Scan 8
Musical Courier 1913-12-10: Vol 67 Iss 24, 1913
170 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 9. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1ST. LOUIS' MUSICAL
2NEEDS BEING AGITATED.
3Choral Society and Permanent Opera Among the Desired Institutions—St. Louis Republic Favors Musical Expansion in Its Community—Symphony Orchestra Progress Impresses Its Subscribers, Who Are Willing to Guarantee Annual Sum to Cover Deficit.
5St. Louis, Mo., November 30, 1913.
6Considerable interest has been shown in an agitation for some of the musical needs of St. Louis, which has been favored by the St. Louis Republic. The editor, Paul Brown, is very sympathetic toward all movements tending in the direction of musical progress. So all who have had anything to state publicly in this matter, have been accorded the privilege of expressing their views in the Republic, and there have been friendly editorials from time to time. These needs are: (1) a large organ, placed in a public building in the business district, upon which frequent recitals might be given by competent organists; (2) a choral society; (3) permanent opera. Most stress has been laid upon the second of these, for it is a fact to be deplored that we have no large English speaking choral society here. We did have one for years which merged into the Choral Symphony Society. In order to give sufficient attention to the artistic and financial necessities of our orchestra, the directors found themselves obliged to discontinue the chorus, and to concentrate upon the orchestra. Conductor Max Zach was brought here, and the number of players increased. The improvement has been unquestionably remarkable. The subscribers have been so impressed by the progress made that they are quite willing to guarantee $30,000 per year toward the deficit. While this is a matter concerning which our citizens have every cause to be proud, yet it is to be regretted that the chorus was compelled to disintegrate. There are many members of the old society who would be willing to associate themselves with a new one, and there are a number of vocal instructors who would persuade their pupils to join for the practice. The one thing necessary is organization. That requires self sacrificing men and women who will give time, energy and money to have it become an institution. The inquiry is: Who will consent to shoulder these burdens? There is no question that permanent opera will come some time. Business men and society women are in favor of this movement. The late Adolphus Busch was willing to subscribe $50,000 toward the erection of an opera house. A little effort, and our citizens would willingly subscribe for such an enterprise. If permanent opera soon becomes a reality, it will do much toward advertising St. Louis throughout the country.
8The Apollo Club, consisting of seventy-five men under the able direction of Charles Galloway, gave its first concert of this season last Tuesday night at the Odeon. Hector Dufranne, the distinguished baritone of the Chicago Opera Company, was the soloist. The program was as follows:
10Drinking Song ……………………………………………..Busch
11The Apollo Club.
12Avec tes Yeux Mignonne ………………………………………Lassen
13November …………………………………………………….Tremisot
14Le Vent ………………………………………………………Wibier
15Hector Dufranne.
16Tulita ………………………………………………………..Stevenson
17The Folksong ……………………………………………….Kremser
18The Apollo Club.
19Legend of the Sagebrush, from Juggler of Notre Dame….Massenet
20Hector Dufranne.
21Three Fishers ……………………………………………..Goldbeck
22The Apollo Club.
23Si tu le voulais ……………………………………………..Tosti
24Noel Paien …………………………………………………Massenet
25Le Devin du Village ………………………………………Gretry
26Hector Dufranne.
27I Love but Thee ……………………………………………Storch
28The Apollo Club.
30The Liederkranz Club, our largest German choral society, gave its anniversary concert Saturday. Richard Stempf is conductor. The soloists were Nina Dimitrieff, soprano, and John W. Bohn, baritone; Max Steindel, cello, and E. Prang Stamm, pianist.
32The following program was given:
34Mixed chorus—
35Heidenröslein ……………………………………………..Schubert
36Das Veilchen ……………………………………………….Mozart
37Cello solo, Variations on two themes…………………A. Franchomme
38Soprano solo, Jewel Aria, from Faust…………………Gounod
39Male chorus—
40Serenade ……………………………………………………Kremser
41Frühlingstürme ……………………………………………Führich
42Baritone solos—
43J'ai Pleure en Reve ………………………………………Hue
44Zigeuner Melodie …………………………………………Dvorak
45Ladies chorus, The Gypsies ……………………………Brahms
46Cello solos—
47Evening Song ……………………………………………..Schumann
48Gypsy Dance ……………………………………………….Jeral
49Soprano solos—
50Night ………………………………………………………..Strauss
51She Was Thine …………………………………………….Gretschaninoff
52Return of Spring …………………………………………..Kramer
53Mixed chorus, The Banquet with the Phaiakes, from Odysseus …………………………………………Bruch
55A special concert was given Friday evening by the St. Louis Symphony Orchestra. Ruth St. Denis, interpretative dancer, was the soloist.
57The Sunday afternoon "pop" concert was exceptional in that there was no soloist. The program follows:
58March, Chantecleer ………………………………………Strube
59Two Norwegian Dances ………………………………….Grieg
60Overture to The Bat ………………………………………Strauss
61First finale from Lohengrin ……………………………….Wagner
62Sevellana from Don Cezar de Bazan …………………..Massenet
63Prelude …………………………………………………….Rachmaninoff
65The second concert in the monthly series at the Tuscan Temple took place Sunday afternoon. The program follows:
66Organ, Sonata, C minor …………………………………Guilmant
67J. C. Eisenberg.
68Contralto solo, A Song of Thanksgiving ………………Allitsen
69Florence Miller.
70Tenor solo, Consider and Hear Me …………………….Wooler
71Glenn Lee.
72Organ, Ave Maria ……………………………………….Richmond
73J. C. Eisenberg.
