Mozart Symphony Club of New York

              The Mozart Symphony Club of New York
Three Centuries of Popular MusicMiss 
Marie Stori. Mr. R. Stoelzer. Mr. M. Blobeck. Herr Theo. Hoch.
Viol da Gamba
The Viol da Gamba (10 Strings)
Used 200 years ago
This rare instrument was on vented in the seventeenth century by an English prisoner, who was granted life and freedom as a reward for his work. It has ten strings, and is between a Violoncello and a Viola d’Amour in size. One of these instruments is exhibited in the South Kensington Museum, London. Its tone is exceedingly expressive and sympathetic. The workmanship is perfect, and the carving a work of art. Mr. Blodeck is the only artist playing this instrument in the United States in public at the present time.
Greeting
The great success of the Morzart Symphony Club during the past elevn season, the unbounded praises of the press and public, repeated requests for return engagements assures the management (Messre. Blodeck and Stoelzer) that the Club is now held on California. Mozart Symphnoy Club, the finest concert combination in America, consists of an excellent string quartette, and owe their renowned reputations to the fact that they are the onl musical organization who play solos on such obsolete instruments as the Viola d’Amour (often called viola of Love) and the Da Gamba. Mr. Theo Hoch, with his golden cornet, set with precious, and of which produces the full round tone and the other the echo. These solo instruments enables enables the Club to give a programme more varied than any other company with three times as many members.
Thus we offer to the public the strongest guarantee and assurance of its excellence. The careful arrangement of the program will contain works which are calculated to please the general public as well as the most fastidious listeners.
OF NEW YORK, under the Direction of Mr. Mario Blodeck and Mr. Richard Stoelzer
Miss Marie Stori, solo violin
Herr Theo Hoch, violin
Mr. Richard Stoelzer, viola
Mr. Mario Blodeck, Cello
Assisted by Miss Marie Stori, Prima Donna Soprano
Mr. Richard Stoelzer, viola d’amour soloist, Lute, saxophone, Bells
Herr Theo. Hoch, Cornet Vitruoso, Roman Triumphal Trumpet and Alpine Echo Horn
Mr. Mario Blodeck, da Gama Solist and Zither
SPECIMEN PROGRAM
1.  Overture—Allegro vivace from Jupiter Symphony. Mozart Symphony Club                   Mozart
2.  Viola d'Amour Solo—Adagio religioso      .        .    Ole Buil
Specimen program
Mr. Richard Stoelzer
, Violin Solo—Souvenir de Sorrento Miss Marie Stori
Cornet Solo—Mother's Heart (Fantasie) Herr Theo. Hoch
. Da Gamba—Larro Cello Solo—Tani.'itelle
Mr. M. Blodeck
Papini
Hoch
Handel Popper
The Gypsies.....Dudley Buck
Miss Marie Stori
Johnson
7.  Quartette—a. Song without words         .       .       . Seifert b. Moonlight Serenade        .       .       .     Luda
Mozart Symphony Club
8.  Alpine Echo Horn—Duett Idylle   ....     Hoch   I       Theo.
9.  Song—"Hymn of Old," with Violin obligato,
Played and sung by Miss Marie Stori
10.  Descriptive Fantasie—"In the Clock Sto re (new),Stoelzer SYNOPSIS—The apprentice opens the store in the morning and
winds up the different clocks, the ticking of which is illustrated by the music, which gradually develops into a musical imitation of a clock store. The cukoo clock strikes the hour, after which the deep sound of another clock is heard. The alarm clock then brings a merry rattle, followed by the striking of another clock in harmony with the music. The apprentice then whistles a little tune. After this, the clock that contains the chimes gradually runs down and stops. The boy winds it up again, and then the miniature chimes of a Scotch cathedral are heard in the distance. The neighboring clock strikes the hour and a carol follows. Now that all the clock* are in running order—the apprentice looks after the other work, but is interrupted by a sleighing party passing the window, and he then leaves the clock store.
II. Herold's Trumpet—A reminiscence from, "Aida," Verdi
ITerr
Miss MARIE STORI, Prima Donna Soprano
This musicallv gifted artist studied voice with Mr. William Courtney and Charles Abercombrie, and Tiolin with Jan Koert, Concert Master of Damrosch Orchestra. Although very young she is an artist of high rank, with a dramatic soprano voice, remarkable for breadth, fullness of tone and sweetness. An unimpeachable method, and perfect diction. It must not be supposed that because Miss Stori is an accomplished vocalist, she must of necessity be an amateur performer on the king of instruments. Such is not the case, for she is equally talented in both. One of her most attractive accomplishments which never fails to surprise and edlight her audiences, is the playing of her own violin obhgato While she sings.     This feature of her work is a novelty altogether unique
PRESS NOTICES
At the concert given for the benefit of the Cuban insurgents at the Grand Central Palace. Marie Stori dramatic soprano, singing with band accompaniment and chorus of fifty voices, received great applause for her rendition of "I,e Sarau Rose," her powerful voice filling the large building.
