Henriette Weber

              1916
Henriette Weber

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Henriette Weber Pianist and Lecturer

DIRECTOR OF THE SUNDAY EVENING OPERA CONCERTS AT THE ART INSTITUTE, CHICAGO
LECTURER FOR THE UNIVERSITY LECTURE ASSOCIATION IN COOPERATION with the UNIVERSITY OF CHICAGO

Personal Address: 1900 Lincoln Ave.
Telephone Diversey 3185   Chicago




HENRIETTE WEBER is a musician who has had an extremely interesting career, because of her unusual versatility.  The daughter of a noted chemist, and a man of brilliant attainments, she had the invaluable advantage of being brought up in an environment where the university spirit predominated.

Resolving at the mature age of five years to become a professional pianist, the promise of every advantage in the way of study here and abroad was assured her on the condition that she would also go to college.  Because of the unusual advantages given her, the college training was begun at the age of fourteen.

Afterward Miss Weber went to Germany where she immediately passed the severe entrance examinations to the Royal High School of Music in Berlin.  During her several years of study there Miss Weber received the praise of many noted artists and teachers, and later she had a period of study with Richard Burmeister.

Miss Weber has appeared with decided success as a pianist in the leading cities of the East and Central West; she has become well known as a writer on musical subjects, having been music critic on several papers, including the New York Evening Sun; and she is the author of a successful textbook on harmony, now in its second edition and extensively used here and in England.

It was quite by accident that Miss Weber invaded the lecture field after having already achieved success in other directions.  Seemingly having the faculty of making a usually dry subject one of absorbing interest, her entertaining and informal presentation of a subject has so endeared her to the public that her lectures are in great demand.

The lectures on the more general subjects pertaining to music are planned to interest not only the musician but the musical layman as well who is just beginning to rid himself of the mistaken idea that technical training is essential to a real appreciation and understanding of music.  This attitude is in keeping with the newly acquired realization that music is a significant factor in social evolution and thereby of interest to everyone.


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Some Comments

In the rendition of this play and opera (Pelleas and Melisande) both artists evidenced their experience and ability, and a large audience greatly enjoyed the reading hour.  Miss Weber is an accomplished musician and appeared to great advantage both in the lecture and at the piano, contributing much to the effectiveness of the reading by her finished playing…
Miss Weber in her lecture (Adriane and Blue-Beard) made the hour most enjoyable by pointing out the outstanding characteristics of the music and the play, and by her performance at the piano contributed much to the success of the hour…

The Chautauqua Daily, Chautauqua, N. Y.


The opera evenings at the Art Institute have been successful from every point of view.  Miss Weber's interpretations of the operas, illustrated by her own piano playing and the assistance of vocalists and three members of the Chicago Symphony Orchestra are artistic presentations.  They mark another red letter in Chicago's musical history.
Chicago Evening Post.


Miss Henriette Weber's series of opera evenings at Fullerton Hall, Art Institute, closed with last Sunday's performance.  The hall was packed, the audience demonstrative and recalls so frequent that the finish was late.
Miss Weber was complimented as that wonderful young woman, and was handed other than oral bouquets.
This is a good work, and has been happily appreciated by a large and always larger number of people.  Chicago needs all that sort of thing it can get.  The Press Club is glad to say so, and to commend The Chicago Woman's Club for backing Miss Weber so handsomely.

The Scoop, Chicago.

Miss Henriette Weber is very catholic in her tastes and the plan of her lectures covers easily the operas of all schools and countries.

The early Italian, severe German or modern French operas each find her keenly alive to possibilities and she makes each in turn thoroughly fascinating to her audiences7hellip;




Some Comments
As Author
The Study of Harmony.  A standard work.

Hans T. Seifert, New York.

Its good terse English will be by no means a small factor in gaining it success.

Edmund Severn, New York.

A book heartily to be recommended.

Glenn Dillard Gunn, Chicago.

Hoping that this meritorious work will become popular, I am happy in expressing to Henriette Weber my most sincere congratulations and best wishes.

(Tr. from the French.)  Emil Sauret, Paris.



As Pianist and Lecturer

Miss Weber's hands betoken character and few pianists have played here (New York) who rival a firmer, warmer touch.  Her technical skill is convincing, and to this necessary foundation she adds that coveted gift from the gods—temperament.
Musical Courier, N. Y.


Plays with remarkably perfect execution.
New York Press.


A remarkable player, of much taste and artistic ability, whose greatest charm is the entire absence of affectation.
Hamilton (Canada) Evening Times.


Played with superb confidence.
Columbus, O., Ohio State Journal.


With the first note she won her audience.
Daily Times, Davenport, Iowa.