74Contralto solos—
75To You …………………………………………………….Speaks
76Don't You Mind the Sorrows ……………………………Cowles
78Frederick Preston
79SEARCH
80America's Greatest 'Cellist
82Western Address:
83Care of Gamut Club
84Los Angeles
86Eastern Address:
87437 Fifth Avenue
88New York
90"He may well be compared to Harold Bauer in the tremendous sweep of his conception and the vigor of his execution; while in the balance and clarity of his interpretation he recalls the exquisite playing of Kreisler."
92Irish Love Song ………………………………………Lang
93Florence Miller.
94Tenor solos—
95In the Moonlight ……………………………………….Halle
96Eleanore ………………………………………………….Coleridge-Taylor
97Glenn Lee.
98Organ, Offertory in F minor ……………………………Batiste
99J. C. Eisenberg.
101The Belleville Liederkranz Society gave a concert Thanksgiving evening. The society is one of the oldest in the country. It presented two novelties, a portion of Ignaz Brull's opera, "The Golden Cross," and Horatio Parker's "Honor and Liberty." F. A. Kern conducted and the soloists were Rosalind Sternberg, soprano, and George Sheffield, tenor, formerly of St. Louis, but now of Chicago.
103Homer Moore, the well known baritone and musical authority, has just published a very remarkable pamphlet entitled, "A System of Phonetics Applied to the English Language for the Use of Singers and Speakers." In the introduction he says: "The great trouble about singing English is that it is rarely English when it is sung. Instead it is a sort of slovenly dialect. Our vowels are the vowels of the whole Aryan world. Our consonants have come down to us from a time before the most distant dawn of either legend or history. We need a uniform pronunciation and a uniform spelling. Therefore I have constructed in the simplest way such a means of spelling. Each sign represents a definite sound. Each sound can be learned and produced accurately. To associate each sound with its sign in no way compares with the difficulty of remembering the eccentric spelling of a thousand words with their endless combinations of varying and silent letters." He divides the alphabet into eleven vowel sounds, four "double vowels," eight "half vowels," five "vocal consonants," nine "unvocal consonants," three special indications. He then gives a "table of equivalents," using the phonetic spelling. This is followed by exercises in pronunciation, and that by exercises in articulation. The closing part consists of thirty-four reading exercises, all familiar selections, written in the phonetic manner. Mr. Moore has given to this subject most careful thought, and has presented to the public a book which ought to appeal to all instructors of singing and speaking. As he says: "A technic in articulation and an accepted pronunciation are necessary to beauty and efficiency in speech. These a proper use of this book will insure."
104E. R. KROEGER.
106A Tonkünstler Concert.
108Members and guests of the Tonkünstler Society listened to a well selected program at Memorial Hall, Brooklyn, on December 2. An interesting number was a suite for violin and piano, composed by Edmund Severn, which is founded on a number of songs popular in New England many years ago—some, in fact, as far back as Colonial times—but are mostly forgotten now.
110Mr. Severn was fortunate in having his composition rendered by two such artists as Mr. and Mrs. Carl H. Tollesfien, whose work was intelligent and finished. Some of the melodies are candidly ugly—just as are parts of Dvorák's "New World Symphony"—and under the bow of a less capable violinist their rugged and rural effect might have been lost. Mr. Tollesfien's art and understanding made the best of the composition and his performance was received with sincere applause.
112Grace D. Hornby, contralto, gave a group of songs and added "My Laddie" (Allitsen) as an encore. Nicolai Schnee played the "Sonata Appassionata" and responded to generous applause with Chopin's F minor nocturne.
114The last number was a quintet by Scharwenka for piano, two violins, viola and cello, which was broadly and effectively rendered, the finale being particularly pleasing.
116The complete program follows:
117Suite for violin and piano ……………………………Edmund Severn one of two readings
118Suite for violin and piano ………………………………Edmund Severn one of two readings
119Mr. and Mrs. Carl H. Tollesfien.
120Songs for contralto—
121Lungi dal caro bene ………………………………………Secchi
122Danza …………………………………………………….Chadwick
123The Cry of Rachel ………………………………………Salter
124Grace D. Hornby.
125Walther Haan at the piano.
126Piano solo, Sonata in F minor (Appassionata, op. 57) ….Beethoven
127Nicolai Schnee.
128Quintet for piano, two violins, viola and violoncello
129(B minor, op. 118) ………………………………………Ph. Scharwenka
130Hella Seydell, piano; Richard Arnold, violin; August Roebelen, violin; Herbert Borodkin, viola; William Ebann, violoncello.
132Music.
134As Played by a Symphony Orchestra.
135It comes like the morn, at the dawning,
136And lives through the riotous day,
137It gambols o'er seaside and mountains,
138With nymphs and with maids at play;
139It soothes like a dainty confection,
140It thrills like ambition new born,
141It fades as the day into twilight,
142This magic of string and of horn.
143It comes like a swell from the ocean,
144With faint undulations at first,
145Then onward, resistless its volume,
146Till breakers in ecstasy burst;
147Then winds moaning mournfully over
148The lost ones tossed up by the sea—
149Appeased is the god of the ocean—
150Its spirit is calm and is free.
151It comes like a flower in the springtime,
152When past is the dark and the gloom.
153The bud, then the leaf—then the blossom
154Buds gloriously forth into bloom;
155It tarries awhile—then it withers,
156In rapture we list for the sound
157Of perfumed and delicate petals,
158That flutter and fall on the ground.
159It comes like a dream at the cradle,
160That coaxes the sleeper to smile,
161It wakes with melodious assurance
162That life, after all, is worth while;
163It lives and pulsates with the passions,
164The chords of our feeling respond,
165Like a soul at peace with its Maker,
166In silence it passes beyond.
167—Jens Grondahl, in Houston (Tex.) Daily Post.
169The first public practice of St. Petersburg Conservatory's opera class was in "Faust" excerpts, given in the conservatory's small hall.
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