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David Baxter Concert Party Scotland’s Greatest Basso Cincinnati, Ohio Station J Exclusive Management The Dickson Lyceum Bureau ALLEGHENY, PA. SUITE 305, MUTUAL BUILDING Opposite Pcstoffice Columbus Ohio Station A Praise DAVID BAXTER Some Recent Appearances London Queen's Hall..............Recital St. James Hall.........Ballad Concert Royal Albert Hall...........Recital Crystal Palace......Symphony Orchestra New York With Gadski ..........Bagbie Recital Mendelssohn Hall...........Recital Chicago With Nordica..........Joint Recital Mendelssohn Club ............ Soloist Pittsburgh Symphony Orchestra . . . Emil Paur, Conductor Mozart Club..........."Messiah*' Apollo Club.............Soloist Carnegie Ha'l.............Recital Peacock Palace........Private Recital Miscellaneous Berlin................. Recital Philadelphia . . ,...........Twice Cincinnati ...............Twice Indianapolis...........Three Times Minneapolis............ Apollo Club St. Louis...............Recital Detroit, with Gabrilowitch . ... ... , Recital Baltimore (Peabody Inst.) .... Three Times Grand Rapids........Schubert Society Muncie................Festival Marion...........Morning Musical Charleston...............Recital Wheeling.......Woman's Musical Club Parkersburgh.........Woman's Club Canton............Choral Society Portsmouth..........Ladies' Musical Montreal...............Recital Toronto............. . , . Recital "Concert Goer" The soloist was the Scotch vocalist, Mr. David Baxter, who might be described as a basso cantate. This singer ayed talents of a good order, exhibiting interpreta-faculties which made some of his work more than narily interesting. His first and most important ber was the aria "Edin Jeder kennt die Lieb' auf ?n," from Tschaikowsky's "Eugen Onegin," of ;h he gave an earnest performance. Later on he heard in selections from Schumann's "Dichterliebe" e and a group of Scottish melodies, in which latter ppeared to the best advantage. In any case, his llent work put the audience b to a state of high I humor, which was emphasized by sundry recalls encores. ____________ Chicago "Inter Ocean" avid Bnxter* a Scotch basso, sang a group of Schu-in songs—selected from the 'Dichterliebe"—a song Tschaikowsky, and a group of old Scotch songs in a rich voice that is especially good in the upper regis-IIis encore response, Kingslej's "Mary Call the le Home," was given with a good appreciation of its Tme pathos. ____________ St. Louis "Globe-Democrat" r. Baxter, who is a new singer here, was accorded a idly reception, and, after his first numbers were ren-d, the demonstrations of the audience left no doubt D the esteem he had instantly won. He had widely ^ing selections, his first songs being a group of Ger-1 songs, while later he had three Scottish gems. He i his greatest success in the song which he gave as an ~>re after his Scottish songs,KingsleyV'Sands o' Dee ' ch he sang with great feeling. "Musical Leader" his singer has a charm entirely and distinctly his u. In his tinging of ballads and folk songs he re-lded us of what Plunket Gieen was when that gentle-n was at his best. lie is decidedly the best basso or itone sent out from the British metropolis for many sons past. Minneapolis "Evening Tribune" )avid Baxter, the basso, was last night's soloist. Mr. Kter is a big man with a fine and flexible voice which ;er seems strained, and never seems to reach the ulti-te power possible to it. One always feels that the ger could use twice, or perhaps thrice, the volume ex-lded. lis songs were nearly all Scottish. It would be an rage to attempt to sing those grand and pathetic old )tch ballads and melodies unless one were gifted :.h a wealth of feeling and the capability of express-; it. Mr. Baxter has this power, and consequently his mbers of last night were a series of delights. His ivier tones are organ-like and rolling; his lighter,high-ones are sweet and sure. He is remarkably free from innerisms, his simplicity of delivery being well adapt-to the great, quiet compositions he interprets, [lis first selection was an aria from an opera by shaikowsky, and was well received, but the Scotch )up was more satisfying. "Loch Lomond," the first, is listened to in absorbed silence by the entire audience, was sung with a haunting pathos that well nigh ought tears. "De'il's Awa," a more lively composi-•n, was enjoyed to the utmost. It contains possibili-s for artistic handling which were recognized by Mr. ixter. "The Land o' the Leal" and "Sound the Pib-sh," the remaining numbers of this group, were ex-isitely rendered. Mr. Baxter's second group consisted "Sands o' Dee," "Tinker's Song," "Would Thy Faith ere Mine" and "Leather Bottel." The first was given th all the vividness and tragedy of which that beauti-1 ballad is capable. Not everyone felt like expressing s appreciation in loud applause. "The Tinker's Song" id ■ The Leather Bottel" were sung in a manner befit-ig their charming whimsicality. Mr. Baxter respond-l to the continued applause with the famous german ■inking song "In Tiefen Keller." INTRODUCTORY I have made a study of the great concert companies that have toured in the Lyceum field, have inquired of committees and auditors how they enjoyed certain companies, that I knew full well consisted of artists, and invariably the reply would be, "We did not like them," and occasionally some one would say, "Oh, they were pretty good but we liked, (naming some company that cost one-third and perhaps one fourth as much), better." The question then arose—what is wrong and where is the fault? The one company is made up of artists who have spent years in preparation, while