Scan 13
Musical Courier 1892-03-02: Vol 24 Iss 628, 1892
219 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 14. See the scan on archive.org.
1ated symmetry of the originals. I heard a well-known musician say: "A man of such superlative ability can do such things and take such liberties, and all is done in a pleasing manner." Of the Schumann delicatessen, "Warum," "Des Abends," "Vogel's Prophet," I heard a well-known critic ejaculate: "Too creamy for me!"
3Many of the artist's piano and ppp. effects remind one of the embryo Josefey of fifteen years ago. They are so delicate and zephyr like that they are completely lost. His Chopin is more virile than that of Pachmann, and then he does not stick out his tongue and talk Volapük at his audience. I would further add that his twelfth rhapsody, Liszt, was very indifferently played. It was, in fact, flurried and uncertain. The opinion in Chicago is that Paderewski's an artistic nature of startling originality, prone to take equally startling liberties, but he is always popular in doing the same, and may be the grand old classics will perforce have to submit to the spirit of modernizing and of the impressing of the artist's individuality over that of the composer. He has been an immense success in Chicago and will draw greater audiences to his four recitals in the early part of March.
5The management of the Central Music Hall would do well to prohibit walking around during the recitals and to instruct its ushers not to carry on spirited conversations during adagios.
7I have merely endeavored to indicate some of the startling peculiarities of the artist's conceptions. His marvelous power of singing on the piano, his prismatic shades and mezzotints, his ponderous tone, produced without effort, his perfect ease and his equally imperturbable good nature are taken as a matter of course.
9In the audience I noticed A. A. Stanley, of Ann Arbor; John Gray, of Bloomington Wesleyan, and a dozen other well-known outsiders.
11Patti, who seems to have slept a Rip Van Winkle sleep, in that nothing new has been written—to her mind—during the last forty years, has given four concerts. In the papers the customary gush has been hashed up, crowded houses, the same antique mincing, the thrice six amazotta chestnuts have been roasted, the same encores, the same old Ardit. "The same old (a-tistic) —." A local critic wrote: "When that old war horse, 'Bel raggio,' was trotted out he balked." All artistic Solons alike acknowledge that her voice is but a shadow of what it was, that she resorts to every subterfuge to conceal the fact in vain. She has carried away a "Solomon's mine" of shekels and left us artistically poorer—oh, far, far poorer than before. one of two readings
12Patti, who seems to have slept a Rip Van Winkle sleep, in that nothing new has been written—to her mind—during the last forty years, has given four concerts. In the papers the customary gush has been hashed up, crowded houses, the same antique mincing, the thrice six amazata chestnuts have been roasted, the same encores, the same old Ardit. "The same old (a-tistic) —." A local critic wrote: "When that old war horse, 'Bel raggio,' was trotted out he balked." All artistic Solons alike acknowledge that her voice is but a shadow of what it was, that she resorts to every subterfuge to conceal the fact in vain. She has carried away a "Solomon's mine" of shekels and left us artistically poorer—oh, far, far poorer than before. one of two readings
14The Bendix Quartet played Ch. Sinding's piano quintet on Thursday evening, February 18.
16There has been some grumbling because Thomas has interlarded "popular" programs between legitimate symphony concerts. Some uphold that, as they subscribed for the very highest class of music, these should not be imposed upon them. They should not complain, however, of a "Pop" containing "Bal Costume" (second suite), "Ride of the Valkyries," Vorspiel, "Lohengrin," "Rouet d'Omphale" and "Adelaide." Pretty fair "Pop" that!
18I am sorry to say that the audiences at the last "symphonies" have been somewhat slim. That can be accounted for by the fact that Patti and Paderewski have exhausted the concert goers.
20Eugen d'Albert is booked for two recitals at Central Music Hall March 24 and 26.
22Great move that of Chicago entertaining the Congressional party; they will quite possibly now secure that appropriation!
24TOPICS OF THE WEEK.
