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MICHIGAN CONSERVATORY OF MUSIC.
DETROIT
INCORPORATED UNDER THE LAWS OF MICHIGAN.
SCHOOL YEAR 1907–1908.
CATALOGUE OF THE Michigan Conservatory of Music, DETROIT.
FREDERIC L. ABEL, DIRECTOR AND SECRETARY-TREASURER.
Copyright, 1907, by the Michigan Conservatory of Music.
CONTENTS
PAGE
Directors,
4
Announcement,
5
Faculty,
8–9
The Michigan Conservatory of Music
14–17
Biographical Sketches of the Faculty,
19
Free Classes and Free Advantages:
Ensemble Playing and Chamber Music,
41
Sight Reading,
41
Musical Theory,
41
Elementary Harmony,
41
Ear Training, Musical Dictation,
42
Advanced Harmony,
42
Practical Harmony,
42
Orchestration,
42
Musical Form, Analysis, Acoustics,
43
History of Music,
43
Burrows Course of Music Study,
44
Study of Technicalities of Dramatic Art,
44
Concert Training Class,
45
Teachers' Training Class,
51
Pupils' Recitals,
45
Conditions for Admission in the M. C. of M.,
47
Graduations and Teachers' Diplomas,
49
Calendar,
50
Summer Course,
50
Rates of Tuition,
10–13
Rules and Regulations,
53
Rooms and Boarding Houses,
54
Piano and Organ Practice,
45
Musical Bureau,
52
Officers
CAMERON D. WATERMAN, President.
WILLIAM AIKMAN JR., Vice President.
FREDERIC L. ABEL, Director and Secretary-Treasurer.
Board of Directors
CAMERON D. WATERMAN.
FREDERIC L. ABEL.
WILLIAM, AIKMAN, JR.
EDWARD FROHLICH.
NEWTON J. COREY.
THE MICHIGAN CONSERVATORY OF MUSIC enters upon the eighth year of its existence with an assured position among the educational institutions of the country. In the high character of its work and the merit shown by its pupils, it stands second to none.
The artists and instructors who are connected with the Conservatory have been selected because of the eminence they have achieved in their chosen profession, many of them being possessed of an international reputation, and, together with their assistant teachers, have but one purpose in their work—the highest possible artistic development of their pupils. Public appreciation of this fact is shown in the four thousand two hundred names that have been registered during the comparatively few years of the Conservatory's existence, the unswerving loyalty of these pupils to the institution, and the responsible positions graduates have been immediately able to assume and maintain with great artistic credit to themselves and their teachers.
The Faculty of the Conservatory is being constantly strengthened along every line, and begin the year 1907–08 with increased facilities from within and brilliant prospects from without, so that there is every prospect of the most prosperous one in the history of the School.
CONSERVATORY, FACING WASHINGTON BOULEVARD.
CONSERVATORY, FACING GRAND CIRCUS PARK AND BAGLEY AVENUE
Faculty.
PIANO.
VICTOR BENHAM,
NEWTON J. COREY,
MRS. M. D. BENTLEY,
CHRISTINE BATTELLE,
GRACE G. HOFFMAN,
OLA M. DAFOE,
ELEANORE OSBORNE,
IRMA KIRSTEIN,
LILLIAN LACHMAN-SILVER,
LILLIAN GOVE,
FRANK STEPHENS,
MYRTALENE YOKOM,
ALYCE CULLYFORD,
IDA SEARLE,
EVA PETREQUIN,
MARGUERITE LUSTED,
VOCAL.
JOSEPH BARTOLOTTA,
ALICE MAY HARRAH,
MRS. R. A. LITTLEFIELD,
NATHALIE GILMARTIN,
VIOLIN.
MRS. MAY LEGGETT-ABEL,
FLORENCE BIRDSALL,
THEODOSIA ELDRIDGE,
CLYDE SEVERANCE,
VIOLONCELLO.
FREDERIC L. ABEL.
ELLA L. BIRDSALL,
ORGAN.
NEWTON J. COREY,
PAUL KOCH,
EDITH T. MCMAHON,
FLUTE.
HARRY GRAUL,
CONTRABASS.
FRITZ KALSOW,
CORNET.
EARLE VAN AMBERG,
CLARINET.
HARRY JACOBSON,
BASSOON.
GEO. P. VAN SICKLE,
SAXOPHONE AND OBOE.
ARTHUR VAN DER VELPEN.
MANDOLIN AND GUITAR.
CLARENCE E. HILL.
THEORY OF MUSIC AND ELEMENTARY HARMONY.
EDITH T. MCMAHON.
HARMONY (Advanced Course), HISTORY OF MUSIC, ANALYSIS AND ACOUSTICS.
NEWTON J. COREY.
HARMONY (Advanced Course), PRACTICAL HARMONY, COUNTERPOINT CANON, FUGUE, COMPOSITION, ORCHESTRATION.
JEAN B. H. VAN DER VELPEN.
SIGHT READING (Piano).
ALYCE CULLYFORD.
LILLIAN GOVE.
ENSEMBLE PLAYING.—CHAMBER MUSIC.
FREDERIC L. ABEL.
MRS. MAY LEGGETT-ABEL.
LANGUAGES.
FRENCH AND ITALIAN.
MRS. ELIZA M. BARR.
GERMAN.
MRS. VICTOR BENHAM.
MUSICAL KINDERGARTEN.
ANNA IRENE GRISWOLD.
THE STUDY OF THE TECHNICALITIES OF DRAMATIC ART. FENCING.
LEWIS E. T. VICARY.
Rates of Tuition.
FOR A TERM OF TEN WEEKS.
A discount of ten per cent. will be allowed to pupils paying four terms in advance
PIANO DEPARTMENT.
VICTOR BENHAM.
Two lessons per week of twenty minutes each, or one lesson of forty minutes
Classes.
$50.00
Classes of four, two hours each week, each pupil
(Each pupil receives thirty minutes of personal instruction once a week, and has the benefit of the instruction given to the three other pupils.)
37.50
No pupil will be received in Mr. Benham's class unless a lesson of at least 30 minutes' duration, weekly, is taken, excepting in the following manner:
One lesson, weekly, 20 minutes' duration given by Mr. Benham, and one 30-minute lesson, weekly, given by his assistants
35.00
N. J. COREY.
Two lessons per week of forty minutes each
$50.00
Two lessons per week of thirty minutes each
40.00
MRS. M. D. BENTLY.
Two lessons per week of thirty minutes each
30.00
One lesson per week of forty minutes
20.00
Class of four, one lesson per week of two hours, each pupil
15.00
CHRISTINE BATTELLE.
Two lessons per week of thirty minutes each
$25.00
One lesson per week of forty minutes
17.00
MRS. LILLIAN LACHMAN-SILVER, OLA M. DAFOE, GRACE G. HOFFMAN, LILLIAN GOVE, FRANK STEPHENS.
Two lessons per week of thirty minutes each
$20.00
One lesson per week of forty-five minutes
15.00
MYRTALENE YOKOM, MARGUERITE LUSTED, ALYCE CULLYFORD.
Two lessons per week of thirty minutes each
$15.00
One lesson per week of forty minutes
10.00
IDA SEARLE.
Two lessons per week of thirty minutes each
$12.00
ELEANORE OSBORNE, EVA PETREQUIN.
Two lessons per week of thirty minutes each
$10.00
VOCAL DEPARTMENT.
JOSEPH BARTOLOTTA.
Two lessons per week of thirty minutes each
$50.00
One lesson per week of forty minutes
37.50
ALICE MAY HARRAH.
Two lessons per week of thirty minutes each
$40.00
One lesson per week of forty minutes
30.00
MRS. ROY ARTHUR LITTLEFIELD.
Two lessons per week of thirty minutes each
$20.00
NATHALIE GILMARTIN.
Two lessons per week of thirty minutes each
$15.00
VIOLIN DEPARTMENT.
MAY LEGGETT-ABEL.
Two lessons each week of thirty minutes each
$30.00
One lesson per week of forty minutes
20.00
FLORENCE BIRDSALL, THEODOSIA ELDRIDGE.
Two lessons each week of thirty minutes each
$15.00
CLYDE SEVERANCE.
Two lessons each week of thirty minutes each
$10.00
VIOLONCELLO.
F. L. ABEL.
Two lessons each week of thirty minutes each
$30.00
One lesson a week of forty minutes
20.00
ELLA L. BIRDSALL.
Two lessons each week of thirty minutes each
$10.00
ORGAN.
N. J. COREY.
Two lessons each week of thirty minutes each
$40.00
One lesson a week of forty minutes
27.00
PAUL KOCH.
Two lessons each week of thirty minutes each
$20.00
EDITH T. McMAHON.
Two lessons each week of thirty minutes each
$15.00
THEORY OF MUSIC AND HARMONY.
Private Classes.
EDITH T. McMAHON.
Classes of four, each pupil
$ 6.00
HARMONY (Advanced Course), EAR TRAINING, MUSICAL DICTATION.
Private Classes.
N. J. COREY.
Class lessons once a week, each pupil
$10.00
THEORY AND HARMONY.
Private Classes.
JEAN VAN DER VELPEN.
Class lessons once a week, each pupil
$10.00
Private lessons once a week (half-hour)
15.00
COUNTERPOINT AND FUGUE.
Class lesons once a week, each pupil
$15.00
Private lessons once a week (half-hour)
20.00
COMPOSITION AND ORCHESTRATION.
JEAN VAN DER VELPEN.
Private lessons once a week (half-hour)
$30.00
MUSICAL KINDERGARTEN.
Burrowes System.
ANNA IRENE GRISWOLD.
Class lessons twice a week, each pupil
$12.00
Private lessons
15.00
FLUTE, CLARINET, CORNET, And All Orchestral Instruments.
Two lessons each week of thirty minutes each
$20.00
MANDOLIN AND GUITAR.
CLARENCE E. HILL.
Two lessons each week of thirty minutes each
$20.00
One lesson a week of forty minutes
15.00
VOICE, BREATHING, ACCENT, ANALYTICAL INTERPRETATION, THE ART OF READING ALOUD. THE STUDY OF THE TECHNICALITIES OF DRAMATIC ART, PHYSICAL READINESS, (THOROUGH BREATHING) FOR ACTION, SPEECH AND SONG, FENCING.
LEWIS E. T. VICARY
Two lessons per week of forty minutes each
$40.00
Two lessons per week of thirty minutes each
30.00
Twenty lessons, one hour each, in class of not more than four persons
15.00
M. C. of M.
THE success of the Michigan Conservatory of Music has been truly remarkable. More than six hundred students were registered during the past season. Students have come from all parts of the country as the reputation of the Conservatory is a national one and as an institution of learning is unsurpassed and the artistic standard is equally as high as those of the great European centers.
Opportunities for hearing music, an important consideration to music students, are constantly growing in Detroit. The Conservatory, in addition to its own concerts, makes every effort to secure students' attendance at the frequent concerts of visiting artists, at reduced rates. During the season, a series of concerts by the great permanent orchestras of the country, the Boston, Chicago, Pittsburg, and the Damrosch Symphony Orchestras are given, and to these, students may secure seats at low rates.
Several additions to the corps of instructors have been made, thus strengthening the artistic excellence of the School; indeed, no school in the country offers a more eminent list of names.
Constant demands for admission that are being daily received, point to the largest attendance in the history of the institution.
That side of culture which gratifies its taste, or finds expression in music, has large opportunities for development in Detroit. The advantages of comfortable residence and the charm of elevated social and educational life has attracted hither many eminent teachers and votaries of musical culture. As a matter of fact, Detroit occupies a place in line with Boston, Cincinnati and Chicago, as a center of music, among the cities of the country, and perhaps no higher praise could be accorded the popular encouragement given to the Divine Art than that which is reflected by the achievements of the Michigan Conservatory of Music, which has become a power in the land for the diffusion of that love of music which has become recognized as characteristic of the American people. A well-known operatic manager recently stated in an article published in one of the New York dailies, that no city of its size in America was more generous in its support of musical attractions of the highest class than Detroit, which city he named in connection with New York, Boston, Chicago and San Francisco, as being the most liberal patrons of grand opera and concert.
The Michigan Conservatory of Music has received the unqualified praise and commendation of such artists as Paderewski, Teresa Carreno Coquelin, Gabrilowitsch, Harold Bauer, Pugno, Edouard de Reszke and Adelaide Norwood. The last four named have done this institution the honor, shared by no other institution in this country, of giving complimentary recitals for the pupils. The Michigan Conservatory of Music stands today as the strictest, most artistic and exclusive institution of its kind in America. Whereas graduation and teachers' diplomas can often be had elsewhere with little or no trouble, the Michigan Conservatory of Music keeps these diplomas out of the reach of doubtful candidates and only confers on those who, by their artistic and scholarly achievements, actually deserve them, the result being that these diplomas are recognized the world over as certificates of merit and competency on a par with those issued by the conservatories of Brussels, Paris, Munich and Vienna.
FREDERIC L. ABEL.
AMERICAN PRESS.
The Mercantile and Financial Times, of New York, in an editorial about Detroit, says:
Prior to the opening of the Michigan Conservatory of Music, Detroit and this section of the middle west could hardly be credited with the possession of a music school offering the same advantages for instruction in all branches of the art as the old established schools of Boston, New York and Chicago, but the Michigan Conservatory of Music, through the high order of talent embraced in its Faculty, quickly enforced recognition and patronage, and its prestige has steadily increased and it is certain that this institution is one which honors the city and its people, and which is able to contend for the highest distinction with any institution of its kind in the country.
Each of the different departments presents such distinctive characteristics as to give it the importance of a separate school, and it would be easy to occupy several columns of our space with recitals of the interesting and successful careers of the distinguished teachers at the head of each. Such a task is, of course, impossible in an article of this scope; neither can we begin to describe or even enumerate all the advantages which the Michigan Conservatory offers to its pupils, or to enlarge upon the methods of instruction pursued in its different departments. It must suffice to say that no music school in America graduates students more thoroughly qualified for the profession as teachers or artists, or with a more complete knowledge of the art and science of music, such as is desired by many amateurs, than this institution. Its solid worth is shown by the achievements of its many graduates who have attained eminence as artists and teachers, and by the high estimation in which it is held by authorities whose prominence in the musical world entitles their opinions to the highest consideration.
FACULTY CONCERTS.
The Faculty concerts given every year by the Michigan Conservatory of Music, and in which the eminent artists of the Faculty fully displayed their talent, have become among the most brilliant, eagerly sought musical functions of the city. Attended by large, fashionable and music-loving audiences, these concerts have contributed to the musical atmosphere of Detroit in a manner that cannot be overestimated. The entire press has proclaimed their success.
To the enthusiastic applause of an audience that filled the Church of Our Father to the doors, the Michigan Conservatory of Music gave the first Faculty Concert of the season last night.—
Detroit Evening News.
The second Faculty Concert at the Michigan Conservatory of Music last night again demonstrated the high artistic ability of the members of that institution and was in every way worthy of the highest praise.—
Detroit Times.
Six hundred people made up an audience in the Church of Our Father last night, the occasion being the opening Faculty Concert of the Michigan Conservatory of Music. Heads of the three chief departments of the institution presented a program well calculated to show their proficiency in musical interpretation, and nothing but the inflexible rule against encores prevented the stretching of the concert to unreasonable length.—
Detroit Free Press.
A large audience of music lovers listened to the Faculty Concert of the Michigan Conservatory of Music at the Church of Our Father last night. The program presented was a stimulating example of good music and was thoroughly enjoyed. Mrs. May Leggett-Abel, violinist, presented for the first time in public Edward Schutt's difficult suite, op. 44, and acquitted herself with distinction.—
Detroit Free Press,
Pupils Concerts.
Public Pupils' Concerts of the Michigan Conservatory have always attracted a great deal of attention, and regular concerts are given in order to introduce pupils publicly, besides weekly students' concerts, which take place in the Conservatory. It has been the Director's aim to elevate the standard of the classes so that they may equal the schools of Europe, and thus enable the students to have the same artistic development and training as may be attained by studying with the world famed masters. The high artistic aims and successes which have been attained by the Heads of the Departments as virtuosi and teachers with their universal experience and knowledge, and the fact of having turned out several artists of recognition, fully justify the aspiring student to feel confident of the ability of the school to ripen their talent to the highest state of perfection and afford them similar advantages to those given by the greatest pedagogues of the world.
GRADUATIONS
of the M. C. of M. are looked upon as artistic and social events, for it is well known that a graduate of this institution is already an artist through finish and style, as well as other accomplishments.
GRADUATION EXERCISES.
However, it was on the occasion of the Graduation Exercises given June 18th, at the Detroit Opera House, that the worth, prestige and commanding attitude which the Michigan Conservatory has taken, was convincingly demonstrated. A fashionable audience of over 2,000 persons filled every available space and hundreds were unable to gain admission to the building, and it was the conviction of all present that the impressive cermony, the addresses by Hon. William C. Maybury and Mr. William Aikman, Jr., Vice-President of the Conservatory, and the brilliant and artistic performance of the graduates, was a fitting climax to seven years of unexampled success.
Purpose, Aims and Character of the Conservatory.
The greatest good to the pupil will always be the aim of the Michigan Conservatory of Music, and this is accomplished best not only by keeping a staff of the most eminent teachers that can be secured, not only by offering to the student every possible advantage, free and otherwise, but by an earnest, careful, conscientious course of study from the very beginning to the highest requirements of a teacher and of an artist. Pupils that show aptitude or talent for developing special skill on any instrument, or in singing, will be encouraged to the utmost towards gaining the highest results, but this shall never be at the expense of neglecting a solid and comprehensive musical education, without which no artist and no teacher, however skillful in one direction, can hope to succeed. Therefore special care is given to the classes in Theory of Music, Harmony—both written and practical, Counterpoint, Composition, Orchestration, Analysis Musical Form, History of Music, Sight Reading, Chamber Music, Concert Training and Teachers' Training; every class announced in the present catalogue really exists; every advantage offered to students is positive and real, not merely existing on paper, as but too often is the case with unscrupulous institutions.
Officers of the Conservatory.
The Michigan Conservatory of Music stands to-day in the front rank of the leading musical institutions. Mr. Frederic L. Abel, the well-known cellist, is Director and Secretary-Treasurer of the Conservatory. Mr. Abel has been in touch with the musical life of Detroit for the past twenty-five years. He is an excellent performer, a well grounded theorist and a man of sympathetic personality.
VICTOR BENHAM
Faculty.
In the appointment of the Faculty of the Michigan Conservatory of Music, the Directors resolved to gather around them the most eminent artists and experienced teachers that influence and financial inducements could secure. How well they have succeeded, a glance at the Faculty list will show. Therein are names of international reputation, of artists famous throughout the world, who represent all that is highest and best in music. Every teacher, selected with care and because of excellence and special fitness in his or her department, is an accomplished performer and a thorough musician.