the chances are the cheaper company that pleased had for its prrsonel persons of talent, who, perhaps have had little or no training. I venture a solution why this one company pleased while the other failed. '1 he compnny of artists who had thrilled thousands in Convent Garden, the Alhambra and the Metropolitan Opera House, offered the same program to Lyceum audiences, singing in at least three tongues, and playing dry classics from the masters, many of which had more technical difficulties than real melodious plot. This is not what people pay their hard earned money for, not at all. V\ hen they go to a concert they want to hear music that will lighten the burdens of life, and cheer the mind that is pregnant with business cares. As for the singing in foreign languages, I am like Milton, who, when asked why his daughters were not educated in the languages, replied, "one tongue is enough for any woman." So in America, where the English language is used, one tongue is enough to sing in, an t that the English that we love so well, but, prithee, let it be English well articulated. In making up a high class concert party I have searched afar, and now have the pleasure of presenting the David Baxter Concert Tarty, which we feel confident will please the layman as well as the most critical musician. Mr. David Baxter has toured the United States three seasons, and each time with greater success, in many instances visiting the same city each season and last year sang three times in Pittsburgh. His appearances thus far have been confined to the larger cities as soloist with some of the musical clubs or in recital, and now we offer him to the Lyceum patrons, assuring them that all who come under the influence of that beautiful voice, whether in the rollicking ballads, of which he has many new to American audiences, or in the doleful tales that are told in the folk.songs of the various nations, all in English, for Mr. Baxter finds ample scope to express himself in this language. Mr. and Mrs. Hugh McGibeny, of Indianapolis, have been for years a company, finding it unnecessary to carry others, as both artists are veisatile and gave a charming program. They, too, while being able to execute Bach and interpret Channing, find that the music and language that most p'eases is that class that has been written by the masters of both realms, which contains heartfelt themes that make one forget all else. Mr McGibeny is one of the greatest violinists on the continent to-day, and has made a complete tour of the world, winning the admiration of the crowned heads as well as the sobs of the peasants. Mrs. McGibeny is not only an accomplished pianist, but is a reader, or better termed, an interpreter of the lyric masters, being especially f« nd of Riles's poems, and that great bard declares she reads with infinite mastery. She reads all her selections sitting at the piano playing the most subtle accompaniment to all. not chords heaved wave high around a phrase, but an actual composition woven from her fertile imaginat on, which is always peacefully wedded to the particular phrase ai d one must hear this bit of magic, hear the silvery voice and the ripple of the dainty accompaniment to really appreciate the effect of the whole With three great artists of such magnitude and Miss Price, who has great promise, we offer a company that has all the refinement of years of study and experience, and yet a company that will give a program well within the reach of all. JOHN C. DICKSON. Lines The Stage, London Mr. Baxter excells in the expression of that strange, wild romance which is so characteristic of the real Scotch ballad, where suggestion is everything, and mere explanation occupies a minor place. His rich, deep voice is admirably suited to the songs he sings, and he has a charming range which he uses to admirable effect. He sang songs, "irom grave to gay, from lively to severe." The first, an old Scotch ballad, was fascinating and romantic, and Mr. Baxter turned it into a veritable gem of suggestive expression. He was also loudly applauded for his rendering of an old Highland air, the words of which have been translated from the Gallic. It is peculiar and dirge-like. Other pathetic items were "Turn ye to me," the pathos of which is exquisite; "Loch Lomond," and 'The Land o' the Leal " By his treatment of the latter the singer brought tears into many eyes. Humor was represented by rollicking Highland songs, "Mary Jamieson," "Jennie Nette," and a "Scotch Love Song," while such melodies as ' Sound the Pibroch" and "Scots Wha Hae" were eloquent of that love of adventure and warfare which was and is characteristic of the dwellers north of the Tweed. It is enough to say that in all of them Mr. Baxter achieved a triumph, and that we anxiously await a repetition of his fine performance. Edinburgh "Scotsman" Mr. Baxter's singing was a combination of culture and loveliness. His voice is a bass of mellow quality with plenty of power. He first sang Stradella's beautiful "Pieta Signore" and then a series of German Lieder, including four of Schumann's "Dichterliebe;" from there he passed to Clay's "Sands o' Dee," and thence to a group of old Scotch songs. This is a wide range, but not too wide for Mr. Baxter. In solemn and plaintive pieces he is finely sympathetic. Montreal, Canada, "Gazette" At David Baxtei's Tecital at the Windsor Hall last night he had a large audience, which was quite satisfied with the concert. Of his technical skill there can be no doubt whatever. He has a fine bass voice,always under control,and treated the sustained runs of Handel' "Si tra I Ceppi," or the solemn notes of Mozart's "Possenti, Numi," with