261. Road being now rapidly pushed. Necessity of elevating railroad tracks.
272. Water transportation to the fair grounds to be made quasi a monopoly by the inclination to give that plum to one company.
283. Marvelous energy of Dr. W. R. Harper, Ph. D., and the colossal plans of the Chicago University, even now close upon 1,000 students on the books even before the building is up.
294. The veto upon sky scrapers.
305. We will soon have the treasures of the "Calvary" Library within our walls.
316. Necessity of more rapid growth of the "Newberry" Library.
327. Chicago College twenty-fifth anniversary in the Auditorium.
338. Adelina sang for the first time in Chicago April 21, 1883. Appended find program of that event (from Chicago "News"):
35OLE BULL'S FAREWELL CONCERT IN AMERICA.
37Ole Bull begs leave to inform his friends and the public in general that before retiring from his artistic career he will visit some of the Western cities, where he has met on his former tour with such a cordial reception. The first grand concert of Ole Bull in Chicago will take place on THURSDAY EVENING, APRIL 21, on which occasion Signorina Adelina Patti, the musical phenomenon, will make her first appearance in this city.
39PROGRAM FOR OLE BULL'S GRAND CONCERT.
41PART I.
431. Overture from Rossini's grand opera of "Guillaume Tell," performed by M. Strakosch.
442. Madame Sontag's celebrated cavatina from "Linda di Chamouni"—"I Luce di Quest Anima"—sung by Signorina Adelina Patti.
453. "The Mother's Prayer," a fantasia religioso, composed and executed by Ole Bull.
464. "Ah non giunge," the celebrated rondo finale from "La Sonnambula," sung by Signorina Adelina Patti.
475. Paganini's famous "Witch Dance," performed by Ole Bull.
49PART II.
511. "The Banjo," a new capriccio caractéristique, composed and performed by Maurice Strakosch.
522. "Comin' Thro' the Rye," the favorite Scotch ballad, sung by Signorina Adelina Patti.
533. Grand national fantasia for the violin alone, performed by Ole Bull.
544. Jenny Lind's "Echo Song," sung by Signorina Adelina Patti.
555. "The Carnival of Venice," by Ole Bull.
57INTERNAL ARRANGEMENTS.
59The price of tickets of admission has been fixed as follows: $2 and $1. The sale of the $2 tickets of admission will commence on Wednesday, the 30th, at 11 o'clock A. M., at the Tremont House. The $1 and the remaining $2 tickets will be sold on Thursday, the day of the concert.
61With every admission ticket will be given a certificate bearing the numbers corresponding to it in every seat. The certificate has to remain in the hands of the original holders and establishes the ownership of the seat. On the evening of the concert there will be in attendance a number of ushers, wearing rosettes, whose duty it shall be to show visitors to their respective seats.
63Doors open at 7. Concert to commence at 8 o'clock.
65M. STRAKOSCH, Director and Conductor.
67It was held in a hall or dancing room on the second floor of the Tremont House, which house was burned in the great fire, and the entrance to which hall was on Lake street by quite a narrow stairway. Here is an editorial from "Democrat Free Press":
69OLE BULL'S CONCERTS.
71The sale of tickets for Ole Bull's first concert came off yesterday and the rush to obtain seats furnishes a sufficient test of the high estimation in which the great artist is held by our citizens. We doubt not that he will be greeted this evening by as large an audience as Tremont Hall can possibly accommodate. Indeed we are sorry that we have not a hall in the city capable of holding twice as many, so that fewer might be disappointed.
73Ole Bull will be admirably sustained by Strakosch, whose reputation among our citizens would of itself draw out a crowded house, and also by little Patti, the far famed musical prodigy, who, it is said, utters notes of liquid sweetness, the like of which were never before heard.
75We are assured that the proceeds of these concerts are to be devoted to the purpose of establishing schools and churches in Ole Bull's colony in Pennsylvania.
