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The Music Festival

The Music Festival image
Parent Issue
Day
3
Month
March
Year
1897
Copyright
Public Domain
OCR Text

Tlie Festival is a somewhat unique feature of this couiitry's musical growth, uot that it, in itself, is distinctly American, but because it eame at so early a stage of uur development. In tliis country it is 1 1 1 ? legitímate outgrowth of the musical convention. ïbe convention was a direct product of the. early American way of looking at tbings. It bas been characterized hs a musical town meeting. It was more properly a specie of musical carnp-meetiuK, and wiiile it.s artistic status would be difñcult to define (some critics would not hesitate to declare it a minus quantity) its valué as a stimulus must not be overlooked, In many parts of the country the animal convention was as great a necessity as the animal revival. The fervid interest aroused did uo alvvays result in the conviction that continuous interest was preferable to intermittent entbusiasin, but it did bear fruit. Backsliders there were in plenty, but they were generally found in the front seats at the next convention, and so the work went inerrily on. The rapid growth of the appreciation of choral music may be traced yery I argel y to the interest awakened by musicians who were in some instances actuated by genuine artistic motives and in others by the desire to sell their hitest book whose high-soundinj; title was not seldom its chief recommendation. Possibly we may look farttier back for the initial impulso in the right direclion to the more unflgRiiming ministra tions of thp country school teacher. A stuly of tlie early history of music reveáis nóthing more clearly than the value of the work done by these musical circuit riders. They wpre distinctly musical missionaries, and in this connection we must not I'orget that the section of the country in which the Puritans were most in evidence was, in so far as music was concerned, intensely heathen. The Puritans brought their prejudices with them and their very isolation, fostered and intensified these prejudiees until an unsympathetic attitude towards all forins of j art became an unwritten article in their creed. In spite of this they were not -insensible to the charms of music, and when tliey becaine aroused to an appreciation of its value, and fnlly realized that music was not sin ful, they showed the same persistency in advancing its interests that tliey evinced in eompassine its repression. The Old Stoughton Society (founded in 1786) is an example of the forni in which this activity displayed itself. Many of the men whose ñames are familiar to studente of our musical historv, like Billings. Read, Ingalls, Oliver Shaw, etc, were gifted with reai ability, and eonsciously set up before themselves ideáis at once dignified and ambitious. They sought to develop an appreciation of the best in music. They were not technically trained, tliey were not masters even in a restricted sense, but they stood for honest endeavor, and took the geat Euronean composers for their models. Although they seem to us to have been blind leaders of the blind, it is only when compared with more modern developments that their work can bear such a narrow interpretation. At a later stage I carne Lowell Masón, a man whose name stands j prominent in the list of American musicians. j He possessed great talent, both as composer and performer. He was in a position by reason of extensive travel and study in Europe to look at music from a broader point of view than his j predecessors and most of his contemporaries. ' From his advent may be dated the real ! ing of the country to the claims of music. In this connection we must mention the fact that New York - through the organists of Trinity j Church who were almost to a man trained in the j English cathedral service - early beeame Í interested in music. The Messiah received : its first performance in this country in Trinit)' ; Chnrch in 1770. This brings to mind the undoubted service to music rendered bv the I copal Church, for those sections which were 1 settled by the adherents of the Church of ! land were for a long time in advance of New ! England in the cultivation of the divine art. The Handel and Haydn Society of Boston was founded in 1807. The New York Choral Club carne into existence in 1823. Societies were founded soon after in Philadelphia, Albany, Bal ti more, Charleston, Richmond, New Orleans ! and Milwaukee. The Philharmonic Orohestra, j of New York, was the outgrowth of a musical club in that city, and