equal ease. He has a loud, full tone that has been trained to mellowness, and his enunciation was excellent. The lament from Verdi's "Don Carlos" was a fine interpretation of manly grief, and Schubert's "Litanei," with its strong sentiment of rest gained after sorrow, was given with a depth of feeling that evoked a hearty recall. "Musical Courier" David Baxter, in all the essentials that go to make vacal art enjoyable, is happily blessed. His voice is noble, manly, rich, vibrant. His singing commands attention, for it has that dignity and sincerity which appeals. Were he not the fine singer that he is, his splendid voice in itself would create popularity for him. He will achieve wide success. New York "Mail and Express" Mr. Baxter has a heavy bass voice of delightful purity in its upper range. He keeps faith with the pitch, and sings with intelligence, sincerity and feeling. Many singers might have sung the Franz and Brahms numbers as well as this newcomer, but once north of the Tweed he was on his own ground. It is easy to eing Scotch songs with a reckless Slavonic abandon, but it takes a Scotchman to put into "The De'il's Awa' " the humor that befits it. "Turn Ye to Me," another of this old Scotch coterie, had all the rugged earnestness of a rude race, and "Jennie Nettles" had all the true snap and flavor. Mr. Baxter's performances are well worth hearing. Praise "Concert Goer" The soloist was the Scotch vocalist, Mr. David Baxter, who might be described as a basso cantate. This singer displayed talents of a good order, exhibiting interpretative faculties which made some of his work more than ordinarily interesting. His first and most important number was the aria "Edin Jeder kennt die Lieb' auf Erden," from Tschaikowsky's "Eugen Onegin," of which he gave an earnest performance. Later on he was heard in selections from Schumann's "Dichterliebe" cycle and a group of Scottish melodies, in which latter he appeared to the best advantage. In any case, his excellent work put the audience ii to a state of high good humor, which was emphasized by sundry recalls and encores. ____________ Chicago "Inter Ocean" David Baxter a Scotch basso, sang a group of Schumann songs—selected from the 'Dichterliebe"—a song by Tschaikowsky, and a group of old Scotch songs in a big, rich voice that is especially good in the upper register. His encore response, Kingsley's "Mary Call the Cattle Home," was given with a good appreciation of its supreme pathos. ____________ St. Louis "Globe-Democrat" Mr. Baxter, who is a new singer here, was accorded a friendly reception, and, after his first numbers were rendered, the demonstrations of the audience left no doubt as to the esteem he had instantly won. He had widely varying selections, his first songs being a group of German songs, while later he had three Scottish gems. He won his greatest success in the song which he gave as an encore after his Scottish songs, Kingsley's"Sands o' Dee ' which he sang with great feeling. "Musical Leader" This singer has a charm entirely and distinctly his own. In his singing of ballads and folk songs he reminded us of what Plunket Green was when that gentleman was at his best. He is decidedly the best basso or baritone sent out from the British metropolis for many seasons past. Minneapolis "Evening Tribune" David Baxter, the basso, was last night's soloist. Mr. Baxter is a big man with a fine and flexible voice which never seems strained, and never seems to reach the ultimate power possible to it. One always feels that the singer could use twice, or perhaps thrice, the volume expended. His songs were nearly all Scottish. It would be an outrage to attempt to sing those grand and pathetic old Scotch ballads and melodies unless one were gifted with a wealth of feeling and the capability of expressing it. Mr. Baxter has this power, and consequently his numbers of last night were a series of delights. His heavier tones are organ-like and rolling; his lighter,higher ones are sweet and sure. He is remarkably free from mannerisms, his simplicity of delivery being well adapted to the great, quiet compositions he interprets. His first selection was an aria from an opera by Tschaikowsky, and was well received, but the Scotch group was more satisfying. "Loch Lomond," the first, was listened to in absorbed silence by the entire audience. It was sung with a haunting pathos that well nigh brought tears. "De'il's Awa," a more lively composition, was enjoyed to the utmost. It contains possibilities for artistic handling which were recognized by Mr. Baxter. "The Land o' the Leal" and "Sound the Pibroch," the remaining numbers of this group, were exquisitely rendered. Mr. Baxter's second group consisted of "Sands o' Dee," "Tinker's Song," "Would Thy Faith Were Mine" and "Leather Bottel." The first was given with all the vividness and tragedy of which that beautiful ballad is capable. Not everyone felt like expressing his appreciation in loud applause. "The Tinker's Song" and ■ The Leather Bottel" were sung in a manner befitting their charming whimsicality. Mr. Baxter responded to the continued applause with the famous german drinking song "In Tiefen Keller."
|Title||David Baxter concert party|
|Topical Subject (LCTGM)||
|Personal Name Subject||Baxter, David|
|Digital Collection||Traveling Culture: Circuit Chautauqua in the Twentieth Century|
|Contributing Institution||University of Iowa. Libraries. Special Collections Dept.|
|Archival Collection||Redpath Chautauqua Collection|
|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/|
|Number of Pages||3|
|Digitization Specifications||Scanned at 600 dpi, 32-bit color. Master image available in tiff format.|