The following sketches will undoubtedly be of interest:
PIANO DEPARTMENT.
BIOGRAPHICAL SKETCHES.
VICTOR BENHAM
is well known on the European Continent, as well as in his native country, the United States, as one of the finest pianists that America has brought forth. Mr. Benham has repeatedly appeared in Berlin, Germany, in Vienna, Austria, and in England, gaining everywhere high praise from the press and great success at the hands of the public. He has made long extended concert tours with many of the leading artists of Europe. Mr. Benham has also made himself known as a teacher of authority and eminence, having been, during five years, Professor at the Royal College of Music in London, England. That such a well-known artist should be at the head of the piano department in the Michigan Conservatory of Music is cause for self-congratulation to the city of Detroit, and indeed to the whole country, and speaks volumes for the prestige and reputation which this institution enjoys in the musical world.
Mr. Benham has been in Detroit for two seasons and in that short period the thoroughness which he has inculcated in his pupils and the artistic impetus has been prodigious, and it is his wish to train his pupils and give them all those qualifications which are necessary to equip them for an artistic career and to be successful, whether it may be that they appear as pianists in Europe or America. Mr. Benham will continue to interest himself in the pianoforte department of the Conservatory, which will be a guarantee to students studying with other teachers, of his continued supervision over their work and he will always consider it his duty and a privilege to conscientiously advise students, who apply to him for advice, which will ever be guided by the purest artistic motives. The frequent lectures which
he has given, and which will be continued during the coming seasons, have proven of great value, and have enabled students to form a proper appreciation and understanding of the various elements of music. In connection with the Conservatory course Mr. Benham will give a series of thirty lectures, beginning in October, on the Wagner Music Dramas and of the works to be played at the concerts of the Detroit Orchestral Association.
In 1890 Mr. Benham appeared in America. The New York critics spoke of him as follows:
Mr. A. Victor Benham gave the first of his series of Historical Piano-Forte Recitals before an audience distinguished by the presence of our leading musicians. The numbers consisted of Bach's Chromatic Fantasie and Fugue; Mozart's Sonata and Fantasie in C minor, and Beethoven's Sonatas, op. 27, No. 2, op. 53 and 57. His technique, phrasing and conception were alike remarkable. His playing of the Adagio in the Appassionate Sonata was quite a revelation.—
Herald.
Mr. A. Victor Benham, recently arrived from Paris, gave a Piano-Forte Recital at Chickering Hall. His playing of Beethoven's Waldstein Sonata, Schumann's Fantasie-Stucke, and several pieces by Chopin and Liszt, were distinguished by a very artistic interpretation. Mr. Benham plays with a great abundance of musical temperament and a wonderful velvety touch. The most enjoyable feature of the programme was his improvisation of a Prelude and Fugue, which was developed and performed in an inconceivable manner.—
The Times.
Mr. Benham possesses sterling ability as a pianist, and will be an acquisition to our concert stage.—
The Tribune.
As an improvisor he created a great impression. His manner of developing a theme in the form of a Sonata, was so wonderful, that it showed him to be a master of that branch of the art.—
Berliner Tageblatt.
He plays with assurance and repose, and has been well guided, both from a technical and musical standpoint. His pedaling and rhythm are excellent, and his tone broad and sympathetic.—
The Vossische Zeitung.
Mr. Benham's playing of the Beethoven Sonata, op. 106, was sufficient to establish him as a pianist of the highest qualities. His conception and performance has rarely been equalled.—
Boston Herald.
Although we have heard D'Albert, De Pachmann, Friedheim and others this season, Mr. Benham holds his own, even in comparison with these famous artists.—
Boston Saturday Gazette.
The finest performance of the evening was Mr. Benham's playing of Schumann's Etude Symphonique. Technically it was beyond reproach, while his conception was masterful and inspiring.—
Boston Evening Transcript.
Among numerous articles which have appeared in reference to his playing, the following will be of interest, from the pen of Herr Prochazka in the New York Keynote:
VICTOR BENHAM AND THE WALDSTEIN SONATA.
It gives me pleasure to report favorably upon an artist, because it often happens that I cannot run down a musician who deserves it, and, therefore, say nothing. In this instance, however, standing upon a severe basis of criticism, I feel fully convinced that Mr. Benham is not merely a skilled and well advertised pianist, but he is really the possessor of immense genius. As ink is a material without which the writer could not perform his task, so technic is absolutely necessary for the pianist, for only if he is master of all technical difficulties can he devote his entire attention to the work he is performing, and to the idea of the composer he is portraying. Mr. Victor Benham, especially in the last movement of Beethoven's monumental work, has given full evidence of my former assertions. But not only that, his conception was so fascinating, that since the Rubenstein performance of the same work, I never heard anything more passionate and vigorous. There are some old fogies in our musical profession who seem to feel themselves compelled to set up Dr. Von Bulow as a Norm of a Beethoven player; they think that the metronome-like coldness, or absolute repose (a thing praiseworthy in its way) is the only manner in which Beethoven should be given.
Now I most decidedly object to this view, for Beethoven, the most passionate spirit of all, certainly played his Appassionate and all similar works of the kind, in an impetuous, concentrated manner, such as is characteristic of his very individuality. Not only are comparisons odious, but I claim that Mr. Benham's conception was the correct one in the true sense of Beethoven's immortal genius. It was the performance of a young, aspiring genius, whose artistic conception cannot mould itself into the mechanical phrasing of a Metronome or of simply repeating other people's traditions, but who has power and concentration of soul enough to work a climax on his own strength and imagination.
Mr. Benham's performance of Beethoven's Waldstein Sonata is that of a great artist who has the mental power to overcome the most stupendous difficulties and do justice to the greatest master-works. After the performance of Beethoven's Waldstein Sonata, I can, with a good conscience, place him among the best pianists living. I now do not hesitate to say that Rubenstein's warm praise and enthusiasm for Mr. Benham is well deserved. In support of my remarks, I may add that, apparently, our young artist has among other theories with Rubenstein, the one that disposition will show decidedly in his performance. For instance, at this very concert which gave us the gratifying revelation of the Beethoven Waldstein Sonata, there was no absolute necessity for the artist to be enthusiastic but the fact that he was assisting a deserving lady vocalist; still Mr. Benham, like a thorough artist, sat down and played as if the angels of genius had descended to inspire him.
—Prochazka.
Of Mr. Benham's recent success in Europe, the following criticisms will be of interest:
Mr. Victor Benham plays with assurance and repose; his pedaling and rhythm are excellent, and his tone is full of charm and sympathy. He revealed many delightful qualities in his playing of Beethoven's Sonata Appassionata and in Schumann's Etudes Symphoniques.—
Berliner Vossische Zeitung.
Mr. Benham is the possessor of a wonderfully fine technique, and has a deep sense of musical feeling. As an improvisor, he created a great impression. His manner of developing a theme in the form of a Sonata was so truly wonderful that it showed him to be a master.—
Berliner Tageblatt.
Besides playing in a beautiful manner, the Sonata op. 31, No. 2, by Beethoven, and Mozart's Fantasia in C minor, Mr. Benham played several Chopin Etudes with the very highest perfection in technique.—
Vienna Zeit.
Nothing could have been more perfect or artistic than Mr. Benham's playing of Mozart and Chopin, which stamped him as a very fine artist.—
The Neue Weiner Frei Presse.
The London papers spoke of his playing in the following terms:
Mr. Victor Benham's playing is full of individuality and his tone never loses its warmth and charm. He has a splendid technique and is an excellent musician.—
The Times.
Mr. Victor Benham gave a very artistic performance of Beethoven's Sonata op. III. He was particularly successful in the beautiful Airetta, and gained several recalls for his brilliant performance of Schumann's Carnival.—
Daily Telegraph.
Mr. Benham gave some very excellent performances at his Recital at the Queen's Hall. He is a pianist fully deserving recognition. His playing of four Etudes by Chopin, and Schumann's Etudes Symphoniques, was full of charm.—
The Standard.
Mr. Benham played with great brilliancy and intelligence, and possesses great charm.—
Morning Post.
Mr. Benham has played with great success in the provinces, and has been ranked with the greatest living artists by the press of North of England, including the Sheffield Daily Telegraph, Independent, and other prominent papers.
His repertoire consists of all the standard concerti and twenty recital programs, and includes three concerti, two sonatas and several miscellaneous compositions of his own.
With a program of more than individual interest Mr. Victor Benham delighted a large audience at the Unitarian church last night. The Waldstein Sonata of Beethoven, which was given in response to a general request, headed the program and was given an impressive reading, and Mr. Benham's own transcriptions of Mendelssohn's On Wings of Song and Schumann's Widmung served partially to acquaint the audience with what was to follow in the way of individuality. Liszt was represented by two numbers, the second being his Au Bord d'une Source,
which is full of the most extraordinary technical difficulties. Mr. Benham concealed these with the ease of a finished master. His marvelous control of dynamic was demonstrated in the Liszt transcription of the spinning-song from The Flying Dutchman, and he was obliged to play the cello etude of Chopin in addition to the regular numbers by that composer on the program.—
Free Press.
The present season's faculty concerts of the Michigan Conservatory of Music were brilliantly inaugurated at the Church of Our Father last night, when Mr. Victor Benham gave a piano recital. His audience was musical in the best sense, there was abundant enthusiasm, too, so much that Mr. Benham was obliged to break the Conservatory rule and twice respond to encores.
His program was orthodox and in a way heavy, including the big Carnival of Schumann and the Romanique sonata of Beethoven. It was opened by the artist's own suite, written in the style of Handel, but originally and even romantically treated. Mr. Benham's exposition of Beethoven is wholly admirable and valuable to students of form. The Schumann number with its widely differing expressions, was so clean-cut as to make the printed description unnecessary.
Mr. Benham scored a tremendous success and bore his honors meekly, like one accustomed to appreciation. He even passed successfully the ordeal—always trying to a man—of receiving a handsome bunch of American Beauties.—
Free Press.
Mr. Victor Benham has two wrists of finely tempered steel and the endurance of ten men. In presenting the program of the faculty concert of the Michigan Conservatory of Music at the Church of Our Father last night, he gave a wonderful exhibition, not only of prodigious technical equipment but of remarkable control as well. The program would have taxed any pianist, for it included Beethoven's last serious work, the sonata Op. III, two movements of the big Schumann fantasie, Liszt's transcription of the Erl King, of Schubert and twelve Chopin studies, besides Mr. Benham's transcription of two of Schubert's songs.—
Free Press.
Mr. Benham's reception was enthusiastic and overwhelming and he was obliged not only to respond to encores but even to accept a bunch of American beauty roses. His playing was of a very high order of excellence and musical interpretation, the program including a thoroughly representative list of classical selections that displayed the artist at his best.—
Journal.
MR. N. J. COREY.
Mr. N. J. Corey is recognized in the musical profession as a pianist and organist of unusual ability. Although most widely known as an organist, yet connoisseurs know that it is impossible to acquire technical facility like his without being a pianist of high attainments. His lecture-recitals have brought him great reputation, one of their most delightful features being his thoroughly adequate playing of the works of the great composers he uses in illustrating them. Because
MRS. LILLIAN LACHMAN-SILVER
CHRISTINE BATTELLE
MRS. M. D. BENTLEY
FRANK STEPHENS
LILLIAN GOVE
of his authority in the teaching of the piano he had charge of the piano department of the Musician for several years, and now conducts the same department in the Etude, the leading music teachers' magazine of the country.
In another paper was the following:
Mr. Corey's ability as a pianist is far above the average of our resident public players. He commands a large repertory of instrumental music, and his ability as a sight reader has frequently excited the admiration of musicians who have witnessed it. Not a few people regret that Mr. Corey is leaving Boston for a new field of labor.
Mr. Corey is a pianist of rare excellence, his interpretations being marked by strength, beauty and poetic feeling.—
Detroit News.
One feels, in listening to all of Mr. Corey's playing, that he has stopped to think what the music means, that he is interpreting as well as performing.—
Detroit Tribune.
Mr. Corey's rendering of the Chopin numbers was masterly.—
Detroit Free Press.
MRS. M. D. BENTLEY
has gained, through years of intelligent, successful work, both as a pianist and as a teacher, a reputation that will always ensure her the strongest possible following. Endowed with great charm of manner and personal gifts, she also possesses such knowledge, ability and tact as secures for her the gratitude and devotion of her pupils.
Mrs. Bentley possesses an exquisite touch, technical accuracy and complete self-possession.—
Evening News.
Mrs. M. D. Bentley, one of the best known of local piano teachers, has been particularly successful with children, a field in which few excel and one which requires peculiar adaptability and personality on the part of the teacher. At present Mrs. Bentley, in addition to her teaching efforts with a large class of pupils, occupies the position of organist and choir director of the Woodward Avenue Congregational Church, where the music is of a high character under her leadership. For many years she held a similar position at St. Joseph's Memorial Church. As an accompanist Mrs. Bentley's services are much in demand, both locally and by artists from out of town, a recent tempting offer having been made her for a season's tour as accompanist with one of the most prominent New York singers. At the National Music Teachers' Convention, held in July at Put-in-Bay, Mrs. Bentley achieved considerable success as a solo pianiste in a recital program.—
Detroit Free Press.
ALYCE CULLYFORD
GRACE G. HOFFMAN
MYRTALENE YOKOM
IDA SEARLE
MARGUERITE LUSTED
OLA M. DAFOE
MISS CHRISTINE BATTELLE, MRS. LILLIAN LACHMAN-SILVER, MISSES LILLIAN GOVE, OLA M. DAFOE, GRACE G. HOFFMAN, MARGUERITE LUSTED AND MYRTALENE YOKOM.
all of whom are brilliant concert pianists, have also won for themselves a fine reputation as successful and accomplished teachers. Their thoroughness and ability have been exemplified by their large classes and by the fine playing of their pupils.
MISS CHRISTINE BATTELLE.
A large audience was present at the Church of Our Father Friday evening to hear Miss Christine Battelle's piano recital, which she gave as a candidate for the degree of Bachelor of Arts (Mus.), offered by the Michigan Conservatory of Music. Her recital was the first of the kind given under the auspices of the Conservatory and naturally attracted a great deal of attention. The soloist demonstrated her title to the degree offered by playing a difficult and varied program in a finished manner. She has a brilliant technique, a nice sense of rhythm and she phrases with discretion.—
Sunday News-Tribune, June 11th.
A large audience was attracted to the Church of Our Father Friday evening for the recital of Bachelor of Arts, given by Miss Christine Battelle, of the Michigan Conservatory of Music. The program was an unusually hard task for any artist, and it was cause for much congratulation to the friends of Miss Battelle and the Conservatory that she acquitted herself remarkablly well, playing with admirable technique, style and intelligence.—
Free Press, June 11th.
A large audience assembled Friday evening in the Church of Our Father to hear the piano recital for the degree of Bachelor of Arts given by Miss Christine Battelle, teacher on the Faculty of the Michigan Conservatory of Music. This is the first time that a recital of this kind has ever been given in Detroit. Miss Battelle played her whole program in a brilliant manner. The young pianist displayed brilliant and accurate technique, good phrasing and discretion of tonal values. Particularly effective were Fantasie and Fugue in G minor by Bach, arranged by Liszt, Ballade by Grieg, Nocturne in G major by Chopin, Concert Mazurka by Alberto Jonas and the Campanelle by Liszt.—
Detroit Journal.
This young pianist has wisely refrained from making her chosen instrument a medium for mechanical display only, and her musicianly undertaking of the composers she interprets, her natural rhythm and the admirable ease with which she accomplishes what to many older and more experienced pianists seems labor, combine to make her playing a delight. Miss Battelle gave two two-part numbers, Dedication by Schumann-Liszt and Concerta Mazurka by Alberto Jonas, brilliant and interesting compositions, but in her interpretation of the Nocturne in B major, by that poet of the piano, Chopin, she was at her best, entering into the spirit and poesy of it with sympathetic intuition. In an Etude in A minor by Paganini-Liszt she was also happily in touch with the spirit of the composition.—
Toledo Courier-Journal.
GIUSEPPE BARTOLOTTA
At her recital at the Church of Our Father in Detroit, Miss Battelle gave an excellent rendering of some difficult numbers, her playing of the Bach-Liszt Fantasie and Fugue in G minor, and the Sonata op. 57 of Beethoven being most artistic. Chopin's Nocturne in B major, and the Paganini-Liszt Campanelle gave her opportunity to display her fine technique.—
Toledo Times.
In her interpretation of the G Minor Concerto Miss Battelle evinced a poetic imagination, delicate tonal coloring and brilliant sure technique that brought a burst of prolonged applause from the musicians. In response to insistent requests for an encore Miss Battelle gave Schumann's Dedication and played exquisitely the Wagner-Liszt arrangement.—
News Bee, Toledo.
MRS. LILLIAN LACHMAN-SILVER.
The arrangement of Chopin's Allegro de Concert, op. 46, as played by Miss Lillian Lachman, proved an enjoyable number. Miss Lachman plays with a full round singing tone that gives her work a marked individuality and her sincerity of interpretation is particularly artistic and pleasing. To the deserved encore she responded with Rubenstein's familiar Barcarolle.—
Detroit News.
The Allegro-de-Concert by Chopin is a charming and masterly work and should be included in the repertoire of all artists. It was admirably played by Miss Lillian Lachman, who possesses a highly developed technique, great charm and ample repose. A noticeable feature was her excellent pedaling.—
Detroit Free Press.
MISSES ALYCE CULLYFORD, ELEANOR OSBORNE, IDA SEARLE, EVA PETREQUIN, IRMA KIRSTEIN AND FRANK STEPHENS,
through their ability as pianists and their thorough, practical training as teachers, are decidedly valuable acquisitions in the piano department.
VOCAL DEPARTMENT.
The Director of the Conservatory, desirous of making the vocal department of this institution unsurpassed by any other Conservatory in the United States, has secured the services of teachers of great excellence. The proper guidance and development of the voice being so important and the faculty for doing same possessed by so few that it is with pride that the Conservatory can boast of possessing teachers of such absolute merit.
In securing the services of Mr. Joseph Bartolotta, the eminent Italian tenor, the musical life of Detroit has been enriched by the
possession of an artist, who has won universal distinction as a concert singer and teacher throughout Europe. He has sung at the foremost concerts in England, in conjunction with some of the most famous artists, including Patti, Melba, Kubelik, Paderewski and others. The following are a few extracts from the press:
The vocalist of the evening was Signor Bartolotta, a tenor whose exceptional singing, we venture to say, will not easily be forgotten. He is a Neapolitan by birth and studied for some years at the Conservatory at Naples. During the last two years he has appeared in most of the principal cities of Europe, but has only recently come to England. Signor Bartolotta has a truly magnificent voice, and in spite of the fact that four out of five of his songs were in his native Italian he was accorded a great reception. On two of his three appearances the audience would not be denied an encore, and on the third occasion Signor Bartolotta only begged off after bowing his acknowledgements again and again.—
London Morning Post.
