W.L. Hubbard

              Figure

W. L. Hubbard



Redpath




Figure



W. L. Hubbard
 needs little or no introduction, for his name is known in nearly every music-loving community throughout the length and breadth of the land.  For many years he was the music editor and critic of the Chicago Tribune, and during these years came to be recognized as one of the ablest authorities, one of the broadest - minded estimators of musical worth, and one of the most convincing and attractive writers among the really eminent critics of America and Europe.  He became a musical power in the land, and whatever 
Hubbard said
 was regarded as authoritative and final.  His long preparatory studies of music in Europe, his annual visits to the music centers of the old world, and his contacting of all the notable artists who visited the United States during his activity as critic, have given him a breadth of view, a fund of information, and a catholicity of taste which lend to his every utterance positive worth, and that bigness of estimate and opinion that convinces.  His work as editor-in-chief of the recent monumental publication, 
The American Encyclopedia and History of Music,
 which is the most important contribution to music's literature since Grave's Dictionary appeared, but further evidences the wide range and thoroughness of his information.




During the last two years of his occupancy of the musical editorship of the Tribune, Mr. Hubbard accepted the invitations of several prominent clubs to address them on topics of musical interest.  His abilities as a public speaker proved even greater than had his charm as writer.  The simple clarity and beauty of his language, the ease and informality of his delivery, and the directness of his presentation of the subject matter in hand, made his lectures appeal not alone to musicians, but to the layman music-lover, and the great general public as well.  He talks on music matters so that everyone can understand and enjoy.




When Mr. Hubbard relinquished his editorship last February, the Redpath Bureau immediately entered into negotiations for his services as lecturer,
 and now is able to present him in talks on 
The Secret of Music's Power.
  In these talks Mr. Hubbard makes clear, why and how music appeals to us and moves us, points out the difference between 
good
 and 
bad
 music, and traces the history and development of song from its crude beginnings to the great art form it is today.  His talks are of a kind which no one can hear without becoming better informed as to what music is, and what it means.  And he talks so that every hearer is interested and understands.


Alfred Bergen, who has been selected by Mr. Hubbard to illustrate his lectures, is a young baritone of rare abilities.  His voice is one of unusual appeal, combining as it does great sweetness, beauty and sympathy with splendid power and volume.  Study with the best masters has brought the voice under absolute control, and judged even from the purely vocal viewpoint, Mr. Bergen's work is of the first quality.  As an interpreter, however, he ranks among the truly exceptional.  Endowed with natural emotional temperament and fine imaginative powers, his study with George Henschel, and latterly with Mr. Hubbard himself, have developed and rounded out his abilities until today he stands among the most effective and satisfying interpreters of artistic song now before the public of America.  His song recitals and concert appearances in the east and the middle west have won him the highest encomiums.



Charles Lurvey accompanies the vocal selections Mr. Hubbard and Mr. Bergen use in illustration of the lectures, and also supplies such instrumental numbers as may be needed.  He possesses in uncommon degree not only the peculiar and fine talents which are essential for the making of that rare musician—a sympathetic and competent accompanist—but also high gifts as a solo pianist of excellent attainments.  His technical equipment is comprehensive and thorough, his musicianship deep and well - grounded, and his interpretative powers individual and broad.



Figure



WILLIAM L. HUBBARD, Missionary of Music



GIVEN ATTENTIVE HEARING Last Evening's Opportunity to Receive Instruction Along Artistic Musical Lines Was a Rare One and Appreciated by Local Music Lovers




Not until William L. Hubbard, music critic for the Chicago Tribune, came to Moline as a sort of missionary of music as it should be, and lectured to a hall filled with those worth while among the music lovers of the tri-cities, did local students fully realize the extent of the knowledge which they are yet to obtain.  Mr. Hubbard, in his polished and pointed way, made a good attempt to tell them in one evening things which he said could only be told well in many evenings—and long ones at that.

From the platform in the first Congregational Church auditorium, Mr. Hubbard and his proteges—Alfred Bergen, soloist, and Charles Lurvey, piano accompanist—explained the development of the German Lied and added to the attractiveness of the program by giving the musical illustrations.

The lecturer began as all lecturers should—at the beginning of things. He expressed his views regarding the inception of music.  
Some say that the battle song was the earliest form of music, that the hunting song followed and that the love song was the last of birth. But I believe that a savage mother, who sat quieting her child, desired to give vent to the love which was part of her and began a sort of crooning, thus developing the first lullaby.  Then the young warrier, becoming enraptured with the beauties of a fair maid of the tribe, overflowed with joy, and we had the love song.


Mr. Hubbard then described the progress of music, with the musical illustrations by Mr. Bergen and Mr. Lurvey.  Ten numbers were chosen from the works of those composers which Mr. Hubbard considers the best the world ever produced.  Mr. Bergen has a rare facial expression and a reserve power and depth of voice which attract the eye and the ear.  He sang with feeling or with buoyancy as the dictates of the composer demanded.

Mr. Hubbard's remarks were so plain and clear as to be of value to the mere novice in the study of music, and there were few present who did not realize that, from an artistic and educational viewpoint, they were enjoying the premier event of the local season.  The Music Department of the Woman's Club is to be congratulated for the effort it put forth in securing Mr. Hubbard.


The Moline (ill.) Evening Mail, Feb. 9, 1910



Musical America, March 1, 1909


Alfred Hiles Bergen gave his first recital at Music Hall, Chicago, Thursday Evening, Feb. 25.  It proved to be one of the best vocal recitals heard there this season.  Mr. Bergen is an earnest and conscientious student who has confidence in his own work.  Each tone has been studied, his delivery is good and enunciation excellent.




Moline Daily Dispatch, Feb. 9, 1910


Mr. Bergen's rendering of 
The Erl King
 was one of the most dramatically artistic ever heard, and, added to the beauty of the natural voice and the art which has made it an instrument of quick response, the singer is gifted with an imagination and poetic insight that puts him in the same category with David Bispham and even the great Wullner.  But while Wullner does things with his voice that few would dare to do, Alfred Bergen does not need to do them, for he has voice, sympathy, force and scope enough to express all the emotions without a moment's loss of musical values.




Galesburg (Ill.) Evening Mail, Jan. 21, 1910


The audience which greeted Mr. Alfred Bergen, baritone, at Beecher Chapel, Thursday evening, enjoyed one of the best vocal recitals ever given in Galesburg.  Mr. Bergen has a voice of most remarkable quality which has won for him already the distinction of being one of the best baritones in the United States.  He is possessed of a great dramatic power and his interpretation of every song he sings is truly wonderful.




Pres. Lake View Woman's Club, March 3, 1910




My dear Mr. Hubbard:—Your afternoon lecture on 
Japan,
 given before the Lake View Women's Club, delighted us all.  I want to thank you for telling us the things we really wanted to know—the things of deep human interest.  The little—dare I say it?  —gossipy touch gave it a great charm.




The afternoon on 
Music and Its Powers
 some time ago before the Lake View Musical Society was most interesting and the large number in attendance attested your popularity and must have been gratifying to you, but our day at the Lake View Woman's was even better—perhaps on the principle that 
the last is best.




Yours gratefully,
(Signed) MRS. JAMES P. HOUSTON.