capacity of conductor, composer and pianist evoked much interest, and he secured smooth renderings of his own "Lustspiel" overture (a lively movement mainly in the Beethoven idiom), Mozart's G minor symphony and Liszt's "Mephisto Waltz." The finale of the symphony was, however, taken too fast, at the expense of clarity. Busoni's solo contributions included Beethoven's G minor concerto—ably conducted by Chorusmaster Harry Evans—an arrangement of the "Andantino" from Mozart's ninth concerto, and a lately discovered Mozart fantasia by Liszt, which has been completed by Busoni himself. Tilly Koenen, the Dutch contralto, offered songs by Schubert, Wolf and Donizetti, accompanied by Bennett North.
39At the fourth concert Sir Frederic Cowen once more assumed the command of the orchestra, which he piloted through Saint-Saëns' "Danse Macabre," Beethoven's C minor symphony, and Coleridge-Taylor's "La Bamboula." He obtained excellent results in the symphony. But the concert is worthy of special interest, as it was the occasion for the introduction here of two young artists—Florence Macbeth, an exceedingly brilliant soprano, and Isolde Menges, an equally gifted violinist. The first named speedily justified the high encomiums which had heralded her coming and gave proof of her quality in the course of Rossini's "Una voce," Delibes' "Bell Song" and (as an encore) Bishop's "Bid Me Discourse." The audience literally "rose" at her and endorsed the statement that a singer of unusual merit has come to the front in the person of Florence Macbeth, who is an American. The first movement of Glazounow's violin concerto is a very striking effort, but I did not care for the remaining portions. Miss Menges' powers of expression and execution were not overtaxed by the Russian composer's demands, but a work of more consistent quality throughout would have been more satisfying. The concert, however, was an unqualified success, and the committee is to be congratulated thereon.
41Margaret Stilwell, a young American pianist, and her husband, Alfred Ross, gave their annual concert on November 13, when a program of excellent variety was presented. Miss Stilwell is an artist of distinct ability, and graduated on the Continent, being at one time under the influence of some of the most eminent minds in the pianistic world, including De Pachmann. Her technical capacity is therefore admitted, but as an interpreter of the highest forms of classic and modern literature she is entitled to more than passing attention. Evidence of this was afforded in her admirable treatment of a number of works by such widely divergent thinkers as Chopin, Brahms, Moszkowski, Luigi Gulli, Edouard Poldini and MacDowell. She also joined her husband in a reading of Beethoven's sonata in A (op. 20) and a number of pieces by Lalo, Sinigaglia, Sulzer and Novacek, the twain coalescing with absolute unanimity. Vocal matter was provided by Ethel Penhall, ably accompanied by Charlotte Davies.
43The inaugural concert of the Liverpool Welsh Choral Union brought together a very large audience, which was rewarded by an excellent performance of Coleridge-Taylor's singularly picturesque setting of Longfellow's Indian epic. This splendid choir, numbering nearly three hundred voices, has, under the unremitting training of Harry Evans, become a homogeneous and flexible vocal machine, and the Celtic temperament that animates the members finds every opportunity of expansion under the tactful and inspiring direction of this really great choral expert. The repertoire of the L. W. C. U. ranges from Bach to Elgar, and the members are equally at home in the Handelian roulades as with the steep intervals of the ultramoderns—to wit, Bantock's "Atalanta," which I commented upon last year. It can therefore be readily imagined that the comparatively simple demands of the late Anglo-African (whose untimely death last autumn cut short a promising career) were met with ease and the audience was not slow to recognize the fact. The principal soli were rendered by Laura Evans-Williams (a thoroughly competent soprano), Ivor Walters (a newcomer gifted with a pleasant tenor voice), and Charles Tree, one of the best baritones in the country, and who, as "Carlo Albero," might easily pass for an Italian as far as personal appearance is concerned. The choir was also very successful in Max Bruch's eight part chorus, "On Jordan's Banks," which had to be repeated. The orchestration was treated with unanimity and refinement by a competent corps of players, each section of which was quickly responsive to the conductor's appeals.
