ST. LlOUIS. Cf{ICAGO.
Volume 1. FEBRUARY, 1898. Number 6.
FANNIE BLOOMFIELD ZEISLER nstruotlon~nViolin~:: .. ::~::·~n~ony-, I Stra.s.sb~~~;~;_ ~~~~;rvatory of rlu.sic Counterpoint, Composition and Instrumenta.uon. A VENUE. ~--~------~ D. S. DE LISLE, Acknowledged as the Open Day and Night, .• Musical Director •. largest and best Music Summer and Winter, Musical Library : School in the West. Orchestral Parts of Operas, &c, RESIDENCE' in all its Branches for sale or rent. Orchestral or Band Parts for No. J8J9 Biddle Street, Terms liberal. with 24 of the any musical composition on · short notice. Catalogues Cue Music Prepared. ST. LOUIS. Music "Taken Down." Composers' Mss. revised and prepared for publication. Proofs Read.
CLARA STUBBLEFIELD, TEACHER OF PIANO, Mason.,. System of Technic. 3932 PAGE AVENUE. Following &l1e some of the sueeessfol and most pttominent Tecaeherrs. QTHMAR A. MOLL, LO'O"J:S COJ:NE...A.'J:'::S:,. GUJ:DO ::E?..A.RJ:Sr,. TEACHER OF PIANO, THEORY AND TEACHER OF VIOLIN, TEACH R OF PIANO, HISTORY OF MUSIC. SOLOS, TRIOS, QUARTETTE, Etc. Studio: 4205a EVANS AVE. Concert Pianist. :E'..A. 'O"L ~OE.J:,. Dr. J". l?. N::Ellv.COURS,. TEACHER OF PIANO, ORGAN AND TEACHER OF VIOLIN, ·THEORY OF MUSIC, SOLOS, TRIOS, QUARTETTE, Etc. ELMORE CONDON,_-==~ Organist of St. George's Espisc. Church. 1428 S. 18th St. BRUNO STRASSEEE.GEE, TEACHER OF VIOLIN, X .A.'J:'J:E J"OC:S:'O"~,. TEACHER OF PIANO, SINGLE AND CLASS. TEACHER OF VIOLIN, 1905 LAMI STREET, MANDOLIN, EUPHONlU~L 3958 WESTMINSTER PLACE, ST. LOUIS. VTJ:LLJ:..A.~ :SOECX. J:::..I.Liss L. C. VT::CLXJ:NS, MRS. EMILY BOEDDECKER, TEACHER OF VIOLIN CELLO, CULTURE OF THE SPEAKING VOICE, CLARINETTE AND ZITHER, AND DRAMATIC WORK. CONSERVATORY OF MUSIC, 806 HICKORY STREET. Private Studio: HOTEL NORMANDE. Teacher of BO:S::ElR'J:' :S'O"ECEtEL,. O::H:ARLES SEY.:MOUR, LANGUAGES AND SHORTHAND WRITING, TEACHER OF FLUTE, VIOLIN TEACHER OF CORNET, 1310 SIDNEY STREET. AND MANDOLINE, Music arranged at moderate prices. 1314 St. Ange Ave. SINGLE AND CLASS. MISS ADAH BLACK, LO'O"J:S ~..A.:S::L::ElE.,. TEACHER OF DANCING (Fancy and Ballroom) TEACHER OF··. AND PHYSICAL CULTURE, VOICE AND PIANO, 3125 FRANKLIN AVENUE. CLEMENS STRASSBERGER, Sole Agent of the celebrated Studio, 1305 Washington Avenue. C. G. CONN Wonder and American Model Solo, Band and Orchestra Instruments. Always a good stock on hand. By good security on HERBERT C. WILSON' time payments. Catalogues free. ------VOICE CULTURE AND THE List of---- ART OF SINGING, Reception Hours: 3 to 4 P. M., on Mondays and Thursdays, {®I®0fr?lBeBt ~- R~!~~!:::~!.~~::.:~~tion @)e<:le~et®~ TM to tile following branches: at office of Union M. E. Church. LOCATED AT THE VoiCE CuLTURE-(ltalian method). The advanced operatic GARRISON AND LUCAS AVE. course includes the study of the Italian language. HARMONY, COUNTERPOINT, FUGUE AND COMPOSITION. PIANO LESSO!l'S are based on thorough Technical Exercises. 1 ~servatorium, A NoRMAL CouRsE, specially adapted for piano students pre MRS. KATE J. BRAINARD, I paring for teachers, includes elementary harmony instruction. Private Les.~ons $10.00 Per Term of Ten Lcuons VOICE CULTURE AND 3631 OLIVE STREET, ST. LOUIS. Claas Instruction, 15.00 Per Term. REPERTOIRE .... Offileo~f~: P. M. Studio: 2706a Locust Street, WEBSTER GROVES, MO. Broaddu;;, Mr;;. K. G., - Voice C'u1ture. ST. LOUIS, :MO. or 1118 Olive Street, 8'1'. LOUIS, MO . ---- care of THIEBES & STIERLIN. Berry, Mis;; Mary H., Vioc~ Culture HlYIHTEU~ COlYIPOSITIONS Vocal Teacl)er at Stra77ber9er's C01);;erv. Revised and arranged for publication. Examination of MS. PARK with critical opinion, $1.00, Revision of MS., $2.50 and upward Dibble, Horace P., Voice, Pial)O, Or~aT). Address, with stamped envelope for reply, LIVERY & BOARDING STABLE. W. WALMENE, Mus. Bac. (Cantab.), Giraldo!), Mlle., - P.iat)o, Voice \ulbure. 27o6a Locust Street, St. Louis, Mo. LIGH'f LIVERY FOR HIRE. Griffibb, MiHot) B. Voice.
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GERTRUDE EDMANDS, Scl)oel), I. 1., Violil) Soloi7b al)d Teacl}er. -AND- TEACHER OF MUSIC, Tl)ral)er, Miss AT)I)a H., Pial)o, Music Studio at 160 Boylston St. Harii)ol)y, Coii)po7itiol), C'oul)terpoil)b. +-3i< Picture Frameslt£-+ BOSTON, MASS. Pial)o. 1314 FRANKL.IN AVENUE. THE MUSICAL NEWS.
Oevoted H !I)onthly musieal to the Jouttnal. ( Rift of musie.