The vocalist was the Neapolitan tenor, Signor Bartolotta, who created quite a furore. His voice has the true operatic ring of the Italian tenor, clear and high pitched (an open voice) and his style and method recalled the palmy days of old when Italian singers reigned supreme.—
Birmingham Daily Mail.
Among the artists who appeared was the Italian tenor, Mr. Bartolotta, whose voice bears a remarkable resemblance to that of Caruso.—
Daily Telegraph.
A revelation of the overwhelming superiority of the Italian tenor in operatic singing was given by Signor Bartolotta.—
Detroit Free Press.
Signor Bartolotta sang two airs with great dramatic effect, and with decided success.—
Detroit Journal.
Signor Bartolotta completely carried the audience away, a storm of enthusiasm greeting the close of the scene.—
Detroit News.
Signor Bartolotta has a tenor voice of remarkable range and power, which he uses to splendid advantage. He is able to compass a swelling burst of melody with perfect ease; he can sing love passages in dulcet, subdued tones; but most of all he distinguished himself in pieces of a bravura character, which are so typical of Italian music.—
Detroit Times.
MISS ALICE MAY HARRAH.
The thorough normal training, supplemented by long study with eminent New York and European teachers, has equipped Miss Harrah in an unusually strong manner for her work as a teacher and coach. She is a soloist with a voice of sweetness and power, and a director and coach of quartet and chorus work of enviable reputation. As a teacher, Miss Harrah has always been eminently successful. Having
ALICE MAY HARRAH
NATHALIE GILMARTIN
MRS. R. A. LITTLEFIELD
had long, extensive experience, endowed with uncommon aptitude for imparting to others her own knowledge, she has brought forth a number of talented pupils whose training reflects the fine method, thoroughness and artistic finish and freedom of their gifted teacher.
She has a soprano voice of great power and sweetness and she is an excellent musician.
WILLIAM COURTNEY, New York City.
I was particularly impressed by the chaste style, by the musical quality and steadily sustained tones of her voice. Her singing is also characterized by repose, and this is a feature which is highly esteemed by the best artists.
New York City. WILLIAM MASON,
Powerful and clear as an organ, voice very well placed and of great expression. With such elements you are assured of great and legitimate success, when you are heard in classic or modern repertoire, adding to it the personal feeling you have acquired.
PAUL PECQUERY, Paris, France.
(Translation from the French.)
You merit, through your beautiful, sympathetic voice, your superior gift for the art of singing, and fine musical feeling, the best results in your career as a singer. That you can sing in five languages is also of particular excellence, which will always be of great benefit to you, for not many have this gift. From
MARTHE FRAHNERT, Dresden, Germany.
(Translation from German.)
Miss Alice May Harrah is an artist church and concert soprano. She interprets her selections in a musicianly manner.
ERNEST R. KROEGER, St. Louis, Mo.
Miss Alice May Harrah, who made her first appearance at the Brooklyn Tabernacle, last week has a fine soprano voice, firm, clear, full and resonant. Add to this a charming personality, and it is readily seen that she has the elements of complete success.—
The American Musician, New York.
Miss Harrah, as usual, sang faultlessly. In Inflammatus her work was particularly beautiful. An auditor remarked that she could not sing otherwise than faultlessly; and this is all the praise an artist could desire. People are apt, however, to underestimate the difficulity of work that is performed with such invariable precision, and with such apparent ease.—
The Outburst, Spokane, Wash.
Miss Alice May Harrah, who takes the role of Queen in Esther cantata, has a deservedly high reputation as a dramatic singer. Her voice has the remarkable range of twenty notes, being clear, full and sweet on each extreme. This coupled with her dramatic ability, and earnest work, has placed her in the front rank of dramatic singers. She will ever be remembered as the beautiful Queen Esther, who so graciously reigned over Kalispell while here.—
Kalispell Graphic, Kalispell, Mont.
MRS. ROY ARTHUR LITTLEFIELD
has steadily gained in popular favor, and the fine results shown by her numerous pupils conclusively stamp her as one of the cleverest, most successful teachers in Detroit.
MRS. MAY LEGGETT-ABEL
Mr. Abel's Wife
Violin Department.
MRS. MAY LEGGETT-ABEL. head of the violin department, is as well known through her success as a concert player as through her ability as a teacher, and is one of the few lady violinists who have won distinction on the American stage.
When still very young she commenced the study of the violin, under the careful training of Conrad Hoffman, the eminent violinist. After several years' study and concert work in this country, she went to Paris, where she remained for two years, studying with the celebrated masters, Charles Dancla and Eugene Brenne. While in Paris Mrs. Abel was invited to play at the Salons of the late President Carnot; Madame Matilde Marchesi, the celebrated vocal teacher; Madame la Countess Clarissa Ziska, the well-known Italian singer and teacher; the Baroness de Launay; the American minister, Mr. Whitelaw Reid; and many others of international reputation, where she was accorded the very highest honors. Mrs. Abel finished the difficult four years' course of the Paris conservatory in two years, and on returning home was immediately engaged for a long concert tour at the head of her own company. After five years of unusual success in concert work through the United States and Canada, she was engaged by the Michigan Conservatory, where she has taught a large class and has been eminently successful in both solo work and teaching.
Mrs. May Leggett-Abel is one of the few lady violinists who have won distinction on the American concert stage. She is an artist of rare ability; she began the study of the violin when a mere child, and continued steadily until recently, when she returned from a two years' course in Paris. While in Paris Mrs. Abel was invited to play at the salons of the late President Carnot; Madame Matilde Marchesi, the celebrated vocal teacher; Madame la Comtesse Clarisse Ziska, the well known Italian singer and teacher; the Baroness de Launay; the American minister, and many others of international reputation, where she was accorded the very highest honors.—
Concert Goer.
Mrs. Abel's playing was clear, broad and bold. Her tones were perfectly taken and admirably sustained, her accuracy being especially apparent in the extreme upper notes.—
Detroit Free Press.
The violin playing by Mrs. Abel was the feature of the evening; her execution was neat and precise, her tone strong, pure and sweet.—
Standard, Watertown, N. Y.
Mrs. May Leggett-Abel is entitled to rank with the best lady violinists, her execution being almost without limit, her tones true, and her interpretation sympathetic.—
Detroit News-Tribune.
Mrs. May Leggett-Abel was the star of last night's faculty concert of the Michigan Conservatory of Music, given at the Church of Our Father. She played de Beriot's concerto, Op. 73, with such spirit and fire, and such warmth of tone, supplemented by an admirable technique, that nothing but the stringent rule forbidding encores prevented her from playing again in response to the demands of the audience.—
Detroit Free Press.
Over 600 people filled the Church of Our Father Thursday evening for the Faculty concert of the Michigan Conservatory of Music. The opening number was the sonata in A major by Raff, played by Mrs. May Leggett-Abel and Alberto Jonas with the perfection of ensemble and artistic finish that stand as an example
THEODOSIA ELDRIDGE
CLYDE SEVERANCE
FLORENCE BIRDSALL
of how such music should be played. Mrs. Abel appeared later in the program as soloist, playing the Romance by Wieniawski and the Tarantelle by Francois Schubert.—
Detroit Sunday News-Tribune.
Mrs. Abel brought out a beautiful tone and displayed great musicianship.—
Toledo Bee.
Mrs. Abel's quiet, lady-like bearing won her many friends in the audience from the outset, which was rapidly accentuated by her admirable rendition of the various numbers allotted her, each solo of this charming violinist being heartily encored.—
Advertiser, London, Ont.
Mrs. Abel was undoubtedly the favorite of the evening, playing with musical tone and brilliancy.—
Flint Globe.
Mrs. Abel, as violinist, thrilled, inspired and swayed her audience almost at will.—
Lapeer Clarion.
Regarding Mrs. Abel's violin playing at Bay View, discriminating people pronounce her the best violinist and most effective concert player who has ever visited Bay View. Besides, she is a young woman of high bearing, and most pleasing presence on the platform and in social life.—
President Bay View Chautauqua.
Mrs. Abel's violin playing was simply perfection and shows what skill, culture and natural gift will do for a person. She executed the most difficult selections with ease and grace and was recalled from three to four times after each number.—
Mining Journal, Ishpeming, Mich.
Nature has been most lavish in her gifts to Mrs. May Leggett-Abel; she possesses a handsome presence and a winning witchery of modesty, supplemented by the artistic skill of the musician, in making her violin charm the heart and soul of her listeners.—
The Star, Coldwater, Mich.
Mrs. May Leggett-Abel, the star of the company, received prolonged and enthusiastic applause, she handles the violin with the skill of a master and the instrument responds to the touch of the artist with wondrous melody.—
Tribune, Three Rivers, Mich.
Mrs. Abel's performance was on a high plane of art, her touch was exquisite, her tone pure and full. She belongs to Pontiac, as was manifested by frequent encores.—
Gazette, Pontiac, Mich.
Mrs. Abel's number was given with spirited effect and a degree of finish in execution that found instant favor with the audience. Being loudly recalled, she gave in a very effective manner a fine instance of cantabile playing.—
Patriot, Jackson, Mich.
Mrs. Abel as a violinist proved her merit to the high rank she has been accorded by the press and public of the American continent. Her stage presence is faultless, while her delicate touch and exquisite execution of the king of instruments fairly captivated the audience, and she was loudly applauded upon every appearance.—
Banner, Chatham, Ont.
The gem of the evening was the violin playing of Mrs. May Leggett-Abel. She has a remarkable technique and produces her flageolet tones in such an artistic manner that one imagines they hear the Schalmei of the Swiss Shepherd.—
Abend Post, Detroit, Mich. [Translation].
MISS THEODOSIA ELDRIDGE,
a young lady endowed with a charming personality, and the true musical temperament, graduated with the very highest honors last year. Miss Eldridge has had several years' experience in teaching, and has had uniform success throughout.
IRMA KIRSTEIN
ANNA IRENE GRISWOLD
ELLA L. BIRDSALL
CLARENCE E. HILL
EVA PETREQUIN
ELEANOR OSBORNE
FREE AND PARTIAL SCHOLARSHIPS.
VIOLIN DEPARTMENT.
In order to offer the greatest possible help to such talented pupils as are unable to pay for their tuition, a full scholarship, for one year, has been offered, in the class of the Head of the Violin Department. This scholarship will be awarded, on examination, to the most gifted of such pupils who will apply for the same. The second best will benefit of a partial scholarship for one year, said partial scholarship carrying with it a reduction of one-half the entire tuition for one year. Only such as are actually unable to pay for their tuition should and need apply, and they must bring, to the Director, some references as to character, standing, etc.
VIOLONCELLO.
MR. FREDERIC L. ABEL
is justly known as a highly accomplished cellist. He is a graduate of the Raff Conservatory of Music, at Frankfurt-on-the-Main, where he was the class-mate and enjoyed the personal friendship of many who have since became distinguished, including Edward A. MacDowell, the American composer and pianist. Mr. Abel completed his studies with Cossman, cello; Urspruch, piano, and Raff and Boehme, harmony, theory counterpoint and history of music. His pupils all reflect in their playing the fine training and thoroughness of their teacher.
One of the best performances during the evening, and one which received most enthusiastic recognition, was the 'cello solos by F. L. Abel, who gave Chopin's Nocturne, op. 9, and the Allegretto, op. 12, by Kiel.—
Detroit Free Press.
The depth and beauty of tone, the fine pathos and sparkling brilliancy of the 'cello when under the spell of a master, were well illustrated in the fine playing of Mr. Abel on this occasion. The 'cello playing was the feature of the concert.—
Battle Creek Journal.
Mr. Abel's performance was true in conception and musicianly in execution. He was thrice recalled to bow acknowledgements.—
Saginaw Journal.
Mr. Abel has long enjoyed an enviable reputation as a master of technique, and his playing was a delight from that standpoint.—
Detroit Free Press.
Mr. Frederic L. Abel, besides being a 'cellist of ability, is evidently a thoroughly cultured musician. His rendering of Popper's Tarantelle was well received, and he was complimented with an enthusiastic recall.—
Toledo (Ohio) Blade.
Mr. Frederic L. Abel of Detroit played Golterman's Cantilena, and the Tarantella Op. 33 by Popper, showing admirably in the first number the melodious and sympathetic quality of the instrument, and in the second, its surprising agility and flexibility. He was insistently encored, and graciously responded.—
Grand Rapids Press.
PAUL KOCH
NEWTON J. COREY
EDITH MCMAHON
The eminent 'cellist, Frederic L. Abel, of Detroit, played Cantilena by Golterman and the Tarentella op. 33 by Popper. Mr. Abel played with the skill and taste of a thorough musician and he demonstrated his mastery of the 'cello. He had a superb instrument, rich and beautiful in tone quality. In response to an encore, he played the Berceuse from Jocelyn.—
Grand Rapids Herald.
Organ Department.
MR. N. J. COREY,
head of the organ department, formerly of Boston, is known as one of the most prominent organists as well as ablest musical lecturers in America. Mr. Corey's studies were made in Boston, under Parker, Lang and Chadwick; he then engaged in professional work there with such success that his stay was lengthened into eleven years. After occupying important positions as organist in Brooklyn, and later at Dr. McKenzie's Church, Harvard College, Cambridge, Mr. Corey accepted a call from the Fort Street Presbyterian Church, of Detroit, which position he still holds. Mr. Corey has given organ recitals in New York, Boston, Cleveland, Detroit and many other important cities, which have received high and unstinted praise from the foremost critics of the press.
He has also given series of organ recitals at the Chicago World's Fair, the Buffalo Pan-American, and was one of two organists to give two series of recitals at the St. Louis Exposition. He is also one of the founder members of the American Guild of Organists.
Mr. Corey was always a deep student of musical history, and, indeed, of all theoretical works related to the art of his choice, and while still a young man he became known as a profound musical scholar. He had a fine literary gift, and, naturally enough, the time came when he set about writing musical lectures. So successful was Mr. Corey in his lectures, especially in his Wagner talks, illustrated with views to be used in the stereopticon, that his lecture engagements included a series in New York, Brooklyn, Baltimore, Philadelphia (three times), before the meeting of the New York Teachers' Association at Rochester, in 1893; three times before the meeting of the Indiana Music Teachers' Association, at Cornell University; three times at Wellesley College; in Detroit, where the series was repeated, etc.
Mr. Corey is an accomplished master of his instrument.—
N. Y. Musical Courier.
Mr. Corey rendered the Rheinberger Sonata with all the refined taste and skill that the most captious musician could require.—
Boston Home Journal.
Mr. Corey is one of the best interpreters of difficult organ music that Detroit has ever heard.—
Detroit Tribune.
MUSICAL LECTURES.
Mr. Corey's treatment of his theme, a subject by no means easy to handle in a way comprehensible to an audience not made of specialists, was admirable in its clearness, and in the comprehensive and exact knowledge it showed. His power of stating facts and ideas in plain language, so as to make their gist immediately comprehensible, is conspicuous. His narration of the story of the Nibelungen was not only clear and interesting, but absolutely correct, a rare virtue in those who attempt to give in detail that complex but perfectly coherent plot.—
W. F. Apthorp, in Boston Transcript.
The success of the affair was pronounced, and the occasion was as entertaining as it was original in aim and instructive in quality.—
B. E. Wolff, in Boston Gazette.
The Lecture may be classed as an absolute success.—
L. C. Elson, in Boston Advertiser.
The lecture was admirable, giving more clearly than has ever been done in this city, an idea of the nobility of the Wagnerian conceptions.—
Philadelphia Inquirer.
Of the greatest educational value.—
Philadelphia Music and Drama.
The most conspicuous characteristics of these lectures have been their presentation in such form as to be enjoyed by everyone, whether musical or not.—
Detroit Evening News.
PAUL KOCH
is already known to the general public through his extraordinarily fine playing as an organist.
ENSEMBLE PLAYING—CHAMBER MUSIC.
These classes, both free and private, are conducted by Mr. Frederic L. Abel, and Mrs. May Leggett-Abel who have for a great many years made this branch a special study.
Pupils attending this class will acquire a valuable and practical knowledge of one of the most grateful and pleasant forms of art.
SIGHT READING.
VOCAL, PIANO, VIOLIN, VIOLONCELLO.
The classes of sight reading (Vocal, Piano, Violin and Violoncello), are respectively under the charge of Alice May Harrah, Lillian Gove, Alyce Cullyford, Mrs. May Leggett-Abel and F. L. Abel. These classes are free to the pupils of the Michigan Conservatory of Music.
THEORY OF MUSIC AND ELEMENTARY HARMONY. MISS EDITH McMAHON
besides conducting the general free classes of elementary harmony, gives private and class lessons in harmony.
EAR TRAINING, MUSICAL DICTATION.
This useful class is free, and will be conducted by Miss Lillian Gove and Alyce Cullyford.
ADVANCED HARMONY, MUSICAL DICTATION, EAR TRAINING, TIMING, RHYTHM, AND GENERAL KNOWLEDGE OF MUSIC.
These classes, both free and private, as well as the free class of
MUSICAL FORM, ANALYSIS, ACOUSTICS,
are conducted by Mr. Corey, who is recognized as an authority in this important branch of music science. The study of harmony is absolutely essential in music, and no cultured musician can ignore the æsthetics of music.
ADVANCED HARMONY, PRACTICAL HARMONY, COUNTERPOINT, CANON, FUGUE, COMPOSITION, ORCHESTRATION.
Figure
In order to accommodate the ever growing number of pupils another free class of advanced harmony has been instituted. This class, as well as the private classes of advanced harmony, practical harmony, counterpoint, canon, fugue, composition and orchestration will be conducted by Mr. Jean Van der Velpen, head of the theoretical department, and one of the most learned, scientific musicians in America.
Practical harmony is the realization, at the piano, of the various accomplishments that a cultured musician must possess. It includes modulating (diatonically, chromatically, enharmonically); improvising the accompaniment of a melody; improvising chorals of one, two or three parts; reading figured bass; transposing, at sight, accompaniments; reading at sight, at the piano, orchestral scores and quartette scores. The study of this useful branch of music has been greatly neglected in America, yet all the leading conservatories of Europe have a special class of practical harmony.
The following biographical sketch is taken from Documents Historiques relatifs a l'art musical et artistes musiciens, published in Belgium in 1874:
Van der Velpen (Jean), born in Malines, Belgium, 1834, was admitted to the Conservatory of Brussels, to the classes of M. Blaes, Delmont and Fetis. In 1859 he obtained honorable mention by the Belgium Government, and in 1861 carried off the first prize in composition, known as Prix de Rome. He was charged by the government with the translation and editing of the works of ancient masters. Several of his compositions have been published and produced with good success. His operetta 'Le Voyage en Suisse' has been especially successful.