—New York Herald.
Marie Stori, a most accomplished violinist, played a solo which made a deep impression. Her in¬tonation was superb and her bowing graceful and easy. She responded to the great applause by play¬ing a southern melody.
At a concert given at the Waldorf-Astoria yesterday afternoon to a large and fashionable audience, a long and interesting program was given.    Marie Stori, soprano, sang " Le Saran Rose," and " Happy Days" as an encore, playing her own violin obligato charmingly with much feeling and delicacy. J                                                                                                                                  —MaHand Express.
She accomplished a veritable tour de force in singing and plaving the violin simultaneously. She is singularly endowed to combine the dual qualities so sympathetically, and to give them profound ex¬pression.— Montreal La Patrie.
Her violin playing was a revelation. Her program selection was "Second Fantasie" by De Beriot. It was well played from beginning to close. She draws a good bow, the tones are full, clear and well sounded    Her technique is excellent and in execution she displayed great care.—Minneapolis Times.
THE VIOLA D'AMOUR (14 strings)
An instrument used 200 years ago
It has 14 strings, similar to the Viola in theory, but far more expressive In aweetness and power of tone, and must be heard to be appreciated. When listen¬ing to it, a person at times gets the impression of a complete ensemble, and a melodious voice. The enchanting music which has been elicited from these instruments has induced poets and great old composers to call it the Viola of Love. In 1720 the Viola d'Amour was most favored, and continued so up to the 18th century, when it became entirely obsolete. Seven of the strings are used only in bowing, while the balance are directly under the original seven, and vibrate in unison. It is the largest instrument held under the chin. Herr Stoelzer was the first soloist who introduced this instrument to the American public. His present Viola d'Amour is a Vicenzo Rugerdcttoil J es, Cremona, 1690.
PRESS NOTICES
Chicago, Ill.—The Viola d'Amour is a curiosity, and its music created much enthusiasm. Both in technique and beauty of interpretation he showed himself master of his profession.
Atlanta, Ga.—Herr Richard Stoelzer gave us one of his own compositions on the Viola d'Amour last evening, with which he completelv charmed the audience. His technique is very fine, but it is not of the nature which hides its expression and feeling beneath its mathematical precision.
Greater New York—The prize song, "Meistersinger," by R. Wagner, on the Viola d'Anmur. was rendered by Herr Richard Stoelzer in a way that suggested the instrument possessed life of a sympthetic nature.
Mr. MARIO BLODECK
Mr. RICHARD STOELZER Viola and Viola d'Amour Soloist
Albany, N. Y. — Mr. Richard Stoelzer was heard first in the pleasing intermezzo from "Cavalleria Rusticana." and responded to well-merited applause with an old minuet by Milandro (1610). Mr. Stoelzer deserves the thanks of all lovers of music for introducing the Viola d'Amour to popular audiences.. He ap¬peared at his best in the minuet, in which he was without the assistance of the other instruments and sustained the nir and accompaniment with remarkable precision and clearness.
Mr. MARIO BLODECK
Dallas, Tex—Mr. Blodeck played his Cello magnificently. making the hill fairly ring with music. His selections on the Da Gamba and 011 the Zither were also admired.
Burlington, Iowa.—Mr. Blodeck's renditions on the Cello, the Da Gamba. were marvelous and the audience gave him most appreciative applause.
Mound City, Ho.—In the " Servais Fantasie'1 the sonorous power of the Cello was excellently developed and the possibilities of the instrument in the upper positions were revealed with beautiful tone quality.
Galveston, Tex. –Mr. Blodeck proved himself an artist both in soul and fingers.
Nashville. Tenn.—The Da Gamba solo bv Mr. Blodeck, and the Viola d'Amour solo by Mr R. Stoelzer, were musical leasts that can only be ac¬complished in a liietime.
Danville, Pa-Mr. Blodeck, the cellist, played a "Tarantelle" by Popper preceded by Thome's " Simple Aven." He is undoubtedly the best cellist heard in Danville in many years.
LATE CLUB NOTICES
Hampton, Iowa.—The entertainment given by the Mozart Club on Friday evening, and which was the closing of the season given by the Hampton Lecture Association, was better attended, than any of the pre¬vious entertainments, there being over one thousand pe^ons present. The concert was in every way satisfactory and beyond public expectation, and nothing is heard for it except words of praise. To our taste it was the best entertainment in the course, and we think that it will be agreed by all who are qualified to judge, that there has been no musical event with equal talent in our town since Remeuyi played here twenty years ago, as the five performers in the Mozart Club were all artists, and not as is general with traveling troupes, one talented artist with several accompanists. We hope that we shall have the Mozarts in our course next year.