VOLUME 1. ~T. LOUIS, FEBRUARY, 1898. NUMBER 6. -
Brainard. In 1865 they moved to St. Louis, where Mrs. methods." Another letter from her written after Mrs. Tb~ musi~al D~ws. Brainard became one of the leading sopranos, receiving a Brainard had resigned her work at Mary Institute says: large salary in Dr. Post's Church where she remained ''I am overjoyed to hear of your being " at it again." A MUSICAL JOURNAL, PUBLISHED MONTHLY. many years. In 1886 she assumed charge of the music in You with your big stock of knowledge •. and a soul full of
-BY- Mary Institute, the female department of Washington devotion and untiring effort in the sacred art we both love, University, numbering in recent years nearly four hundred ought not to retire. For one like you cannot easily be THE MUSICAL NEWS . PUBLISHING Co. girls. During the nearly twenty-seven years of her labors substituted. I am filled with admiration for yourself and WALTER LuHN, Publisher and Proprietor. there Mrs. Brainard missed but one commencement, two your work." WALTER ·MALMENE, Musical Editor. annual musical rehearsals, and was "late" but twice. The late Mr. Weber said in a letter to Mrs. Brainard Her class work as systematized and developed in Mary Fraternal Building, ST. LoUis, Mo. in reference to some beautiful songs he had written: Institute, is deservedly monumental. From the primary ''When the work was done, when the little songs were BRANCHES: to the graduating class, sight-reading, ear-testing, scales safely anchord on paper, then came the question to whom BosTON, NEW YoRK, CHICAGO, WASHINGTON, major J minor and chromatic, intervals, part-singing, to dedicate them. This was easily answered, for to whom AND SAN FRANCISCO. musical elocution, phrasing and study of classical com could I more appropriately inscribe them than to you my positions, all perfectly graded and analyzed, have given to dear friend, the acknowledged master in your profession, Subscription Price, $1.50 Per Year, musical community of St. Louis each year many good who by honest labor and rare tact, have formed, developed payable: in advance. readers and intelligent singers, and artistically perfected so many voices Accept then Single copy - 15 cents. Foreign postage, 48 cents. these songs as an humble tribute of my esteem and ad Advertising Rates Furnished on Application. miration of you as a lady and a teacher." Entered at the Post Office at St. Louis, Mo., as Second Class One of the patrons of Mary Institute who had also been Matter. a teacher there, wrote after Mrs. Brainard's resignation: "I cannot bear to think of you not being in your place Copyright 1898 by THE MUSICAL NBWS PUBLISHING Co., which no one else can ever fill. The influence of your St. Louis, Mo. sweet, gentle and well poised character, bas been in my judgment of as much importance as your skill in training." The following is a portion of the sketch that Many poor girls with promising voices have been started was compiled some years since by pupils and in their musical career by Mrs. Brainard . . During the past friends, for A Woman of the Century. It is now thirty years her name bas been associated with the progress of musical art in St. Louis, and persons now prominent as given for puplication by request of "The Musical professional . and amateur musicians can r~fer to her as News." their conscientious guide during their struggles and studies. The late Dr. George F. Root of Chicago said, ''I am MRS. KATE J. BRAINARD was born in New York City. glad to learn that in a work entitled "A Woman of the Her father, Rev. D. E. Jones, coq~piler of 'The Temple Century," there is to be a sketch of the life of Mrs. Kate Melodies," the first hymn and tune book ever used and J Brainard, for a woman who can hold for twenty-six con made popular in this country, was of Welsh descent, a secutive years the principal of the musical department of man of rare character and versatil ability. Her mother an institution cf the distinguished merit and high require was a woman of great natural gifts, both of voice and ments of Mary Institute of St. Louis, can be no ordinary mind, and a regular contributer to the literatur of the day. person and well de!.erves a place among the prominent The daughter inherited in a marked degree their musical women of the Century. No woman can make such a record talent. When but a very little girl she studied the ele as this of Mrs. Brainard's, without possessing remarkable ments of music under her father, and began piano lessons qualities. She must be cultivated and refined, must have when but seven years old. At an early age she surprised tact and discretion, and must be rich in resourC('S to enable and delighted her father by carrying the alto in part-sing her to keep the interest and enthusiasm of her pupils. In ing, "making it" up with wonderful correctness. An all her work she may be triumphantly tested by the divine interesting incident apropo of this is narrated by Mrs lVf:trs. ~ATE tJ. B~AI~A~O. statement, "By their fruits ye shall know them." My Brainard herself, who vividly remembers a morning while In addition to Mrs. Brainard' chorus work a portion of acquaintance with Mrs. Brainard began when she was a the family were at worship, and as she joined in the sing her time was given to private teaching. One of her pupils little girl in her father's home, and from that day to this I ing her father jumped up impulsively, and taking her in bas made a reputation abroad, and others are occupying have with peculiar pleasure her steady onward progress and his arms exclaimed: my little daughter is singing alto." positions as choir and concert singers and teachers. For success." At fifteen Mrs. Brainard began her loved and life w~rk several years a quartette of ladies known as the K. J. B's, Mrs. Brainard has been actively interested in church of teaching. At the same time musical studies both vocal was drilled by Mts. Brainard and accounted by musicians work since she was thirteen, at which time she united with an instrumental, were faithfully and constantly carried on as a very artistic combination. Dr Hatfield's church in New York City and has ever since under the best masters in New York and Boston. Very During her career at Mary Institute she frequently given her time and voice never refusing to ''lend a band." rapid progress was made in florid singing, execution and spent her vacations in the east with some prominent Mrs. Brainard has been the recipient of numerous the trill seeming to be a natural gift. The quality of her teacher to obtain new Ideas for her work. One vacation highly complimentary letters from musicians and singers of voice which was light, was remarkable for its purity, and was spent in Europe, where she studied in London and note in St. Louis and elsewhere, the public press, and also always spoken of as a voice of "rare sweetness." Par.is with Viadot, Sainton-Dolby and Garcia. from many pupils and friends in regard to her public and In 1855 Mrs. Brainard moved to Chicago and became A well known musician of St. Louis, Mrs. Charles private work. She is still engaged in active service as a qnite noted as a vocalist, her most successful solos being Balmer, in a letter to Mrs. Brainard, says: "You know teacher of singing. those of the "Messiah" and "Creation." While there how much I admire you as one of the most accomplished her vocal studies were continued under Mrs. Emma Gil and gifted teachers of vocal music St. Louis ever had. lingham Bostwick, a popular singer and teacher of that Although an old and experienced musician myself, I bow Mrs. Brainard is living in her artistic home "Hedge time. In 1862 Mrs . Brainard was married to Ira Shayler with profound respect before your musical knowledge and Cottage" Webster Groves, one of the suburbs of St. Louis. 2 T:S::E ~US:IO.A.L NE"VVS.
