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Figure Frederic Martin Basso Fifth Avenue Presbyterian Church Oratorio, Concert and Recital Personal Address 142 West 91st Street New York City Phone. 5865-J Riverside Important Bookings Season 1906–07 Music Festival, Worcester, Mass. Mozart Club, Pittsburg, Pa. Symphony Concert, Newark, N. J. Susquehanna University, Selinsgrove, Pa. Concordia Society, Wilkes-Barre, Pa. Music Festival, Erie, Pa. Musical Art Society, Springfield, Mass. Vassar College, Poughkeepsie, N. Y. Mendelssohn Union, Orange, N. J. Arion Club, Providence, R. I. Handel & Hayden Society, Boston, Mass. Oratorio Society, Lynn, Mass. Oratorio Society, Trenton, N. J. Symphony Orchestra, Philadelphia, Pa. Choral Society, Reading, Pa. Music Festival, Mt. Pleasant, Mich. Recital, Saginaw, Mich. Oratorio Society, Baltimore, Md. Oratorio Society, Amherst, Mass. Music Festival, Frederick, Md. Music Festival, Wolfville, Nova Scotia Spring Tour, Chicago Symphony Orchestra Festival Chorus, Ocean Grove, N. J. ORATORIO HANDEL'S MESSIAH. Mr. Martin was particularly good. He sang with those moving qualities which come when singer perfectly feels the meaning of his words and the phrases with which a great composer has clothed them.— Boston Evening Transcript. Frederic Martin, the bass, for his spirited singing from memory of the complicated Furiously Rage Together solo, received a fine tribute from audience and chorus. — Messiah, with Handdel and Hadyn Society— Daily Globe, Boston, Mass. Mr. Martin's singing in The Messiah is we known by nearly everyone. He sang with splendid authority and most of the time without the score. — Pittsburg (Pa.) Post. Mr. Martin, the bass soloist, is a commanding singer, and besides having a big voice, which he uses with great care and respect, he has an unusual amount of individuality, which he throws at pleasure into his work. He sang the pyrotechnical aria Why Do the Nations? in a grand and mandatory style. The Republican, Scranton Pa. Few bassos heard in oratorio in America during the past decade have been so well equipped for the task allotted them in The Messiah as is Mr. Martin, who is gifted with a powerful and deep voice, whose tones are so flexible and whose breath control is so firm that he can deliver the long and trying cadenzas without interrupting the flow of tone or dislocating the phrase. In this respect he is unsurpassed by any basso in oratorio today, and in Why Do the Nations So Furiously Rage he aroused enthusiasm by his artistry in vocalization, virile energy in interpretation and copious and enveloping tone.— Newark (N. J) Evening News. Mr. Martin has a superb voice and sang grandly his splendid enunciation and articulation being ad mirably shown in the aria Why Do the Nations? — Orange (N. J.) Journal. Mr. Martin, though new to Toledo, was well known to many concert-goers through his appearances at Ann Arbor and the other neighboring festivals. He fairly carried off the honors, proving to be the best oratorio singer that had appeared here for a long time. He received an ovation after Why Do the Nations? which was magnificently declaimed, and his other numbers won well merited applause. His work throughout was beyond reproach. — Toledo (Ohio) Blade. The hero of the hour, if a great singer can be a hero, was Frederic Martin, twice honored with a festival engagement in this city and the most successful bass that Worcester had heard for many years, more particularly in The Messiah. It has been stated on good grounds that Mr. Martin has a voice that cannot be compared with any other in the country for its suitability for the bass role in The Messiah. This statement was well borne out last night. It would be a difficult matter for any singer to bring more pleasure and satisfaction to an audience than did Mr. Martin.— Worcester (Mass.) Daily Telegram. VERDI MANZONI REQUIEM. Mr. Martin's work more than justified his reputation as one of the best oratorio bassos heard in many years.— Baltimore Daily News. In Mr. Martin, the Music Committee succeeded in selecting a basso who charmed his audience with his rich, full voice. Especially satisfactory was his rendition of the solo Confutatis Maledictis, which he sang with sincere warmth. His fine enunciation is especially to be commended.