has had an unbroken existeuce in various forms for nearly a century and a half. It is still a factor in New York's musical life, and although at the present time it suffers ! from the retention in its ranks of many musicians who countonly in the printed list of performers, it has a record that entitles it to the respect of musicians. Interesting as this phase of the subject may be, we are more indebted to another set of influences for our highest developments in music. These we must now consider, inasmuch as they sprang directly from our colleges. In 1807 the llandel Society of Dartmouth College was organizpd. This was followed soon after by a society with like aims in Harvard College - the Pierian Sodality. This group of enthnsiastic, ambitious college men took the ground that music was not an amusement for tlie idler, thai it had claims as an aid to the cultivation of the intellect; thatits literature was a veritable literature; that Bach, Beethoven, Mozart, Haydn, were wortliy of being included witli Homer, Plato, Shakespeare and Mil ton, au among tlie great of earth. They organized the Harvard Musical Association, whicb had for its aiin the ereation of genuine musical appreciation. The society was not, strictly gpeaking, a Harvard organization, but its membership consisted for tlie greater part of Harvard graduates, and its destinies were controlled by men of liberal education. Prominent among its inembers may be mentioned John S. Dwignt, one of the earliest American musical critica. He was a man of kindly spirit, and f bis sympathetic nature led bim oftentimes tobe too lenientin bis judginenta the succeeding generation of eriiics bas made amendsfor anylapses from severity that may be credited tohim. Heestablished an' conducted for many years a musical journal which was in every way a credit to the country, and which reflectad "tlie sterling virtues of its editor. The Harvard Musical Association established a line library of scores, and started a series of chamber concerts, afterward the orchestral coucerts which were features of Boston's musical Ufe for many years. When this orchestra was KJven up its inembers formed the nucleus of the Philharmonic Orchestra which soon merged into that incomparable organization the Boston Symphony Orchestra. The Handel and Haydn Society, prompted no doubt by the spirit whose very existence was the directresultof the entlmsiasm of this group of college men. undertook in 1857 the first triennial festival. The Worcester Festiviil was established in 1858. Cinci.nnati followed at a much later date, and its example was imitaled by otber western cilies. The festival idea which playa 80 prominent a part in England, bas become thoronglily acclimated her1. The festival has its good and its bad side, and neither can be overlooked in a candid discussion of its valué as a ineans of musical education and inspiratioii. If a festival is aii annual, biennial, or triennial gorging, to be followed by acute musical dyspepsia, and a more or less extended period of musical star vation, it has notrue valué and should be discouraged. If it is a part of a comprehensive écheme of musical education, its valué cannot be overestimated. Xothing can take the place of steady continuoua and well directed musical eftbrt. Tlie public should be given an opportunity to heargood music so frequently tliat concert going becomes a habit. Chamber concerts, recitals, and choral concerts should be heard frequently that a community may become familiar with the characteristics of various schools of composition, and in a position to exercise judgment, or at least think on the subject. Then the festival lias a ritrht to be. There are, however, manv communities in this country in whieh the tiue and natural development of musical taste has been retarded by reason of the festival. We do not propose to cali ñames, but musicians recognize this f act and deplore it. The festival makes possible in smaller communities the performance of works which could not be thought of under ordinary circumstances. ïhrough it may be heard the most eelebrated artists, both native and foreign. By a proper arrangement of programs, musical works of various styles may be shown in their relation to each other. By reason of the enthusiasm created by mere foroe of numbers, the festival can aid in the establishment of a vigorous musical life in the city or state, not by itself, but in conjunction with the other musical influences suggested elsewhere. It has its business side, and many who cannot appreciate its artistie mission can be brought to a