45Although Gounod's "Messe Solennelle" has no longer a place on the orthodox list of Catholic Church music, it nevertheless has moments of lofty power and sincere devotion—the "Kyrie" and "Et Ressurexit" for example—and it was pleasant to listen to its familiar strains under the conductorship of Mme. de Boufflers at the Sunday Society's concert, on November 16. This energetic lady has recruited a large company of singers, and the manner in which the various episodes of the mass were treated indicated that no trouble had been spared to attain adequate results. The orchestra was also a salient feature and added much to the ensemble. The soli were capably rendered by Annie Goodwin, Lloyd Moore and Ralph Smith and the event brought an immense crowd to St. George's Hall.
47Two interesting chamber concerts have to be recorded, viz., those of the Prescott Trio and by Kathleen Daly and her brother Jerome. In the first case Stanley Prescott joined forces with Arthur Catterall and E. A. Wright, violin and cello respectively, in works by Brahms, Grieg and Dvorák, unanimity, tone and execution being of equal excellence. In the second instance Miss Daly's violin playing evoked genuine admiration. She produces a broad and graceful cantabile and her left wrist is under perfect command while her bow arm is no less admirable. These attributes were effective forces in Ernst's F sharp minor concerto, Grieg's sonata in C minor, and examples of Z. Fibich, Hubay, etc. Jerome Daly has cultivated technic rather than expression, but the latter faculty will no doubt make its presence felt in due course. His treatment of Liszt's "Campanella," a Debussy study and Chopin's A flat polonaise was, however, delightfully fluent, and both these clever young musicians have made a decided advance. The remarkable efficiency of the Dalduet is due to the remarkable system practised by their teacher, Miss Ellen Green, who has evolved what she terms a "psycho-physiological method," which is apparently applicable to any kind of medium.
49The program of the third meeting of the Rodewald Club was in the hands of the Fransella Trio, a combination consisting of Albert Fransella (an acknowledged flute expert), Marjorie Hayward (violin) and Winifred Christie (piano), and their combined forces were united in trios by Bach, Purcell, César Cui and Eugene Goossens, Jr. Although the term "new" was applied to the Cui suite—a very engaging work, by the way—this probably is a misnomer, inasmuch as the Russian soldier-composer must now be verging on his eightieth year. The Goossens effort is an elaborate piece of constructive ability, though tinged with the Debussy dialect. He is the son of Eugene Goossens, who himself succeeded his late father of the same name as conductor of the Carl Rosa Opera Company, in which capacity he shows great ability. The program of the fourth meeting was entrusted to the Rawdon Briggs Piano Quintet, the personnel of the part being Rawdon Briggs and Mrs. Briggs (violin and viola), J. H. Foulds (cello) and Max Meyer (piano). Saint-Saëns and Brahms were drawn upon for the ensemble matter, and three strings cooperated in a genial trio in A by Max Reger, a work that shows the great contrapuntist in quite a mundane frame of mind. The larghetto and scherzo are particularly attractive sections. Meyer is an excellent pianist, though handicapped by an instrument that was not altogether in tune. The Brahms number which concluded the concert was rendered with complete understanding and musical finesse.
51The program submitted by the famous Hallé Orchestra, numbering some ninety instruments, conducted by Michael Balling, on the afternoon of November 22, was calculated to suit a variety of tastes, as the following list will show:
53A Faust overture…………………………………………..Wagner
54Siegfried Idyll……………………………………………..Wagner
55Symphonic poem, Also sprach Zarathustra………….Richard Strauss
56Overture, Egmont………………………………………Beethoven
57Symphony No. 5, in C minor, op. 67…………………Beethoven
59This organization was founded by the late Charles Hallé, the pianist, in 1857, and was the means of raising Manchester to the forefront as a musical center. After his death the baton passed to F. H. Cowen, and afterward to Hans Richter, under whose searching method the band attained a position second to none in the country. On the retirement of Richter—who, happily, is still in the flesh—the committee invited Michael Balling, of Munich, to take charge, and if he has not created a reputation for individualism, he has at all events preserved the traditions of his predecessor, who as an exponent of Beethoven and Wagner stood alone and unapproachable. There was
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