Music Trade Review
Issue: 1899 Vol. 28 N. 18 - Page 3
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With which is incorporated THE KEYNOTE.
V O L . XXVIII. N o . 18. Published Every Saturday by Edward Lyman Bill at 3 East Fourteenth Street. New York, May 6,1899,
MR. FRANK TAFT.
EW affairs in the world of music during
the season now closing have excited
so much interest or called forth such highly
commendatory opinions from distinguished
critics, press and public, as the concerts by
The Madrigal Singers, the closing one of
which occurred at Chickering Hall last
week. It has well been said of these con-
certs that they removed the cult of music
from the realms of sordid thoughts, for the
programs have been a chain of exquisite
compositions of various forms of choruses,
all sung with true musicianly spirit.
The success attained by the Madrigal
Singers is due unquestionably to the
splendid work of the director, Mr. Frank
Taft, whose handsome portrait appears on
the cover page of this issue. This dis-
tinguished concert organist whose reputa-
tion extends all over the United States, and
who is also a composer of acknowledged
eminence, has added to his laurels as a
versatile musician by the splendid artistic
success achieved at these concerts. Of
course it has meant much time, devotion
to high ideals, and consummate skill to ac-
complish such results in a very limited
period, even conceding that Mr. Taft has
had the collaboration of eminent singers,
all enthusiastically anxious to make the
affairs worthy of themselves and of their
talented conductor. This esprit de corps
may be attributed to Mr. Taft's tact in
handling his forces. Although a severe
disciplinarian, exacting perfect work, he is
always genial. He is forceful, precise and
magnetic, and seems to be in his element
as a conductor, wielding the baton with
grace and authority.
Mr. Taft is a native of this State, hav-
ing been born in East Bloomfield. From
his earliest years he displayed extraordi-
nary talent for music, evincing a predilec-
tion for the organ. In 1876 while studying
in Genesee Wesleyan Seminary, Lima,
N. Y., he commenced to study the art of
playing the "king of instruments " under
George H. Bangs. He made rapid prog-
ress in his favorite study and in the summer
of 1879 began his studies with Clarence
Eddy while the latter was in Canandaigua,
N. Y. In the fall of that year he went to
Chicago and continued his studies with
this eminent master. Shortly after reach-
ing Chicago he was appointed organist of
the Wabash Avenue M. E. Church which
was followed later by a more important
engagement at Trinity M. E. Church where
he continued to play until leaving the city
in
1882.
As might be expected from an enthusias-
tic music lover and a conscientious pupil
he made rapid progress under Mr. Eddy,
as well as with Frederick Grant Gleason,
with whom he studied musical theory and
composition. In the interim he made his
appearances at numerous concerts in Chica-
go establishing for himself an enviable
reputation as a concert performer.
In the closing months of 1882 Mr. Taft
made New York his home where he con-
tinued his organ studies under Samuel P.
Warren and composition with Ferdinand
Q. Dulcken, a musician of distinction.
Shortly after his arrival in this city he was
engaged as organist of the Episcopal
Church of the Epiphany and later with St.
Matthew's P. E. Church, Jersey City, which
was followed a year later by an engage-
ment at the Clinton Avenue Congregational
Church, Brooklyn, where he played for
thirteen years. In 1894 he was engaged
as organist of the Jewish Temple Beth-El,
Fifth avenue, this city. In addition to
filling this engagement, in 1895 n e accepted
the position as organist and musical direc-
tor of the Madison Avenue Reformed
Church, one of the most prominent metro-
politan congregations, playing at the Tem-
ple Friday and Saturday and at the Sun-
day Services of the Church.
Mr. Taft's special talents as an organist
are undoubtedly best displayed in the con-
cert field. He has made numerous ex-
tended tours throughout the United States,
playing on some of the most noted organs,
and winning the encomiums of the leading
critics and his fellow organists. He has
appeared as solo organist at the Worcester
(Mass.) festivals, and was also one of the
official organists at the Chicago Columbian
Exposition.
As a composer Mr. Taft has also given
many proofs of his ability. One of the
most notable of his many meritorious
works, " March Symphonique " was played
by the Boston Symphony Orchestra, and
made quite a "hit."