realization of its value, wlien they ftnd that it can be made a profitable investment to a city. It not only draws large numbers during its continuance, but it adds to the attractiveness of a city as a home. Many men who have retired from active business life in the country, seek the city on account of the advantages afl'orded for culture. They may not care for their own sakes, but they prefer to have their children brought up in the midst of cultural influences. Cincinnati has profited more (in dollars and cents) by the establishment of her School of Music and Festival, than through any single business enterprise ever started in that city. Such is the substance of a report made to the Board of Trade of that city, by a committee of business men appointed by that body to investígate the causes of her business growth. When art and trade can join hands in an artistie enterprise success is inevitable. No musical movement of recent years is more significant than the interest shown by our great universities in the cultivation of music. The reasons for this are so obvious that it would be idle to enumérate them. The festival in our own University of Michigan has become an important eveut in the university year. It bas reasons for existence distinct from those already enumerated. In the first place the student should be surrounded by the cultural iufluence of art. The man or woman who poes forth from the halls of a university should be a leader in everything that makes for culture. The teacher in a small community as wpII is in the larger towns and cities, is a power aml shoiiid stand for the bent in literature, science, urt and religión. Again the Universii slxull Iwome a center of artistie activity as whII hs h school of learñing. It should hóld i i leüls in every branch of culturp, nnd thf ■ zhh oí the state who lias a genuine love for music should be proud of the fact that in the institution which is the crowii of her educational systetn he may hear great artista in the finest masterpieces. By attracting people from all parts of the state to tilia animal musical least, the University as a whole is brought nearer to thein. The enthusiasm and esprit de corps which pervades the i'horus (if it lias the proper spirit ia its ranks) rnakes its members loyal, not alone to the organization, but íiiniishes another bond of union between tbem and their Alma Mater. Itsvalue to Ann Arbor will not le realized itilly until an auditorium shall be erecled which can acconooclate the large nunibei' of music lovers in our state who would flock liither were they assured ..f proper uonsideration. With an auditorium adapted for the performance of Grand Opéra, as well as cl) oral and orchestral coucerts, Ann Arbor will become a power for the development of music in this section of our country. With the Chamber Concerts, given by the Faculty of the University School of Music, the Choral and Orchestral Concerts in the Choral Union Series and the concerts of the May Festival, Anu Arbor has, within its borders all the constituent of a vigorousandhealthy musical life. The " Better Times," in its last issue brought before its many readers the claims of the University School of Music, therefore we will not mention it further than to add that the influence of this school is no small factor in making this musical atmosphere healthful and stimulating. In connection with Professor Stanley's article the publishers append herewith the programmes of the three festivals already given, and tliat of the fourth to be given this year. The First Annual Festival was given May KSth and 19th, 1894. The following'scheme of performances and list of soloists will give an idea of its character. Friday, May 13. - Evening, Symphony Concert. Saturday, May 19. - Afternoon, Orchestral Matinee. Evening, "Manz.mi" Requiem. Verdi. Sopranos. - Miss Emma Juch. Miss Rose Stewart. j Contralto. - Miss Gertrude May Stein. Tenor.- Mr. E. C. Towne. Baritoue. - Mr. Max Heinrich. Pianist. - Mr. Arthur Friedheim. Harp. - Mr. V. V. Rogers. Violin. - Mr. F'elix Winternitz. Cello.- Mr. Fritz Giese. Boston Festival Orchestra. Emil Mollenhauer and Albert A. Stanley, conductors. The Choral Union (2G0 vrices) also appea.red. The attendance was very large, and the enterprise was a success both artistically and financially. Eiïcouraged by this success the scheme was somewhat broadeued in its scope, as will appear by the following list of concerts and soloists for the Second Annual Music Festival May 17th and 18th, 1895 : FESTIVAL FORCES. Sopranos. - Lillian Nórdica, Rose Stewart. Contralto. - Gertrude May Stein. PBOORAM. 