77All the persons who took part with Patti in that concert are now dead. The director, Mr. Maurice Strakosch, married her sister. He was a gentleman in the highest sense of the term. I knew both him and his brother, Max Strakosch. They were associated in the enterprise of bringing before the public some of the finest artists in the world. Those who traveled under their management included Louis M. Gottschalk, Mrs. Parodi, Parepa-Rosa, Marie Rose, Carlotta and Adelina Patti, Karl Formes, Pasquale Brignoli, Italo Campanini, Pauline Lucca, Therese Tietjens, Christine Nilsson and Marietta Alboni.
79Probably the story of Ole Bull's first and determining success is known to but few. His experiences in Paris and other art centres were depressing in the extreme. In reality faith in himself, hope, struggling, despondency, death almost, then rescue and success is the brief story. His really great success was, however, first made in Bologna, Italy. Malibran and De Beriot were to appear together at a concert, but at the last moment Malibran declined to sing on account of indisposition, and De Beriot claimed that he was suffering from a sprained thumb. Ole Bull was hastily sought out, and although he had retired for the night hurried to the theatre. Weary and closing his eyes, he played with such ecstasy of feeling that he not only captivated his audience, but firmly established his reputation as a violinist.
81More anon from your Chicago scribe,
83W. WAUGH LAUDER.
85Kingston Concerts.
87KINGSTON, N. Y., February 25, 1892.
89THE second concert of the Kingston Philharmonic Society for the season at the Academy of Music last night was the musical and social event of the month. The Philharmonic people have succeeded in enlisting the good will of the best people in the place, and the honor is well deserved. Most of the leading citizens and society people are enrolled in its list of membership. While this of itself affords no criterion for accurate scientific judgment as to musical or artistic efficiency, it does show that the society is deemed worthy of support for some very good reason at least.
91This concert was attended by the same brilliant audience which assembled to greet the singers at the opening of the season in December last. The house was nicely filled with a dignified assemblage—a shade too dignified perhaps. The average Kingston audience on such occasions is not easily warmed into outward manifestation of enthusiasm or emotion, and this has often led to a charge of inappreciation. Still there were instances of generous applause at this concert. With a single exception the choral selections were more judicious than those of the December program, the "Night" of Rheinberger; "Thanks be to God, from 'Elijah';" "Lullaby," by Brahms, and a new "Sanctus" by Mr. Chapman being well chosen. The chorus was materially decimated by grip, and suffered from weakness in consequence, especially in the male parts, notably in the bass. This disturbed the proper harmonic balance and precluded the best results. But for all that the numbers were well received and showed the result of care on the part of Mr. Chapman, the conductor, in the rehearsal room.
93Mrs. John H. Schreiber, of this city was the soprano. She is now a pupil of Mrs. Fursch-Madi and has devoted considerable time and money to the culture of her voice, which has an oratorio quality. She sang the "Queen of Sheba" aria, "Springtime," by Cowen, and Eckert's "Spanish Song," eliciting rounds of applause and a shower of handsome floral tributes. It was pleasant to see a singer so warmly greeted in her own town. Mrs. Schreiber will sing at the next concert of the Mozart Club at Chickering Hall.
95Mr. Jacques Friedberger was the solo pianist, and he handled his excellent Chickering grand in a masterly manner, although he poorly judged his audience in choosing his numbers. Tausig and Liszt were the authors.
97A long classic piano number without orchestra is rarely, if ever, acceptable in a mixed audience. But Mr. Friedberger was applauded for his very successful contention with great technical difficulty, and the piano responded to his touch beautifully. In his encore bit he also drew a delicate picture in light and shade.
99Mr. James H. Griffith was the basso. His low tones are rich and round and his numbers were well received, but, like so many of our bassos, his enunciation is susceptible of improvement.
101The tenor was Mr. John Fulton, who has sung here before. He is an efficient vocalist in his way and was heartily received, as usual.
