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Woman's Work in Music

Pauline Viardot-Garcia was born July 18, 1821.

A life of Adelina Patti is being prepared by a London journalist.

Marie Wurm produced her concerto in G minor, with the Philharmonic Orchestra of Berlin, in March.

A wish frequently expressed at women’s clubs is for a more comprehensive selection of eight-hand music.

Marie Barna, the American Wagner opera-singer, is to study with Lilli Lehmann this summer in Germany.

The Queen of Roumania plays the organ in the Protestant church of Abbazia, where she is staying. She is learning to play the flute.

The sister of the latest hero of the United States, Lieut. Hobson, is to enter the music profession. She is said to have a rich contralto voice.

Lenora Jackson, the American violinist, played to well-earned applause, in London, the Concerto No. 2, E- major, of J. S. Bach, and the “Carmen Fantasie” of Sarasate.

A series of lectures on Music’s History, given by Miss Marsh, in Berlin, have attracted audiences which each time completely filled the largest public hall in the Charlotten School.

The women of Fairfield, Conn., have formed a class to study “Music’s History” during July, under direction of Miss S. C. Very. Membership tickets cost $5, and the proceeds are for the Red Cross Society.

Miss Suzanne Adams, the American girl who has won success in opera in Paris, is to be heard in the United States during the next season. Marchesi refers to her as a pupil, but Miss Adams disclaims such a relation.

At Lugano, Switzerland, a prize had been offered for the best composition of a hymn, to be performed at the centennial of the canton Tessin’s entrance into the Swiss Confederacy. This prize was won by a woman, Mlle. Maria Gelli.

A New York paper makes the statement that negotiations by a well-known manager with Chaminade are pending. It is the expectation that the popular composer will pay a visit to this side of the ocean in the coming season.

In the Leipzig Neu-Theater Goethe’s play “Jery and Baeteli,” with music by Frau von Bronsart, was given, after an intermission since its first production of fifteen years. The composer, who lives in Leipzig, received a laurel wreath, and of her work the critics say: “The music is original in conception and cleverly developed.”

A conservatory of music in a New York tenement- house is a novel idea. This philanthropic effort is under the direction of Miss Emilie Wagner, a graduate of the Woman’s College in Baltimore and formerly a student of the Peabody Conservatory. If prices are low, and can be kept low, there is a fine field for useful work among the masses.

It may be of interest to club members to know the whereabouts of some of the leading women who have attained prominence in music. According to foreign journals, during the past month Clotilde Kleeberg played in London; Carreño in Dresden; Calvé, returning from London, was to sing “Sappho” in Paris; Madame Nevada appeared in Paris in “Lakme,” “Mignon,” and Puccini’s “La Bohéme”; Sembrich sang in Vienna; Blanche Marchesi was giving song recitals in London.

The season just elapsed has been to the Harlem Philharmonic Society, of New York City, a most prosperous one. With a full treasury, a record of two orchestral concerts given at the Waldorf-Astoria, with two public rehearsals, a series of morning musicales, a course of Lenten lectures on history of music, not to mention in detail the social reunions,—surely the officers may feel satisfied. This organization of two hundred and fifty women is the more to be esteemed by musicians, as its  services to the art are comparatively disinterested, the members being avowedly music-lovers only, not professional musicians.

“Conceding that music is the highest expression of the emotions and that woman is emotional by nature, is it not one solution of the problem that woman does not musically reproduce them because she herself is emotional by temperament and nature, and can not project  herself outwardly, any more than she can give outward expression to other mysterious and deeply hidden traits of her nature. Man controls his emotions and can give an outward expression to them; in woman they are the dominating element, and so long as they are dominant she absorbs music.”—G. P. Upton.


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