Glancing over Mf. Taft's achievements
up to date, it is safe to predict a future
abounding in greater results than those
yet accomplished. A young man, full of
well directed ambition and imbued with
praiseworthy ideals he is bound to be
heard from in the no distant future.
A S one might expect from a man of such
**• a highly sensitive and refined tem-
perament as Emil Sauer, he is an enthusias-
tic lover of art in all forms. In the
Independent , writing on "The Color Value
in%[usic," this eminent pianist makes the
following acknowledgment of the debt he
owes the sister art of painting:
"I may truly say that I have found an
inspiration in art that has greatly aided my
music, and that there is not an art gallery
in all Europe that I have not seen and that
I do not love. I believe that I have learned
more from painting and the study of it
that is of benefit to me than I derived even
from Nicolai Rubinstein, great as is my
debt to him.
"There seems to me ever to be a har-
mony between art and music, and I wor-
ship at the shrine of Velasquez, who ap-
peals to me as the greatest of painters,
especially in the matter of color; and the
two that come after him in the order of
merit are Titian and Rembrandt. Velas-
quez teaches me much. When I look at
one of his pictures, as I have done in
Madrid, and see there ten thousand shades
of black and gray, he shows me, as no one
else can, the possibilities of color signifi-
cance and gradation, and it thus becomes
possible for me to apply something of the
same color grades to music, and in the in-
terpretation of it to give music a color
value that it were impossible to obtain
otherwise."
A CCORDING to a prominent writer the
**• Italians consider opera solely in re-
lation to their sensuous emotions; the
French as producing pleasures more or
less akin to those of the table, the Span-
iards mainly as a vehicle for dancing, and
the Englishman as an expensive, but not
unprofitable way of demonstrating finan-
cial prosperity. In other words, the Italian
might be said to hear through what is
euphemistically called his heart; the
Frenchman through his palate, the Span-
iard through his toes, the German through
his brain, and the Englishman through his
pocket.
is planning an opera with
M ASCAGNI
a libretto based upon the love ad-
ventures of George Sand and Alfred de
Musset.
With which is incorporated THE KEYNOTE.
V O L . XXVIII. N o . 18. Published Every Saturday by Edward Lyman Bill at 3 East Fourteenth Street. New York, May 6,1899,
MR. FRANK TAFT.
EW affairs in the world of music during
the season now closing have excited
so much interest or called forth such highly
commendatory opinions from distinguished
critics, press and public, as the concerts by
The Madrigal Singers, the closing one of
which occurred at Chickering Hall last
week. It has well been said of these con-
certs that they removed the cult of music
from the realms of sordid thoughts, for the
programs have been a chain of exquisite
compositions of various forms of choruses,
all sung with true musicianly spirit.
The success attained by the Madrigal
Singers is due unquestionably to the
splendid work of the director, Mr. Frank
Taft, whose handsome portrait appears on
the cover page of this issue. This dis-
tinguished concert organist whose reputa-
tion extends all over the United States, and
who is also a composer of acknowledged
eminence, has added to his laurels as a
versatile musician by the splendid artistic
success achieved at these concerts. Of
course it has meant much time, devotion
to high ideals, and consummate skill to ac-
complish such results in a very limited
period, even conceding that Mr. Taft has
had the collaboration of eminent singers,
all enthusiastically anxious to make the
affairs worthy of themselves and of their
talented conductor. This esprit de corps
may be attributed to Mr. Taft's tact in
handling his forces. Although a severe
disciplinarian, exacting perfect work, he is
always genial. He is forceful, precise and
magnetic, and seems to be in his element
as a conductor, wielding the baton with
grace and authority.
Mr. Taft is a native of this State, hav-
ing been born in East Bloomfield. From
his earliest years he displayed extraordi-
nary talent for music, evincing a predilec-
tion for the organ. In 1876 while studying
in Genesee Wesleyan Seminary, Lima,
N. Y., he commenced to study the art of
playing the "king of instruments " under
George H. Bangs. He made rapid prog-
ress in his favorite study and in the summer
of 1879 began his studies with Clarence
Eddy while the latter was in Canandaigua,
N. Y. In the fall of that year he went to
Chicago and continued his studies with
this eminent master. Shortly after reach-
ing Chicago he was appointed organist of
the Wabash Avenue M. E. Church which
was followed later by a more important
engagement at Trinity M. E. Church where
he continued to play until leaving the city
in
1882.