Mr. Jean Van der Velpen possesses the gold medal for composition, given by the Belgian government, and several medals awarded him by leading Belgian musical societies.
HISTORY OF MUSIC.
Mr. N. J. Corey will give, during the first two terms, twenty lectures on history of Music. The inestimable value to students of these weekly lectures, given by so well known and distinguished a lecturer, need hardly be dwelt on. Pupils of the Conservatory will be admitted free. During the last two terms Mr. Corey will give weekly classes in
MUSICAL FORM, ANALYSIS AND ACOUSTICS,
and these classes are free to the pupils.
FLUTE, CORNET, CLARINET AND ALL ORCHESTRAL INSTRUMENTS
are taught by leading, competent instructors.
LANGUAGES.
FRENCH, ITALIAN AND GERMAN
are taught by competent teachers.
The Study of the Technicalities of Dramatic Art, Fencing.
Figure
Mr. Vicary knows the art he is employed to teach—knows it practically and is able to give a reason for all he asserts and does in that field of work.—
George P. Goodale in The Detroit Free Press.
Mr. Vicary illustrated his suggestions by an analysis of Anthony's oration, delightfully rendered.—
Detroit Journal, Oct. 4, 1900.
Mr. Vicary's system corrects all affections and develops an easy, convincing habit of speech, a quiet and forceful presence, and that equipoise—that effect of mental and physical well-being—so essential to the successful business or professional man or woman, Teacher or PUBLIC SPEAKER, and is utterly devoid of anything likely to militate in any way against the personal idiosyncrasy of the pupil; and it is for that reason calculated to bring the student in safety to that point of physical and mental preparation for realizing the ultimate desire of the ambition, beyond which he can be led by no one.
The Burrowes Course of Music Study.
KINDERGARTEN AND PRIMARY.
The Burrowes Course attracts children to the study of music by the use of Songs, Stories, Games, Blackboard work, Chart work, Competitive drills and Mechanical devices, as well as Pianoforte music. Thus, with little effort on the pupils' part and much pleasure, the musical faculty is developed, and the young students are made sincere and intelligent lovers of the art. Through this method they learn to play well and pleasingly, are interested, entertained and inspired at all times, and the foundation of a thorough musical education is firmly established.
This department is under the charge of Miss Irene Griswold, who, through her knowledge and her genial personality, has endeared to herself her numerous young pupils. Children who are too young or who for any other cause are unable to attend the classes at the Conservatory will, by special agreement with the Director, be taught at their homes.
ORGAN AND PIANO PRACTICE.
Pupils will be allowed the use of the Conservatory's Farrand & Votey Organ for practice, at a merely nominal price. By making an early application for hours, students can obtain a limited amount of piano practice at the Conservatory; the fee is $1.00 per month for one hour each day.
LESSONS AT PUPIL'S RESIDENCE.
For the convenience of such persons who, because of extreme youth, occupation, distance, etc., are unable to come to the Conservatory, lessons will be given at the pupil's residence by experienced, accredited teachers of the Conservatory, who all possess Teachers' Certificates, or are Graduates of this institution. The advantages of receiving a musical education in voice, piano, violin, by experienced instructors, under the direct guidance of Heads of Departments, can hardly be over-estimated.
LOCATION.
It is with pardonable pride that the Michigan Conservatory of Music points to its home. Located in the heart of the city, yet in a quiet refined neighborhood, stands one of the finest buildings in the Michigan metropolis, formerly the private residence of one of the richest and best known families in Detroit. It is in itself an object lesson of art. The building faces three streets—Washington Avenue, Park Street and Bagley Avenue, and is surrounded by a beautiful park. This is the home occupied entirely by the Conservatory. The interior is well in keeping with the beautiful exterior. There are twenty large studios each being at least twice or thrice the size of studios generally found in other institutions. They are, without any doubt, among the most pleasantly appointed studios to be found in America. The Conservatory has been fitted with a two-manual Farrand & Votey organ.
PUPILS' RECITALS.
The great success of last year's public pupils' recitals has shown the wisdom of the plan pursued. The pupils displayed a surety of technique, artistic freedom, ease and confidence found only in mature artists.
It being the aim of the Concervatory to form experienced artists and teachers, special attention is given to training the pupils so that they may produce their knowledge and skill in a sure and reliable manner.
This is obtained by the concert training classes, free to pupils, which assemble every week, and where pupils learn to gain that control and mastery over oneself, that repose and resourceful confidence, which are so necessary to the performer and singer, and without which many a talented musician has failed to reap full recognition and reward in his career.
In the instrumental recitals, chamber music will be given a prominent place, for nothing develops so much the taste and imparts so much confidence, nor introduces greater variety in a pupil's studies than the playing of duos, trios, quartettes and quintettes among the pupils themselves, under the supervision of experienced teachers.
FREE ADVANTAGES.
The Michigan Conservatory gives to its pupils free access to all the Faculty concerts, chamber music concerts, recitals and special lectures and concerts that will be given in the Conservatory. It also gives them free instruction in the classes of theory of music, harmony, both elementary and advanced, sight reading (violin, piano and cello), ensemble playing, chamber music, history of music and concert training class. While these classes are free, they are also compulsory, as it is the aim of the Conservatory to form accomplished musicians, and this can only be obtained by an enforced system. An exception will be made for pupils who, on entering the Conservatory, give evidence of a good knowledge of these branches, and for those who, through valid reasons, can be excused by the Director. In the Michigan Conservatory of Music only the highest standard—that of professional knowledge and proficiency—will be maintained and applied alike to those who have no need of making music their profession and to those who have. Lessons will be given privately and also in classes, but the curriculum will be the same to all.
DIVISIONS OF STUDIES.
The complete course of studies in the Michigan Conservatory of Music is divided into four classes:
1.
Elementary.
2.
Preparatory.
3.
Teacher's Certificate.
4.
Graduation Diploma.
SPECIAL COURSES.
Post Graduation, with degree of Bachelor of Arts.
Artist's Course, with degree of Master of Arts.
CONDITIONS FOR ADMISSION IN THE M. C. OF M.
Every student entering the Conservatory may be examined by the Director or the Head of Department. In accordance with the latest and best methods of the foremost conservatories of Europe, the Michigan Conservatory of Music does not prescribe any rule for admission in any of the classes. No long and meaningless list of studies, supposed to correspond with the Teacher's Certificate and Graduation Classes, are given here. It is not what one does but how one does it that counts. Individual aptitude, musical disposition and talent will dictate the course to be pursued, and the pupil will be advised as to his studies according to what in the judgment of the Director and the Head of Department will be best for him. For the same reason, no length of time can be fixed for the attaining of the Teacher's Certificate and Graduation Diploma. It will depend greatly upon the ability of the student and his progress, and must be left to the judgment of the Director and of the Head of Department.
BEGINNERS.
No previous musical knowledge is necessary to enter the Michigan Conservatory. Beginners will be received in any department and will be taught only by experienced teachers, under the supervision of the Head of Department, as the most careful training is required at the beginning.
Piano Department.
TEACHERS' CERTIFICATES.
Candidates for the Teacher's Certificate must have attended at least during one school year the advanced classes of harmony, history of music, chamber music, musical form, analysis and acoustics, and must have some knowledge of counterpoint.
Although their aim may not be to make public appearances, yet the candidate must have acquired such technical proficiency and general mastery as will enable them to illustrate to their future pupils.
They must have attended during at least one year the Teachers' Training Class, and must perform before a Board of Examiners, consisting of the Director and Heads of Departments, such pieces as may be chosen from an entire recital's program. They must, in addition, read at sight a composition of medium difficulty.
GRADUATION DIPLOMA.
Candidates for the diploma must have attended during at least one school year the advanced classes of written and practical harmony, counterpoint, history of music, chamber music, musical form and analysis, and sight reading.
Vocal Department.
TEACHERS' CLASS.
In no branch of music is more care required than in the vocal for the conferring of a Teacher's Certificate.
Thousands of men and women parade under the name of teachers of the voice who are totally unqualified for their calling—inexperienced, having made short, incomplete studies, knowing often less than the unhappy pupil they are called upon to teach. These would-be teachers are a menace and a curse to the musical community, for how many voices have they not totally ruined by their ignorance and charlatanism?
Candidates for the Teacher's Certificate must have attended at least four terms of Harmony; must be able to play ordinary accompaniments and have some knowledge of the Italian, German or French language; they must have attended during at least one year the Teachers' Training Class. They will have to give a recital before the Director and the Heads of Departments.
GRADUATION DIPLOMA.
The additional requirements in harmony, piano playing and languages will be the same as those of the Teacher's Certificate. The candidate must have good knowledge of Lyrical Declamation and must give a vocal recital in public.
Violin.
TEACHERS' CERTIFICATES.
Candidates must have attended at least during one year the advanced classes of written and practical harmony, history of music, musical form; analysis and acoustics, and general class of counterpoint. They
must have attended at least during one year the Teacher's Training Class, and must perform before a Board of Examiners, consisting of the Director and Heads of Departments, a whole recital, including a concerto. They must, in addition, read at sight a composition of medium difficulty, and take part in chamber music.
GRADUATION DIPLOMA requires the attendance during at least one year of the advanced classes of written and practical harmony, counterpoint, musical form and analysis; candidates must have some general knowledge of composition, and have to give in public a recital, including a quartette for string instruments, and a concerto.
Cello and the remaining orchestral instruments will require the same qualifications as violin.
Organ will require the same qualifications as piano.
Post Graduate Class.
BACHELOR OF ARTS.
The minimum term of study in this class is one year. A special course will be laid down in the piano, vocal, violin and organ departments. A final examination before the Board of Examiners is necessary to successfully complete this course, which carries with it the degree of Bachelor of Arts. The requirements for instrumentalists are harmony, counterpoint, composition and musical science.
Artist Class.
MASTER OF ARTS.
The minimum term of study in this class is one year. Only post graduates are admitted to this course. Others wishing to enter are required to pass an examination before the Board of Examiners. A successful final examination in the artist class carries with it the degree of Master of Arts. The requirements for instrumentalists are harmony, counterpoint, composition, musical science, and the possession of high artistic skill and proficiency.
Calender for the School Year.
1906–1907.
The first term opens September 9th and closes November 16th.
The second term opens November 18th and closes February 1st.
The third term opens February 3d and closes April 12th.
The fourth term opens April 14th and closes June 21st.
There is a vacation of one week for the Christmas holidays, from December 25th to January 1st, inclusive.
The Conservatory is closed on legal holidays; lessons falling on such days will be made up—provided that pupils have made the proper arrangements with their teachers beforehand. Pupils neglecting to arrange with their teachers for making up these lessons will lose them.
The mid-summer course of the past years has been marked by such a large attendance that this course is henceforth to be considered a regular feature of the Conservatory's work. As heretofore, there will be classes for beginners and also for advanced students. There will be special classes for teachers, who wish to broaden and strengthen their knowledge and personal proficiency, under the guidance of eminent instructors, and in the midst of such ideal surroundings as Detroit offers in summer.
Commencement and Graduation exercises, date to be announced.
MIDSUMMER COURSE.
The Mid-Summer Term for 1908 will begin Monday, June 23d.
Special attention is called to Rules and Regulations Nos. 3 and 7.
Diplomas.
The following Diplomas were awarded during the school year 1906-1907.
Graduating Class.
PIANO.
Miss Grace G. Hoffman, Deckerville, Mich.
Miss Marguerite A. Lusted, Windsor, Ont.
Miss Lucille Pratt, Detroit, Mich.
Miss Celia M. Tannar, Detroit, Mich.
Miss Amy J. Dietz, Detroit, Mich.
Miss Irma Kirstein, Detroit, Mich.
Miss Myrtalene Yokom, Norway, Mich.
VIOLIN.
Miss Theodosia E. Eldridge, Detroit, Mich.
Miss Aileen Van Buskirk, Paw Paw, Mich.
ORGAN.
Mr. Glenn Henderson, St. Johns, Mich.
Teachers' Certificate Class.
PIANO.
Miss Eleanore Osborne, Detroit, Mich.
Miss Alice Van Atta, Fenton, Mich.
Miss Gertrude Heinze, Detroit, Mich.
Miss Marilla De Long, Flat Rock, Mich.
Miss Clara Benedict, Birmingham, Mich.
VIOLIN.
Miss Lillian Newman, Pontiac, Mich.
Miss Julie Boehme, Monroe, Mich.
Mr. Clyde Severance, Lansing, Mich.
CELLO.
Miss Ella L. Birdsall, Detroit, Mich.
ORGAN.
Miss Edith T. McMahon, Detroit, Mich.
ARTISTS FOR ENTERTAINMENTS, CONCERTS AND MUSICALES.
The Conservatory is prepared, upon application to the Director, to furnish Vocalists, Pianists, Violinists, Orchestra Soloists, Trios and String Quartettes from the members of the Faculty, for Musical Entertainments given by Clubs, and Musical Associations and Societies.
Further information may be obtained by addressing the Secretary.
Rules and Regulations.
All pupils entering the Michigan Conservatory of Music do so with the distinct understanding that they will be subject to, and abide by, the following Rules and Regulations:
1.
Tuition is strictly payable in advance.
2.
Pupils may enter at any time and will only be charged from the date of their entrance. No pupils accepted for less than a term of ten weeks.
3.
No reduction nor refunding of any part of the tuition will be made for absence of the pupil, except in the case of protracted illness or in special cases, which shall be at the discretion of the Director of the Conservatory. Pupils who leave during the term will have the remainder of their tuition stand to their credit, and such money will be available only within one year after such credit is made.
4.
Upon leaving the Conservatory, pupils who have attended a class during at least one school year may be given a testimonial stating progress made and their standing in their studies.
5.
No change can be made from one teacher to another, nor from one branch of study to another without the consent of the Director.
6.
Applications for admission, registration, payments and all matters of business connected with the Conservatory, including tuition, arrangement of classes, changes of hours, or from one class to another must be attended to at the Secretary's Office only, and not with teachers.
7.
Pupils must be punctual at their lessons. In case of a pupil's illness, or absence from class for any cause, notice must immediately be given or sent to the Secretary and such lessons must be made up within the term.
8.
Students are not allowed to take part in any public musical performance without the consent of the Director and of the Head of the Department.
9.
Students who, owing to deficient musical ability, irregularity in their attendance, inattention, or any other valid reason, fail to make the necessary progress in their studies, may be dismissed from the classes and balance of tuition will be refunded.
10.
Students are required to be faithful and regular in their attendance at all the Faculty Concerts, Lectures, Recitals, Chamber Music Concerts and Pupils' Recitals, both private and public, given in the Conservatory.
11.
Any cause for dissatisfaction that may arise should be reported at once to the Director's office, where it will receive prompt attention.
CERTIFICATES AND DIPLOMAS.
These will be issued at the end of the School year only. The fees are as follows:
Teacher's Certificate,
$10.00
Graduation Diploma,
10.00
Post Graduate Diploma,
15.00
Artist's Diploma,
15.00
ROOMS AND BOARD.
For the convenience of pupils from a distance, the Conservatory has compiled a list of private families who have registered at the Secretary's office as willing to accept Conservatory pupils. The Conservatory is not interested, directly or indirectly, in any boarding place, and only through a solicitous regard for the welfare of its pupils is the Conservatory willing to assist them, as far as lies within its power, to obtain comfortable and suitable rooms or boarding places. As already stated, Detroit offers the least expensive living of any city in America. Rooms can be had from one dollar a week up, and excellent board for three dollars.
PIANOS AND OTHER INSTRUMENTS.
Good pianos can be rented at $4.00 per month and upward. The Conservatory will gladly assist students in selecting instruments either for rent or purchase whenever so desired.
The Conservatory will use all its influence to secure positions for pupils who have obtained the Teacher's Certificate or the Graduation Diploma, and who wish to follow music as a profession.
OFFICE HOURS AND ASSIGNMENT OF LESSONS.
The Director's Office will be open one week before the beginning of every term for the assignment of lessons and for examinations.
The Secretary's office is open every day from 8:30 A. M. to 5:30 P. M.
The Director may be consulted daily at his office from 4 to 5 P. M.
Graduation Exercises.
AT THE DETROIT OPERA HOUSE
June 18th, 1907.
Program
1.
Prayer
REV. DR. LEE S. M'COLLESTER
2.
Address
HON. WILLIAM C. MAYBURY
3.
Concerto, A minor
J. N. Hummel
(First Movement)
MISS AMY J. DIETZ
4.
(a) Berceuse
Chopin
(b) Spinner-Lied
Wagner-Liszt
MISS GRACE G. HOFFMAN
5.
Concerto No. 7
Charles de Beriot
(For Violin)
Andante Tranquillo
Allegro maestoso
MISS THEODOSIA E. ELDRIDGE
6.
Capriccio Brilliant
Felix Mendelssohn
MISS MYRTALENE YOKOM
7.
Harmonious Blacksmith
J. F. Haendel
MISS MARGUERITE A. LUSTED
8.
Souvenir de Haydn
Henri Leonard
(For Violin)
MISS AILEEN VAN BUSKIRK
9.
Concerto, G minor
Felix Mendelssohn
MISS IRMA KIRSTEIN
10.
Polacca Brilliant
Weber-Liszt
MISS CELIA M. TANNAR
11.
Concert-Stück
C. M. Von Weber
MISS LUCILLE PRATT
DISTRIBUTION OF DIPLOMAS
ORCHESTRAL ACCOMPANIMENTS ON SECOND PIANO, MR. BENHAM MISS ALYCE CULLYFORD ACCOMPANIST FOR MISS ELDRIDGE AND MISS VAN BUSKIRK
Mason & Hamlin
The highest priced Piano in the World The Best Piano In The World
The choice of such eminent artists as Harold Bauer, Jan Sickesz Ossip Gabrilowitsch, Frederick Lamond, Heinrich Gebhard, Emil Pauer, Rudolph Ganz, Madam Antoinette Szumowska Adamowska and many others.
Dr. Karl Muck
who by special permission of the German Emperor conducted a series of Boston Symphony Orchestra concerts in America, writes as follows:
Boston, March 8, 1907.
MASON & HAMLIN CO.
GENTLEMEN:
It is a pleasure to me to tell you that one of the real musical delights of my stay in America has been the intimate acquaintance I have made with your pianos.
My visit to your factory and the demonstration there given me of your unique system of pianoforte construction have convinced me of the ideally high standard you have set before you, while my experience with your pianos at my home, as well as on the concert stage, has proved to me how completely you have attained that artistic ideal. Their beautiful tone, which no adjective can adequately describe and their inspiring perfection of mechanism, render them noble instruments worthy of the highest place in my esteem.
Yours very truly,
(Signed) DR. KARL MUCK.
Mason & Hamlin, Conover and Cable Pianos, ARE USED EXCLUSIVELY BY THE
Michigan Conservatory of Music The Cable Piano Co.