103The next concert of the Philharmonic will be on May 18. This is to be the grand climax of the season. Parker's "Redemption Hymn" is now in rehearsal. Miss Christine Nielson, the great Chicago contralto, and the Mozart Symphony Club are among the outside engagements.
105Mrs. De Roode Rice, the pianist and descriptive lecturer, has just ended a pleasant and instructive series of piano recitals here. They were given in a small private house in John street and were listened to by a very limited audience, the instrument being a parlor grand only.
107ALLEGRO.
109Philadelphia Correspondence.
111PHILADELPHIA, February 20, 1892.
113THE Abbey-Grau company gave two performances here this week and were liberally patronized. Gluck's "Orfeo" and Mascagni's "Cavalleria Rusticana" made up a double bill for Tuesday evening. In "Orfeo" Giulia Ravagli, despite various defects in voice and style, succeeded in arousing the audience to considerable enthusiasm. The performance of "Cavalleria Rusticana" was in many respects inferior to the first American production here by Gustav Hinrichs. Mrs. Eames-Storey was an excellent "Santuzza," but the remaining members of the cast, together with the orchestra, were in no way remarkable.
115The performance of "Mignon" on Thursday evening left much to be desired.
117Marie Van Zandt, who made her Philadelphia début upon this occasion, was warmly received. Scalchi met with a veritable ovation upon her appearance—but where is her voice?
119Montaroli, Vinche, Pettigiani, Vaschetti and Carbone completed a rather mediocre cast.
121At Charles H. Jarvis' fourth soirée he was assisted by William Stoll, Jr., violinist, and Rudolph Hennig, 'cellist. Numbers by Bach, Hummel, Mendelssohn, Raff, Rubinstein Schumann, Herbert and Popper made up an attractive program.
123The coming week should prove one of great interest to Philadelphia music lovers.
125The Young Männerchor will celebrate their fortieth anniversary by a two days' festival at the Academy of Music under the direction of Gustav Hinrichs. A combined chorus of 500 voices, consisting of the Arion Society of New York, the Orpheus of Buffalo, the Arion of Brooklyn, the Liederkranz of Baltimore and the various local singing societies, the New York Symphony Orchestra, Constantin Sternberg, Emil Fischer, Mr. Ritter-Goetz, Emma Suelke and Max Friedman will participate.
127Maurits Leefson's next concert will have an added interest from the presence of Phillip Scharwenka and a program made up wholly from his works.
129A. H.
131Atlanta Correspondence.
133ON last Wednesday Xaver Scharwenka, the distinguished Polish pianist, gave a piano recital in De Givé's Opera House, in the presence of a highly appreciative audience. Throughout a lengthy program he maintained the high reputation with which he came to Atlanta. It is seldom that our music lovers are privileged to enjoy so thoroughly an artistic performance, and there will be slight dissent from the statement that Mr. Scharwenka is entitled to be placed in the front rank of piano virtuosos.
135The following was the program:
137Fantaisie, op. 49 …………………………………………….. Chopin
138Impromptu and March ……………………………………… Schubert
139Nachstück ……………………………………………………….. Schumann
140Valse, op. 42 ……………………………………………………. Chopin
141Sonata, op. 57, F minor ……………………………………… Beethoven
142Legend, op. 5, No. 1 …………………………………………. Xaver Scharwenka
143Novellate, op. 22 …………………………………………….. Xaver Scharwenka one of two readings
144Novelliette, op. 22 ……………………………………………. Xaver Scharwenka one of two readings
145Valse Caprice, op. 81 …………………………………………. Xaver Scharwenka
146Ricordanza ……………………………………………………. Xaver Scharwenka one of two readings
147Ricordanza ……………………………………………………. L'Iszt one of two readings
148"Tell" overture (d'après Rossini) ……………………………. Liszt one of two readings
149"Tell" overture (d'après Rossini) ……………………………. L'Iszt one of two readings
150Wm. C. Rehm, our favorite pianist and teacher, announces a pupil's piano recital to be given at the Washington Seminary about the beginning of March. Mr. Rehm also intends giving a concert at De Givé's Opera House about March 25, at which he will have the assistance of the popular young violinist, Natrop Blumenfeld, and some well-known and accomplished vocalist.