No. 1. and one of Strau s' Waltzes. The favorite Welsh Baritone, Mr. Evan Williams ha been engaged and will be heard in a selec tion of Solos. No better testimony to Christ Church Cathe dral Choir could be given than the fact that it ha been engaged to give a performance of Haendel's Messiah· in St. John's Church, Keokuck, Iowa, January 25. Professor H. Darby the Organi t has every reason to feel proud of such an invitation. At the dedication of the New Church of St. · Francis Xavier the mt{sical services formetl a The St. Louis Quintette Club gave its part by Mi A. Kalkmann and Me sr 0. prominent part, which was done by a special fir t Concert, January 25th, at the Memorial Hein, ·B. Dierkes and E. W. Froehlich were choir of fifty voices with Prof. Otten as direc which attracted a crowded house. The Club sung arti tically although the singers had not tor and organist. The following was the has been re-organized and consists at present so great a chance to distingui h themselves, grogram of the day: of George Heerich, First Violin; Val. Schopp, as their abilities admit; the composer seems Processional-" Ecce Sacerdos" ...... Witt. Second Violin; R. Schuchmann, Viola; Carl to lay more importance to the Chorus woi·k ''Unfold, Ye Portals Everlasting" ..... Gounod. Froehlich, 'Cello; Alfred Ernst, Piano. The which, as before stated, wa excellent. Third Solemt;t Mass (~oronotion) ... Cherubini. program consisted of Beethoven's Quartette The Spiering Quartet appeared January 11, Offertory-"Jesu Dulcis Memoria" .... Kotke. Hallelujah Chorus ...•. 0 0 o o • o •••••• ltaendel. No.5 inA and Dvorak's Quintette Op. 31, both before the same small but thoroughly erithu of which selections were excellently played and sia tic atidience as on former occasions. It is rrhe Organ wa the old one but rebuilt with a~d well received. The vocal selections, sung to be regretted that Chamber Music is not all modern improvements by Messrs Kilgen & by Miss Louise Froehlich were well adapted as much appreciat d in t. Loui as in other Son whose work is highly spoken of. to the lady's cultivated voice; her good enun citie where the Spiering Quartet perfortn A suggestion t· 'o 1'r local musical Clubs ciation and expressive style of singing deserve ances attracted large audiences. The follow may not be ami s viz. to designate on the special mention. Mr. A. Ernst distinguished ing program was performed in an artistic and programm the first appearance of any member himself by the playing of a Fantasia on a prai eworthy manner: Schumann: Quartet in by the word '' deb1tt,'' which will place the German folksong. The next Concert will A mf-tjor. Op. 41, No. 3. ·Kr·oe{Jer·: ,{Quai'tet · audience in sympathy with the ''debutante'' in take place March, the 1st. for Piano, Violin, Viola and 'Cello. D nlihor. cas·e of nervousness or stage £:right, whicll are An apology is due to the St. Louis Musical Beethoven: Quartett in G major. Op. 18, no uncommon experiences with most young 1 Club for an error in last month's "Musica No. 2. Mr. E. R. Kroeger play'ed the piano ladies. News" in attributing the engagement of the in his own composition, which was. received Composer-Pianist, Mr. Edward MacDowell to with warmest applause and gave "vidence to Mi s J es ie Ringen has been engaged to fill the Tuesday Mu icale. his industry and 'skill in the high~r hr~111.ches the po ition as Alto in the Second Baptist of Music.. The la t Uoiu~ert will take place Church, made vacant through the resignation Miss Rose Ford, who made an enviable of Mrs. Lacey who left St. Louis temporarily. reputation for her-elf as a talented Violinist, February 8th, at the Mem6rial Hall. thanks to the excellent teaehing of Mr. Geo·rge The Legion of Honqi: celebrat~d ·its nilie The Rev. Dr. Boyd, pastor of the Secohd Heerich, i at present continuing her studies teenth Anniversary with a Re-Union and Bapti t Church has inaugurated a seri'es ·or at Berlin under Mr. Wirth, who is second Concert at the 111usic Hall; J animry 10·, which lectures on Elijah, and to make the same violini t of the celebrated Joachim Quart t. crowded the auditorium to overflowing,. Mo t musically interesting, selections from Mendels- ohn' Oratory will form pal't of the pro Miss May Farr, a promising pupil of Mrs. of our old time favorites appeared. The gra'rn. The Choir consi ·ting of William Por K. G. Broaddus, sang two Solos on Sunday Estudiantina Quartette consisting of Miss M. teous, Mrs. Georgia Lee Cunningham, Char Evening at the lecture given at the German E. Maginnis, Miss Martha K llersinan, Mrs. les Humphreys and Miss Jessie Ringen Lutheran Church of the Holy Gho t by Rev. N annie K. Dodson and Miss N uncie Sabini distinguished themselves by their superb sing Dr. Ilgen. The Aria: ' '0 rest in the Lord'' ·· contributed some excellent numbers. Solo ing. Mr. Macintyre the organist ·deserves from Mendelssohn's Elijah and a composition . and Du ts were sung by Mrs. Thomas P. great credit for his untiring· z'eal in 'rehdeHhg by Marsh were sung with great taste and Mor e, Mrs. 0. H. Bollman, Mr. Vinson and the music in so worthy a ma'rmer. feeling·, the latter work giving the lady special Mr. Dierkes. Mr. Charles Kaub performed a opportunity to show the cultivation of her Violin-Solo very tastefully; it was likewise The Choral Symphony Society is inaking voice. Mr. Ernst Krohn appea~·ed the arne pl a ing to notice that Mr. G. Buddeus was strenuous efforts to give thei'r patrons no ca'Llse evening singing Bohm's: "Das Lied, das rnir al engaged playing Liszt Rigoletto Fantasia. for complaint having selected Sullivan's Can llie Mutter sang'' and '' Le'ichter Brinn'' by K. Mr. Louis H. Hammerstein 'officiated as tata: "The golden Legend" for the eighth Mahlberg; both selection were well uited to accompanist The unu uallm~gth of the pro Concert which will take place February 17. his natural good voice. gram .and the unreasonable demands for en The Soloists engaged for the occasion are cm·e preclude the possibility of entering into The Liederkranz Society gave strong evi Mrs. Corinne Moore Lamson, Soprano; Mrs. details. d nee of its tendency to cultivat Mu ic as an W. A. Bonsack, Alto; Mr. Mackenzie Gordon, art by the Grand Concert given January 15th, 111r. Theodor Comstock of Keokuk, Iowa Tenor, and our favorite Gwylim Miles. Bass. at their hall. The first part was devoted to has been engaged as Organist of St. John's The two gentlemen hailing from New York. the V orspiel of Wagner's: ''Tristan and Episcopal Church where his duties will eom No better·ensemble could have been selected. Isolde" performed by 35 members of the mence February 28. Mrs. K. G. Broaddus reputation as a vocal Choral Symphony Orchestra under the direc The Choral Symphony Society announces teacher could not have a better endorsement tion of Mr. Egmont Froehlich. A Cantata by another po'p'Ular Concert for February 3. of her ability than the patronage of her pupil, C. Zuschneid for Male Chorus, Soli · and The program will consist of Wagner's Over Mrs. T. W. Kempner, who comes twic~ a year Orchestra wa selected for the second part, ture: "The flying Dutchman" ; Schumann's: to her from Waco, Texas, making a stay of receiving a most creditable reading. The olo "Traeumerei"; Grieg's: "Peer Gynt" Suite one month and taking daily a lesson. The T::S:E ::tM:t:U"SI:CAL NE""\JV"'S. 3 htdy possesses a dramatic Soprano of great composition needs no comments, while the Choral Symphony Society. beauty, and it is to be hoped that she will be artistic execution deserv s the highest prai e heard in public before returning home. and the ensemble throughout testified to the The fifth Concert of the season which wa given January 6, was one which left many de-.. The 1\{ornin.g Chor:;tl Society announce a careful preparation of the Fantasia. Both ladie are said to be pupils of Mrs. Stephenson lightful remini oenes of the popular program Re. ~tGtl to take place February 1, at the Union upon the large aud~ence, who testified its ap ... Club, on whic4 the celeb;rated pianiste Madam who has every rea on to feel proud of such capable and painstaking tudent . preciation by heartier appla:u e than is ussually Fannie Bloomfield Zeisler will ,appear. bestowed. Brahm's Ac:;tdemic Festival Over· ture received a very intelligent interpretation; St. Louis Musical Club. it is a compo ition wbioh is always received Tuesday Musicale. with favor, not imply because the german A most enjoyable Recital was given by the Memorial Hall was the center of attraction folk and student songs are all of a spirited fourth section of this Society, of which Miss January 15th, owing to the engagement of character, hut because the i.p.strumention is so Maude Barrows was the Chairman, on Tues Mr. Edward MacDowell, Profe sor of Music effective that the melodies are never lo t sight day Evening, January 18th. The prog:t;am of olumbia College, by the St. Louis Musical of, though the artistic device of.the variations was of ami cellaneous character and presented · Club. It was a gatheri;ng not only of the .ar.e elaborate. The Aubade pr'intartiere by works worthy of the cause to propagate the members of all our local Musical Clubs, a;nd Lac.ombe is a delightful composition in the cause of Music as an art. Miss Mathilde mu ical students, but also of almost all our gavotte tyle, which was well played and loudly Roach, although apparently nervous, played mo t pro;minent Piano and Vocal Teache~·s, applauded. The Ballet Music from Carmen, Liszt7s "Tarantella" very acceptably. Two who were anxio;u.s to profit and :;tscer,t~;tin for concluding with the finale and so,ng of the vocal selections sung by Miss Maude Carradine, themselves whether the reputation of tpe Toreador was received with such a torm of showed that the young lady is possessed of a artist, in the double capacity Qf composer and applause that the audience was not atisfiea rich, well trained voice; Brahm7s "Love for pia;nist, a represented by the press ~otices until the finale repeated. The feature of the ever' 1 was interpreted with gr at feeling ·al WQuld come up to their critical expectations. Concert however was the debut of Herr Georg though the low tones in the opening phrase of While individual opinions may differ on orne Budd'us; no pianist ever received a warmer each verse were rather weak. The French small points, y t judging by the generous and wel orne in St. Louis. The .Schytte oncerto song by Lefevre gave Miss Carradine excellent spontaneous applause, which in some instances in a sharp minor was a happy choice to demon opportunity to exhibit her ability to su tain was even overwhelming, it may safely be strate. Mr. Buddeus pianistic attainments; as tones evenly without straining. In Miss Anna affirmed that Mr. MacDowell scored a triumph a composition it can.not be poken of too highly H. Thraner and Miss Maude Barrows the which placed him in the foremo t rank of for, compared with other Concerto , it has ·Tuesday Musicale posse ses two excellent pia American Musicians. The lengthy program merits which few other posses in as much as nists who do their teacher, Mr. E. R. Kroeger, precluded details. It was in the first part that the Soloist is never lost sight of ~midst the great credit; perf ct technic, fullness of tone, the artist demonstrated hi pianistic capabili orche tral accompaniments while the themes great taste and faultless execution were the ties in the Bach selections, the ,Practical inter are charact ristic and melodious rivetting the distinguishing traits of both ladies . Mis Viola pretation of Chopin's Berceuse and his ·own attention to the v ry end. Mr. Buddeus proved Rosenblatt seemed to suffer from a cold, pre Polo:Jfaise Op. 46, which abounded in difficult him elf to be not merely a master of all techni venting her from doing justice to herself and passages requiring the utmost trength which cal difficultie but one end0wed with an emo the compo itions ,she sung. The singing of · taxed the player's endurance to a high degree. tional temperament who e poetical feeling MrB. Z. K. :ftewis was an· artistic success of The second part presented other features of oar d above all vain display of :r,nere digital w:Q,ich the lady has every eason to feel proud; Mr. MacDowell's innate artistic feeling and dexterity; In the Intermezzo the orchestra and her tone production, expres ive tyle of singing expression; among the selections which seemed piano seemed to vie with each other respon and perfect execution of the difficult roulades to make the most impressions were the Temp sively delicate tonal colors., :uot often heard in _in Lot~i'B Ar.ia. "Pur dicesti" deserve special leton-Strong selections and the Nightingale our eity, while in tb.e :finale Mr. Buddeus ex rnen,tion and show the thorough training of by Alabieff-Li zt. The third part was devoted celled in. viril trength and e~ecutioltl · of her teacher, Mrs. K. J. Brain~rd. Al o Chad exclusively to MacDowell' own compositions, Octave passages wll.ich gave further evide~1~e wick's "Sweet Wind that blows" wa sung each of which fully corroborated the opinion of of skill and virtusity. Spontaneous, hear~y with commendable tas~e. Miss E. Louise competent and impartial critics that poetical and well deserved was the plaudit which greeted ReUer, a pupil of Mr. A. Waldauer, showed emotion, artistic conception and interpretation the artist at the Cnclu ion; three recalls did ~n her .bowing good cl.\ooli:ng and very credit blended in the happiest manner. Tennyson's. not . atisfy the audience until the applau e was able technical execution, but her instrument poem "The Eagle" wa an apt illustration; responded t(i) by an Encore when Mr. Buddeus not being in perfect tune, marr d the effect of the powerful chords which flashed like light l{l)layed "Mnrrnering Breezes" by Jensen-Nie ~laying which was especially notic abl ,in the ening from the highe t to the lowest tones of' mann. l11 the second part Mr. Bnddell, played double stops, prowiuent in De Beriot's eventh the piano aptly illustrated the closing lines of the f(i)B.owing Solos.: Co,ncerto. That ¥rs. ;James L. Blair is a the poem: "And like a thunderbolt he falls." ~(a.~ Gondoliera, - A. Ernst. highly esteemed favorite wa~ not only shown The applause was so .great that the piece had t;,(b) Etude, - A. Henselt. by the warm reception accorded her on her to be repeated. The Czardas was also so· ~(b) Rhap odie espagnol - F. Li zt. enter;ing ~he stage, but also at the conclu~ion · warmly received that it barely escaped a repe :all :of which gave further proof of his artistic of her singing when she received gUtite an tition. The Idyll Op. 28 was a delightful ,;aecomplishments and innate talent alref1:dy ova~iQn. ~he different style of three songs poetical conception. The poem Op. 31 music .:attended to. All pianists of emminence have he sang were well suited to the compass and ally seeks to convey the meaning of Heine's. cever deemed it necessary to show their artistic quality of her voice, which is rich, full and lines: ''Far on Scotland's craggy shore an old .: superiosity by the performance of one of Liszt' s even throughout. There is something inge· grey c~stle stands" etq., for the opening· •composition; the Hungarian Rhapsodies were nious, pleasing anP. perfectly artless in her themes bring unmistakably to mind the rhyth the u ual "chevaHx de bataille" but having delivery which place the audience in sympathy mical and melodic characteristics of .Scotch. become rather hackneyed Mr. Buddeus selected with .het:, which !s i~creased by a distinct co melodies. The closing piece "Concert Study" the Spani h Rhapsody, which however, not nunciation. G:he Rubenstein .Hungarian Fan Op. 36· was a fitting climax to all the preced with tanding its enormous difficulties a;nd its tasie for two piano _played by the Misses Jane ing for Mr. MacDowell exhibited therein his. ·excellent interpretations cannot be aid to be Good and Elorence H~mmon fo ·~ed .a wort:p.y mast ry over technical difficultie with which .as pleasing and attractive as the H11ngariau climax to th Recital. The difficulty of the the composition abounded·.· : .Rhapsodies, it· is a composition which on ac TE:::El M"O"S:tO.A.L NE~S-
count of its length the Germans would call a added to the enthusiasm; in response Mr. The e few excerpts will suffice to show the '' Bandwurm'' but that did not prevent the Steindel played another difficult Tarantelle by animus of the writers; that they are "lad·ies" audience from showing the artist their appre the latter composer creating quite a furore. can hardly be supposed from the term used ciation of his playing, in response fo the clamor Mr. Fred Fischer conducted Handel's Largo, towards the board of management w;hich con for an encore, he played Godard's '' Guirlan orchestrated by himself, in which the Harp sists principally of ladies who have lal?ored des" which had already gained him in Europe obligato of Miss Adele Ghio added materially hard to secure a guarantee fund. Let us sup the highest encomium for great refinement in to the effect. pose that the writer belong to the sterner sex touch. While it is pleasant to record so en Mr. A. Ernst has every reason to feel satis which is at times coarse. "There js not a thusiastic a reception on the part of the general fied with the artistic success and it is gratifying musician in St. Louis who does not know that .Public, it is still more gratification to notice to notice a gradual increase of public appreci Mr. Ernst is not a competent .conductor." the incere congratulations which were tendered ation by the sale of extra tickets. "'1here are only three musicians, whose names to Mr. Buddeus by some of our representative need not been mentioned, who have at various mus1c1an as he left the Hall, when he was Mi.schiefmakers. times made derogatory remarks about Mr. greeted by Mr. Victor Ehling and Messrs. Abe Editor Musical News: Ernst, but thi easily accounted for as thcir and Herman Epstein in the most cordial man. I hope you will give a place in yo{lr vanity has been a little hurt. Mr. Ern t has ner. The Concert concluded with Strauss' excellent paper to the following lines. While placed himself at times in an unpleasant light popular Waltz "Mein Schatz" which was it is a wellknown fact that foolish jealousy by being too outspoken, but as a Musician, played con amore. exists among musicians, who should be sons who ha earned his laurels in EuropA and ·full The sixth Concert of this Society which was of Harmony, yet it is to be regretted that substantiated his claims thereof in St. Louis, given January 20 added fresh laurels to both Amateurs should see any cause to give expres he certainly is respected by all fair minded orche tra and conductor. The Tschaikowski sion in print, in illadvised terms, to injure the musicians. It is easy·. to be insulting but that