Music Trade Review
Issue: 1898 Vol. 26 N. 1 - Page 9
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THE MUSIC TRADE REVIEW
The realm of poetry is in the ideal; its lan-
MAUD L. STUDLEY.
guage is potent in that which it suggests
Perhaps one of the characteristic signs
rather than describes. For instance, in of our advancement as a musical nation,
"Annie Laurie," the beauty of the poem is is the prominent part which women are
all in the first stanza—it is beautiful of its playing in the professional and amateur
kind—it draws delightful pictures in the field.
mind of any receptive reader. It is not ex-
Amateur nusical work is no longer the
haustive in its application, but universal. bug-bear it used to be. New York society
The music very gladly weds the sentiment. boasts a number of women who can sing,
The first stanza of "Annie Laurie" is a not only songs by the most famous com-
case of perfect song writing. It ends there. posers, but also operatic arias, and even
How many people know another stanza of it, extracts from the Wagnerian music
or, of those who have read the others, care to dramas, and there are also a number of
hear more than the first ? So much for this. capital instrumentalists. Indeed at many
Now, shift the point of attack. It is of the amateur entertainments in this
not uncommon that a really fine subject, city, professionals appear, and the contrast
artistically treated, is killed when the com- between the two is not as pronounced as
poser of the music gives it a melody which one would think.
is, perhaps, half good, the other half bad,
or being good throughout, a harmonization
is given it which is remarkable only for its
poverty. Gladstone once said, "There are
a great number of people who write much
verse and some poetry." There are also
many music writers who write a great deal
of meagre worth, and some that is es-
timable. The trouble with both classes of
writers is that they write too much. This
is why we have such an endless amount of
so-called poetry printed, but which is
never read, and why nine out of ten of all
the songs which are published never sell
out the first edition, and never receive
more than one hearing anywhere.—The
Leader.
©
TECHNIQUE AND EXPRESSION.
Franklin Taylor, the well-known writer,
makes some pertinent remarks about
phrasing and expression in his latest work
entitled "Technique and Expression in
Piano Playing." The following excerpt
is interesting because it is true:
"In its fullest sense expression may be
taken to mean the power of conveying to
the listener the emotions which the music
has awakened in the performer, and the
pianist who plays most expressively is he
who is deeply impressed by the music he
plays, always provided he has at command
the means of expressing his feelings ade-
quately.
"It should never be forgotten that the
listener has not the advantage possessed
by the player of seeing the written music,
but must receive all his impressions
through the sense of hearing only, and that
his power of understanding must therefore
depend on his being able to perceive the
equal duration of the bars and the regu-
larly recurring accents at the beginning
of the bars, or of portions of them."
Now-a-days, sad to say, many teachers
consider technique the only essential in
the education of their pupils.
0
Timothee Adamowski, of the Boston
Symphony Orchestra, has had a deserved
honor bestowed upon him. He has been
invited by the London Philharmonic So-
ciety to be the soloist at its concert of June
23 next. He will play Saint-Saens 1 B minor
concerto, and the composer will conduct
the orchestra himself.
Prof. Jepson, instructor of music in the
University, who is quite enthusiastic over
the future of his pupil.
Miss Studley whose counterfeit present-
ment is presented herewith, possesses a
frank and winsome personality which has
won her a host of friends. We shall
watch Miss Studley's future with much
interest.
0
The Manuscript Society's first public
concert at Chickering Hall on the evening
of December 15th was very enjoyable.
There was an excellent program. Henry
K. Hadley's symphony made a most favor-
able impression, and he was called to the
stage several times at its conclusion. Ern-
est Lent's Rhapsodie, a quaint conceit,
the overtures, "Russia" by Platon Brounoff
and "Sardanapalus" by E. R. Kroeger,
and A. W. Forster's Aria for soprano,
"Hero and Leander," were admirably inter-
preted by the Seidl orchestra and well re-
ceived by the audience. The next public
concert takes place on the evening of
February 10th. An interesting program
is in preparation.
©
J. F. Von der Heide, the well-known
vocal instructor, sailed by the Kaiser Wil-
helm on Thursday of last week for Europe,
his special point being Italy, where he will
sojourn some time recuperating from a
serious indisposition, brought on by a too
close application to work for several years
past. He will spend the greater portion
of his time in Rome and Florence, and
will not return to New York before next
fall.
0
MAUD L. STUDLEY.