1. Sympbony in F. Major (M. S.)- A. A. Stanley. (Dedicated to James Burrell Angelí, President of the University of Michigan.) Poco Adagio - Allegro ma non troppo. Adagio con molto espressione. Scherzo - Molto vivace. Finale - Allegro deciso. 2. Bailad for Baritone and Orchestra, "Lochinvar," Chadwich - Mr. Max Hein ich. 3. Concerto in E flat ("Emperor"j. Beethoven. Allegro- Adagio un poco mosso Allegro ma non troppo - Mr. Alberto Jonas. 4. Overture, "Magie Flute," Mozart. Conductors - Mr. Émil Mollenhauer and Albert A. Stanley. (Steinway Piano used.) May Festival Concert ?ïo. 3. Friday Evening, at 8:00 o'clock. MISCELLANEOÜS PROGRAM. Soloists - Miss Rose Stewart, Soprano. Miss Gertrude May Stein, Contralto. Mr, Evans Williams, Tenor. Signor Guiseppe Campanari. Conductor - Émil Mollenhauer. PROGBAM. 1. Suite for Orchesira, Moszkowski. ia) Allegro molto. (b) Tema con Variazione. (c) Moto Perpetuum. 2. In Native Woith (Creation), Haydn - Mr. Williams. 3. Letter Aria, Mozart - Miss Stewart. 4. Prologue. " I Pagliacci," Leoucavalio - Sig. Campanari. 5. Fantasie, "Romeo and Juliet," Svendsen - Orchestra. 6. Aria, " Jeanne d' Are," Bemberg - Miss Stein. 7. Qnartette froni "Rigoletto," Verdi - Miss Stewart, Miss Stein, Mr. Williams, Sig. Cara pan ari. 8. Overture, " Sakuntala," Goldmark. May Festival Concert No. 4. Saturday, 2:30 ORCHESTRAL MATINEE. Soloists - Miss Rose Stevvart, Soprano. Mr. Herman Zeitz, Violin. Mr. VanVeachton Rogers, Harp. Mr. Jolm J. McClellan, Organ. PROGRAM. 1. Overture, "Ruy Blas," Mendelssohn - Orcliestra. 2. Harp Solo, " Morceau Caracteristiques," Parish Alvars - Mr. Rogers. Tenor. - Wm. H. Rieger. Baritone. - Max Heinrich. Bass.- William H. Clarke. Pianist. - Martinus Sieveking. Organist - Clarence Eddj-. Harp.- V. V. Rogers. The Boston Festival Orchestra, 56 musicians. The Choral Union, 300 voices. Ernil Mollenhauer and Albert A. Stanley, Conductors. SCHEME OF PERFORMANCES. May 17th, 8:00 p. m.-Symphony Concert. May lStli, 11 :00 a. m.- Organ recital. 1 :30 p. m. - Orcliestral Matinee. 7 : 30 p. m. - Berlioz's Damnation of Faust. Railroad Rates. - An open rate of one fare for round trip was given from all points in Michigan. The atteudance at this festival was literally overwhelming and University Hall proved itself entirely inadequate to accommodate the visitors who were attracted froni all parts of the state. The Third Festival was extended still more on the artistic side, and represents the highest point yet attained in this city. No advertising was given it, the price of tickets was raised, the system of reserved seats inaugurated, and although the attendance was smaller than the year before, it still taxed the capacity of the hall. Third Animal May Festival, May 21, 22 and 23, 1896. May Festival Concert No. 1. Thursday evening, May 21, at 7 :30 o'clock. WAONBH PROGRAM. Soloists - Frau Kathrina Lohse-Klafsky, Soprano. Miss Gertrude May Stein, Contralto. Mr. Barron BerthaM, Tenor. Mr. Mux Heinrich, Baritone. Mr. Gardner S. Liunson, Bass Baritone. PROGRAM. 1. Lohengrin, one Act. Frau Klafsky, Klsa; Miss Stein, Ortrud ; Mr. Lamson, King; Mr. Heinrich, Herald and Telramund ; Mr. Berthald, Lobeugrio-. Choral Union and Orchestra 2. Tristan and Isolde. (a) Vorspiel - Orchestra. (b) Isolde's Liebestod - Fraa Kathrina Lolise-Klafsky. 3. Die Walknere - Siegmund's Love Song - Mr. Berthald. 4. Faust Overture - Orchestra. 5. Songs. (a) Trauerae. (b) Schmerzen- Miss Stein. 6. Die Meistersinger. (a) Pogner's Address - Mr. Heinrich. (b) Vorspiel - Orchestra. Conductors - Ëmil Mollenhauer and Albert A. Stanley. .May Festival Concert No. 2. Friday, May 22, at 3: 00 p. m. SYMPIIOXY CONCBET. Soloists- Mr. Albert Jonas, Pianist. Mr. Max Heinrich, Baritone. 3. Aria - Miss Stewart. 4. Violin Solo, " Rondo Capriccioso," SaintSaens - .Mr. Zeitz. 5. "Ave Maria," Marchetti - Ladies Chorus and Orchestra. G. Symphouic Sketches, Chadwick. (aj "Jubilee." (b) "Noel." (c) A Vagrom Bailad- Orchestra. 7. Songs - (a) O, That We Two Were Maying, Nevin. (b) La Filli de Cadiz, Thome- Miss Stewart. 