Symphony No. 6 is unquestionably a work cause for which they apparently work, viz: the cannot injure him. I think there is a nigger which will unquestionably associate the Russian propagation of music as an Art. The Tuesday in the woodpile and that the attacks come f~om composer's name with the most gifted of or Musical, the St. Louis Club, the Apollo Club, a faction that unsuccessfully tried to organize chestral writers, irrespective of nationality. the ·Morning Choral Society and the Choral rival Symphony Concerto. In conclusion ·I Originality melodious themes, exquisitely ten Symphony Society are unquestionably the prime wish to say that I am not a member of an·y der as well as powerful orchestration and above leaders in that direction; in our midst, each has musical club nor of the board of management all the most killful developments · of motivos a distinct field of operation. Individually and of the Choral Symphony Society, but I know and themes are noticed in every movement of collectively they can do much to elevate the sufficient of the two former that a a body 'they this stupendous work. The work had been are anxious to see the C. S. S. ucceed and ·do taste for good music, there is no reason for 1 most carefully prepared and rehearsed; when any jealousy. With all due respect to each, not uphold mischiefmakers. '' the audience expressed its delight by prolonged yet it cannot be controverted, by any foolish Respectfully, applau e, at the end of the third movement, Una p'ro inuUis. ·, discu~sion, but that the Choral Symphony it was a most fitting opportunity to notice Mr. SoCiety stands above all by uniting vocal and Criticisms of Mr. G. Buddeus Concert ahd ·the fifth Ernst waving his hand to his army of excellent orchestral forces which, according to the con players as to indicate that to them belonged recital of the St. Louis Musical Club have to be postponed stitution of the others, not transgress or inter-. till neJ(t month. for want of space. the credit of the performance. The difficulties fere with neither of them. An article appeared of the Symphony are enormous. Few of the Omar Khayyam's ''Rubaiyat" set to music. by Liza in "The Mirror" January 6th, signed A.C.W. Lehmann will be for the first time in St. Lo.\liS audience probably realized from the smooth prod~ced which is unquestionably from the pen of Pro for the St. Louis Musical Club by our .local Quartette: performance of the !':econd movement, the al fessor A. C. Wegman, in which he· expresses Miss Adelaide Kalkmann, Miss Jessie Ringen, Mr. H. most herculean task of playing and con.ducting Charles Humphrey and Mr. Wm. Porteous on Febru~ry the opinion that it would be better if Amateur quintuple (5-4) time. A recent review speak 26th, at 3 P. M .. in Memorial Hall. Clubs would engage artists who did not appear ing of the movement says that it seems like a Besides this work, which is. not very long, Miss Ringen at the Choral Symphony Society believing that and Mr. Humphrey will give Act II, Scene 3rd from perverted Waltz but it would take three legs thereby the financial success of the latter /Samson and Deliah." to dance it. Perhaps nothing justifies the might suffer. It is not here the place to dis designation of '' Pathetique'' to this Symphony cuss how far he is correct; however the article La Zingara. more than the last movement. The tender called forth some very ill tempered remarks It has been my pleasure to examine the proof she~ts strains which the first Violins sing so exquisitely which appeared in "The Mirror" January 13, of the above named composition, by the well known at times, forcibly remind one of the second accusing the writer as being "evidently in musician, Mr. Waldemar Malmene. part of ChoP.in' s Funeral March; although the While not going 'into a critical analysis of the satne, spired by some one identified with the Choral Russian Composer is strictly original. As the yet in its rugged rhythm and bold changes of harmony Symphony." Why Mr. A. C. Wegman, the tones gradually die away at the close of the will be found much of the untamable gy!_)sy spirit, for accredited critic of the Mirror did not repudi which it it aptly termed La Zingara. composition the mind is involuntarily im ate such a charge does not seem clear. That After a short introduction, somewhat suggestive of .the pressed and reminded of the composer's untime the two letters, one from ' 'Members of an subject matter the polacca itself is introduced. · ly death. Could it be possible that Tschai In playing over the composition the ''cantabile~'= on the Amateur Club" the other from "Feminine of kowski had a foreboding, that his own end second page and the part marked "U1z poco pitt le1zto/' the Pronoun,'' emanate from the same source, was so near, when he composed this his last with its counter theme in the left hand will be fqund can easily be seen from a compari on of especially worthy of notice. work and that an inexplicable inspiration ga"Ve quotations from their letters which are here After a repetition of the first and second pages, an expression of resignation in the last tones~ appended: octave passage brings the composition to a brilliant close. The engagement of Mr. Bruno Steindel was E. V. MciNTYRE, M. A, C. Feminine of the Pronoun. a genuine trAat to all; innate artistic feeling Organist Seco~d Baptist Chur~h. Mr. Ernst is not a competent This city not need or want and the perfection of technical skill was mani E . .R. Kroeger. *jM)·--- *~ · *jW·*m. *m·*~· * * 100. * * * * ~- * * m. * TW. * * * Tw. * Copy'f'ight 1898 by the Musical NeWs Pubf~ ·· co. ( Waltett• Luhn) St. Luuts. 132- 3 $ 4 j ~J. ~ I I r---, (J .__ ,----, ))J. )).D · t=~. ~ ~ I 1. T l .-I ii . - .__ ..... :;,;.:; 'lll.- · J _., ,.,.,. ~ J - ,.., ,..... ,..... - ~ ,..... ,..... ---· L:; -,v t- - \ ITI . t- -- -- .... - · · -tr · ~ ~-= ~i/ ~ ~ ':.I. . -;;;_ I -;;; ~ -;;; --- 7 # - ~ # - - f-~ - ~ -~~ --- - (" t ~ t · ("_ '{"' l_::::::::::t..--- t. flee ~ -< mp ~ !: ~ t- ,-- ~ ~q~ t- rs. _ .. ::. t- .. ._ _ .,t- ::::; L "" - ----,:- - r- ~ ~ -- ~---- I ...... -1 .-I - - .,. .-I ------v -· ------~ - - • - • ...tl . l --- 5 ....-/" •__.....,- ____/ • ------·-/- . . ---- Too. * -... fj ' I I 1--.1 ud J ,--, t;. )) J. 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(Walter Luhn) St. Lout~. c 180- .5 4 Cantabile. 4 1 Vn poco piit l,ento. 5_zl 5 Pih Tnosso con i1npeto. >. ~ ~ ,_ > ~ - ~ ~ ~ ,_ ~ ~ ...... -~ .... r- .... bi ..-...... lf'r.,.. • -- 1""': _...... • ...... • -·~ ··~,__ -r- ...... ~ L...... _..-- - . 1.& = r-1 ... . n :a ... ~ - - r- loa (~:i - . .. - . •~oa . L./ l/ I'!"' . • loA I '- -- - • ...... • ... •I"" t) - . v -- .... r- rit. ff4:"1 ...... ~:i·~~~- . -. -41 '. __./' ...... J > = - 11 f ...... --. ~ ~ ~IL 11 io·t:...... , ,.. ~~ ~ ..- _.. r-" -- ' -~- -~-L ~ ... _..-- ... .·-,...... ~-- ..... loa· .... ., ... -- I« •~- IT ,•·.rr, .,.. - - • • I Ia --Lf'l'~ I .. '-- -. - loA ------... -• ... -· I""' !""''[ • I"" •~'~La-- IK• -- ... L«... - ., ~.. ' •• I'! .....I. .1 - Tl _.,I""~ ~ ~ .- ., ... .,-41 , -I- 1:: ...... ~~- -41·•'"1- • .. #Jr•l• -1'1'- ·-= > "' - -- > ,.~ ~ ~ ~~tt ~ - ' r- ~ 4321q~l..hlr ~ 113 2 1 ~ r""'tJ/! IJ'.L..IOI i- «. ,...... IJio I ill .. _'[~ I.. v ... __,... . _.... L'tl loA loA _. •.... ~ .. 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( L'~ · ~ ~ t• .... r- r- •• [),'h. r- -- r- r- .._ .L l'llf'r , v • ,.. ,,...... v [}' r------c._"' - - - -- .. -- I r- ·f.- ,. ~ , ~ ~= ...... 1.11111 u 130 -5 -= 6 a te111po; . ,. ~. > > .. r- ~· ~ ~- ,.-.·~ ~ ..-- ~ ~ fi q.l.· ~ ,. -~ ~· t=' t- ~ r- r--.... f-_ ~ t- ~ r2- u « '-- -~ I"" 1.- , _)II. ~ JIJf': . - I""-- -. ~- I""'-- r- rr.~ Ill!!"' I""- '- •~""'---1"" ,_, I"" !"""'! - ~ .. ·-..... - - .... -- --... -< > :::>:- 11f _. === if _. ~ 1r{/:O ;~~t IL ..... -- ~. llli. ,.....~.~ ...... - -1!-i .. c.-,.·- 1': -c- ••• • ...... I"" I"" I"" -I"" - •• « «-- I"" I"" 1'"'" - ~ - - r- 1- ...... ------~------I - - ~ - - ""'"' ...... ~ ~== t..=' :..= -- -= :.:: > -= ~--- .. .:...... - -·-- - J ·------~~- --I"" -· ~.-- .... - fl"" > > > ::::.-...... ,..-_ L ::;--., ... •••• II'I..J.L _ ·--\--,. .. 11'1.! - .. -.I"" , !'"!; I"" ,..,---- . .,.,.,., ... ..~.---- ...... I"" - ., r- ,_ ---- . -- . ... - - ·- 1------.:.._.... -- - ~ · - -=------...... - .. - >. > > > > >,.. ~ ;,. .. .. e. I. ~ .. ,.. - ..... ! -~- .. --..;;; ~ ~.- -- r:"f .. liiiiill :::1 1.- e.l '- __,. - , I ./ """"' t :i~ ...... , - ' I"" I"" . - .... ,_, - - -1 - .- - -#J-•-• • .... ":" ...... -· -·-. -· . •. "'~I _. .. :••• ~~ ' - ...... ft'!{ -- It } . mf~ • f1~rf_~- : · ~~ ll~ .... lt .. r-· !'·!' !". I' ·!' ... ., -I"" _L _.. . 'U I"" I"" I"" I"" ...... " ..:; f ,. - ., ... ,..--- ... -.. -.. llll. -·· • ...... I"" ...... ' , .'---, - -- • '------I ------I I . I ;;; iiii iii - 1:111 - -- -~ -41 • -I "11 = 4 =- - · ~ :::;;::.. . ~ !: ... ,. .. bl: Ia - .., !'"""" .. :.