— The Herald, Milwaukee, Wis. HAYDN'S CREATION Mr. Martin's splendid bass accomplished great things in the role of Raphael in Haydn's Creation, and he had a triumph most marked in the airs Roaming in Foaming Billows and Now Heaven in Fullest Glory, in which he achieved the phenomenal low note with apparent ease. His voice is sonorous, rich and of great beauty. — The Argus, Albany, N. Y. MENDELSSOHN'S ELIJAH Mr. Martin's voice is of just and proper calibre to interpret the difficult passages. He increased the reputation he established two years ago by his work in St. Paul. The excellent quality and ripe culture of his voice were forcibly shown in his fine rendition of the aria , Is Not His Word Like a Fire? — Allentown (Pa.) Chronicle and News. Mr. Martin took the title role of Elijah, in which he was so excellent throughout that it is difficult to specialize on any single number. He seemed to excel himself, however, in It Is Enough. It would have been hard for even the unmusical not to have enjoyed his artistic and emotional rendering of this gem. A prominent musician, who has recently returned from Europe, stated he had never heard a better rendering of the role.— Daily Beacon, Wichita, Kan. HANDEL'S SAMSON. Mr. Martin, the basso, did excellent work in his two great solos, Thy Glorious Deeds and Honor and Arms. These are excellent tests for a bass-baritone artist, as they require fine flexi bility of voice and excellent sustaining power t render the long roulades. He stood the tests wel and rendered both arias in excellent style, winning earnest applause.— Baltimore, (Md.) American Mr. Martin's basso work has seldom been sur passed in this city, and he was the recipient o repeated ovations. His lamentation in the firs part as Manoah, sorrowing over his son Samson' affliction, was among his finest efforts. Anothe was his challenge to Samson, as Harapha, th Philistine giant in part second. His voice is on of the largest and most admirably trained an controlled bass voices ever heard in this city. — York (Pa.) Daily Press. GUONOD'S FAUST. The most trying role of the performance fell t Frederic Martin, as Mephistopheles, and wit much success he essayed to meet the dramatic re quirements of the part. In a musical sense, his interpretation of the score challenged admiration and beyond that he gave the audience a satisfa tory glimpse of the impish humor and sardonic purpose of the satanic villain of the opera. His voice is deep, round and melodious and well adapted for the cavernous intonation of Faust's, diabolical Nemesis. A generous share of the honors of the evening must be accorded to Mr. Martin.— Daily Herald, Syracuse, N. Y. Was a great favorite, and did the most dramatic work of all the soloists, his part of Mephistopheles calling for work of this kind in an unusual degree; but it was fully met, and the generous applause which greeted his work showed the general appreciation. His voice is very full and clear and under perfect control. — Evening News, Lynn, Mass. CONCERT The offerings of the soloist were unusually dignified and of fine quality. Wilkes-Barre so seldom hears a basso ( a genuine basso in quality and range ) that Frederic Martin, bass soloist in the Fifth Avenue Presbyterian Church, of New York, and in much demand as a concert singer, was welcome. His voice is ponderous in quality, not only very deep, but wide, and reaching from the depths even into the realm of the baritone. His tones are so well forward that they have a quality that carries with authority and without losing their large breadth. Moreover he has for such quality, a remarkable flexibility and agility. He exploited a rather extended realm of effort from Meyerbeer's The Monk to the lieder and the ballad realm. His work throughout was of even quality and excellence and was most gratifying. — The Wilkes-Barre (Pa.) Daily Record. Mr. Martin's first number, Si Tra I Ceppi, was a very difficult one, with many scales and turns, written as only Handel could write them, and sung by Mr. Martin with a smoothness and ease that showed years of hard study and brains to supplement it. In Der Wanderer, by Schubert, he demonstrated his ability to interpret and make his hearers understand and feel what the composer intended them to feel. His low D at the end was indeed a surprise. A Toast, by Salter, was given in a very satisfactory manner. Mr. Martin is the most artistic bass we have ever heard in Peoria. — Peoria (Ill.) Herald-Transcript. Mr. Frederic Martin, a basso with a full, rich voice, which carries well, delighted his hearers with his songs—one from Mozart's Magic Flute and one from Gounod's Philemon et Baucis. So enthusiastic was the audience, when the singe bowed himself off the stage, that he was compelled to sing an encore number.— Richmond (Va.) Times Despatch. Frederic Martin, of New York, who has a won derful bass voice, sang a scene and aria from Verdi's opera of Don Carlos. Mr. Martin' voice is truly a basso; it is rarely that a bass of s much depth, strength and artistic ability has bee heard in this city.