1
In society circles in all the leading
cities of the country the same activity in
musical work is noticeable. In that well-
known university center, New Haven,
Conn., there are many accomplished
musicians. One of the most youthful withal
clever is Miss Maud Studley, daughter of
Judge John P. Studley of the Court of
Common Pleas for the County of New
Haven. Miss Studley is not only a clever
pianist, who gives promise of developing
far beyond the amateur ranks, but she has
given proof of a strong vein of original-
ity and skill in musical composition which
inclines The Review to the opinion that
she will be heard from frequently as
a writer. Her first attempt at composition
entitled "The Normandie Waltzes," has
just been published by E. J. Hogben
& Co., of New Haven, and is scored for
piano and small or full orchestra. These
waltzes are very tuneful, brilliant, and
skillfully arranged; considering that Miss
Studley is only in her eighteenth year they
are more than ordinarily clever. They re-
veal the true musical temperament.
Miss Studley is at present studying in
the musical department of Yale University,
and is a most promising student. She
has dedicated her premier composition to
The Lyric Club has just been organized
in this city with Albert G. Thiers as musi-
cal director. The membership is limited
to fifty ladies and it is aimed to make the
work of the club so unique that concerts of
a given season will be made to represent a
systematic and continual study and inves-
tigation of many forms and types of musi-
cal literature heretofore neglected, inter-
spersed with selections in lighter vein.
Mrs. J. Williams Macy is president and
Mrs. Robert Hastings, secretary.
©
Signor Mascagni, besides finishing his
Japanese opera, "Iris," has started upon
a new opera, "La Commedia dell' arte,'
based upon the seventeenth-century plays
once so popular in Italy. They really were
charades. The story which Mascagni is
setting is, however, believed to be one of
love and jealousy.
©
The choir of Grace Church, Middletown,
N. Y., numbering thirty-five voices, under
the direction of Mr. Harvey Wickham,
recently rendered Dudley Buck's cantata
"The Coming of the King." The per-
formance was very successful, the princi-
pal solos being given by Miss Julia Wick-
ham, alto of Christ's Church, Greenwich,
Conn., Mrs. Harvey Wickham, soprano of
Grace Chxirch, Mrs. C. H. Sweezy, of the
(Continued on page 16.)
THE MUSIC TRADE REVIEW
The realm of poetry is in the ideal; its lan-
MAUD L. STUDLEY.
guage is potent in that which it suggests
Perhaps one of the characteristic signs
rather than describes. For instance, in of our advancement as a musical nation,
"Annie Laurie," the beauty of the poem is is the prominent part which women are
all in the first stanza—it is beautiful of its playing in the professional and amateur
kind—it draws delightful pictures in the field.
mind of any receptive reader. It is not ex-
Amateur nusical work is no longer the
haustive in its application, but universal. bug-bear it used to be. New York society
The music very gladly weds the sentiment. boasts a number of women who can sing,
The first stanza of "Annie Laurie" is a not only songs by the most famous com-
case of perfect song writing. It ends there. posers, but also operatic arias, and even
How many people know another stanza of it, extracts from the Wagnerian music
or, of those who have read the others, care to dramas, and there are also a number of
hear more than the first ? So much for this. capital instrumentalists. Indeed at many
Now, shift the point of attack. It is of the amateur entertainments in this
not uncommon that a really fine subject, city, professionals appear, and the contrast
artistically treated, is killed when the com- between the two is not as pronounced as
poser of the music gives it a melody which one would think.
is, perhaps, half good, the other half bad,
or being good throughout, a harmonization
is given it which is remarkable only for its
poverty. Gladstone once said, "There are
a great number of people who write much
verse and some poetry." There are also
many music writers who write a great deal
of meagre worth, and some that is es-
timable. The trouble with both classes of
writers is that they write too much. This
is why we have such an endless amount of
so-called poetry printed, but which is
never read, and why nine out of ten of all
the songs which are published never sell
out the first edition, and never receive
more than one hearing anywhere.—The
Leader.
©
TECHNIQUE AND EXPRESSION.
Franklin Taylor, the well-known writer,
makes some pertinent remarks about
phrasing and expression in his latest work
entitled "Technique and Expression in
Piano Playing." The following excerpt
is interesting because it is true:
"In its fullest sense expression may be
taken to mean the power of conveying to
the listener the emotions which the music
has awakened in the performer, and the
pianist who plays most expressively is he
who is deeply impressed by the music he
plays, always provided he has at command
the means of expressing his feelings ade-
quately.