New York.—The Club is a well balanced organization, composed of finished artists.
Jacksonville, Fla.—Any attempt to analyze the performance of the evening would but be a repetition of the exclamations heard everywhere, as Grand/ Superb/ Magnificent/ and the like. One of the most entertain¬ing numbers was entitled "In the Gypsy Camp," and while the orchestra played an accompaniment one of the members " behind the scenes" illus¬trated with various instruments.
Charleston, S. C—A musical event of more than ordinary importance was the annual visit of the Mozart Symphony of New York at the 1 M C A. building last night. This famous organizalion is well-known and much admired in all musical cities, -he coming of the Mozarts is always an¬tic, pated with pleasure for some time before their arrival.
Fort Worth, Texas.—The Mozarts is one of the best concert companies that ever appeared here, and our people will always be delighted to have them return.
Herr THEODORE HOCH Cornet Virtuoso and Alpine Echo Horn
Pittsburg, Pa.—Herr Hoch is quite an expert in re¬petition work, what is known as double and triple tonguiug.   His tone is powerful without being coarse.
Oaklahoma, Oakl.—His work was not only faultless —a great thing in earnest playing—but posses-ed many positive excellencies, the smoothness of a flute alter-nating with violent fanfare, perfect gradation of dyna¬mic changes and spirited tremolo.
Charleston, S.C.—Herr Hoch was heard on his won¬derful variety of queer and beautiful instruments; his work was unquestionably artistic.
Kingston, Ont.—Herr Hoch displayed the capabil¬ities of an Alpine Echo Horn in an Idylle, one portion of the double instrument repeating br modifying in gentle, far away tones the theme propounded by the other ; the encore given was "Verlassen."
Marietta, Ga.—Mr. Hoch was the star attraction in a cornet solo, and his mirthful manner kept a ripple of laughter in the audience nearly all the time. Herr Hoch played before several of the crowned heads of Europe, and was a favorite with Emperor William.
The Mail and Empire.—A descriptive piece entitled "In the Gypsy Camp," was very true to life, and thoroughly enjoyed by a critical audience ; it was the feature of the programme. Mr. Stoelzer, from behind a screen played nine different instruments, including saxophone and the historic Archi Lute. The programme was an excellent arrange¬ment, especially the number" In the Clock Store,1' and the different instruments, and combinations of instruments, gave a variety to the music that was most pleasing. We hope that we shall have the pleasure of hearing the Mozart Symphony Club of New York again.
R. Stoelzer's Descriptive Fantasie behind the screen.
Roman Triumphal Trumpet.
This old historic Trumpet measures five feet in length, and was used in Rome during the reign of Julius Cae¬sar, Nero, etc., at triumphal banquets and princely feasts; also at the Roman Colisseum, and for the victory of a gladiator at the Amphitheatre. By the old Germans and Teutons as a war and victory call, also at knightly tournaments; the old Germans on such occasions used it accompanied by a drum, also as signals of victory. Her¬alds blew it to welcome the approach of princes, etc., as well as at parades and processions where much pomp was required. The German Cavalry are the only ones who use it as a sig¬nal in the army at the present time. His Highness Emperor William II has now brought this historic trumpet into use, the cavalry trumpeter playing the "Kaiser Gruss" at all conrt festivities. "The Emperor's Greeting" will be one of the numbers on the programme. It is through an ingenious invention of Herr Hoch that modern compositions will now be brought before the public.
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Looking backward is not an American characteristic, but a glance at the past of the cornet will reveal some curious and interesting history. The first comet was made with only two piston valves, but time and use soon demonstrated that they were Insufficient to give the cornet place in musical circles as a melody instrument, and that a third valve was necessary to play the entire chromatic scale. Then came the rotary valve, which achieved its greatest popularity about thirty years ago, but cornetists demanded cleaner execution and more brilliancy of tone than could be produced with that valve, and the patent light piston was invented and soon came into general use. A few years later Mr. Conn took up the task of improving the cornet and the family of band and orchestra instruments, and the Four-in-One, Equatone, Ultamatum, Perfection and Wonder Cornets were the result of his successful efforts. Each of these inventions comprehended an entirely new and different wind passage and was an important stepin the progress and development of the manufacture of cornets, the Wonder Cornets being the last and best of the series. And it is now generally conceded that no other such improvement has ever been made. But there is noway of esti¬mating the capabilities of the human mind, and the invention and success of the PERFECTED CONN-QUEROR CORNET, Mr. Conn's latest invention, shows that he is still employing his time and efforts for the benefit of musicians.
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