-r-~ ~···-I"" •• - -llll. -.,- ..., loll"" _..._ -·-- ·-· ---... ,,... --~---·-· • - _r: -- - , _____- _ - 1nl"- -- - -. -. -. f l-e-i"~ !" !"-a- if ...,.••• ...,....,. ':J ..... I""' I""' I"" I"" I"" - -...,.• _,• • -· -J -J - --- • --- ,)iii ! - ~ - . = > -- b . l= !: ..~ --~ .. ~~ lll" . .. lia_ ,.., ~: ~ ~ ~- -~w . ....·~---t~ !" ,. ... ,.... .- . ....- L. -f-f- .. ·~- ~ · ,_ - r~ .... - - L- ~ - .. La - 1.- - , .r-'... ____ ,.. --= ...... ,...... - IL .r... .- If"·!" !" ~ oL'fl- ,... ,. ' r..... ,. - - .. - ...... - .,. - ) iiiii 130- 5 \ ~ 6) '· HOME. - ~ ' - 1 .~.. Fred. Hoffmann . ·.·* t ._ ScheTzando~ gTacioso. (} ~ ,_ II l II Ill •"~." iL ~ II I ... a...... rr;, II I I "' " ·~ .-1./ '-J -- ~ - "· II I ' ..... ' •• • ' . ~ . •• • -· - -. so ... 1. What tnakes the world .... 2. A day a go 't,vas ~ - !"':\ -fJ ~ - ----..... --.,..... _/ ( llr « WIL 1'""11 -a;, ,... , ... --- r-1 "I"" .. .. a. ... -----.- ---- J - ... ., "',., - _J '1..1 ..•• ' ,. .... L..l ,. v. loo. I 'I - -.- r • r .,. - - q. \~ 11f - p ~~ ~ ~.;--- ~. b. ~. b~ .-.- ,.Ill .. It •· rs. (1£- ••Ill ... .. If --.:1 '- , '- &I a. ,_ , ~ H r-1 '[ I""' , I I""' 1-• .. - -- - -...... - -- -,...;.;, •• .. T - Tt- '-,... 1-•I""' - - - ,.. - - ...... v D - D .. Tit. a tem_po ( ~ !"':\ J ]J :b '1 j) '1 ~ ~ · I t~j J p I j) ~ r ~ r }J I .won - drous fair? The earth so green, the_ sky so blue. The I dark as night; Ho,v long and drea _ _ry_ see1ned all time! But' "·· Copyrri.ght 1898 by the Musical New,s Publ. Co. (Walte-r Luhn) St. Louis. 131- 2 a tenlpo...... _Ji, _L =1::1=·_± jl rrn-. - · -~- .-1 -- - / ... ' J - ' - --~ ~ - - • -- r • I I HHI _ sic all the fields a_rnong My s,yeet------_ heart's com_ing ·hotne t,o_day. ,, do they kno,v'! Yes they must kno\V . My " ~ " " " " " tJ >I ~~~ ---...... - - r4~~~4 - __ r- ·- .- .... - ~ ~ ~~~ k_ -=· rr-, 1 I -= - I '-.: I I I I --- ~ ~ --~ ~~·········· ·· ··~ ·:.. ,.... !"'!', ~ --j~ _;~ .,... -·-- ... tJ . .. __ ~ ~ · ~ --·-·I~ r-~,j!.- 1. ~·~~ - .. ~ ...... / ' r- ·--..- r-- ,.... • ,.... ·- _,.... - - ~- """ -+ rr-,"' -"""' - r-. ~ r-: ,...._-"' - J ,...._ ,.... -- ' J - r ~ -- I . ---- p - - ~ - - .--. di~rn. _..,--• pp - . ~ ~ / ~~ L__,. ~- ::::--~ L lit.•~ / -II·~ :- ,., 1.- ::::::;. 1.- 1.- , r-; r::: r- -~eL-I - I"'( - ...a..!_ - .. - - - - f J - I "' r -~ ~ I • 15 Ded-icated to n1y dau.gh.te1-a. · MAUO GAVOTTE. M. Hartd ing. • fjJ,J, ..--..... !"':'\ I ~ (llf 1111.-. 1-. - • / ...... , (llf ••,_. r-" -~r-" ---tlfr-' .c.. ~ - .-1 .-1 r- r-" r- 2: • I'"" - - - '\. ,j .-I -- r- ---,... I I I- I- - T - tJ -- ~ - !"':'\ ~. ,.--- !- ~ ,. .. -::;;;;;;: -~ • • • • • - ,.. (llf a. , I.- -_,... :- • r-" • - - lf'I'K- P' ------. •' I.- ~ - - - -- '- ~ r-" - - I - - r- Coputt•ight 1898 by the Musical Ne'Ws Publ. Co. (wazte'F' Luhn) St.Louis. 133- 2 lb • 3 u tenlpo. 2tf time S1Ja. ~ - ~ ,. , I I l I r ~ I I l • -MI..: .-1 r I~ ( IT: . ~ 'ZI l -· .-1 - .-1 - - - . .-r.::J -.--.... ~ - • • t' J ------.. ------_,... - -.-1 ~ - • -~-· -. • 4r 2 F p~ ~ ~ ~C./ ,.~ :if 11/11- --...... • ...... r- r-- ~ I~ - I , - I ··~ - • - -- - T - \ 1: - l ------~ • - tJ ~ I I I I I I I I I I ~ ..J. ... ~ ( . I ... .. 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() • 1-,--., _9_ ' Ptt · · =~ ~--+ - ~ -- - ~"' - ~ ~~~ - I ; • 11 21 t--J I I T""""'' -~- tl 2r r:.~ r ""'::4~ 1/ ~ ~ _}_ ~J·--- ... \~,..L.. ~- -+r - -fA-·- I ...... Jr. ·Is ~ 12 It ~ - ~ l rs f· L ~ f ~ r .L f . TE:E ~trSI:d.A.L N:E::""'VVS. FANNIE BLOOMFIELD-ZEISLER was born at Notes from Warrensburg, Mo. f .Strassberge_r,'s...:: 1 ~q,p~eryatory of Music. 2200 St! Louie A venue. Bielitz in Austrian Silesia, but came to America with her The teachers of the Warrensburg School of :\fusic gave parents when she was less than two years of age. Her their annual recital January 21. A goodly audience was Pupils Recitals were given last Thursday and parents settled in Chicago, where she still lives. Her present, notwithstanding the terrific snow-storm which Friday evening and Satm•day afternoon at musical talent showed. itself when she was about six years visited the city that day. The following interesting pro gramme was rendered: Overture, "Poet and Peasant," the above institution, which were well at old and when she, before receiving any instruction, picked Suppe; Orchestra: Piano Solo, "Madchens Wumch," tended. The different selectl.ons by the va out the tones of "Annie Latuie" on the piano upon which Chopin Liszt, "Staccato Etude," Rubinstein, Prof. R. E. Wadell: Vocal Solo, "Remember Thy Creator," Mendel riou pupils were performed very creditably, her older brother (Dr. Maurice Bloomfield, now professor ofSanscrit at John Hopkins University, Baltimore) done his sohn Quartette; Piano Solo, ''Tarantelle," Nicode, Miss with good expression and technical effects. Matty Moody; Violin Solo, ''9th Concerto," De Beriot, practicing. . Adagio Rondo, Miss May Davis; Vocal Solo, "~ymphs That great progress had been made was satis Her first teacher was Bernard Ziehn of Chicago. But and Fauns,"' Bemberg, Miss Moody; Piano Solo, ''D minor factorily demonstrated and proofs that only very soon she became a pupil of Carl Wolfsohn of whom Concerto," Rubinstein, Allegro, Miss Marie Houx, (Or· she received instruction until she went to Europe. In 187'7, chestral Part, Prof. Wadell, 2nd Piano); Vocal Solo, ·the best· teachers are engaged and therefore ''Good-night," Mendelssohn Quartette; "Fairy Tales," we can recommend this chool to any one when Madame Ess1poff, the great pianiste, toured this ''Return of the Troops," Eilenberg, Orchestra. country, she heard little Fannie Bl0omfield play and pro One of the most pleasing numbers was Miss Houx's who desires to receive a thoroughly Musical nounced her pianistic genius which should be educated in Solo. She really surpassed herself in her masterly con ed~cation. It ' l.s very flattering to hear that Europe. She strongly advised her parents to send her to ception and rendition of this famous concerto. Prof. Lesch.etizky, who was then and is now the foremost piano Wadell, also, although laboring under the disadvantage of 249 pupils are attending this school at present appearing in the varied roles of conductor, vocalist, accom and 24 of the most accomplished teachers par- teacher in the world, and among whose pupils are Essipoff, panist, solo pianist and general manager, showed in his , . (• Paderewski, Slivinski and other pianists of the first rank. numbers a degree of polish and nicely finish that is rarely ticipating instruction in all its different depart- This advise was followed and in the summer of 1878 little found west of Chicago. Special mention too is due Miss May Davis, whose violin selection was given in a ments. Following ' pupils .took part in the Fannie Bloomfield went to Vienna and for five consecutive highly artistic manner and needles to say absolute surety programme: years stndied under the great master. In 1S83 before of technique. But probably the most effective solo of the Piano Solos, Duets, Trios and Quartetts. leaving Vienna, she played several times in that city, earn evening was the vocal number by Miss Moody, which was with good attack and excellent style. Misses: Lulu SchHling, Olinda Drees, Pearl ing more eulogistic comments from the critics there. In the fall of 1883, she returned to America and soon began The Mendelssohn Quartette comprised of Messrs. Hendrick. Wadell, Shepard and Gilkerson is a great favo'r ~and, EllaRa~cher, Clara Vogt, LuluStockho, public playing in this country. Up to the s:ring of 1893, ,Ada Hopkins, E ..Webner, C. Vorhauer, Emma ite and is always warmly appreciated. she appeared on the concert stage every winter, and has The orchestra too, which now numbers 13, did good and Ottilie Obermeier, Clara Wind, Annie frequently been the soloist of all the prominent orchestral work under Prof. Wadell's able direction and marked im Waltke, E. Floerke, Bertie Oberheide, Laura, organizations in this country, such. as the New York Phil provement was noticed in its technique and ensemble. NED. Juli~ and Lydia Querl, Annie Beiderwieden, harmonic and Symphony Soc.ieties, the Boston Symphony Orchestra, the Ch.icago Orchestra, the Buffalo, Cincinnati Hazel Beal, Ada Wennecker, Alma Becker, and St. Louis Orchestras and at the Worcester festivals. G,. Van Kamen, K. Havener and L. Stoep Everywhere and always she was p~o~ounced a pianiste of perman. extraordinary attainments. Not satisfied with the position Vocal Soloi and Duetts.-Misses: Ad Daneri, assigned to her by American critics, she went to Europe in the fall of 1893 and appeared at Berlin, Vienna, Leipzic, Mary Lange, Ad ~renning and L. Helm. Dresden and other German cities, and was in all those Elocution.-Mis es: Edna Hassebrook, M. places recognized by press and public alike as the greatest Stra s.berger and L. Belsmeier. of woman pianists, and as <;>ne of the .greatest pianists of Violin Solos, T'rios and Quartetts.