Books › Musical Courier 1913-12-10: Vol 67 Iss 24, 1913 › scan 61
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Musical Courier 1913-12-10: Vol 67 Iss 24, 1913
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1PITTSBURGH CHORUSES
2PRESENT FINE PROGRAM.
3Male Chorus and Tuesday Musicales Choral Appear Individually at Same Concert—Franz Egenieff Sings for the Art Society—Euterpean Choral Gives First Concert of Season.
5Pittsburgh, Pa., December 4, 1913.
6The Pittsburgh Male Chorus, James Stephen Martin, director, gave its first concert of the present season in Carnegie Music Hall, assisted by the Tuesday Musical Choral. This was practically the same idea introduced two years ago, when the two choruses united and gave a splendid concert. This time, however, no mixed choruses were given, each body appearing individually. A large crowd attended and seemed to enjoy this innovation of two choruses appearing on the same program. The Male Chorus is a larger organization than when last heard, having at present a membership of about ninety-five voices. This adds tremendous volume to the singing, but, on the other hand, some of the finer effects of former concerts were lacking. The first half opened with Patty Stair's "Carpathian Folksong," which was given with good attack and tone color, and closed with Protheroe's "Castilla." This number was rendered with splendid spirit, although the attack in one instance was bad. Between these two numbers the Tuesday Club appeared in Debussy's difficult "Blessed Damozel." The solo parts are extremely difficult and must be given much color or they become monotonous. Mrs. Feeley, who sang the part of the Blessed Damozel, did credit to the part. Marjorie Keil-Benton, as the Narrator, although not a particularly grateful part, sang it with understanding and fine color. The choral parts were well blended in tone and quality. The second part opened with the Male Chorus in three Scotch songs; the last, "The Piper o' Dundee," was sung the best, and was immensely enjoyed. This was followed by a group by the ladies' choral, including the "Singing Bird," by Elgar, in which Ruth Thoburn and Mrs. Noble played the violin obbligato, which added greatly to the beauty of the composition. The second number, "Evening Prayer in Brittany," by Chamindae, is a very ambitious number to be attempted by any chorus. Chanting is difficult for a few voices, much less seventy, but the long chants were sung with almost perfect enunciation. This was one of the finest bits of choral work of the evening. "The Dusk Witch," by Ambrose, needs no comment, as it is one of the star numbers of the chorus. Cadman's "Indian Mountain Song" was given as an encore. The small solo parts in the "Evening Prayer in Brittany" were well given by Mrs. Benton and Mrs. Sulzner, respectively. The program closed with Hammond's "Angelus," with bass solo by John Hibbard, and "Hymn Before Action," by Ralph Baldwin, with baritone solo by Samuel Jones. The latter made a stirring number to close the program, and was possibly rendered the best of the Male Chorus numbers. Its inspiring climax is wonderful and well fitted for such an organization as the Male Chorus. The solos in both numbers were well rendered. Blanche Sanders Walker accompanied the Tuesday Club, and in "The Blessed Damozel" had particularly fine opportunities to display her splendid art. Mr. Edwards, with the Male Chorus, gave his usually satisfactory accompaniments, while Mr. Fleer at the organ added much to the beauty of the program. The program follows:
7Carpathian Folksong ………………………………….Patty Stair
8The Blessed Damozel ………………………………….Debussy
9Tuesday Musical Club Choral.
10Blanche Sanders Walker, accompanist.
11Soloists: Marjorie Keil-Benton, Mrs. H. M. Feeley.
12Castilla …………………………………………………….Protheroe
13Three Scotch songs—
14Alastair, MacAlastair ………………………………….Mary Ruthven Lang
15Solo, Ronald McDonald.
16Jessie, the Flower o' Dunblane …………………Arr. A. von Othegraeven
17The Piper o' Dundee ……………………………Arr. A. von Othegraeven
18Fly, Singing Bird ………………………………………Elgar
19Violin obbligato, Miss Thoburn, Mrs. Noble.
20Evening Prayer in Brittany ………………………..Chaminade
21Solos: Mrs. Benton, Mrs. Sulzner.
22The Angelus …………………………………………….Hammond
23Hymn before Action ………………………………….Baldwin
24Solo, Samuel Jones.
26Dan Beddoe, the popular tenor, was the soloist at the Richard Wagner centenary celebration given by the Tuesday Musical Club, Tuesday afternoon, November 25. The program follows:
27Sketch of His Life (formative period) ………….Mrs. Frank T. Ostrander.