"It should never be forgotten that the
listener has not the advantage possessed
by the player of seeing the written music,
but must receive all his impressions
through the sense of hearing only, and that
his power of understanding must therefore
depend on his being able to perceive the
equal duration of the bars and the regu-
larly recurring accents at the beginning
of the bars, or of portions of them."
Now-a-days, sad to say, many teachers
consider technique the only essential in
the education of their pupils.
0
Timothee Adamowski, of the Boston
Symphony Orchestra, has had a deserved
honor bestowed upon him. He has been
invited by the London Philharmonic So-
ciety to be the soloist at its concert of June
23 next. He will play Saint-Saens 1 B minor
concerto, and the composer will conduct
the orchestra himself.
Prof. Jepson, instructor of music in the
University, who is quite enthusiastic over
the future of his pupil.
Miss Studley whose counterfeit present-
ment is presented herewith, possesses a
frank and winsome personality which has
won her a host of friends. We shall
watch Miss Studley's future with much
interest.
0
The Manuscript Society's first public
concert at Chickering Hall on the evening
of December 15th was very enjoyable.
There was an excellent program. Henry
K. Hadley's symphony made a most favor-
able impression, and he was called to the
stage several times at its conclusion. Ern-
est Lent's Rhapsodie, a quaint conceit,
the overtures, "Russia" by Platon Brounoff
and "Sardanapalus" by E. R. Kroeger,
and A. W. Forster's Aria for soprano,
"Hero and Leander," were admirably inter-
preted by the Seidl orchestra and well re-
ceived by the audience. The next public
concert takes place on the evening of
February 10th. An interesting program
is in preparation.
©
J. F. Von der Heide, the well-known
vocal instructor, sailed by the Kaiser Wil-
helm on Thursday of last week for Europe,
his special point being Italy, where he will
sojourn some time recuperating from a
serious indisposition, brought on by a too
close application to work for several years
past. He will spend the greater portion
of his time in Rome and Florence, and
will not return to New York before next
fall.
0
MAUD L. STUDLEY.
1
In society circles in all the leading
cities of the country the same activity in
musical work is noticeable. In that well-
known university center, New Haven,
Conn., there are many accomplished
musicians. One of the most youthful withal
clever is Miss Maud Studley, daughter of
Judge John P. Studley of the Court of
Common Pleas for the County of New
Haven. Miss Studley is not only a clever
pianist, who gives promise of developing
far beyond the amateur ranks, but she has
given proof of a strong vein of original-
ity and skill in musical composition which
inclines The Review to the opinion that
she will be heard from frequently as
a writer. Her first attempt at composition
entitled "The Normandie Waltzes," has
just been published by E. J. Hogben
& Co., of New Haven, and is scored for
piano and small or full orchestra. These
waltzes are very tuneful, brilliant, and
skillfully arranged; considering that Miss
Studley is only in her eighteenth year they
are more than ordinarily clever. They re-
veal the true musical temperament.
Miss Studley is at present studying in
the musical department of Yale University,
and is a most promising student. She
has dedicated her premier composition to
The Lyric Club has just been organized
in this city with Albert G. Thiers as musi-
cal director. The membership is limited
to fifty ladies and it is aimed to make the
work of the club so unique that concerts of
a given season will be made to represent a
systematic and continual study and inves-
tigation of many forms and types of musi-
cal literature heretofore neglected, inter-
spersed with selections in lighter vein.
Mrs. J. Williams Macy is president and
Mrs. Robert Hastings, secretary.
©
Signor Mascagni, besides finishing his
Japanese opera, "Iris," has started upon
a new opera, "La Commedia dell' arte,'
based upon the seventeenth-century plays
once so popular in Italy. They really were
charades. The story which Mascagni is
setting is, however, believed to be one of
love and jealousy.
©
The choir of Grace Church, Middletown,
N. Y., numbering thirty-five voices, under
the direction of Mr. Harvey Wickham,
recently rendered Dudley Buck's cantata
"The Coming of the King." The per-
formance was very successful, the princi-
pal solos being given by Miss Julia Wick-
ham, alto of Christ's Church, Greenwich,
Conn., Mrs. Harvey Wickham, soprano of
Grace Chxirch, Mrs. C. H. Sweezy, of the
(Continued on page 16.)
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