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Musical Courier 1892-02-17: Vol 24 Iss 626, 1892
97 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 8. See the scan on archive.org.
1lier Fantastique," &c. Dr. Haas, we hear, is open to an engagement as director of a musical department or head of piano department and teacher of advanced pupils in a conservatory.
3Church Choral Society.—The Church Choral Society will produce Dvorák's "Requiem Mass" at St. George's Church on February 25.
5Mrs. Nikisch Still Sick.—Mrs. Arthur Nikisch's song recital has again been postponed by reason of sickness, this time till March 7.
7Mrs. Walther's Concert.—Mrs. R. Walther, soprano, will give a concert at Steinway Hall on Thursday evening.
9The Rubinstein Club.—The Rubinstein Club will give a concert at Music Hall on Thursday evening. Mr. Ferdinand Sinzig will be the piano soloist.
11Margaret Reid's Teachers.—Miss Margaret Reid, of Abbey & Grau's Opera Company, who made her début here last Wednesday night, writes that she received her musical education from Mrs. Leonard in Paris and Mr. Vianesi, the musical director of French and grand opera at the Metropolitan Opera House.
13Seidl at Madison Square Garden.—Anton Seidl and his orchestra, together with a number of popular vocalists, will give a series of five afternoon concerts in the Madison Square Garden Concert Hall on the five Thursdays in March, viz., March 3, 10, 17, 24 and 31. These will be the first orchestral concerts in the new hall, and Mr. Seidl will present works of the German, Hungarian, Italian, Russian and French composers.
15Mollenhauer's Concert.—W. F. T. Mollenhauer, violinist, will give a concert at the Lenox Lyceum on Thursday evening. He will play some original compositions, and will be assisted by Jacques Friedburger, pianist, and the Seidl Orchestra.
17Carl Venth's Concerts.—The Carl Venth Quintet Club gave the first of its series of chamber music concerts at Historical Hall, Brooklyn, on last Wednesday night. The following was the program: Quartet, No. 6, C major, Mozart; sonata for violin and piano, Carl Venth; quintet, op. 76, Haydn; quintet, op. 70, Jadassohn. Mrs. C. T. Dutton sang selections from Wagner and Schumann. The quintet is composed of Mr. Carl Venth, first violin; Mrs. Venth, piano; Mr. Hellwig, second violin; Mr. Krusel, viola, and Mr. Hallego, 'cello. The accompanist was Mr. Robert Thallon. The two other concerts of the Carl Venth Quintet Club will take place on March 9 and April 6.
19Fourth Brooklyn Philharmonic.—The fourth concert and public rehearsal of the Brooklyn Philharmonic Society took place last Saturday afternoon and Saturday evening respectively.
21The program consisted of Wagner's "Faust" overture, Tchaikowsky's andantino and scherzo from the symphony in F minor and Beethoven's "Heroic" symphony. Besides this list Mr. Schroeder, the 'cellist, played most admirably Saint-Saëns' violoncello concerto in A minor. Mrs. Julie L. Wyman, of Boston, replaced Mrs. Nikisch, who is ill, and sang an air from Saint-Saëns' "Samson and Delila" and songs by Delibes, Massenet and Ferrari. Of these latter Massenet's exquisite "Bonne Nuit" especially delighted the audience and received great applause, for which Mr. Nikisch, who played the piano accompaniments, could justly claim a share.
23Mr. Salazar's Concert.—Mr. Pedro H. de Salazar gave a concert in Behr Brothers Hall Tuesday of last week, assisted by Mrs. de Salazar, accompanist; Mr. Bruno Oscar Klein, pianist, and Mr. Henry Schroeder, 'cellist. The following program was given:
24Sonata for piano and violin, G major……………………..Klein
25Mr. Klein and Mr. de Salazar.
26'Cello solos cantilena from concerto in A minor………….Goltermann
27"Mémoire"……………………………………………..Popper
28Mr. and Mrs. de Salazar and Mr. Schroeder.
29Trio for violin, piano and 'cello………………………..Schumann
30Mr. and Mrs. de Salazar and Mr. Schroeder.
31The concert was an excellent one, Mr. Salazar playing very well, especially in the sonata, in which he was ably seconded by the composer. Mr. Schroeder played in an artistic manner and won much applause.
33Mrs. Tyler Dutton.—Mrs. Tyler Dutton, soprano, announces a song recital to be given in the chamber music room at Music Hall, Seventh avenue and Fifty-seventh street, on Thursday evening, February 25. She will sing songs by Purcell, Beethoven, Mendelssohn, Schumann, Schubert, Grieg, Jensen, Massenet, Franz, Brahms, Liszt, Herbert, Bizet and Lassen.