-Messrs. either sex and of all times. Max W. Gottschalk, Wm. Querl, Hubert On the strength of these successes, she was engaged for a tour all over Europe during the winter of 1894-5 :Oauersachs, Andrea Clark, Ch .. Brown, Rob. during which she played in Berlin, Hamburg, Bremen, Sheehan, Geo. Geary, Walter Stockho, Eugene Cologne,. Frankfurt, Munich, Dresden, Leipzig, Magda Berger, Edwin Dress. burg, Hanover, Copenhagen, Gen~va and many other cities, The above pupils receive their instruction everywhere carrying away her audience and winning from the following teachers: triumphs upon trimphs. · In the spring of 1895, she returned to this country and Profs. Paul Mori, Aug. Reipschlaeger and until fall lived in retirement, preparing for her tournee Kati Jochum on Piano; G. Parisi, Dr. J. in this country of which the brilliant concert given by her P. Nemours and Bruno Strassberger on on October 23, 1895, at Carnegie Hall, New York, with Violin; Miss Mary N. Berry in Vocal; and the assistance of the Damrosch orchestra was the opening. Mme. L. C. Wilkins in Elocution. She played fiHy concerts in the season of 93-96, and last autumn made a tour of the Pacific Coast' with unusually brilliant success She will make a tour of France and Mr. H. C. Wilson the energetic Organist and Musical England the coming spring. Director of Union Methodist Church, and Mr. H. H. Darby Here follow a few quotations from her European critic MIL TON B. OR.IFFITH. the wellknown Organist and Musical Director of Christ isms: "Her playing reminds one of Rttbinstei1l"-Berlin Church Cathedral have formed co-partnership to place upon Lokalanzeiger. "She is one of the foremost piano itder Mr. MILTON B . GRIFFITH, the popular tenor at the a careful and systematic basis, the business of a Choir and preters of tlte age"-Dresden N eueste N achrichten. "One Lindell Avenue M E. Church, is a late addition to the Concert Agency for St. Louis and surrounding towns. ranks of this city's musicians. Mr. Griffith has taken a is involuntary reminded of Rubt'testei1e"-Berlin Tageblatt. Studio at the I•Conservatorium," 3631 Olive Street, and Experience has taught them there was no settled or "Her playing is remarkably like that _of Rubitestein" has already met with very gratifing succesg in his teaching. well arranged method for the Church Committee finding Berlin Volkszeitung. "A magnificent amazon of tlte In addition to his class here Mr. Griffith in respqnse to ju'st what they needed i~ the place · of Director, Organist keyboard"-Vienna Tageblatt. ''Her virtuosity is stupe1zd numerous applications has accepted a class in Belleville, and Singer, and so the St. Louis Choir Agency and Enter Ill., and will devote two days of each week to out of town ous"-Vienna Neue Freie Presse (Hanslick). "She is teaching. Mr. Griffith has also been the recipient of flat tainment Bureau seems to fill a long felt want. Already without doubt one of the first' pianists of tlte prese1zt tering offers of concert engagements, and has accept~d the many of .our foremost Vocalists and Musicians have re time"._,...Q:ologne Zeitung, GN eitzel) . . Mrs. Zeisler is east'ly tenor solo work at the Tackio, Mo., annual Music Festival, gistered with the Agency and wish the Managers all success. where he will sing the tenor solos in the "~essiah." Mr. tlte leader of tlte womatt piattt'sts of the pr~sent time'.' The. office of the Bureau is at 1118 Olive Str~et, St, Louis. Griffith's voice is a pure tenor of the Lyric school, it is of Berlin Kleines Journal (T~ppt:rt). "Her playing is the the quality usually designated as "silvery,'' while com Mr. Theodore Comstock late organist of St. John's, greatest heard here iri years, nay, we would almost say tlte bining the essential elements of great compass and power, Keokuk, Iowa has been appointed Organist and Choir greatest ever lteard"-Berlin Volkszeitung. ''Her play it is full of sympathic expression. Mr. Griffith is a native ,master of St. John's, St. Louis, this appointment was ing was above criticism- Berlin Boersen Courier. "A of Indiana, and was for years the ·favorite pupil of F. X. Arens, the famous exponent of the method taught by Julius t~rough the St. Louis Ch9ir Agency. piariist who has f~w peers"-Berlin Lokalanzeiger. "A Hey, at the Berlin Royal Conservatory Mr. Griffith sang "'l1 St. Louis is constantly wellcoming to her musical circles stupendo'.IS virtuoso, both technically and mentally" for two years in Plymouth Church in Indianapolis, 'and musicians from all parts of the country, one of the latest Munich Neuste Nachrichten (Porges). "In every respect afterwards directed the Choir of the First Prebyterian a player·of tlte first rank"-Munich General Anzeiger. Church in that city. He then accepted the positi'on of addi.tion is Mr. H. Wilson of New York City, who is the Vocal Instructor at the University of Indiana, which posi Organist ·and Musical Director of the Union M. E. Church, tion he succssfully filled for two years, leavi~g it to take a which Congration is to be congratulated on securing the more lucrative position at Tackio College, near St. Jo'seph, services of this gifted Musician. Mr. Wilson is a Tenor Mo. Mr. Griffith is well equipped for Oratorio and Con· cert work, his large repertory including ''The Messiah," Soloist of national reput.ation and is the recipient of the ''Elijah," "St. Paul," "Judas Maccabeus," Verdi's most flattering notices from the press in the cities he has "Requiem" and the "Creation," which later :work' he appeared. · successfully directed ·on several occasions. About Pianistic Bad Habits. With the unmoved position of the forearm the on the other 4and rhythmic aJ+d harmonic By R ECCARIUS-SIEBER. hand remains firmly in this ·raised position accentuations, which often occur, on the (Translated from the German.) until the next touch i required. Both wrist usually unaccented portions of the measure, Pian.o playing is at present so much in staccatos are often much employed in scales as even if they produce a momentary displa~e fashion that it is almo t always taken as an well as pas age of thirds, si:xth and octaves. ment (syncopation) of the rhythm are per evidence of a polite edueation "to be able to That staccato, which is made use of in play fectly correct and justified by the emot~onal play the piano a little." Consequently there ing chord passage e. g. in Bravura pieces and character of mu ic. are many who play the piano whose personal is executed with the whole forearm, sounds (TO. BE CONTINUED). conditions do not permit them to enjoy much harshe.r, and which with the firm holding thoroagh instruction long enough to attain of wrist and fingers moves ea ily from the Notes from my Musical Scrap-Book sufficient technical skill in order to become eli bow. The opposite to this touch is the self-dependent and who therefore try to im more difficult "finger-staccato" the lightest FIASCO. How much this word has been us. d prove themselve without a teacher. Thereby detached mode of playing, which i employed in connection with failures on the stage, and y~t th.e danger arises, either through ignorance or in such places as are marked piano, pianissimo how few are acquainted with the origin of th deficiency of trict elf-control, or p chaps for and leggiwro, and as the word indicates is expression and true meaning of the word both the e reasons to fall into errors regarding effected by means of a loose wrist through a whic)l i,s purely Italian, signifying a bottle. an art, such as playing the piano is, which quick upward rising of the finger as soon as It is rel ted, by an Italian scholar, that at t4e requires so much elf- acrifice, resignation the key has been struck.' Attention ha to be end of the ixteenth century Doruenico Bian and practice. We hope to be able to a si t paid to a correct position of the fingeJ.'S; the colelli was one of the most famous harlequin ·those who are depending upon their own exer middle joint of the finger must be loo e and of Bologna. The harlequin of tho e days was tions, in their endeavors for s If-improvement, a little bent inward when touching the key. widely different from what frequenters of Eng by pointing out in the following remarks how The finger and wrist staccatos require diligent lish pantomime$ imagine him to be. Hi;s was to avoid "piani tic bad habit " o frequently practice. That intermediate kind of touch, the star part; in tho e benighted days he had noticed. without connecting the tones or without a to im.pro:vi e. Domenieo appeared every ev.e What correct attack and pure intonation is di tinctly defined staccato, which sustains the 'oing with a ne:w original moJ).ologue, tl,le ;r.e to the singer, and the proper use of the bow tones and only lifts the finger just befQI'e mote ancestor of the h;ideous ''Topica~ Song'' to the violinist, that is touch to the pianist. striking the next chords, the non -legato, re of the ·present day. The subject of his inJ To acquire a good touch should be the first quires no special explanation. While the provised monologue l;te took from SOIJil.e com endeavor of the pianist. The touch should legato is recognized by the curved line over mon thing he brought on the stage with hiJ;n. not be too harsh, nor too soft or weak; it the notes, and is everywhere employed where Sometimes he appeared with a letter which he must be resonant, one tone must follow another no sign to the contrary appears, yet the stae had ju t found in his lady love' chamber, smoothly connected. Therefore he should play cato is indicated by dots .... which shorten sometimes he a.ppeared with an unromantic mueh and often songs and melodies, also the value of notes about one half, or by short boot-jack, sometimes with a wig; in short scales slowly, endeavoring to bring out of the trokes I I I I which shorten tlae value of the anything to sta.rt with. But on.e night he in trument the most resonant, equally in note three fourth. Dot with a curved line .appeared on .the stage w~th one of those long strength, sustained tones seeking to imitate above r-: -.