EXCLUSIVE REPRESENTATIVES
218 Woodward Ave. Detroit, Mich.
Object Description
| Rating | |
| Title | Catalogue of the Michigan Conservatory of Music, Detroit: school year 1907 - 1908 |
| Publisher | Michigan Conservatory of Music |
| Place of Publication | United States -- Michigan -- Detroit |
| Date Original | 1907 |
| Topical Subject (LCSH) |
Conservatories of music Music Catalogs, School |
| Corporate Name Subject | Michigan Conservatory of Music |
| Chronological Subject | 1900-1910 |
| Type (DCMIType) |
Text Still image |
| Type (AAT) |
Brochures Promotional materials |
| Type (IMT) | jpeg |
| Digital Collection | Traveling Culture: Circuit Chautauqua in the Twentieth Century |
| Contributing Institution | University of Iowa. Libraries. Special Collections Dept. |
| Archival Collection | Redpath Chautauqua Collection |
| Subcollection | Chautauqua Brochures |
| Collection Guide | http://lib.uiowa.edu/collguides/?MSC0150 |
| Collection Identifier | MSC0150 |
| Rights Management | Educational use only, no other permissions given. U.S. and international copyright laws may protect this digital image. Commercial use or distribution of the image is not permitted without prior permission of the copyright holder. |
| Contact Information | Contact the Special Collections Dept. at The University of Iowa Libraries: http://www.lib.uiowa.edu/spec-coll/contact/index/ |
| Height (cm) | 18 |
| Number of Pages | 56 |
| Digitization Specifications | Scanned at 600 dpi, 32-bit color. Master image available in tiff format. |
| Date Digital | 2001 |
Description
| Title | Page 1 |
| File Name | michigancons0101.jpg |
| Full Text | MICHIGAN CONSERVATORY OF MUSIC. DETROIT INCORPORATED UNDER THE LAWS OF MICHIGAN. SCHOOL YEAR 1907–1908. CATALOGUE OF THE Michigan Conservatory of Music, DETROIT. FREDERIC L. ABEL, DIRECTOR AND SECRETARY-TREASURER. Copyright, 1907, by the Michigan Conservatory of Music. CONTENTS PAGE Directors, 4 Announcement, 5 Faculty, 8–9 The Michigan Conservatory of Music 14–17 Biographical Sketches of the Faculty, 19 Free Classes and Free Advantages: Ensemble Playing and Chamber Music, 41 Sight Reading, 41 Musical Theory, 41 Elementary Harmony, 41 Ear Training, Musical Dictation, 42 Advanced Harmony, 42 Practical Harmony, 42 Orchestration, 42 Musical Form, Analysis, Acoustics, 43 History of Music, 43 Burrows Course of Music Study, 44 Study of Technicalities of Dramatic Art, 44 Concert Training Class, 45 Teachers' Training Class, 51 Pupils' Recitals, 45 Conditions for Admission in the M. C. of M., 47 Graduations and Teachers' Diplomas, 49 Calendar, 50 Summer Course, 50 Rates of Tuition, 10–13 Rules and Regulations, 53 Rooms and Boarding Houses, 54 Piano and Organ Practice, 45 Musical Bureau, 52 Officers CAMERON D. WATERMAN, President. WILLIAM AIKMAN JR., Vice President. FREDERIC L. ABEL, Director and Secretary-Treasurer. Board of Directors CAMERON D. WATERMAN. FREDERIC L. ABEL. WILLIAM, AIKMAN, JR. EDWARD FROHLICH. NEWTON J. COREY. THE MICHIGAN CONSERVATORY OF MUSIC enters upon the eighth year of its existence with an assured position among the educational institutions of the country. In the high character of its work and the merit shown by its pupils, it stands second to none. The artists and instructors who are connected with the Conservatory have been selected because of the eminence they have achieved in their chosen profession, many of them being possessed of an international reputation, and, together with their assistant teachers, have but one purpose in their work—the highest possible artistic development of their pupils. Public appreciation of this fact is shown in the four thousand two hundred names that have been registered during the comparatively few years of the Conservatory's existence, the unswerving loyalty of these pupils to the institution, and the responsible positions graduates have been immediately able to assume and maintain with great artistic credit to themselves and their teachers. The Faculty of the Conservatory is being constantly strengthened along every line, and begin the year 1907–08 with increased facilities from within and brilliant prospects from without, so that there is every prospect of the most prosperous one in the history of the School. CONSERVATORY, FACING WASHINGTON BOULEVARD. CONSERVATORY, FACING GRAND CIRCUS PARK AND BAGLEY AVENUE Faculty. PIANO. VICTOR BENHAM, NEWTON J. COREY, MRS. M. D. BENTLEY, CHRISTINE BATTELLE, GRACE G. HOFFMAN, OLA M. DAFOE, ELEANORE OSBORNE, IRMA KIRSTEIN, LILLIAN LACHMAN-SILVER, LILLIAN GOVE, FRANK STEPHENS, MYRTALENE YOKOM, ALYCE CULLYFORD, IDA SEARLE, EVA PETREQUIN, MARGUERITE LUSTED, VOCAL. JOSEPH BARTOLOTTA, ALICE MAY HARRAH, MRS. R. A. LITTLEFIELD, NATHALIE GILMARTIN, VIOLIN. MRS. MAY LEGGETT-ABEL, FLORENCE BIRDSALL, THEODOSIA ELDRIDGE, CLYDE SEVERANCE, VIOLONCELLO. FREDERIC L. ABEL. ELLA L. BIRDSALL, ORGAN. NEWTON J. COREY, PAUL KOCH, EDITH T. MCMAHON, FLUTE. HARRY GRAUL, CONTRABASS. FRITZ KALSOW, CORNET. EARLE VAN AMBERG, CLARINET. HARRY JACOBSON, BASSOON. GEO. P. VAN SICKLE, SAXOPHONE AND OBOE. ARTHUR VAN DER VELPEN. MANDOLIN AND GUITAR. CLARENCE E. HILL. THEORY OF MUSIC AND ELEMENTARY HARMONY. EDITH T. MCMAHON. HARMONY (Advanced Course), HISTORY OF MUSIC, ANALYSIS AND ACOUSTICS. NEWTON J. COREY. HARMONY (Advanced Course), PRACTICAL HARMONY, COUNTERPOINT CANON, FUGUE, COMPOSITION, ORCHESTRATION. JEAN B. H. VAN DER VELPEN. SIGHT READING (Piano). ALYCE CULLYFORD. LILLIAN GOVE. ENSEMBLE PLAYING.—CHAMBER MUSIC. FREDERIC L. ABEL. MRS. MAY LEGGETT-ABEL. LANGUAGES. FRENCH AND ITALIAN. MRS. ELIZA M. BARR. GERMAN. MRS. VICTOR BENHAM. MUSICAL KINDERGARTEN. ANNA IRENE GRISWOLD. THE STUDY OF THE TECHNICALITIES OF DRAMATIC ART. FENCING. LEWIS E. T. VICARY. Rates of Tuition. FOR A TERM OF TEN WEEKS. A discount of ten per cent. will be allowed to pupils paying four terms in advance PIANO DEPARTMENT. VICTOR BENHAM. Two lessons per week of twenty minutes each, or one lesson of forty minutes Classes. $50.00 Classes of four, two hours each week, each pupil (Each pupil receives thirty minutes of personal instruction once a week, and has the benefit of the instruction given to the three other pupils.) 37.50 No pupil will be received in Mr. Benham's class unless a lesson of at least 30 minutes' duration, weekly, is taken, excepting in the following manner: One lesson, weekly, 20 minutes' duration given by Mr. Benham, and one 30-minute lesson, weekly, given by his assistants 35.00 N. J. COREY. Two lessons per week of forty minutes each $50.00 Two lessons per week of thirty minutes each 40.00 MRS. M. D. BENTLY. Two lessons per week of thirty minutes each 30.00 One lesson per week of forty minutes 20.00 Class of four, one lesson per week of two hours, each pupil 15.00 CHRISTINE BATTELLE. Two lessons per week of thirty minutes each $25.00 One lesson per week of forty minutes 17.00 MRS. LILLIAN LACHMAN-SILVER, OLA M. DAFOE, GRACE G. HOFFMAN, LILLIAN GOVE, FRANK STEPHENS. Two lessons per week of thirty minutes each $20.00 One lesson per week of forty-five minutes 15.00 MYRTALENE YOKOM, MARGUERITE LUSTED, ALYCE CULLYFORD. Two lessons per week of thirty minutes each $15.00 One lesson per week of forty minutes 10.00 IDA SEARLE. Two lessons per week of thirty minutes each $12.00 ELEANORE OSBORNE, EVA PETREQUIN. Two lessons per week of thirty minutes each $10.00 VOCAL DEPARTMENT. JOSEPH BARTOLOTTA. Two lessons per week of thirty minutes each $50.00 One lesson per week of forty minutes 37.50 ALICE MAY HARRAH. Two lessons per week of thirty minutes each $40.00 One lesson per week of forty minutes 30.00 MRS. ROY ARTHUR LITTLEFIELD. Two lessons per week of thirty minutes each $20.00 NATHALIE GILMARTIN. Two lessons per week of thirty minutes each $15.00 VIOLIN DEPARTMENT. MAY LEGGETT-ABEL. Two lessons each week of thirty minutes each $30.00 One lesson per week of forty minutes 20.00 FLORENCE BIRDSALL, THEODOSIA ELDRIDGE. Two lessons each week of thirty minutes each $15.00 CLYDE SEVERANCE. Two lessons each week of thirty minutes each $10.00 VIOLONCELLO. F. L. ABEL. Two lessons each week of thirty minutes each $30.00 One lesson a week of forty minutes 20.00 ELLA L. BIRDSALL. Two lessons each week of thirty minutes each $10.00 ORGAN. N. J. COREY. Two lessons each week of thirty minutes each $40.00 One lesson a week of forty minutes 27.00 PAUL KOCH. Two lessons each week of thirty minutes each $20.00 EDITH T. McMAHON. Two lessons each week of thirty minutes each $15.00 THEORY OF MUSIC AND HARMONY. Private Classes. EDITH T. McMAHON. Classes of four, each pupil $ 6.00 HARMONY (Advanced Course), EAR TRAINING, MUSICAL DICTATION. Private Classes. N. J. COREY. Class lessons once a week, each pupil $10.00 THEORY AND HARMONY. Private Classes. JEAN VAN DER VELPEN. Class lessons once a week, each pupil $10.00 Private lessons once a week (half-hour) 15.00 COUNTERPOINT AND FUGUE. Class lesons once a week, each pupil $15.00 Private lessons once a week (half-hour) 20.00 COMPOSITION AND ORCHESTRATION. JEAN VAN DER VELPEN. Private lessons once a week (half-hour) $30.00 MUSICAL KINDERGARTEN. Burrowes System. ANNA IRENE GRISWOLD. Class lessons twice a week, each pupil $12.00 Private lessons 15.00 FLUTE, CLARINET, CORNET, And All Orchestral Instruments. Two lessons each week of thirty minutes each $20.00 MANDOLIN AND GUITAR. CLARENCE E. HILL. Two lessons each week of thirty minutes each $20.00 One lesson a week of forty minutes 15.00 VOICE, BREATHING, ACCENT, ANALYTICAL INTERPRETATION, THE ART OF READING ALOUD. THE STUDY OF THE TECHNICALITIES OF DRAMATIC ART, PHYSICAL READINESS, (THOROUGH BREATHING) FOR ACTION, SPEECH AND SONG, FENCING. LEWIS E. T. VICARY Two lessons per week of forty minutes each $40.00 Two lessons per week of thirty minutes each 30.00 Twenty lessons, one hour each, in class of not more than four persons 15.00 M. C. of M. THE success of the Michigan Conservatory of Music has been truly remarkable. More than six hundred students were registered during the past season. Students have come from all parts of the country as the reputation of the Conservatory is a national one and as an institution of learning is unsurpassed and the artistic standard is equally as high as those of the great European centers. Opportunities for hearing music, an important consideration to music students, are constantly growing in Detroit. The Conservatory, in addition to its own concerts, makes every effort to secure students' attendance at the frequent concerts of visiting artists, at reduced rates. During the season, a series of concerts by the great permanent orchestras of the country, the Boston, Chicago, Pittsburg, and the Damrosch Symphony Orchestras are given, and to these, students may secure seats at low rates. Several additions to the corps of instructors have been made, thus strengthening the artistic excellence of the School; indeed, no school in the country offers a more eminent list of names. Constant demands for admission that are being daily received, point to the largest attendance in the history of the institution. That side of culture which gratifies its taste, or finds expression in music, has large opportunities for development in Detroit. The advantages of comfortable residence and the charm of elevated social and educational life has attracted hither many eminent teachers and votaries of musical culture. As a matter of fact, Detroit occupies a place in line with Boston, Cincinnati and Chicago, as a center of music, among the cities of the country, and perhaps no higher praise could be accorded the popular encouragement given to the Divine Art than that which is reflected by the achievements of the Michigan Conservatory of Music, which has become a power in the land for the diffusion of that love of music which has become recognized as characteristic of the American people. A well-known operatic manager recently stated in an article published in one of the New York dailies, that no city of its size in America was more generous in its support of musical attractions of the highest class than Detroit, which city he named in connection with New York, Boston, Chicago and San Francisco, as being the most liberal patrons of grand opera and concert. The Michigan Conservatory of Music has received the unqualified praise and commendation of such artists as Paderewski, Teresa Carreno Coquelin, Gabrilowitsch, Harold Bauer, Pugno, Edouard de Reszke and Adelaide Norwood. The last four named have done this institution the honor, shared by no other institution in this country, of giving complimentary recitals for the pupils. The Michigan Conservatory of Music stands today as the strictest, most artistic and exclusive institution of its kind in America. Whereas graduation and teachers' diplomas can often be had elsewhere with little or no trouble, the Michigan Conservatory of Music keeps these diplomas out of the reach of doubtful candidates and only confers on those who, by their artistic and scholarly achievements, actually deserve them, the result being that these diplomas are recognized the world over as certificates of merit and competency on a par with those issued by the conservatories of Brussels, Paris, Munich and Vienna. FREDERIC L. ABEL. AMERICAN PRESS. The Mercantile and Financial Times, of New York, in an editorial about Detroit, says: Prior to the opening of the Michigan Conservatory of Music, Detroit and this section of the middle west could hardly be credited with the possession of a music school offering the same advantages for instruction in all branches of the art as the old established schools of Boston, New York and Chicago, but the Michigan Conservatory of Music, through the high order of talent embraced in its Faculty, quickly enforced recognition and patronage, and its prestige has steadily increased and it is certain that this institution is one which honors the city and its people, and which is able to contend for the highest distinction with any institution of its kind in the country. Each of the different departments presents such distinctive characteristics as to give it the importance of a separate school, and it would be easy to occupy several columns of our space with recitals of the interesting and successful careers of the distinguished teachers at the head of each. Such a task is, of course, impossible in an article of this scope; neither can we begin to describe or even enumerate all the advantages which the Michigan Conservatory offers to its pupils, or to enlarge upon the methods of instruction pursued in its different departments. It must suffice to say that no music school in America graduates students more thoroughly qualified for the profession as teachers or artists, or with a more complete knowledge of the art and science of music, such as is desired by many amateurs, than this institution. Its solid worth is shown by the achievements of its many graduates who have attained eminence as artists and teachers, and by the high estimation in which it is held by authorities whose prominence in the musical world entitles their opinions to the highest consideration. FACULTY CONCERTS. The Faculty concerts given every year by the Michigan Conservatory of Music, and in which the eminent artists of the Faculty fully displayed their talent, have become among the most brilliant, eagerly sought musical functions of the city. Attended by large, fashionable and music-loving audiences, these concerts have contributed to the musical atmosphere of Detroit in a manner that cannot be overestimated. The entire press has proclaimed their success. To the enthusiastic applause of an audience that filled the Church of Our Father to the doors, the Michigan Conservatory of Music gave the first Faculty Concert of the season last night.— Detroit Evening News. The second Faculty Concert at the Michigan Conservatory of Music last night again demonstrated the high artistic ability of the members of that institution and was in every way worthy of the highest praise.— Detroit Times. Six hundred people made up an audience in the Church of Our Father last night, the occasion being the opening Faculty Concert of the Michigan Conservatory of Music. Heads of the three chief departments of the institution presented a program well calculated to show their proficiency in musical interpretation, and nothing but the inflexible rule against encores prevented the stretching of the concert to unreasonable length.— Detroit Free Press. A large audience of music lovers listened to the Faculty Concert of the Michigan Conservatory of Music at the Church of Our Father last night. The program presented was a stimulating example of good music and was thoroughly enjoyed. Mrs. May Leggett-Abel, violinist, presented for the first time in public Edward Schutt's difficult suite, op. 44, and acquitted herself with distinction.— Detroit Free Press, Pupils Concerts. Public Pupils' Concerts of the Michigan Conservatory have always attracted a great deal of attention, and regular concerts are given in order to introduce pupils publicly, besides weekly students' concerts, which take place in the Conservatory. It has been the Director's aim to elevate the standard of the classes so that they may equal the schools of Europe, and thus enable the students to have the same artistic development and training as may be attained by studying with the world famed masters. The high artistic aims and successes which have been attained by the Heads of the Departments as virtuosi and teachers with their universal experience and knowledge, and the fact of having turned out several artists of recognition, fully justify the aspiring student to feel confident of the ability of the school to ripen their talent to the highest state of perfection and afford them similar advantages to those given by the greatest pedagogues of the world. GRADUATIONS of the M. C. of M. are looked upon as artistic and social events, for it is well known that a graduate of this institution is already an artist through finish and style, as well as other accomplishments. GRADUATION EXERCISES. However, it was on the occasion of the Graduation Exercises given June 18th, at the Detroit Opera House, that the worth, prestige and commanding attitude which the Michigan Conservatory has taken, was convincingly demonstrated. A fashionable audience of over 2,000 persons filled every available space and hundreds were unable to gain admission to the building, and it was the conviction of all present that the impressive cermony, the addresses by Hon. William C. Maybury and Mr. William Aikman, Jr., Vice-President of the Conservatory, and the brilliant and artistic performance of the graduates, was a fitting climax to seven years of unexampled success. Purpose, Aims and Character of the Conservatory. The greatest good to the pupil will always be the aim of the Michigan Conservatory of Music, and this is accomplished best not only by keeping a staff of the most eminent teachers that can be secured, not only by offering to the student every possible advantage, free and otherwise, but by an earnest, careful, conscientious course of study from the very beginning to the highest requirements of a teacher and of an artist. Pupils that show aptitude or talent for developing special skill on any instrument, or in singing, will be encouraged to the utmost towards gaining the highest results, but this shall never be at the expense of neglecting a solid and comprehensive musical education, without which no artist and no teacher, however skillful in one direction, can hope to succeed. Therefore special care is given to the classes in Theory of Music, Harmony—both written and practical, Counterpoint, Composition, Orchestration, Analysis Musical Form, History of Music, Sight Reading, Chamber Music, Concert Training and Teachers' Training; every class announced in the present catalogue really exists; every advantage offered to students is positive and real, not merely existing on paper, as but too often is the case with unscrupulous institutions. Officers of the Conservatory. The Michigan Conservatory of Music stands to-day in the front rank of the leading musical institutions. Mr. Frederic L. Abel, the well-known cellist, is Director and Secretary-Treasurer of the Conservatory. Mr. Abel has been in touch with the musical life of Detroit for the past twenty-five years. He is an excellent performer, a well grounded theorist and a man of sympathetic personality. VICTOR BENHAM Faculty. In the appointment of the Faculty of the Michigan Conservatory of Music, the Directors resolved to gather around them the most eminent artists and experienced teachers that influence and financial inducements could secure. How well they have succeeded, a glance at the Faculty list will show. Therein are names of international reputation, of artists famous throughout the world, who represent all that is highest and best in music. Every teacher, selected with care and because of excellence and special fitness in his or her department, is an accomplished performer and a thorough musician. The following sketches will undoubtedly be of interest: PIANO DEPARTMENT. BIOGRAPHICAL SKETCHES. VICTOR BENHAM is well known on the European Continent, as well as in his native country, the United States, as one of the finest pianists that America has brought forth. Mr. Benham has repeatedly appeared in Berlin, Germany, in Vienna, Austria, and in England, gaining everywhere high praise from the press and great success at the hands of the public. He has made long extended concert tours with many of the leading artists of Europe. Mr. Benham has also made himself known as a teacher of authority and eminence, having been, during five years, Professor at the Royal College of Music in London, England. That such a well-known artist should be at the head of the piano department in the Michigan Conservatory of Music is cause for self-congratulation to the city of Detroit, and indeed to the whole country, and speaks volumes for the prestige and reputation which this institution enjoys in the musical world. Mr. Benham has been in Detroit for two seasons and in that short period the thoroughness which he has inculcated in his pupils and the artistic impetus has been prodigious, and it is his wish to train his pupils and give them all those qualifications which are necessary to equip them for an artistic career and to be successful, whether it may be that they appear as pianists in Europe or America. Mr. Benham will continue to interest himself in the pianoforte department of the Conservatory, which will be a guarantee to students studying with other teachers, of his continued supervision over their work and he will always consider it his duty and a privilege to conscientiously advise students, who apply to him for advice, which will ever be guided by the purest artistic motives. The frequent lectures which he has given, and which will be continued during the coming seasons, have proven of great value, and have enabled students to form a proper appreciation and understanding of the various elements of music. In connection with the Conservatory course Mr. Benham will give a series of thirty lectures, beginning in October, on the Wagner Music Dramas and of the works to be played at the concerts of the Detroit Orchestral Association. In 1890 Mr. Benham appeared in America. The New York critics spoke of him as follows: Mr. A. Victor Benham gave the first of his series of Historical Piano-Forte Recitals before an audience distinguished by the presence of our leading musicians. The numbers consisted of Bach's Chromatic Fantasie and Fugue; Mozart's Sonata and Fantasie in C minor, and Beethoven's Sonatas, op. 27, No. 2, op. 53 and 57. His technique, phrasing and conception were alike remarkable. His playing of the Adagio in the Appassionate Sonata was quite a revelation.