8. "Thanks be to God." "Elijah," Mendelsohn - Chorus, Organ and Orchestra. Conductors - Emil Mollenliauer and Albert A. Stanley. May Festival Concert No. 5. Saturday evening, May 23, at 7 : 30 o'clock. SAMSON AND DELILAH. Biblical Opera in three acts, bv Camille Saint-Saens. (First performance in Michigan). Soloists - Delilah, Mrs. Katherine Bloodgood. Samson, Mr. Evans Williams. High Priest of Dagou, Sig. Guiseppe Cainpanari. Abiinelech, Old Hebre w, Messenger, Mr. Gardner S. Lamson. Choral Union and Orchestra. Albert A. Stanley, Conductor. The Boston Festival Orchestra took part in all the concerts, the Choral Union in concerts 1, 4 and 5. FESTIVAL OF 1897. The dates for the Fourth Annual May Festival are May 13, 14 and 15. The soloists are : Mme. EMMA CALVE, Mrs. Francis Dunton Wood - Sopranos. Mrs. Katherine Bloodgood, Miss Jennie Mae Spencer - Contraltos. Mr. Barron Berthold, and Mr. J. H. McKinley - Tenors. Signor Giuseppe Campanari, Mr. Heinrich Meyn, Mr. Gardner S. Lamson- Baritones. Mr. Alberto Jonas - Pianist. Albert A. Stanley and Emil Mollenhauer - Conductors. The Choral Union, 300 voices, will sing. The Frieze Memorial Organ will also be used at the concerts. THUB8DAY EVENIXG. Soloists - Mrs. Francés Dunton Wood, Soprano. Miss Jennie Mae Spencer, Contralto. Mr. J. H. McKinley, Tenor. Sig. Giuseppe Campanari, Baritone. PROGRAM. Chorus Triomphalis - Stanley. Symphonic Poem, "Les Preludes"- Liszt. Aria, "Lend me your aid" ( " Queen of Sheba"), Gounod - Mr. McKinley. Recit. e Scena from "Donna Cañeta," Mercadante- Miss Spencer. "The Sentinel- Hiller. Monologue from "Faistaff," Verdi - Sig. Campanari. Aria, "Ah, Patria Mia" ("Aida), Verdi- Mrs. Wood, (Oboe obligato by Mr. Arthur Trepte.) Overture, "1812"- Tschaikowski. PART II. "Stabat Mater," Rossini- Chorus, Soloists and Orchestra. FRIDAY AFTERXOON. Syniphony Concert. PROGRAM. Soloists - Mr. T. H. McKinley, Tenor. Mr. Alberto Jonas, Pianist. PROGRAM. Symphony, "Consecration of Tones" - Spohr. Aria, "Be thou faithful unto death" (St. Paul), Mendelsshon- Mr. McKinley. Piano Concerto, A minor, Paderewski - Mr. Jonas and Orchestra. Scherzo from F major symphony - Stanley. Overture. FRIDAY EVENIXG. Calve Concert. Soloists - MLLE. CALVE, Soprano. Mrs. Katherine Bloodgood, Contralto. Mr. Barron Berthald, Tenor. Mr. Heinrich Meyn, Baritone. PROGRAM. Overture, "Die Meistersinger,"- Wagner. "Pogner's Address" (Dei Meistersinger) - Wagner. Trois Petites Pieces pour Orchestra- Th. Dubois (Format Suite de Concert.) Aria, "Vieni che poi sereno," Gluck - Mrs. Bloodgood. Act IV (Mad Scène), Hamlet, Thomas- MLLE. CALVE. Etude, Novacke - Played by all the First Violins. Benedictus, Mackenzie's Siegmund's Love Song from "Die Walkuere," Wagner- Mr. Berthald. Scherzo AValtz - Moszkowski. Aria from "La Perle du Brazil," F. David -MLLE. CALVE (Flute obligato by ,Mr. Charles K. North.) March Heroique - Saint Saens. SATURDAY AFTERNOON. Soloists - Miss Jennie Mae Spencer, Contralto. Mr. Heinrich Meyn, Baritone. Mr. Charles Moerenhout, Violinist. PROGRAM. Praeludium, Choral and Nugfue. Bacli - Abert. Aria from "Jean de Paris," Boildieu- Mr. Meyn. Two Movements from Seranade Op. 48, Tachaikowski. (a) Elegie. (b) RussianThpine- String Orchestra. Aria, "Che Faro," Gluck - Miss Spencer. Second Violin Concerto, Wieniawski- Mr. Moerenhout and Orchestra. Musicto"A Midsummer Night's Dream," Mendelssohn. (a) Overture. (b) Scherzo. (c) Nocturne. (d) Intermezzo. (e) Wedding March. SATURDAY E VENINO. Arminius, Max Bruch, For Chorus, Soli and Orchestra. Soloists - Mrs. Bloodgood, Priestess. Mr. Berthald, Siegmund. Mr. Gardner S. Lamson, Arniinius. Cnoral Union and Boston Festival Orchestra. This ad vanee program is subject to minor modifications. The engagement of an artist like Calve is an indication of the growth of the festival, and by reason of the quality of the performances it takes its place among the great festivals of the country, and unique nmong thein froni the fact that is the outgrowth of genuine interest in music among the citizens and students. However mach other communities may come under the influence of the " tovvn and gown " controversy here in Ann Arbor, the feeling oí mutual helpfulness is refresbine and predicates success for the city as well as for the TJniversity. ïhe price of season tickets, $3.00, and .$1.00 additional for a reserved seat for the five concerts, is so low considering the attractiong that there should not be an empty seat in University Hall. By making the Festival a success Ann Arbor will not only extend its musical success bnt will aluo build up the financial resourees of the city and develope its business interests, for Ann Arbor's reputation as an educational center ia its strength. Detailed information and reserved seats may be secured by addressing Mr. Ross Spencë, Secretary., School of Music, No. 9 Maynard St. REDUCED RATES. One-half rate has been seeured from the Railroads for all points between Ann Arbor and Kalamazoo, and from Detroit, Saginaw, Bay City and intermedíate points.

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Ann Arbor Courier