--:- -:-- or sometimes ---- above the n eked, straw encased bottles whose round the tones of a good singer. Thi object can notes indicate the non-legato. The legatiss'imo, bellies are lined with "Chianti." Whe.ther be accompli hed through a correct and quiet when the fil).gers are to rem,ain on the key till Domenico had not sampled his bottle sufficiently position of the hand and fingers without any the following is touche Musical Publications. gests Cinderella's loneliness and dejection. ment in the accompaniment which i ·above' The Composer makes special demands for a the hackneyed tyle met with in the popular Thiebes and Stierlin have sent the following careful use of the pedal in thi number. songs of the day. Why the compos~r begins compositions, just issued by them, for review: 5. The dance of the Fairies is sprightly, the third verse in E flat minor, and the melody 1. The Enchanted Well. interesting and exceedingly useful; it carries with 0 flat, yet in the next measure proceeds out the recommendation offered by Hans von to 0 natural, although the harmonies of E 2. Oberon and T~itania. flat minor is retained in the accompaniment, 3. The Fairies' Lullaby. Buelow in one of Cramer's studies when he says : ' 'The practice of changing the fing r does not appear quite plain. The title of the 4. Cinderella. on one and the same key must be numbered song and the sentimental expression of the 5. The Dance of the Fairies. as one of the most excelient means of acquir melody with no doubt appeal for(Jibly to Mr. Humphrey's lady. friends. This is a set of 5 characteristic pieces for the ing lightnes of touch.'' The second part in Pianoforte by E. R. Kroeger published under D major requiring a light loose wrist action Mr. ·Max BaUmann, whose name is so well the collective title ''In Fairyland'' in which i excellent practice for both hand.' and favorably known as vocal teacher· and the talented composer appears in his best. composer, has just published an excellent Each one tells its own story in tones, the CREOLE SHAWL DANCE by E. R. Kroeger. Duet: '' Oome, bemttijul Spring'' for Soprano melodic charms of which reveal the composer's Light, graceful and fanta -tic as the melody in and Alto; or Tenor and Bass. The melody is skill and natural talent most favorably. Mr. the right hand appear , there is good practice chaste and pleasing; the leading of the voices' Kroeger's skill is shown in the development for the left hand which bas kips, one might is flowing and correct according to the laws of of his themes which, with one or two excep almost call them sa.lti mortali, requiring an harmony, while the accompaniment, although tions, are not of the usual length or 8 or 16 exceedingly flexible wri t. The econd part not elaborate, i distinctly characteristic, well measures, but are rather hort characteristic in E major has a charming melody, the sus adapted to the tyle. of composition. If the motivos which he employs very cleverly. tained character of which, with chord above to marks of expression and the phrasing is ob Another commendable feature of the same is be played with the same hand necessitates served, as indicated by the composer, -it can the pedagogic aim of each piece. No. 1 seems great care in the contrast of touch to do justice not fail to please. Mrs. Theresa Balmer, wife specially de igned for the extension of the to the composition. of the late esteemed Mr. Charles Balmer~ has fingers in the right hand which must be played ''THE ORGANIS'l'.'' A dramatic Song by added a german ver ion to the song which with a light staccato; it is an excellent study A. I. Epstein, is a composition which must will make it double attractive. of which we find a prototype in No. 24 of raise the author in esteem of musicians and Cramer's Studies edited by Buelow. The left singers who will axamine and sing it. The hand has a beautiful Melody in the first 16 poet's name which in pired Mr. A. Epstein is C. WITTER, measure·. The second theme in E major has not mentioned; the entiment of the poem· is the melody in the right hand; there is excel somewhat akin to Adelaide A. Proctor's ''The lent finger practice in the chain of chords lost chord.'' Space forbids to quote the poem 21 s. Foatrth st. which played with a loose wrist add a fresh in full, but the opening lines will convey an charm to the previous strain. Alltough no idea of the lofty expression which pervade the (bet. Market&. Walnut St.), nc~~~fe~ouse. special indication is given, yet the oft una composition throughout: cbrda pedal would be quite proper throughout. In the aisles of the great Cathedral ST. LOUIS, .M.O 2. The names of Obei·on and Pitania sug The slumb'ring echoes woke, gest Shakespeare's Midsummer Night' Dream. But the sound was more than human De~er G~rman The opening melody is 8 flat major, simple 'Twas somebody's soul that spoke. Englisb and Book$ and characteristic, betokens Oberon the king A soul that was mighty in feeling of the sprites while the Allegr·o Molto seems A soul that bad long been dumb. Photograph Albums, Juvenile Books, Toy Books, like the revels of the train of fairies which Fancy and Office Stationary. accompany Titania; there is excellent finger The. melody and harmonies which Mr. practice for the right hand in this movement. Epstein has w dded to the poem must appeal to the inger and the audience's hea1·t; there is Orders from the Country promptly attended to. 3. The Lullaby is a delicious melody, no striving for mere effect's ake of high notes. clev rly sustained by both hands in the first It is a oulfully conceived compo ition and four measures, which contain the principal requires a oulful interpretation of just such theme; it is varied at. the end with arpeggios a singer as Mr. W. M. Porteous, to whom the The St, Louis Ghoir llgeney in the left hand. The harmonies of A flat song is dedicated. 'J.1here is much originality ...... AND ...... majol' with its dominant, introduced in the in the harmonic combinations which show Mr. last four measure , alternating with G major Ep tein' s erudite knowledge and skill a a SOUTHWESTERN ENTER rAINMENT BUREAU. have a piquant effect. thorough musician. 4. This is a much more .elaborate compo- (In connection with Thomas & Fellow's Agency, ition than any of the preceding; the fingering ILovEYouDEAR, by H. Charle Humphrey. Carnegie Hall, New York City.) for the triplet figure in each measure is excel Our favorite tenor appears in a new role as lent practice for the thumb. The Tempo di composer, which no doubt will help to estab 1118 OLIVE STREET, Jl;faz·urka gives the impression of the Ball lish his reputation as a musician. Although H. C. WILSON,} room where Cinderella's haughty sisters mingle the song is extremely short yet it gives evi Managers. in the dance, while the B flat minor part sug- dence of melodic gift and musicianly treat- H. H. DA R.B Y, ST. LOUIS, MO. Emerson College of Oratory, BOSTON, ~ASS. ~or. JremoQt aQd Ber~Iey &treets. Dr. C. Wesley Emerson, President. Has a thorough and systematic course of study, including a complete system of Physical Training and Voice Culture, Natural Rendering, and the principles of the Philosophy of Oratory. Scientific and practical work in tvery department. 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LOUIS: • • The Power of Music .. • to ch~rm is chiefly measured by the instrument that produces it._~ • --~~ o d IN THE P-o~ • • ~SHAW PIANO~ We prresent ·an iJ?strrament that rreprresents the . highest development of skiil in the arrt of piano making. ·Ourr system of selling these instrraments on installments fotr eash p~iees plaees a firrsb·celass piano within the rreaeh of all. Tb~ Piano and musi~ Hous~ of St. Louis~ ! ! 11.18 OLIVE STREET. 'j' :' t