— Herald. Mr. A. Victor Benham, recently arrived from Paris, gave a Piano-Forte Recital at Chickering Hall. His playing of Beethoven's Waldstein Sonata, Schumann's Fantasie-Stucke, and several pieces by Chopin and Liszt, were distinguished by a very artistic interpretation. Mr. Benham plays with a great abundance of musical temperament and a wonderful velvety touch. The most enjoyable feature of the programme was his improvisation of a Prelude and Fugue, which was developed and performed in an inconceivable manner.— The Times. Mr. Benham possesses sterling ability as a pianist, and will be an acquisition to our concert stage.— The Tribune. As an improvisor he created a great impression. His manner of developing a theme in the form of a Sonata, was so wonderful, that it showed him to be a master of that branch of the art.— Berliner Tageblatt. He plays with assurance and repose, and has been well guided, both from a technical and musical standpoint. His pedaling and rhythm are excellent, and his tone broad and sympathetic.— The Vossische Zeitung. Mr. Benham's playing of the Beethoven Sonata, op. 106, was sufficient to establish him as a pianist of the highest qualities. His conception and performance has rarely been equalled.— Boston Herald. Although we have heard D'Albert, De Pachmann, Friedheim and others this season, Mr. Benham holds his own, even in comparison with these famous artists.— Boston Saturday Gazette. The finest performance of the evening was Mr. Benham's playing of Schumann's Etude Symphonique. Technically it was beyond reproach, while his conception was masterful and inspiring.— Boston Evening Transcript. Among numerous articles which have appeared in reference to his playing, the following will be of interest, from the pen of Herr Prochazka in the New York Keynote: VICTOR BENHAM AND THE WALDSTEIN SONATA. It gives me pleasure to report favorably upon an artist, because it often happens that I cannot run down a musician who deserves it, and, therefore, say nothing. In this instance, however, standing upon a severe basis of criticism, I feel fully convinced that Mr. Benham is not merely a skilled and well advertised pianist, but he is really the possessor of immense genius. As ink is a material without which the writer could not perform his task, so technic is absolutely necessary for the pianist, for only if he is master of all technical difficulties can he devote his entire attention to the work he is performing, and to the idea of the composer he is portraying. Mr. Victor Benham, especially in the last movement of Beethoven's monumental work, has given full evidence of my former assertions. But not only that, his conception was so fascinating, that since the Rubenstein performance of the same work, I never heard anything more passionate and vigorous. There are some old fogies in our musical profession who seem to feel themselves compelled to set up Dr. Von Bulow as a Norm of a Beethoven player; they think that the metronome-like coldness, or absolute repose (a thing praiseworthy in its way) is the only manner in which Beethoven should be given. Now I most decidedly object to this view, for Beethoven, the most passionate spirit of all, certainly played his Appassionate and all similar works of the kind, in an impetuous, concentrated manner, such as is characteristic of his very individuality. Not only are comparisons odious, but I claim that Mr. Benham's conception was the correct one in the true sense of Beethoven's immortal genius. It was the performance of a young, aspiring genius, whose artistic conception cannot mould itself into the mechanical phrasing of a Metronome or of simply repeating other people's traditions, but who has power and concentration of soul enough to work a climax on his own strength and imagination. Mr. Benham's performance of Beethoven's Waldstein Sonata is that of a great artist who has the mental power to overcome the most stupendous difficulties and do justice to the greatest master-works. After the performance of Beethoven's Waldstein Sonata, I can, with a good conscience, place him among the best pianists living. I now do not hesitate to say that Rubenstein's warm praise and enthusiasm for Mr. Benham is well deserved. In support of my remarks, I may add that, apparently, our young artist has among other theories with Rubenstein, the one that disposition will show decidedly in his performance. For instance, at this very concert which gave us the gratifying revelation of the Beethoven Waldstein Sonata, there was no absolute necessity for the artist to be enthusiastic but the fact that he was assisting a deserving lady vocalist; still Mr. Benham, like a thorough artist, sat down and played as if the angels of genius had descended to inspire him. —Prochazka. Of Mr. Benham's recent success in Europe, the following criticisms will be of interest: Mr. Victor Benham plays with assurance and repose; his pedaling and rhythm are excellent, and his tone is full of charm and sympathy. He revealed many delightful qualities in his playing of Beethoven's Sonata Appassionata and in Schumann's Etudes Symphoniques.— Berliner Vossische Zeitung. Mr. Benham is the possessor of a wonderfully fine technique, and has a deep sense of musical feeling. As an improvisor, he created a great impression. His manner of developing a theme in the form of a Sonata was so truly wonderful that it showed him to be a master.— Berliner Tageblatt. Besides playing in a beautiful manner, the Sonata op. 31, No. 2, by Beethoven, and Mozart's Fantasia in C minor, Mr. Benham played several Chopin Etudes with the very highest perfection in technique.— Vienna Zeit. Nothing could have been more perfect or artistic than Mr. Benham's playing of Mozart and Chopin, which stamped him as a very fine artist.— The Neue Weiner Frei Presse. The London papers spoke of his playing in the following terms: Mr. Victor Benham's playing is full of individuality and his tone never loses its warmth and charm. He has a splendid technique and is an excellent musician.— The Times. Mr. Victor Benham gave a very artistic performance of Beethoven's Sonata op. III. He was particularly successful in the beautiful Airetta, and gained several recalls for his brilliant performance of Schumann's Carnival.— Daily Telegraph. Mr. Benham gave some very excellent performances at his Recital at the Queen's Hall. He is a pianist fully deserving recognition. His playing of four Etudes by Chopin, and Schumann's Etudes Symphoniques, was full of charm.— The Standard. Mr. Benham played with great brilliancy and intelligence, and possesses great charm.— Morning Post. Mr. Benham has played with great success in the provinces, and has been ranked with the greatest living artists by the press of North of England, including the Sheffield Daily Telegraph, Independent, and other prominent papers. His repertoire consists of all the standard concerti and twenty recital programs, and includes three concerti, two sonatas and several miscellaneous compositions of his own. With a program of more than individual interest Mr. Victor Benham delighted a large audience at the Unitarian church last night. The Waldstein Sonata of Beethoven, which was given in response to a general request, headed the program and was given an impressive reading, and Mr. Benham's own transcriptions of Mendelssohn's On Wings of Song and Schumann's Widmung served partially to acquaint the audience with what was to follow in the way of individuality. Liszt was represented by two numbers, the second being his Au Bord d'une Source, which is full of the most extraordinary technical difficulties. Mr. Benham concealed these with the ease of a finished master. His marvelous control of dynamic was demonstrated in the Liszt transcription of the spinning-song from The Flying Dutchman, and he was obliged to play the cello etude of Chopin in addition to the regular numbers by that composer on the program.— Free Press. The present season's faculty concerts of the Michigan Conservatory of Music were brilliantly inaugurated at the Church of Our Father last night, when Mr. Victor Benham gave a piano recital. His audience was musical in the best sense, there was abundant enthusiasm, too, so much that Mr. Benham was obliged to break the Conservatory rule and twice respond to encores. His program was orthodox and in a way heavy, including the big Carnival of Schumann and the Romanique sonata of Beethoven. It was opened by the artist's own suite, written in the style of Handel, but originally and even romantically treated. Mr. Benham's exposition of Beethoven is wholly admirable and valuable to students of form. The Schumann number with its widely differing expressions, was so clean-cut as to make the printed description unnecessary. Mr. Benham scored a tremendous success and bore his honors meekly, like one accustomed to appreciation. He even passed successfully the ordeal—always trying to a man—of receiving a handsome bunch of American Beauties.— Free Press. Mr. Victor Benham has two wrists of finely tempered steel and the endurance of ten men. In presenting the program of the faculty concert of the Michigan Conservatory of Music at the Church of Our Father last night, he gave a wonderful exhibition, not only of prodigious technical equipment but of remarkable control as well. The program would have taxed any pianist, for it included Beethoven's last serious work, the sonata Op. III, two movements of the big Schumann fantasie, Liszt's transcription of the Erl King, of Schubert and twelve Chopin studies, besides Mr. Benham's transcription of two of Schubert's songs.— Free Press. Mr. Benham's reception was enthusiastic and overwhelming and he was obliged not only to respond to encores but even to accept a bunch of American beauty roses. His playing was of a very high order of excellence and musical interpretation, the program including a thoroughly representative list of classical selections that displayed the artist at his best.— Journal. MR. N. J. COREY. Mr. N. J. Corey is recognized in the musical profession as a pianist and organist of unusual ability. Although most widely known as an organist, yet connoisseurs know that it is impossible to acquire technical facility like his without being a pianist of high attainments. His lecture-recitals have brought him great reputation, one of their most delightful features being his thoroughly adequate playing of the works of the great composers he uses in illustrating them. Because MRS. LILLIAN LACHMAN-SILVER CHRISTINE BATTELLE MRS. M. D. BENTLEY FRANK STEPHENS LILLIAN GOVE of his authority in the teaching of the piano he had charge of the piano department of the Musician for several years, and now conducts the same department in the Etude, the leading music teachers' magazine of the country. In another paper was the following: Mr. Corey's ability as a pianist is far above the average of our resident public players. He commands a large repertory of instrumental music, and his ability as a sight reader has frequently excited the admiration of musicians who have witnessed it. Not a few people regret that Mr. Corey is leaving Boston for a new field of labor. Mr. Corey is a pianist of rare excellence, his interpretations being marked by strength, beauty and poetic feeling.— Detroit News. One feels, in listening to all of Mr. Corey's playing, that he has stopped to think what the music means, that he is interpreting as well as performing.— Detroit Tribune. Mr. Corey's rendering of the Chopin numbers was masterly.— Detroit Free Press. MRS. M. D. BENTLEY has gained, through years of intelligent, successful work, both as a pianist and as a teacher, a reputation that will always ensure her the strongest possible following. Endowed with great charm of manner and personal gifts, she also possesses such knowledge, ability and tact as secures for her the gratitude and devotion of her pupils. Mrs. Bentley possesses an exquisite touch, technical accuracy and complete self-possession.— Evening News. Mrs. M. D. Bentley, one of the best known of local piano teachers, has been particularly successful with children, a field in which few excel and one which requires peculiar adaptability and personality on the part of the teacher. At present Mrs. Bentley, in addition to her teaching efforts with a large class of pupils, occupies the position of organist and choir director of the Woodward Avenue Congregational Church, where the music is of a high character under her leadership. For many years she held a similar position at St. Joseph's Memorial Church. As an accompanist Mrs. Bentley's services are much in demand, both locally and by artists from out of town, a recent tempting offer having been made her for a season's tour as accompanist with one of the most prominent New York singers. At the National Music Teachers' Convention, held in July at Put-in-Bay, Mrs. Bentley achieved considerable success as a solo pianiste in a recital program.— Detroit Free Press. ALYCE CULLYFORD GRACE G. HOFFMAN MYRTALENE YOKOM IDA SEARLE MARGUERITE LUSTED OLA M. DAFOE MISS CHRISTINE BATTELLE, MRS. LILLIAN LACHMAN-SILVER, MISSES LILLIAN GOVE, OLA M. DAFOE, GRACE G. HOFFMAN, MARGUERITE LUSTED AND MYRTALENE YOKOM. all of whom are brilliant concert pianists, have also won for themselves a fine reputation as successful and accomplished teachers. Their thoroughness and ability have been exemplified by their large classes and by the fine playing of their pupils. MISS CHRISTINE BATTELLE. A large audience was present at the Church of Our Father Friday evening to hear Miss Christine Battelle's piano recital, which she gave as a candidate for the degree of Bachelor of Arts (Mus.), offered by the Michigan Conservatory of Music. Her recital was the first of the kind given under the auspices of the Conservatory and naturally attracted a great deal of attention. The soloist demonstrated her title to the degree offered by playing a difficult and varied program in a finished manner. She has a brilliant technique, a nice sense of rhythm and she phrases with discretion.— Sunday News-Tribune, June 11th. A large audience was attracted to the Church of Our Father Friday evening for the recital of Bachelor of Arts, given by Miss Christine Battelle, of the Michigan Conservatory of Music. The program was an unusually hard task for any artist, and it was cause for much congratulation to the friends of Miss Battelle and the Conservatory that she acquitted herself remarkablly well, playing with admirable technique, style and intelligence.— Free Press, June 11th. A large audience assembled Friday evening in the Church of Our Father to hear the piano recital for the degree of Bachelor of Arts given by Miss Christine Battelle, teacher on the Faculty of the Michigan Conservatory of Music. This is the first time that a recital of this kind has ever been given in Detroit. Miss Battelle played her whole program in a brilliant manner. The young pianist displayed brilliant and accurate technique, good phrasing and discretion of tonal values. Particularly effective were Fantasie and Fugue in G minor by Bach, arranged by Liszt, Ballade by Grieg, Nocturne in G major by Chopin, Concert Mazurka by Alberto Jonas and the Campanelle by Liszt.— Detroit Journal. This young pianist has wisely refrained from making her chosen instrument a medium for mechanical display only, and her musicianly undertaking of the composers she interprets, her natural rhythm and the admirable ease with which she accomplishes what to many older and more experienced pianists seems labor, combine to make her playing a delight. Miss Battelle gave two two-part numbers, Dedication by Schumann-Liszt and Concerta Mazurka by Alberto Jonas, brilliant and interesting compositions, but in her interpretation of the Nocturne in B major, by that poet of the piano, Chopin, she was at her best, entering into the spirit and poesy of it with sympathetic intuition. In an Etude in A minor by Paganini-Liszt she was also happily in touch with the spirit of the composition.— Toledo Courier-Journal. GIUSEPPE BARTOLOTTA At her recital at the Church of Our Father in Detroit, Miss Battelle gave an excellent rendering of some difficult numbers, her playing of the Bach-Liszt Fantasie and Fugue in G minor, and the Sonata op. 57 of Beethoven being most artistic. Chopin's Nocturne in B major, and the Paganini-Liszt Campanelle gave her opportunity to display her fine technique.— Toledo Times. In her interpretation of the G Minor Concerto Miss Battelle evinced a poetic imagination, delicate tonal coloring and brilliant sure technique that brought a burst of prolonged applause from the musicians. In response to insistent requests for an encore Miss Battelle gave Schumann's Dedication and played exquisitely the Wagner-Liszt arrangement.— News Bee, Toledo. MRS. LILLIAN LACHMAN-SILVER. The arrangement of Chopin's Allegro de Concert, op. 46, as played by Miss Lillian Lachman, proved an enjoyable number. Miss Lachman plays with a full round singing tone that gives her work a marked individuality and her sincerity of interpretation is particularly artistic and pleasing. To the deserved encore she responded with Rubenstein's familiar Barcarolle.— Detroit News. The Allegro-de-Concert by Chopin is a charming and masterly work and should be included in the repertoire of all artists. It was admirably played by Miss Lillian Lachman, who possesses a highly developed technique, great charm and ample repose. A noticeable feature was her excellent pedaling.— Detroit Free Press. MISSES ALYCE CULLYFORD, ELEANOR OSBORNE, IDA SEARLE, EVA PETREQUIN, IRMA KIRSTEIN AND FRANK STEPHENS, through their ability as pianists and their thorough, practical training as teachers, are decidedly valuable acquisitions in the piano department. VOCAL DEPARTMENT. The Director of the Conservatory, desirous of making the vocal department of this institution unsurpassed by any other Conservatory in the United States, has secured the services of teachers of great excellence. The proper guidance and development of the voice being so important and the faculty for doing same possessed by so few that it is with pride that the Conservatory can boast of possessing teachers of such absolute merit. In securing the services of Mr. Joseph Bartolotta, the eminent Italian tenor, the musical life of Detroit has been enriched by the possession of an artist, who has won universal distinction as a concert singer and teacher throughout Europe. He has sung at the foremost concerts in England, in conjunction with some of the most famous artists, including Patti, Melba, Kubelik, Paderewski and others. The following are a few extracts from the press: The vocalist of the evening was Signor Bartolotta, a tenor whose exceptional singing, we venture to say, will not easily be forgotten. He is a Neapolitan by birth and studied for some years at the Conservatory at Naples. During the last two years he has appeared in most of the principal cities of Europe, but has only recently come to England. Signor Bartolotta has a truly magnificent voice, and in spite of the fact that four out of five of his songs were in his native Italian he was accorded a great reception. On two of his three appearances the audience would not be denied an encore, and on the third occasion Signor Bartolotta only begged off after bowing his acknowledgements again and again.