Miss Weber is genuinely charming and she has a manner of speaking that compels the closest attention of her audience.  The lecture was no more delightful than the exquisitely rendered piano numbers with which it was illustrated.
Commercial News, Danville, Ills.




Some Comments

In the rendition of this play and opera (Pelleas and Melisande) both artists evidenced their experience and ability, and a large audience greatly enjoyed the reading hour.  Miss Weber is an accomplished musician and appeared to great advantage both in the lecture and at the piano, contributing much to the effectiveness of the reading by her finished playing…
Miss Weber in her lecture (Adriane and Blue-Beard) made the hour most enjoyable by pointing out the outstanding characteristics of the music and the play, and by her performance at the piano contributed much to the success of the hour…

The Chautauqua Daily, Chautauqua, N. Y.


The opera evenings at the Art Institute have been successful from every point of view.  Miss Weber's interpretations of the operas, illustrated by her own piano playing and the assistance of vocalists and three members of the Chicago Symphony Orchestra are artistic presentations.  They mark another red letter in Chicago's musical history.
Chicago Evening Post.


Miss Henriette Weber's series of opera evenings at Fullerton Hall, Art Institute, closed with last Sunday's performance.  The hall was packed, the audience demonstrative and recalls so frequent that the finish was late.
Miss Weber was complimented as that wonderful young woman, and was handed other than oral bouquets.
This is a good work, and has been happily appreciated by a large and always larger number of people.  Chicago needs all that sort of thing it can get.  The Press Club is glad to say so, and to commend The Chicago Woman's Club for backing Miss Weber so handsomely.

The Scoop, Chicago.

Miss Henriette Weber is very catholic in her tastes and the plan of her lectures covers easily the operas of all schools and countries.

The early Italian, severe German or modern French operas each find her keenly alive to possibilities and she makes each in turn thoroughly fascinating to her audiences…




Some Comments
This artist is so fine as a raconteur that one thinks of her first in that connection, and then, when she plays the piano it seems that after all that is her true metier.

Miss Weber gave a most charming explanation of what constitutes the real Bohemia and was witty, bright and poetic in delineating this particular opera, bringing out all its most admirable points and deftly ignoring those few episodes which pass muster in Bohemia possibly but would hardly bear retailing to a Sunday night audience at Fullerton Hall.

Miss Weber led the audience through the story of Hoffman and his love affairs in her well known concise, yet wholly distinct manner, and her hearers showed their approval of her excellent work by many hearty rounds of applause.  The music allotted to the piano quartet was played in fine style and with excellent finish.

Miss Weber is so fine in so many ways herself that one is apt to lose sight sometimes of the fact that she is a splendid pianist but on Sunday night this fact was made so evident that no one could fail to note it especially.

The Dance of the Priestesses was played so well by Miss Weber and her associates that it received the greatest applause of the evening and was of necessity repeated, while the Ballet Music of the last act was only a trifle less popular.


Opera bouffe in the form of Lecocq's The Daughter of Mme. Angot was the offering…
Miss Henriette Weber, the moving factor in these opera presentations, started many ripples of laughter by her witty comments and the vocalists added to the mirth by their tactful rendering of the frivolous music and text.

Music News, Chicago.




Lectures

Modern Tendencies in Music
FIVE LECTURES*

1.
Precursors of Modernism in Music
2.
The Music of Today in France
3.
The Music of Today in Germany
4.
The Status of Music in America
5.
Modern Opera

*Can be condensed into one.



Pertaining to the History of Music
FIVE LECTURES

1.
The Origin of Music: Its Legendary Lore
2.
Early History
3.
Folk Song and Its Relation to Nationalism in Music
4.
The Troubadours, Minnesingers and Mastersingers
5.
Music in the XVII and XVIII Centuries



Richard Wagner
FIVE LECTURES

1.
Wagner's Music as a Standard of Art
2.
How Wagner Uses Legends
(Lohengrin and Tannhäuser)
3.
The Philosophy of the Nibelungen Ring
4.
A Sarcastic Commentary (The Mastersingers)
5.
Wagner's Religion (Parsifal)



Miscellaneous

1.
Forms of Composition—Their Development
2.
Russian Music
3.
Shakespeare in Music
4.
Program Music
5.
History of Opera
6.
Opera Talks
7.
Dance Forms





THESE LECTURES can be arranged for singly or in courses of three or more.

They are given with instrumental or vocal illustrations, or both, depending upon the subject.

For illustrations other than piano illustrations, the co-operation of prominent singers, and members of the Chicago Symphony Orchestra has been secured.

Miss Weber can also be addressed for information regarding



The Chicago Piano Quartette


Henriette Weber
Piano


Fritz Itte
Violin


Carl Hillmann
Viola


Carl Klammsteiner
Cello



Specializing in Chamber Music Concerts and Opera Programs, with prominent singers as soloists