35An Interesting Announcement.—The directors of the Philharmonic Society of New York announce that the fiftieth anniversary of the organization of the society will be celebrated by three festival concerts, to be given at the Metropolitan Opera House, under the direction of Mr. Anton Seidl, conductor, on the evenings of April 21 and 23, and the afternoon of April 22, 1892.
37Appropriate and attractive programs will be presented, in which eminent soloists will take part, the full particulars of which will be published in the program of the fifth rehearsal and concert of this season.
39Mrs. Steencken's Engagements.—Mrs. Marie Marguerite Steencken, who report says possesses a high soprano voice of dramatic timbre, is engaged by the Euterpe Society of Brooklyn for their next concert, to be given at the Academy of Music. She also appeared in a concert on the 11th inst. in Bridgeport, Conn., under the auspices of the Seaside Institute of that city.
41A COMPETENT dramatic soprano with thorough experience, an excellent reader, is open for a church engagement from May 1. Address Church Soprano, care of THE MUSICAL COURIER, 19 Union square.
43The Boston Symphony Orchestra
44THE fourth concert of our Boston visitors saw Chickering Hall crowded with a most fashionable and enthusiastic audience on Tuesday night of last week.
46The first portion of the program consisted of the Händel concerts for string orchestra and two wind choirs in F major and Berlioz's "Harold in Italy" symphony, about both of which we can only repeat what was said in last week's MUSICAL COURIER after the performance in Boston of these works:
48The concert opened with a concerto in F major for strings and two wind choirs by Händel. It was repeated on this occasion by special request, and we must confess that, although we are not as carried away by Händel's genius as some of his English admirers are, this concerto is so charming and at times so fresh, especially in harmonies, that it can easily carry away even the most blase of modern audiences. As it was to have been played also last night in New York, one ventures to predict that it will in no less degree delight our metropolitan public than it did the vast Boston audiences who enthusiastically applauded each of the five movements of the concerto on the aforementioned occasions. The work of the two oboe players was especially admirable in the last movement, and the strings, flute and horns did beautiful work throughout.
50Exquisitely played and also much applauded was Berlioz's best symphonic work, his "Harold in Italy." It received loving and most intelligent treatment at Mr. Nikisch's hands, and Concertmaster Franz Kneisel's playing of the viola solo part was simply admirable, pure throughout in intonation and beautiful in tone quality.
52The prediction about the success of the Händel concerto came true to the letter. But still more success did Mr. Nikisch and his artists attain with the beautifully, though a trifle too slowly, interpreted "Lohengrin" Vorspiel. Hans Richter's orchestral arrangements of "Siegfried's Passage to Brunnhilde's Rock," "Morning Dawn" and "Rhine Journey," from Wagner's "Siegfried" and "Die Göttterdammerung" were the vastly appreciated closing numbers of this interesting concert. The selection has been heard here before under local conductors and also by the Boston Symphony Orchestra under Mr. Gericke's direction; but it never before sounded as fresh, fiery and fine as it did on this occasion, as, although Gericke had his men trained down to a fine point of finish, his awful left hand used to choke every attempt at joyous force in the brass, and without these outbreaks a vigorous interpretation of Wagner cannot be imagined.
54The Philharmonic Society.
55ANTON SEIDL'S programs for the concert of the Philharmonic Society are certainly gaining in scope and interest as the present season progresses. The one for last Saturday night's fourth concert was a particularly felicitous one, both as to the character of the works performed and the novelty of two of them. The only objection that might have been urged against it was the too frequent occurrence of the key of D minor which predominated in three-fourths of the entire program, and thus produced with highly sensitive listeners a trifling effect of monotony which none of the works separately performed could possibly have aroused.
57Of the numerous Liszt symphonic poems his "Prometheus" is one not over frequently performed, good in form and tellingly orchestrated, although, like most of that master's works, somewhat threadbare and labored in ideas. It is, however, worthy a hearing, and well played, as it was on this occasion, is quite enjoyable.
59It was followed by a work of still less ideas, and this became all the more painfully apparent, as it is particularly lengthy and pretentious in scope. We refer to Max Bruch's third and new violin concerto in D minor. The latest effort of this diligent and conscientious, painstaking composer is not as good even as his second violin concerto, and the latter is vastly inferior to his beautiful first concerto in G minor, upon which, to a great extent, Bruch's fame as a composer will have to rely as far as posterity is concerned. As a novelty by so important a writer, however, the third concerto had an undeniable right to its place upon the program of our foremost concert organization, and nobody can have felt cause to regret it, as the performance was made most enjoyable through Camilla Urso's playing. It is remarkable how this lady preserves her violin technic, her pure and beautiful tone, and, above all, her fine artistic taste in phrasing, and it is no wonder, therefore, that both at the Friday afternoon public rehearsal and on the evening of the concert proper she carried the large and fashionable audiences by storm, and this in spite of the serious drawback that the vast Metropolitan Opera House is by no means the most acoustically propitious place to listen to a solo violin.