— Springfield (Ill.) Stat Register. Mr. Martin has a big, powerful bass voice o great depth and capacity, sings with feeling an abandon, and impresses by the very power of h interpretation. After this group he was recalle and sang an encore in a smooth and charmin style. He sang the aria Chanson de Vulcain, by Gounod, in a masterful manner. — Galesbur (Ill.) Daily Republican. It is due to Mr. Frederic Martin to award hi the palm of most favor with the audience. H admirable control of a bass voice of singula musical quality and smoothness won instant recog nition, which he rewarded with the old Englis Drink to Me Only with Thine Eyes as an e core, after singing his programme numbers.— Norwich (Conn.) Bulletin. Mr. Martin is the fortunate possessor of a excellent basso-cantante voice, well trained an excellently managed. His rendition of Meye beer's aria, The Monk, was dramatic, forcef and sombre, while in Vision Fair, from Ma senet's opera Herodiade, he showed imagin tive power of a keen and superior order. — Fr Press, Burlington, Vt. RECITAL Mr. Martin is a singer concerning whom there can be no two opinions. He possesses a voice of excellent range, of unlimited power and of rare flexibility and quality. Combined with these is an artistic temperament which insures a delightful interpretation. He is thoroughly at home in all styles of music, from the powerful recitative, Thus Saith the Lord, and aria, Who May Abide, of The Messiah to the delicate Hark! Hark! The Lark! of Shubert, or the plaintive Malgre Moi of Pfeiffer. The old and modern Italian selections furnished an effective opening for the program. Of these the delicate Nissun lo sa proved especially delightful. The peculiar lightness of the Italian music was exquisitely brought out. This number was followed immediately by the powerful selection from The Messiah, which gave every opportunity to the force and flexibility of the singer's magnificent bass voice. This was followed by Shubert's reverent An Die Musik. This arrangement, by the way, was characteristic of the entire program, which possessed the greatest variety of music. One of the most spirited selections of the evening was Bizet's Air de Ralph, which is really a drinking song. The gay carelessness of the music was admirably brought out. In the modern English and American selections some excellent songs were presented. Mr. Martin's work throughout the evening was of the very highest order. Certainly he earned many friends here who will be extremely desirous of an opportunity to hear him again.— The Saginaw (Mich.) Courier-Herald. Frederic Martin's charming personality and magnficent voice completely captivated the large audience which gathered last evening to hear his recital under the auspices of the Apollo Club. The recital was a rare musical treat, and the audience was not slow in showing its appreciation. Mr. Martin has what is so rarely to be found nowadays, a real bass voice, but so well trained and under such excellent control, that his hearers forget at times that they are not listening to a tenor or baritone. It is seldom that such flexibility and accuracy of intonation is found in a voice of such size and depth. The program was divided into four groups, consisting of three old Italian airs, three classical German songs by Shubert, three songs in French and eight modern songs in English. Only a voice of the wide range of Mr. Martin's could have handled such a program successfully, and the scope of his powers is shown by the fact that light and tender songs were given in the same perfect and satisfying manner as the heavier numbers. Mr. Martin is a master of expression and interpretation and the feeling which he throws into his singing impresses his hearers even more than his wonderful technique. This quality was more noticeable in the French group than in any other portion of his program, and the spontaneous outburst of applause at the conclusion of the last number brought forth one of the two encores.— Davenport (Ia.) Daily Times. Possesses a voice of wide range, smooth, even quality and sympathy. His program included all styles, from the Handel aria to the modern song and he interpreted each style of composition with much temperament and musical understanding. It is seldom that so satisfying an artist has been heard here. — Raleigh (N. C.) Daily News.
|Title||Frederic Martin: basso|
|Topical Subject (LCSH)||
|Personal Name Subject||Martin, Frederic|
|Digital Collection||Traveling Culture: Circuit Chautauqua in the Twentieth Century|
|Contributing Institution||University of Iowa. Libraries. Special Collections Dept.|
|Archival Collection||Redpath Chautauqua Collection|
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|Contact Information||Contact the Special Collections Dept. at The University of Iowa Libraries: http://www.lib.uiowa.edu/spec-coll/contact/index/|
|Number of Pages||9|
|Digitization Specifications||Scanned at 600 dpi, 32-bit color. Master image available in tiff format.|