28Gerechter Gott (Rienzi) ……………………………Rose Leader.
29The Flying Dutchman, Tannhäuser, Lohengrin.
30Spinning Song (arranged by Liszt) (The Flying Dutchman) …………………………………………..Adele Margaret Floing.
31Dear Halls of Song (Tannhäuser) …………………Mrs. H. M. Feeley.
32Elizabeth's Prayer (Tannhäuser) …………………..E. Lucille Miller.
33Elsa's Dream (Lohengrin) ……………………………Mrs. J. Vick O'Brien.
35The Ring of the Nibelung.
36Fire Music (arranged by Bruskin) (Die Walküre).
37Siegmund's Love Song (Die Walküre) ……………..Dan Beddoe.
38Song of the Rhine Nymphs (The Twilight of the Gods).
39Entrance of the Gods to Walhalla (Rhinegold).
40The Club Choral.
41James S. Martin, director.
42The Mastersinger's Dream (Meistersinger) ………..Katherine McGonnell.
43The Prize Song (The Mastersingers) ………………Eda Keary.
44Good Friday Spell (Parísal) ………………………….Adele Reahard, club accompanist.
45Blanche S. Walker, Choral Club accompanist.
47Franz Egenieff, the famous German baritone, was the artist on the second program of the Art Society. Egenieff has been one of the most heralded singers that ever appeared in this city. The program was composed of strictly classics, mostly of which were unfamiliar. He possesses a voice of great beauty, which he uses with intelligence. Egenieff's splendid placement of tone enables him to do much where other singers would fail. The program follows:
48Song cycle, An die ferne Geliebte ……………………Beethoven
49Belsazar ………………………………………………….Schumann
50Der Soldat ……………………………………………..Schumann
51Der arme Peter ……………………………………….Schumann
52Provenzalische Lied …………………………………..Schumann
54R. E. Johnston's Trio of Great Artists
55YSAYE
56VIOLINIST
57GODOWSKY
58PIANIST
59GERARDY
60VIOLONCELLIST
61Singly or as follows:
62Ysaye and Godowsky,
63Godowsky and Gerardy,
64Ysaye and Gerardy,
65Gerardy, Godowsky and Ysaye.
66This Trio in wonderful programs is booked to appear in many cities together.
67For information, address:
68R. E. JOHNSTON, 1451 BROADWAY, NEW YORK CITY
69Knabe Piano Used
71Auf dem Kirchhof ………………………………………Brahms
72Verrat ……………………………………………………Brahms
73Standchen ……………………………………………..Brahms
74Der Nock ……………………………………………….Loewe
75Fredericus Rex ……………………………………….Loewe
77The first concert of the Euterpean Choral, Charles Albert Graninger, director, was given in Carnegie Music Hall, Tuesday evening, December 2. The soloist of the occasion was Ashley Ropps, baritone. This chorus is making rapid strides under Mr. Graninger's direction; the voices are better balanced, the attacks good and there is a much better quality of tone. This organization is still in its infancy, but is creeping along pretty fast and is bound to be well established in future years.
79The Saudek Ensemble presented a program of splendid musical value in the Twentieth Century Club, Tuesday afternoon, December 2. It was undoubtedly the most attractive program yet given by this organization. The program was as follows:
80Octet, op. 166 …………………………………………..Schubert-Franz
81Two violins, viola, cello, bass, clarinet, horn and bassoon.
82Messrs. Giobo, Loesel, DeBacker, William Hennig, Bielohlavek, Caputo and Nusser.
83Trio, Serenade, op. 25 ………………………………..Beethoven
84Messrs. Saudek (flute), Giobo (violin), DeBacker (viola).
85Quintet ……………………………………………………Mozart
86Messrs. Caputa (clarinet), Giobo and Liesel (violins), DeBacker (viola), Hennig (cello).
87Grand Nonet, op. 31 …………………………………..Spohr
88Complete ensemble, assisted by string quartet.
90Thomas Morris, Jr., will appear in Leechburg next Sunday afternoon, singing at the Elks' memorial.
92Rose Leader sang at an afternoon concert in the Nixon Theater this week.
94Helen Heizer appeared in a recital in Latrobe during this past week. HOLLIS EDISON DAVENNY.
96LIEDERKRANZ CONCERT.
97Marie Keiser, Wilhelm Bachaus and Horatio Connell Delight a Large Audience.