As might be expected from an enthusias-
tic music lover and a conscientious pupil
he made rapid progress under Mr. Eddy,
as well as with Frederick Grant Gleason,
with whom he studied musical theory and
composition. In the interim he made his
appearances at numerous concerts in Chica-
go establishing for himself an enviable
reputation as a concert performer.
In the closing months of 1882 Mr. Taft
made New York his home where he con-
tinued his organ studies under Samuel P.
Warren and composition with Ferdinand
Q. Dulcken, a musician of distinction.
Shortly after his arrival in this city he was
engaged as organist of the Episcopal
Church of the Epiphany and later with St.
Matthew's P. E. Church, Jersey City, which
was followed a year later by an engage-
ment at the Clinton Avenue Congregational
Church, Brooklyn, where he played for
thirteen years. In 1894 he was engaged
as organist of the Jewish Temple Beth-El,
Fifth avenue, this city. In addition to
filling this engagement, in 1895 n e accepted
the position as organist and musical direc-
tor of the Madison Avenue Reformed
Church, one of the most prominent metro-
politan congregations, playing at the Tem-
ple Friday and Saturday and at the Sun-
day Services of the Church.
Mr. Taft's special talents as an organist
are undoubtedly best displayed in the con-
cert field. He has made numerous ex-
tended tours throughout the United States,
playing on some of the most noted organs,
and winning the encomiums of the leading
critics and his fellow organists. He has
appeared as solo organist at the Worcester
(Mass.) festivals, and was also one of the
official organists at the Chicago Columbian
Exposition.
As a composer Mr. Taft has also given
many proofs of his ability. One of the
most notable of his many meritorious
works, " March Symphonique " was played
by the Boston Symphony Orchestra, and
made quite a "hit."
Glancing over Mf. Taft's achievements
up to date, it is safe to predict a future
abounding in greater results than those
yet accomplished. A young man, full of
well directed ambition and imbued with
praiseworthy ideals he is bound to be
heard from in the no distant future.
A S one might expect from a man of such
**• a highly sensitive and refined tem-
perament as Emil Sauer, he is an enthusias-
tic lover of art in all forms. In the
Independent , writing on "The Color Value
in%[usic," this eminent pianist makes the
following acknowledgment of the debt he
owes the sister art of painting:
"I may truly say that I have found an
inspiration in art that has greatly aided my
music, and that there is not an art gallery
in all Europe that I have not seen and that
I do not love. I believe that I have learned
more from painting and the study of it
that is of benefit to me than I derived even
from Nicolai Rubinstein, great as is my
debt to him.
"There seems to me ever to be a har-
mony between art and music, and I wor-
ship at the shrine of Velasquez, who ap-
peals to me as the greatest of painters,
especially in the matter of color; and the
two that come after him in the order of
merit are Titian and Rembrandt. Velas-
quez teaches me much. When I look at
one of his pictures, as I have done in
Madrid, and see there ten thousand shades
of black and gray, he shows me, as no one
else can, the possibilities of color signifi-
cance and gradation, and it thus becomes
possible for me to apply something of the
same color grades to music, and in the in-
terpretation of it to give music a color
value that it were impossible to obtain
otherwise."
A CCORDING to a prominent writer the
**• Italians consider opera solely in re-
lation to their sensuous emotions; the
French as producing pleasures more or
less akin to those of the table, the Span-
iards mainly as a vehicle for dancing, and
the Englishman as an expensive, but not
unprofitable way of demonstrating finan-
cial prosperity. In other words, the Italian
might be said to hear through what is
euphemistically called his heart; the
Frenchman through his palate, the Span-
iard through his toes, the German through
his brain, and the Englishman through his
pocket.
is planning an opera with
M ASCAGNI
a libretto based upon the love ad-
ventures of George Sand and Alfred de
Musset.
Future scanning projects are planned by the International Arcade Museum Library (IAML).