— London Morning Post. The vocalist was the Neapolitan tenor, Signor Bartolotta, who created quite a furore. His voice has the true operatic ring of the Italian tenor, clear and high pitched (an open voice) and his style and method recalled the palmy days of old when Italian singers reigned supreme.— Birmingham Daily Mail. Among the artists who appeared was the Italian tenor, Mr. Bartolotta, whose voice bears a remarkable resemblance to that of Caruso.— Daily Telegraph. A revelation of the overwhelming superiority of the Italian tenor in operatic singing was given by Signor Bartolotta.— Detroit Free Press. Signor Bartolotta sang two airs with great dramatic effect, and with decided success.— Detroit Journal. Signor Bartolotta completely carried the audience away, a storm of enthusiasm greeting the close of the scene.— Detroit News. Signor Bartolotta has a tenor voice of remarkable range and power, which he uses to splendid advantage. He is able to compass a swelling burst of melody with perfect ease; he can sing love passages in dulcet, subdued tones; but most of all he distinguished himself in pieces of a bravura character, which are so typical of Italian music.— Detroit Times. MISS ALICE MAY HARRAH. The thorough normal training, supplemented by long study with eminent New York and European teachers, has equipped Miss Harrah in an unusually strong manner for her work as a teacher and coach. She is a soloist with a voice of sweetness and power, and a director and coach of quartet and chorus work of enviable reputation. As a teacher, Miss Harrah has always been eminently successful. Having ALICE MAY HARRAH NATHALIE GILMARTIN MRS. R. A. LITTLEFIELD had long, extensive experience, endowed with uncommon aptitude for imparting to others her own knowledge, she has brought forth a number of talented pupils whose training reflects the fine method, thoroughness and artistic finish and freedom of their gifted teacher. She has a soprano voice of great power and sweetness and she is an excellent musician. WILLIAM COURTNEY, New York City. I was particularly impressed by the chaste style, by the musical quality and steadily sustained tones of her voice. Her singing is also characterized by repose, and this is a feature which is highly esteemed by the best artists. New York City. WILLIAM MASON, Powerful and clear as an organ, voice very well placed and of great expression. With such elements you are assured of great and legitimate success, when you are heard in classic or modern repertoire, adding to it the personal feeling you have acquired. PAUL PECQUERY, Paris, France. (Translation from the French.) You merit, through your beautiful, sympathetic voice, your superior gift for the art of singing, and fine musical feeling, the best results in your career as a singer. That you can sing in five languages is also of particular excellence, which will always be of great benefit to you, for not many have this gift. From MARTHE FRAHNERT, Dresden, Germany. (Translation from German.) Miss Alice May Harrah is an artist church and concert soprano. She interprets her selections in a musicianly manner. ERNEST R. KROEGER, St. Louis, Mo. Miss Alice May Harrah, who made her first appearance at the Brooklyn Tabernacle, last week has a fine soprano voice, firm, clear, full and resonant. Add to this a charming personality, and it is readily seen that she has the elements of complete success.— The American Musician, New York. Miss Harrah, as usual, sang faultlessly. In Inflammatus her work was particularly beautiful. An auditor remarked that she could not sing otherwise than faultlessly; and this is all the praise an artist could desire. People are apt, however, to underestimate the difficulity of work that is performed with such invariable precision, and with such apparent ease.— The Outburst, Spokane, Wash. Miss Alice May Harrah, who takes the role of Queen in Esther cantata, has a deservedly high reputation as a dramatic singer. Her voice has the remarkable range of twenty notes, being clear, full and sweet on each extreme. This coupled with her dramatic ability, and earnest work, has placed her in the front rank of dramatic singers. She will ever be remembered as the beautiful Queen Esther, who so graciously reigned over Kalispell while here.— Kalispell Graphic, Kalispell, Mont. MRS. ROY ARTHUR LITTLEFIELD has steadily gained in popular favor, and the fine results shown by her numerous pupils conclusively stamp her as one of the cleverest, most successful teachers in Detroit. MRS. MAY LEGGETT-ABEL Mr. Abel's Wife Violin Department. MRS. MAY LEGGETT-ABEL. head of the violin department, is as well known through her success as a concert player as through her ability as a teacher, and is one of the few lady violinists who have won distinction on the American stage. When still very young she commenced the study of the violin, under the careful training of Conrad Hoffman, the eminent violinist. After several years' study and concert work in this country, she went to Paris, where she remained for two years, studying with the celebrated masters, Charles Dancla and Eugene Brenne. While in Paris Mrs. Abel was invited to play at the Salons of the late President Carnot; Madame Matilde Marchesi, the celebrated vocal teacher; Madame la Countess Clarissa Ziska, the well-known Italian singer and teacher; the Baroness de Launay; the American minister, Mr. Whitelaw Reid; and many others of international reputation, where she was accorded the very highest honors. Mrs. Abel finished the difficult four years' course of the Paris conservatory in two years, and on returning home was immediately engaged for a long concert tour at the head of her own company. After five years of unusual success in concert work through the United States and Canada, she was engaged by the Michigan Conservatory, where she has taught a large class and has been eminently successful in both solo work and teaching. Mrs. May Leggett-Abel is one of the few lady violinists who have won distinction on the American concert stage. She is an artist of rare ability; she began the study of the violin when a mere child, and continued steadily until recently, when she returned from a two years' course in Paris. While in Paris Mrs. Abel was invited to play at the salons of the late President Carnot; Madame Matilde Marchesi, the celebrated vocal teacher; Madame la Comtesse Clarisse Ziska, the well known Italian singer and teacher; the Baroness de Launay; the American minister, and many others of international reputation, where she was accorded the very highest honors.— Concert Goer. Mrs. Abel's playing was clear, broad and bold. Her tones were perfectly taken and admirably sustained, her accuracy being especially apparent in the extreme upper notes.— Detroit Free Press. The violin playing by Mrs. Abel was the feature of the evening; her execution was neat and precise, her tone strong, pure and sweet.— Standard, Watertown, N. Y. Mrs. May Leggett-Abel is entitled to rank with the best lady violinists, her execution being almost without limit, her tones true, and her interpretation sympathetic.— Detroit News-Tribune. Mrs. May Leggett-Abel was the star of last night's faculty concert of the Michigan Conservatory of Music, given at the Church of Our Father. She played de Beriot's concerto, Op. 73, with such spirit and fire, and such warmth of tone, supplemented by an admirable technique, that nothing but the stringent rule forbidding encores prevented her from playing again in response to the demands of the audience.— Detroit Free Press. Over 600 people filled the Church of Our Father Thursday evening for the Faculty concert of the Michigan Conservatory of Music. The opening number was the sonata in A major by Raff, played by Mrs. May Leggett-Abel and Alberto Jonas with the perfection of ensemble and artistic finish that stand as an example THEODOSIA ELDRIDGE CLYDE SEVERANCE FLORENCE BIRDSALL of how such music should be played. Mrs. Abel appeared later in the program as soloist, playing the Romance by Wieniawski and the Tarantelle by Francois Schubert.— Detroit Sunday News-Tribune. Mrs. Abel brought out a beautiful tone and displayed great musicianship.— Toledo Bee. Mrs. Abel's quiet, lady-like bearing won her many friends in the audience from the outset, which was rapidly accentuated by her admirable rendition of the various numbers allotted her, each solo of this charming violinist being heartily encored.— Advertiser, London, Ont. Mrs. Abel was undoubtedly the favorite of the evening, playing with musical tone and brilliancy.— Flint Globe. Mrs. Abel, as violinist, thrilled, inspired and swayed her audience almost at will.— Lapeer Clarion. Regarding Mrs. Abel's violin playing at Bay View, discriminating people pronounce her the best violinist and most effective concert player who has ever visited Bay View. Besides, she is a young woman of high bearing, and most pleasing presence on the platform and in social life.— President Bay View Chautauqua. Mrs. Abel's violin playing was simply perfection and shows what skill, culture and natural gift will do for a person. She executed the most difficult selections with ease and grace and was recalled from three to four times after each number.— Mining Journal, Ishpeming, Mich. Nature has been most lavish in her gifts to Mrs. May Leggett-Abel; she possesses a handsome presence and a winning witchery of modesty, supplemented by the artistic skill of the musician, in making her violin charm the heart and soul of her listeners.— The Star, Coldwater, Mich. Mrs. May Leggett-Abel, the star of the company, received prolonged and enthusiastic applause, she handles the violin with the skill of a master and the instrument responds to the touch of the artist with wondrous melody.— Tribune, Three Rivers, Mich. Mrs. Abel's performance was on a high plane of art, her touch was exquisite, her tone pure and full. She belongs to Pontiac, as was manifested by frequent encores.— Gazette, Pontiac, Mich. Mrs. Abel's number was given with spirited effect and a degree of finish in execution that found instant favor with the audience. Being loudly recalled, she gave in a very effective manner a fine instance of cantabile playing.— Patriot, Jackson, Mich. Mrs. Abel as a violinist proved her merit to the high rank she has been accorded by the press and public of the American continent. Her stage presence is faultless, while her delicate touch and exquisite execution of the king of instruments fairly captivated the audience, and she was loudly applauded upon every appearance.— Banner, Chatham, Ont. The gem of the evening was the violin playing of Mrs. May Leggett-Abel. She has a remarkable technique and produces her flageolet tones in such an artistic manner that one imagines they hear the Schalmei of the Swiss Shepherd.— Abend Post, Detroit, Mich. [Translation]. MISS THEODOSIA ELDRIDGE, a young lady endowed with a charming personality, and the true musical temperament, graduated with the very highest honors last year. Miss Eldridge has had several years' experience in teaching, and has had uniform success throughout. IRMA KIRSTEIN ANNA IRENE GRISWOLD ELLA L. BIRDSALL CLARENCE E. HILL EVA PETREQUIN ELEANOR OSBORNE FREE AND PARTIAL SCHOLARSHIPS. VIOLIN DEPARTMENT. In order to offer the greatest possible help to such talented pupils as are unable to pay for their tuition, a full scholarship, for one year, has been offered, in the class of the Head of the Violin Department. This scholarship will be awarded, on examination, to the most gifted of such pupils who will apply for the same. The second best will benefit of a partial scholarship for one year, said partial scholarship carrying with it a reduction of one-half the entire tuition for one year. Only such as are actually unable to pay for their tuition should and need apply, and they must bring, to the Director, some references as to character, standing, etc. VIOLONCELLO. MR. FREDERIC L. ABEL is justly known as a highly accomplished cellist. He is a graduate of the Raff Conservatory of Music, at Frankfurt-on-the-Main, where he was the class-mate and enjoyed the personal friendship of many who have since became distinguished, including Edward A. MacDowell, the American composer and pianist. Mr. Abel completed his studies with Cossman, cello; Urspruch, piano, and Raff and Boehme, harmony, theory counterpoint and history of music. His pupils all reflect in their playing the fine training and thoroughness of their teacher. One of the best performances during the evening, and one which received most enthusiastic recognition, was the 'cello solos by F. L. Abel, who gave Chopin's Nocturne, op. 9, and the Allegretto, op. 12, by Kiel.— Detroit Free Press. The depth and beauty of tone, the fine pathos and sparkling brilliancy of the 'cello when under the spell of a master, were well illustrated in the fine playing of Mr. Abel on this occasion. The 'cello playing was the feature of the concert.— Battle Creek Journal. Mr. Abel's performance was true in conception and musicianly in execution. He was thrice recalled to bow acknowledgements.— Saginaw Journal. Mr. Abel has long enjoyed an enviable reputation as a master of technique, and his playing was a delight from that standpoint.— Detroit Free Press. Mr. Frederic L. Abel, besides being a 'cellist of ability, is evidently a thoroughly cultured musician. His rendering of Popper's Tarantelle was well received, and he was complimented with an enthusiastic recall.— Toledo (Ohio) Blade. Mr. Frederic L. Abel of Detroit played Golterman's Cantilena, and the Tarantella Op. 33 by Popper, showing admirably in the first number the melodious and sympathetic quality of the instrument, and in the second, its surprising agility and flexibility. He was insistently encored, and graciously responded.— Grand Rapids Press. PAUL KOCH NEWTON J. COREY EDITH MCMAHON The eminent 'cellist, Frederic L. Abel, of Detroit, played Cantilena by Golterman and the Tarentella op. 33 by Popper. Mr. Abel played with the skill and taste of a thorough musician and he demonstrated his mastery of the 'cello. He had a superb instrument, rich and beautiful in tone quality. In response to an encore, he played the Berceuse from Jocelyn.— Grand Rapids Herald. Organ Department. MR. N. J. COREY, head of the organ department, formerly of Boston, is known as one of the most prominent organists as well as ablest musical lecturers in America. Mr. Corey's studies were made in Boston, under Parker, Lang and Chadwick; he then engaged in professional work there with such success that his stay was lengthened into eleven years. After occupying important positions as organist in Brooklyn, and later at Dr. McKenzie's Church, Harvard College, Cambridge, Mr. Corey accepted a call from the Fort Street Presbyterian Church, of Detroit, which position he still holds. Mr. Corey has given organ recitals in New York, Boston, Cleveland, Detroit and many other important cities, which have received high and unstinted praise from the foremost critics of the press. He has also given series of organ recitals at the Chicago World's Fair, the Buffalo Pan-American, and was one of two organists to give two series of recitals at the St. Louis Exposition. He is also one of the founder members of the American Guild of Organists. Mr. Corey was always a deep student of musical history, and, indeed, of all theoretical works related to the art of his choice, and while still a young man he became known as a profound musical scholar. He had a fine literary gift, and, naturally enough, the time came when he set about writing musical lectures. So successful was Mr. Corey in his lectures, especially in his Wagner talks, illustrated with views to be used in the stereopticon, that his lecture engagements included a series in New York, Brooklyn, Baltimore, Philadelphia (three times), before the meeting of the New York Teachers' Association at Rochester, in 1893; three times before the meeting of the Indiana Music Teachers' Association, at Cornell University; three times at Wellesley College; in Detroit, where the series was repeated, etc. Mr. Corey is an accomplished master of his instrument.— N. Y. Musical Courier. Mr. Corey rendered the Rheinberger Sonata with all the refined taste and skill that the most captious musician could require.— Boston Home Journal. Mr. Corey is one of the best interpreters of difficult organ music that Detroit has ever heard.— Detroit Tribune. MUSICAL LECTURES. Mr. Corey's treatment of his theme, a subject by no means easy to handle in a way comprehensible to an audience not made of specialists, was admirable in its clearness, and in the comprehensive and exact knowledge it showed. His power of stating facts and ideas in plain language, so as to make their gist immediately comprehensible, is conspicuous. His narration of the story of the Nibelungen was not only clear and interesting, but absolutely correct, a rare virtue in those who attempt to give in detail that complex but perfectly coherent plot.— W. F. Apthorp, in Boston Transcript. The success of the affair was pronounced, and the occasion was as entertaining as it was original in aim and instructive in quality.— B. E. Wolff, in Boston Gazette. The Lecture may be classed as an absolute success.— L. C. Elson, in Boston Advertiser. The lecture was admirable, giving more clearly than has ever been done in this city, an idea of the nobility of the Wagnerian conceptions.— Philadelphia Inquirer. Of the greatest educational value.— Philadelphia Music and Drama. The most conspicuous characteristics of these lectures have been their presentation in such form as to be enjoyed by everyone, whether musical or not.— Detroit Evening News. PAUL KOCH is already known to the general public through his extraordinarily fine playing as an organist. ENSEMBLE PLAYING—CHAMBER MUSIC. These classes, both free and private, are conducted by Mr. Frederic L. Abel, and Mrs. May Leggett-Abel who have for a great many years made this branch a special study. Pupils attending this class will acquire a valuable and practical knowledge of one of the most grateful and pleasant forms of art. SIGHT READING. VOCAL, PIANO, VIOLIN, VIOLONCELLO. The classes of sight reading (Vocal, Piano, Violin and Violoncello), are respectively under the charge of Alice May Harrah, Lillian Gove, Alyce Cullyford, Mrs. May Leggett-Abel and F. L. Abel. These classes are free to the pupils of the Michigan Conservatory of Music. THEORY OF MUSIC AND ELEMENTARY HARMONY. MISS EDITH McMAHON besides conducting the general free classes of elementary harmony, gives private and class lessons in harmony. EAR TRAINING, MUSICAL DICTATION. This useful class is free, and will be conducted by Miss Lillian Gove and Alyce Cullyford. ADVANCED HARMONY, MUSICAL DICTATION, EAR TRAINING, TIMING, RHYTHM, AND GENERAL KNOWLEDGE OF MUSIC. These classes, both free and private, as well as the free class of MUSICAL FORM, ANALYSIS, ACOUSTICS, are conducted by Mr. Corey, who is recognized as an authority in this important branch of music science. The study of harmony is absolutely essential in music, and no cultured musician can ignore the æsthetics of music. ADVANCED HARMONY, PRACTICAL HARMONY, COUNTERPOINT, CANON, FUGUE, COMPOSITION, ORCHESTRATION. Figure In order to accommodate the ever growing number of pupils another free class of advanced harmony has been instituted. This class, as well as the private classes of advanced harmony, practical harmony, counterpoint, canon, fugue, composition and orchestration will be conducted by Mr. Jean Van der Velpen, head of the theoretical department, and one of the most learned, scientific musicians in America. Practical harmony is the realization, at the piano, of the various accomplishments that a cultured musician must possess. It includes modulating (diatonically, chromatically, enharmonically); improvising the accompaniment of a melody; improvising chorals of one, two or three parts; reading figured bass; transposing, at sight, accompaniments; reading at sight, at the piano, orchestral scores and quartette scores. The study of this useful branch of music has been greatly neglected in America, yet all the leading conservatories of Europe have a special class of practical harmony. The following biographical sketch is taken from Documents Historiques relatifs a l'art musical et artistes musiciens, published in Belgium in 1874: Van der Velpen (Jean), born in Malines, Belgium, 1834, was admitted to the Conservatory of Brussels, to the classes of M. Blaes, Delmont and Fetis. In 1859 he obtained honorable mention by the Belgium Government, and in 1861 carried off the first prize in composition, known as Prix de Rome. He was charged by the government with the translation and editing of the works of ancient masters. Several of his compositions have been published and produced with good success. His operetta 'Le Voyage en Suisse' has been especially successful. Mr. Jean Van der Velpen possesses the gold medal for composition, given by the Belgian government, and several medals awarded him by leading Belgian musical societies. HISTORY OF MUSIC. Mr. N. J. Corey will give, during the first two terms, twenty lectures on history of Music. The inestimable value to students of these weekly lectures, given by so well known and distinguished a lecturer, need hardly be dwelt on. Pupils of the Conservatory will be admitted free. During the last two terms Mr. Corey will give weekly classes in MUSICAL FORM, ANALYSIS AND ACOUSTICS, and these classes are free to the pupils. FLUTE, CORNET, CLARINET AND ALL ORCHESTRAL INSTRUMENTS are taught by leading, competent instructors. LANGUAGES. FRENCH, ITALIAN AND GERMAN are taught by competent teachers. The Study of the Technicalities of Dramatic Art, Fencing. Figure Mr. Vicary knows the art he is employed to teach—knows it practically and is able to give a reason for all he asserts and does in that field of work.