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About The courier. (Lincoln, Neb.) 1894-1903 | View Entire Issue (Nov. 2, 1901)
THE COURIER The Courier Published Every Saturday Entered in the Postofflce at Lincoln as second clans matter. rc A 20th CENTURY MARVEL Doctors who Treat and Cure Pa tients Without Pay. This is What the British Doctors are doingr at Their Of fice in the Sheldon Block, Cor. 1 1th and N Sts. 0FFICE 000-910 P STREET A . phyeician8 an(J TELEPnoCTlgSfagSSSi, . . '. '. -. '. surgeons from the British Medical In- ' ' etitute, at the urgent solicitation of a ' large number of patients under their SUBSCRIPTION RATES: care in thiB country, have established Per annum, In advance $1.00 a permanent branch of the Institute in Single Copy, -05 this city, at the office, corner of Eleventh and N streets, in the Sheldon b'ock These eminent gentlemen have de- A MATINEE MUSICAL. "ded to give their unices entirely tree for three months (aedicmes excepted) to all invalids who call upon them for On Tuesday evening', under the aus- treatment between now and Nov. 5th. pices of the Matinee Muslcale, Mrs. These services will not only consist of Fannie Bloomfleld Zelsler save a pi- consultation, examination and advice, ano recital. The large auditorium of but also of all minor surgical operations, the Presbyterian church was filled by Tne object in pursuing this course ia an audience of technical musicians and t0 become rapidly and personally ac- tlie musically appreciative. Except for quainted with the sick and afflicted, and the artistic conscientiousness of her under no condition will any charge what- playlng. during the recital of the first ev(Jr fce mad(J far eervice3 rendered numbers she seemed not to care in ' the least for the large, still audience, ,.. the parts of which did not cough or The doctors treat all forms of disease make noisy movements, so anxious Ane nocture ireat an rorms or disease were they to hear the ethereal inter- and deformities, and guarantee a cure pretatlons. At the conclusion of the n every case they undertake. At the third number, Mendelssohn's Wedding "ret interview a thorough examination March and the Dance of the Elves, is made; and, if incuraole, you are frank- the appreciation was so spontaneous ly and kindly told so; also advised that Mrs. Zeisler's reserve melted and against spending your money for use- for the rest of the evening the entente lees treatment. betwen the artist and her listeners Male and female weakness, catarrh was cordial. and catarrhal deafness, also rupture, If Mrs. Zelsler were a man with yel- goitre, cancer, all skin diseases and all low hair about five Inches thick, and. diseases of the rectum are poeitively even more than this. If she possessed cured by their new treatment, the Delphic expression. Padcrewskl's The chief associate surgeon of the reputation would be no greater than institute, assisted by one or more of his I'hT . "" , f,S T T UP? Btaff associates, is in personal charge. the hair and the mysterious, aloof ex- -j e,or knnn pression. In order to play the piano i xt t, t a performer must press down the keys SPe,;iaI Notice-H you cannot call so that the felt hammer which is con- seed stamp for question Wank for home nected to them by a long arm may treatment. strike twisted steel strings stretched across the harp-shaped sounding-board of the piano. Both virtuoso and be ginners strike the keys with thejr fin gers, but the strings respond to the former's touch with a singing, round tone of heavenly sweetness, and the same strings have neither resonance nor meaning when the beginner strikes them. Ariel, Mendelssohn's interpretation of the airy, insouciant, elvish dance he arranged for the bridal prince and princess are closely adapted to Mrs. Zeisler's genius. It is as easy to de scribe Ariel's concert as It is to char acterize Mrs. Zeisler's tone. Shakes peare described Ariel's performance, but there Is no one to record the thistle-down lightness, melody and gayety of Mrs. Zeisler's Interpretation. Mrs. Zelsler has the concentration and reverence of all great artists. "While she Is playing the audience is outside of her cognizance. She would play as well to one as to one hundred, and to one hundred as to two thousand. Notwithstanding her dignity, a great musician's dignity, she lacks the mys tic gaze of Paderewskl, which is per haps a pose assumed for the influence It certainly has upon the box office re ceipts. To Mrs. Zeisler's playing there Is nothing meretricious or stagy. Her wrists are very strong and flexible, and her long artist's fingers are ten musi cal minds. The program was admirably and ori ginally composed. In the main. It is apparent from an examination of the appended program that Mrs. Zelsler played two numbers from each com poser, one serious, dealing with the eternities, the other gay, airy, exquis itely melodious, and still human. Thus although it was an evening of piano playing with no vocal music to relieve it. the gamut of emotions was repre sented. It was the fourteenth artist recital given by the Matinee Muslcale, one of the most Important and effective ener gies in the state for distributing sweet ness and light. The program: Caprice on airs from the ballet of the Opera "Alcests," Gluck. Variations serleuses. Op. 54. Mendel ssohn. Wedding March and Dance of the Elves, Mendessohn. Theme varie et fugato, (Dedicated to Mrs. Zelsler). Schuett. A la blen-aimee, (VaUe), No. 2. from Paplllons d'Armour, Ox. 59. Schuett. Nocturne. Op. 37, No. 2. Chopin. Polonaise, Op. 53. Chopin. On the Mountains, No. 1. and Norwegian Bridal Procession. No. 2. from Folk Scenes. Op. U. Grieg. Etude C major, (on false notes), Rubin stein. Nocturne. (Llebestraum, No. 3). Liszt. One Lives but once (Valse), Strauss. Originally composed for orchestra and transcribed for piano by St. Saens. From the music to Shakespeare's Summer Night's Dream: originally com posed for orchestra and transcribed for piano by Liszt. 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