Books › Musical Courier 1913-12-10: Vol 67 Iss 24, 1913 › scan 44
Scan 44
Musical Courier 1913-12-10: Vol 67 Iss 24, 1913
99 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 45. See the scan on archive.org.
1Huss Aeolian Hall Program.
3Mr. and Mrs. Henry Holden Huss will give the interesting program reprinted below at their recital in Aeolian Hall, New York, Wednesday afternoon, December 10. Attractive features will be the group of piano compositions and songs written by Mr. Huss:
5Le Violette ……………………………………………. Scarlatti
6Willst Du Dein Herz mir schenken ………………… Bach
7Bei Dir sind meine Gedanken ……………………….. Brahms
8Maedchenlied ………………………………………….. Brahms
9In's Freie ………………………………………………. Schumann
10Mrs. Henry Holden Huss.
11Gavotte, B minor ……………………………………… Bach-Saint-Saëns
12Sarabande, from the Fourth Suite ………………… Handel
13Minuet, from the Fantasia, op. 78 ………………… Schubert
14Valse, E minor (op. Posthume) ……………………. Chopin one of two readings
15Valse, E minor (op. Posthume) …………………….. Chopin one of two readings
16Henry Holden Huss.
17Six folksongs—
18Die Linde im Thal ……………………….. Sixteenth century melody
19Lindenlaub …………………………… Melody after Forster, 1549
20Harald ……………………………………… Traditional Norwegian
21La Scillitania ……………………………………… Calabrian
22The Soldier's Love …………………………… Hungarian
23I'd Roam the World Over ……………………. Old Irish
24Where the Bee Sucks ……………………….. Dr. Arne one of two readings
25Where the Bee Sucks …………………………. Dr. Arne one of two readings
26Mrs. Huss.
27Huss—
28Etude Romantique, op. 23.
29Bagatelle (Mrs.).
30To the Night, poem for the piano, op. 19.
31Valse, A major, op. 20.
32Prelude in A flat, op. 17.
33Mr. Huss.
34Apres un Reve ……………………………………… Fauré
35Serenade du Passant …………………………… Massenet
36L'embarquement pour Cythere ………………… Chansarel one of two readings
37L'embarquement pour Cythere ………………….. Chansarel one of two readings
38After Sorrow's Night (Mrs.) ……………………. Huss one of two readings
39After Sorrow's Night (Mrs.) …………………….. Huss one of two readings
40Wiegendich, op. 22 …………………………… Huss
41June …………………………………………….. Willeby
42Mrs. Huss.
44Keep It Dark.
46In the deserted kindergarten room at the settlement a little girl was thumping the piano to her heart's content. A resident looked in at the door and smiled, "Go on, Catherine," she said, "if you are sure your hands are quite clean."
48"Oh, that's all right, Miss Emily," was the answer, "I'm being very careful; I'm just playing on the black keys.—New York Globe."
50Marie Morrisey Paid Tribute by Brooklyn Singers.
52Brooklyn lovers of music were treated to an unexpected delight last Thursday evening, December 4, at the Academy of Music, when Marie Morrisey, the well known contralto (pupil of Dudley Buck), who has become a necessary adjunct to Brooklyn musical clubs, contributed several numbers to the program of the Apollo Club's first private concert of the season. It was not indeed a surprise, for concertgoers across the East River have heard Mrs. Morrisey on too many occasions in the past not to know full well the splendid qualities of her voice. The audience was large and very appreciative. Each of her numbers was received with loud applause, and recalls, too numerous to count, followed each appearance.
54Mrs. Morrisey's first number on the program was Gorring Thomas' "My Heart Is Weary" ("Nadeschda"), following which she sang as an encore "Come, Sweet Morning" (old French). "In a Wigwam," by R. H. Woodman, and "My Star," by Mrs. H. H. A. Beach, were her next selections, and, like the first, brought forth enthusiastic plaudits. For an encore Mrs. Morrisey sang Homer's popular "Banjo Song."
56As a token of their appreciation of her singing the basses of the Apollo Club presented Mrs. Morrisey with fifty large American Beauty roses and a gold Apollo pin, making her an honorary member of the club, an honor held by but one other woman, Mary Jordan.
58The concert was a great success in every sense of the word.
60To John Hyatt Brewer, conductor, is due much praise for the splendid work of the Apollo Club.
62May Haughwout Reads the "Blue Bird."
64May Haughwout, the well known monologist, read the "Blue Bird" at the Church of the Divine Paternity, New York, on Sunday, November 30.
66"Well," said the aspiring musician at the end of his first recital, "when people applaud it's certain you've pleased them."
68"Not necessarily," growled the friend. "Maybe they were merely trying to persuade themselves that they hadn't wasted their money."—New York American.
70Gemünder's "The Violin World."
72A monthly journal occupying a unique niche is The Violin World, published by A. Gemünder & Sons, 42 East Twenty-third street, New York. The current issue, Vol. XXI, No. 10, contains many articles of interest to violinists, cellists and musicians generally. Some of the articles are as follows: "Violin Technic, How to Acquire It," "The Hungarian Gipsy and His Music," "Spalding Opens Tour in Norway," "Joachim's Way of Teaching Carefulness," "Thibaud's Violin," and "A Remedy for Sore Finger Tips."
74A hint as to the way the house of Gemünder fits out violinists with the proper instrument is found in the following excerpt, under the caption "What Watt?":
76"H. P." is the world's word for power. Originally it meant horse power. Today it stands for watts, amperes, pounds, in fact for all sorts of power except horse power, meaning thereby the power of horses.
78To apply "H. P." to the violin seems almost sacratodal. Imagine a fiddle maker's label reading:
79"Johann Host, New York, 1913—12 H. P."
80Lugubrious, indeed! But the signs of the times point to some such markings of violins.
82Practically all the modern makers and all dealers in old violins, endeavor to learn, before selling a person a violin, just what sort of playing that person intends doing.
84If the prospective buyer be a parlor player, then he doesn't need great tone power. Medium strength with great mellowness is the proper parlor combination.
86If the prospective buyer be an out-and-out soloist, accustomed to playing unaccompanied in large auditoriums, then, great nobility, carrying power and ringing resonance are the requisites.
88If a theater orchestra leader, then a high pitched nobility of tone—that will be heard riding the orchestra ensemble as the sea bird skims the waves of the sea.
90More such approximate "measurements" now in daily use might be cited. That these are crude terms for nice differences and gradations in tone power can hardly be disputed.
92The late Dr. F. Castle, author and amateur violin maker of prominence, originated a method of testing and measuring the carrying power of violins.
94His estimate of the proper "carrying power" a solo violin should possess, seems to be about 1,000 feet. His method of arriving at this definite conclusion, and of testing the violin, at least have the distinction of being unique.
96Going into a field affording 1,400 feet of unobstructed distance, one person plays a melody on the violin about to be tested, while the other person listens and "checks up" in feet and inches the distance that the tone of each one of the strings is audible.
98Music, rather than poetry, should be called "the happy art."—Richter: "Levana." (Third Fragment. Ch. 5, "Music.")
The computer misreads some letters and numbers. Where a name matters to you, read the scan.