— George P. Goodale in The Detroit Free Press. Mr. Vicary illustrated his suggestions by an analysis of Anthony's oration, delightfully rendered.— Detroit Journal, Oct. 4, 1900. Mr. Vicary's system corrects all affections and develops an easy, convincing habit of speech, a quiet and forceful presence, and that equipoise—that effect of mental and physical well-being—so essential to the successful business or professional man or woman, Teacher or PUBLIC SPEAKER, and is utterly devoid of anything likely to militate in any way against the personal idiosyncrasy of the pupil; and it is for that reason calculated to bring the student in safety to that point of physical and mental preparation for realizing the ultimate desire of the ambition, beyond which he can be led by no one. The Burrowes Course of Music Study. KINDERGARTEN AND PRIMARY. The Burrowes Course attracts children to the study of music by the use of Songs, Stories, Games, Blackboard work, Chart work, Competitive drills and Mechanical devices, as well as Pianoforte music. Thus, with little effort on the pupils' part and much pleasure, the musical faculty is developed, and the young students are made sincere and intelligent lovers of the art. Through this method they learn to play well and pleasingly, are interested, entertained and inspired at all times, and the foundation of a thorough musical education is firmly established. This department is under the charge of Miss Irene Griswold, who, through her knowledge and her genial personality, has endeared to herself her numerous young pupils. Children who are too young or who for any other cause are unable to attend the classes at the Conservatory will, by special agreement with the Director, be taught at their homes. ORGAN AND PIANO PRACTICE. Pupils will be allowed the use of the Conservatory's Farrand & Votey Organ for practice, at a merely nominal price. By making an early application for hours, students can obtain a limited amount of piano practice at the Conservatory; the fee is $1.00 per month for one hour each day. LESSONS AT PUPIL'S RESIDENCE. For the convenience of such persons who, because of extreme youth, occupation, distance, etc., are unable to come to the Conservatory, lessons will be given at the pupil's residence by experienced, accredited teachers of the Conservatory, who all possess Teachers' Certificates, or are Graduates of this institution. The advantages of receiving a musical education in voice, piano, violin, by experienced instructors, under the direct guidance of Heads of Departments, can hardly be over-estimated. LOCATION. It is with pardonable pride that the Michigan Conservatory of Music points to its home. Located in the heart of the city, yet in a quiet refined neighborhood, stands one of the finest buildings in the Michigan metropolis, formerly the private residence of one of the richest and best known families in Detroit. It is in itself an object lesson of art. The building faces three streets—Washington Avenue, Park Street and Bagley Avenue, and is surrounded by a beautiful park. This is the home occupied entirely by the Conservatory. The interior is well in keeping with the beautiful exterior. There are twenty large studios each being at least twice or thrice the size of studios generally found in other institutions. They are, without any doubt, among the most pleasantly appointed studios to be found in America. The Conservatory has been fitted with a two-manual Farrand & Votey organ. PUPILS' RECITALS. The great success of last year's public pupils' recitals has shown the wisdom of the plan pursued. The pupils displayed a surety of technique, artistic freedom, ease and confidence found only in mature artists. It being the aim of the Concervatory to form experienced artists and teachers, special attention is given to training the pupils so that they may produce their knowledge and skill in a sure and reliable manner. This is obtained by the concert training classes, free to pupils, which assemble every week, and where pupils learn to gain that control and mastery over oneself, that repose and resourceful confidence, which are so necessary to the performer and singer, and without which many a talented musician has failed to reap full recognition and reward in his career. In the instrumental recitals, chamber music will be given a prominent place, for nothing develops so much the taste and imparts so much confidence, nor introduces greater variety in a pupil's studies than the playing of duos, trios, quartettes and quintettes among the pupils themselves, under the supervision of experienced teachers. FREE ADVANTAGES. The Michigan Conservatory gives to its pupils free access to all the Faculty concerts, chamber music concerts, recitals and special lectures and concerts that will be given in the Conservatory. It also gives them free instruction in the classes of theory of music, harmony, both elementary and advanced, sight reading (violin, piano and cello), ensemble playing, chamber music, history of music and concert training class. While these classes are free, they are also compulsory, as it is the aim of the Conservatory to form accomplished musicians, and this can only be obtained by an enforced system. An exception will be made for pupils who, on entering the Conservatory, give evidence of a good knowledge of these branches, and for those who, through valid reasons, can be excused by the Director. In the Michigan Conservatory of Music only the highest standard—that of professional knowledge and proficiency—will be maintained and applied alike to those who have no need of making music their profession and to those who have. Lessons will be given privately and also in classes, but the curriculum will be the same to all. DIVISIONS OF STUDIES. The complete course of studies in the Michigan Conservatory of Music is divided into four classes: 1. Elementary. 2. Preparatory. 3. Teacher's Certificate. 4. Graduation Diploma. SPECIAL COURSES. Post Graduation, with degree of Bachelor of Arts. Artist's Course, with degree of Master of Arts. CONDITIONS FOR ADMISSION IN THE M. C. OF M. Every student entering the Conservatory may be examined by the Director or the Head of Department. In accordance with the latest and best methods of the foremost conservatories of Europe, the Michigan Conservatory of Music does not prescribe any rule for admission in any of the classes. No long and meaningless list of studies, supposed to correspond with the Teacher's Certificate and Graduation Classes, are given here. It is not what one does but how one does it that counts. Individual aptitude, musical disposition and talent will dictate the course to be pursued, and the pupil will be advised as to his studies according to what in the judgment of the Director and the Head of Department will be best for him. For the same reason, no length of time can be fixed for the attaining of the Teacher's Certificate and Graduation Diploma. It will depend greatly upon the ability of the student and his progress, and must be left to the judgment of the Director and of the Head of Department. BEGINNERS. No previous musical knowledge is necessary to enter the Michigan Conservatory. Beginners will be received in any department and will be taught only by experienced teachers, under the supervision of the Head of Department, as the most careful training is required at the beginning. Piano Department. TEACHERS' CERTIFICATES. Candidates for the Teacher's Certificate must have attended at least during one school year the advanced classes of harmony, history of music, chamber music, musical form, analysis and acoustics, and must have some knowledge of counterpoint. Although their aim may not be to make public appearances, yet the candidate must have acquired such technical proficiency and general mastery as will enable them to illustrate to their future pupils. They must have attended during at least one year the Teachers' Training Class, and must perform before a Board of Examiners, consisting of the Director and Heads of Departments, such pieces as may be chosen from an entire recital's program. They must, in addition, read at sight a composition of medium difficulty. GRADUATION DIPLOMA. Candidates for the diploma must have attended during at least one school year the advanced classes of written and practical harmony, counterpoint, history of music, chamber music, musical form and analysis, and sight reading. Vocal Department. TEACHERS' CLASS. In no branch of music is more care required than in the vocal for the conferring of a Teacher's Certificate. Thousands of men and women parade under the name of teachers of the voice who are totally unqualified for their calling—inexperienced, having made short, incomplete studies, knowing often less than the unhappy pupil they are called upon to teach. These would-be teachers are a menace and a curse to the musical community, for how many voices have they not totally ruined by their ignorance and charlatanism? Candidates for the Teacher's Certificate must have attended at least four terms of Harmony; must be able to play ordinary accompaniments and have some knowledge of the Italian, German or French language; they must have attended during at least one year the Teachers' Training Class. They will have to give a recital before the Director and the Heads of Departments. GRADUATION DIPLOMA. The additional requirements in harmony, piano playing and languages will be the same as those of the Teacher's Certificate. The candidate must have good knowledge of Lyrical Declamation and must give a vocal recital in public. Violin. TEACHERS' CERTIFICATES. Candidates must have attended at least during one year the advanced classes of written and practical harmony, history of music, musical form; analysis and acoustics, and general class of counterpoint. They must have attended at least during one year the Teacher's Training Class, and must perform before a Board of Examiners, consisting of the Director and Heads of Departments, a whole recital, including a concerto. They must, in addition, read at sight a composition of medium difficulty, and take part in chamber music. GRADUATION DIPLOMA requires the attendance during at least one year of the advanced classes of written and practical harmony, counterpoint, musical form and analysis; candidates must have some general knowledge of composition, and have to give in public a recital, including a quartette for string instruments, and a concerto. Cello and the remaining orchestral instruments will require the same qualifications as violin. Organ will require the same qualifications as piano. Post Graduate Class. BACHELOR OF ARTS. The minimum term of study in this class is one year. A special course will be laid down in the piano, vocal, violin and organ departments. A final examination before the Board of Examiners is necessary to successfully complete this course, which carries with it the degree of Bachelor of Arts. The requirements for instrumentalists are harmony, counterpoint, composition and musical science. Artist Class. MASTER OF ARTS. The minimum term of study in this class is one year. Only post graduates are admitted to this course. Others wishing to enter are required to pass an examination before the Board of Examiners. A successful final examination in the artist class carries with it the degree of Master of Arts. The requirements for instrumentalists are harmony, counterpoint, composition, musical science, and the possession of high artistic skill and proficiency. Calender for the School Year. 1906–1907. The first term opens September 9th and closes November 16th. The second term opens November 18th and closes February 1st. The third term opens February 3d and closes April 12th. The fourth term opens April 14th and closes June 21st. There is a vacation of one week for the Christmas holidays, from December 25th to January 1st, inclusive. The Conservatory is closed on legal holidays; lessons falling on such days will be made up—provided that pupils have made the proper arrangements with their teachers beforehand. Pupils neglecting to arrange with their teachers for making up these lessons will lose them. The mid-summer course of the past years has been marked by such a large attendance that this course is henceforth to be considered a regular feature of the Conservatory's work. As heretofore, there will be classes for beginners and also for advanced students. There will be special classes for teachers, who wish to broaden and strengthen their knowledge and personal proficiency, under the guidance of eminent instructors, and in the midst of such ideal surroundings as Detroit offers in summer. Commencement and Graduation exercises, date to be announced. MIDSUMMER COURSE. The Mid-Summer Term for 1908 will begin Monday, June 23d. Special attention is called to Rules and Regulations Nos. 3 and 7. Diplomas. The following Diplomas were awarded during the school year 1906-1907. Graduating Class. PIANO. Miss Grace G. Hoffman, Deckerville, Mich. Miss Marguerite A. Lusted, Windsor, Ont. Miss Lucille Pratt, Detroit, Mich. Miss Celia M. Tannar, Detroit, Mich. Miss Amy J. Dietz, Detroit, Mich. Miss Irma Kirstein, Detroit, Mich. Miss Myrtalene Yokom, Norway, Mich. VIOLIN. Miss Theodosia E. Eldridge, Detroit, Mich. Miss Aileen Van Buskirk, Paw Paw, Mich. ORGAN. Mr. Glenn Henderson, St. Johns, Mich. Teachers' Certificate Class. PIANO. Miss Eleanore Osborne, Detroit, Mich. Miss Alice Van Atta, Fenton, Mich. Miss Gertrude Heinze, Detroit, Mich. Miss Marilla De Long, Flat Rock, Mich. Miss Clara Benedict, Birmingham, Mich. VIOLIN. Miss Lillian Newman, Pontiac, Mich. Miss Julie Boehme, Monroe, Mich. Mr. Clyde Severance, Lansing, Mich. CELLO. Miss Ella L. Birdsall, Detroit, Mich. ORGAN. Miss Edith T. McMahon, Detroit, Mich. ARTISTS FOR ENTERTAINMENTS, CONCERTS AND MUSICALES. The Conservatory is prepared, upon application to the Director, to furnish Vocalists, Pianists, Violinists, Orchestra Soloists, Trios and String Quartettes from the members of the Faculty, for Musical Entertainments given by Clubs, and Musical Associations and Societies. Further information may be obtained by addressing the Secretary. Rules and Regulations. All pupils entering the Michigan Conservatory of Music do so with the distinct understanding that they will be subject to, and abide by, the following Rules and Regulations: 1. Tuition is strictly payable in advance. 2. Pupils may enter at any time and will only be charged from the date of their entrance. No pupils accepted for less than a term of ten weeks. 3. No reduction nor refunding of any part of the tuition will be made for absence of the pupil, except in the case of protracted illness or in special cases, which shall be at the discretion of the Director of the Conservatory. Pupils who leave during the term will have the remainder of their tuition stand to their credit, and such money will be available only within one year after such credit is made. 4. Upon leaving the Conservatory, pupils who have attended a class during at least one school year may be given a testimonial stating progress made and their standing in their studies. 5. No change can be made from one teacher to another, nor from one branch of study to another without the consent of the Director. 6. Applications for admission, registration, payments and all matters of business connected with the Conservatory, including tuition, arrangement of classes, changes of hours, or from one class to another must be attended to at the Secretary's Office only, and not with teachers. 7. Pupils must be punctual at their lessons. In case of a pupil's illness, or absence from class for any cause, notice must immediately be given or sent to the Secretary and such lessons must be made up within the term. 8. Students are not allowed to take part in any public musical performance without the consent of the Director and of the Head of the Department. 9. Students who, owing to deficient musical ability, irregularity in their attendance, inattention, or any other valid reason, fail to make the necessary progress in their studies, may be dismissed from the classes and balance of tuition will be refunded. 10. Students are required to be faithful and regular in their attendance at all the Faculty Concerts, Lectures, Recitals, Chamber Music Concerts and Pupils' Recitals, both private and public, given in the Conservatory. 11. Any cause for dissatisfaction that may arise should be reported at once to the Director's office, where it will receive prompt attention. CERTIFICATES AND DIPLOMAS. These will be issued at the end of the School year only. The fees are as follows: Teacher's Certificate, $10.00 Graduation Diploma, 10.00 Post Graduate Diploma, 15.00 Artist's Diploma, 15.00 ROOMS AND BOARD. For the convenience of pupils from a distance, the Conservatory has compiled a list of private families who have registered at the Secretary's office as willing to accept Conservatory pupils. The Conservatory is not interested, directly or indirectly, in any boarding place, and only through a solicitous regard for the welfare of its pupils is the Conservatory willing to assist them, as far as lies within its power, to obtain comfortable and suitable rooms or boarding places. As already stated, Detroit offers the least expensive living of any city in America. Rooms can be had from one dollar a week up, and excellent board for three dollars. PIANOS AND OTHER INSTRUMENTS. Good pianos can be rented at $4.00 per month and upward. The Conservatory will gladly assist students in selecting instruments either for rent or purchase whenever so desired. The Conservatory will use all its influence to secure positions for pupils who have obtained the Teacher's Certificate or the Graduation Diploma, and who wish to follow music as a profession. OFFICE HOURS AND ASSIGNMENT OF LESSONS. The Director's Office will be open one week before the beginning of every term for the assignment of lessons and for examinations. The Secretary's office is open every day from 8:30 A. M. to 5:30 P. M. The Director may be consulted daily at his office from 4 to 5 P. M. Graduation Exercises. AT THE DETROIT OPERA HOUSE June 18th, 1907. Program 1. Prayer REV. DR. LEE S. M'COLLESTER 2. Address HON. WILLIAM C. MAYBURY 3. Concerto, A minor J. N. Hummel (First Movement) MISS AMY J. DIETZ 4. (a) Berceuse Chopin (b) Spinner-Lied Wagner-Liszt MISS GRACE G. HOFFMAN 5. Concerto No. 7 Charles de Beriot (For Violin) Andante Tranquillo Allegro maestoso MISS THEODOSIA E. ELDRIDGE 6. Capriccio Brilliant Felix Mendelssohn MISS MYRTALENE YOKOM 7. Harmonious Blacksmith J. F. Haendel MISS MARGUERITE A. LUSTED 8. Souvenir de Haydn Henri Leonard (For Violin) MISS AILEEN VAN BUSKIRK 9. Concerto, G minor Felix Mendelssohn MISS IRMA KIRSTEIN 10. Polacca Brilliant Weber-Liszt MISS CELIA M. TANNAR 11. Concert-Stück C. M. Von Weber MISS LUCILLE PRATT DISTRIBUTION OF DIPLOMAS ORCHESTRAL ACCOMPANIMENTS ON SECOND PIANO, MR. BENHAM MISS ALYCE CULLYFORD ACCOMPANIST FOR MISS ELDRIDGE AND MISS VAN BUSKIRK Mason & Hamlin The highest priced Piano in the World The Best Piano In The World The choice of such eminent artists as Harold Bauer, Jan Sickesz Ossip Gabrilowitsch, Frederick Lamond, Heinrich Gebhard, Emil Pauer, Rudolph Ganz, Madam Antoinette Szumowska Adamowska and many others. Dr. Karl Muck who by special permission of the German Emperor conducted a series of Boston Symphony Orchestra concerts in America, writes as follows: Boston, March 8, 1907. MASON & HAMLIN CO. GENTLEMEN: It is a pleasure to me to tell you that one of the real musical delights of my stay in America has been the intimate acquaintance I have made with your pianos. My visit to your factory and the demonstration there given me of your unique system of pianoforte construction have convinced me of the ideally high standard you have set before you, while my experience with your pianos at my home, as well as on the concert stage, has proved to me how completely you have attained that artistic ideal. Their beautiful tone, which no adjective can adequately describe and their inspiring perfection of mechanism, render them noble instruments worthy of the highest place in my esteem. Yours very truly, (Signed) DR. KARL MUCK. Mason & Hamlin, Conover and Cable Pianos, ARE USED EXCLUSIVELY BY THE Michigan Conservatory of Music The Cable Piano Co. EXCLUSIVE REPRESENTATIVES 218 Woodward Ave. Detroit, Mich. |
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