99The December 7 concert of the New York Liederkranz was noteworthy in more ways than one. First of all, the soloists were unusually acceptable; then there was an effective novelty by Pietro Allesandro Yon, the talented organist of St. Francis Xavier's Church, and lastly the male chorus was augmented by the women's section, singing alone and in collaboration, more especially in Bruch's "Fair Ellen," that Germanic-Scottish cantata with the bagpipe effects.
101Wilhelm Bachaus toyed with the bristling difficulties of modern virtuoso pieces; played the "Emperor" concerto with definite classic control, absolute authority and charm, and rode to immense success on that favorite piano warhorse, the Schubert-Liszt military march. Rousing applause led him to contribute the "Campanella," originally by Paganini, but recomposed one may say for piano with vastly greater effect by Liszt; this too he played with, tossing off the technical stunts as if they were nothing, "easy as breathing."
103Mr. Connell sang as if German-born, with a deep understanding of lieder; lovely effects were in "Der Wanderer," and surging applause followed "Wohin?" "Ein Schwan" was his encore song. He is a model of manly repose as he sings, and breadth of expression unite with warmth of delivery in every phrase.
105The Bruch cantata, "Fair Ellen," closed the concert, Marie Keiser's fresh and sweet soprano voice ringing out true and clear, and Mr. Connell singing with dignity and resonant tones. The male choruses went with that precision and expressive phrasing associated with choral singing under Conductor Arthur Claassen, a Polish march song pleasing greatly. The very sympathetic piano accompaniments played by Otto A. Graff must be mentioned. The audience filled the handsome hall, and listened with real interest to this enjoyable concert.
107Cecil Fanning in Toronto.
109Cecil Fanning met with such signal success at his recital given for the Women's Club of Toronto that his work brought forth the highest praise from the foremost critics of that musical city. The following are two of the criticisms taken from the Toronto papers:
111Lovers of music are aware that in recent years the visits of vocalists who excel as interpreters of songs have been all too rare. For that reason the visit of Cecil Fanning might be ranked among the events of the season. The young baritone made many friends when he was heard here nearly two years ago, and his singing on that occasion won so much praise that a large and appreciative audience was assured for his second local song recital. A particularly beautiful, rich and expressive baritone voice is possessed by Mr. Fanning, and he uses it with a fine artistic sense. In a program like that which he presented on this evening the many sides of his ability were apparent. He showed a delightful gift for catching the exact mood of his songs. . . . A large share of the success of the recital was doubtless due to H. B. Turpin at the piano, for as accompanist he assisted in bringing out the exact meaning of every song. . . . The return of these two men for future recitals will be watched with eagerness.—The Mail and Empire.
113Cecil Fanning is one of the most interesting artists now before the public. To the professional musical critic, satiated with numbers that he hears at least a dozen times in the course of a season, the variety and range of Mr. Fanning's programs is a delight. At his recent recital given here he sang many lyrics of rare musical appeal which have not become shop worn. . . . From the purely vocal standpoint, considered apart from his interpretative powers, he is exceptionally gifted. His voice is one of notable range and beauty. It is exquisitely produced with a mastery of resource in all matters of accent and phrasing, and he gives a constant impression of dramatic intelligence. . . . Not only the accompaniments, but the explanatory remarks of H. B. Turpin, Fanning's sole teacher, greatly augmented the interest of the recital.—Toronto Saturday Night. (Advertisement.)
115Florence Austin Pleases in Lecture Recital.
117The American violinist, Florence Austin, gave her lecture-recital (which was recently one of the events in the Columbia University course), "The History of the Violin and Its Ancestors," in the auditorium of Lincoln High School, Summit, N. J. Miss Austin began with "Pedagogic Reflections," talked of "Ancestors of the Violin," of the viola family, the violin family Cremona, then spoke of Stradivarius and modern makers, the history of the bow, and concluded with "Great Violin Virtuosi," with pictures of these various subjects. In between she played works by Handel, Fiorillo, Vieuxtemps, Weitzel, Burleigh, Bohm, Musin, Wieniawski and Sarasate.
119It will be seen by this brief synopsis that the recital contains much information, is highly educational, and at the same time gives opportunity to hear much standard violin music, played by this high exponent of the art. There was a large audience, exceedingly enthusiastic, so that Miss Austin's success was gratifying. Charlotte M. Mawson, the vocal teacher, managed the affair and has booked similar recitals for Miss Austin in Montclair and Morristown after Christmas.
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