61Wagner's characteristic and perhaps, taken all in all, most valuable orchestral introduction, his "Faust" overture, next received an intelligent and sympathetic reading at the hands of the master's faithful disciple, Anton Seidl, and the concert closed with a quasi novelty, viz., the original version of Schumann's D minor symphony, the most coherent, logical and also the most spontaneous of his four symphonies. As everybody knows this was originally the second, but in its revised form stands as No. 4. It was interesting to hear this first version, the score of which was in the possession of Johannes Brahms, and which has only lately been revised for publication by Dr. Franz Wullner, of Cologne. The changes are many, notably in the leading over from the andante to the allegro of the first movement, and again from the largo to the finale, and the ending of the first theme of the last movement is likewise changed. These changes seemed all improvements, but as far as the changes in orchestration are concerned we must confess that we prefer the original to the revised version. It is much clearer, and at times, notably in the last movement, much more brilliant.
63The symphony, like the entire program, was very finely played, especially also the difficult accompaniment to the Bruch concerto, and the Philharmonic orchestra follow with precision and vitality Mr. Seidl's intelligent and musically conducting.
65The Kneisel Quartet.
66THE fourth, and one is sorry to say the last, of the present season's chamber music soirees of the Kneisel Quartet, of Boston, took place at the Carnegie Chamber Music Hall on last Friday night, and was, one regrets to have to state, like its predecessors, not adequately well attended. The quality of the audience, however, was of the most desirable, and it certainly made up in enthusiasm what it lacked in numbers. It is to be hoped that these delightful and instructive entertainments will be renewed next season, and that the taste for this highest class of musical performances may have developed in New York at least so far as to assure to Messrs. Kneisel, Roth, Svecenski and Schroeder an attendance worthy of their efforts. Certainly New York has never before heard such chamber music playing; and as for refinement of interpretation, exquisite finish and absolutely flawless ensemble the Kneisel Quartet stands unrivaled to-day, not only in this country, but also abroad.
68The program embraced last Friday two Beethoven string quartets, the early one, op. 18, No. 2, in G, which plainly shows the influence of Mozart, and that gem among quartets, even Beethoven's, the "Harp" quartet, op. 74, in E flat. The latter was especially beautifully and purely played, in spite of its great technical and other difficulties.
70Between the Beethoven quartets, and entirely worthy of their position on the program, were Schubert's G minor variations from the posthumous D minor quartet, and they were interpreted in a touchingly beautiful manner. Especial mention, besides of course Kneisel, must be made of Schroeder, whose tone on a most valuable genuine Amati violoncello, in a perfect state of preservation, was exquisite.
72Interspersed among these German chamber music treasures were some very small (in every way) French songs, viz.:
73"Ritournelle" …………………………………………..Chaminade
74"Chant d'Amour" ………………………………………Delibès
75"Regrets" ………………………………………………….Delibès
76"Mon petit cœur soupire" ……………………………….Unknown Author one of two readings
77"Mon petit cœur soupiré" ……………………………….Unknown Author one of two readings
78"Au bord d'une fontaine" ……………………………….Wekerlin
79which, though rather interesting, especially those of Miss Chaminade, seemed hardly sufficiently relevant to so serious a program. Mrs. Julie L. Wyman, however, sang them with very nice musical taste and perfect phrasing, for which she was justly applauded.
81From All Nations.—The players in the grand orchestra which is to give performances at the Vienna Musical Exhibition are to be selected after competition. Musicians of every nationality are eligible for the appointments.
83THE FAMOUS
84New York Conservatory of Music,
85ESTABLISHED 1863—CHARTERED 1865.
86Removed from Fourteenth Street to the Large and Elegant Building,
87112 EAST EIGHTEENTH STREET,
88Between Fourth Avenue and Irving Place.
89THE EMERSON PIANO IS USED.
90(Incorporated May 1, 1891.)
91NEW YORK VOCAL INSTITUTE.
92FRANK HERBERT TUBBS, Musical Director.
9397 Fifth Avenue, New York City.
94COMPLETE EDUCATION IN VOCAL MUSIC.
95Singers naturally prefer study where Voice Culture and Singing receive chief attention. All the teachers use the same method. Homes selected for pupils. Circulars sent on request.
96NEW YORK VOCAL INSTITUTE, 97 Fifth Avenue,
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