152FRIGHETTO.
154Syracuse Music.
156SYRACUSE, N. Y., February 19, 1892.
158THIS has been an unusually lively week in musical circles, and there has been enough variety to satisfy almost all shades of taste.
160On Tuesday evening the Bostonians presented De Koven's "Robin Hood," which was repeated at a matinée on Wednesday afternoon, and in the evening "Dorothy" was given. All three performances drew immense houses. It has always been a mystery upon what the popularity of the Bostonians was based, for, with the exception of Jessie Bartlett Davis, there is not one real artist in the company, and she unfortunately was unable to appear until Wednesday evening.
162Her place as "Allen-a-Dale" was filled by Miss Finlayson, a lady with a fair voice and good stage presence, but on the whole many degrees below the artistic stature of Miss Davis.
164The other new comers are Camille d'Arville and Miss Hamilton.
166The former, in the part of "Maid Marian," scored a decided hit, notwithstanding a distressing habit of singing just enough off the pitch to be annoying; but she acts with vim and chie, and being possessed of a handsome face and figure such a trifling matter as singing out of tune does not operate against her—at least not with our audiences.
168The male members of the company show a little more wear than last year, but being popular socially this too is overlooked.
170But after criticizing the principals for their individual work it is but just to say that the general ensemble is excellent, and in the matter of stage setting and attention to minor details there remains very little to be desired.
172On Wednesday afternoon Prof. George A. Parker gave an organ recital at Crouse College Hall, assisted by Conrad L. Becker, violinist.
174Mr. Parker was at his best and deserves the highest praise for his selection of the program, no less than for his admirable playing. It is doubtful if the difficult Thiele number ever received a finer interpretation here than at the hands of Mr. Parker, and the audience was not slow to acknowledge it. Other numbers worthy of especial mention were the sonata in E minor by Ritter and "Marche Funèbre et Chant Séraphique" by Guilmant.
176Mr. Becker's numbers were exceeding commonplace and hardly worthy of this young artist's abilities.
178The program follows:
180Sonata in E minor, op. 19 ……………………………………. A. G. Ritter
181Prêre, from the oratorio of "Noel" ………………………….. Saint-Saëns
182Intermezzo from the opera "Cavalleria Rusticana" …….. Mascagni
183Violin Solos ……………………………………………………. Reinecke
184"Abend Gebet" ………………………………………………. Mr. Conrad Louis Becker
185Introduction and triple fugue in E major …………………….. Goetshius
186Communion in A minor, op. 28, No. 2 ………………………. Batiste
187Theme, variations and finale in A flat ………………………. Thiele
188Violin solo, Mazurka de Concert ……………………………. Musin
189Mr. Becker.
190"Marche Funèbre et Chant Séraphique" …………………….. Guilmant
191Toccata in G ………………………………………………….. Dubois
193Last evening the Beethoven String Quartet, of New York, paid us another visit and presented the following delightful program:
195Quartet, op. 74, No. 3, in G minor ………………………….. Haydn
196Serenade ……………………………………………………… Leo Stern
197" Ancient and Modern," for violin …………………………… Pettersson
198" Proposal and the Mill" ……………………………………… Raff
199(From "Die Schöne Müllerin.") ……………………………. Mueller-Berghaus
200Capriccioietto Hongroise, for 'cello …………………………. Rubinstein
202Their playing satisfied the most critically disposed; in fact criticism is totally deserted, for it is impossible to imagine more refined playing. There is a unanimity of artistic expression, as though governed by one guiding mind, and while each instrument comes in for its proper notice at no time is any one of them unduly prominent.
204The Beethoven's have so captivated a certain portion of our musical public that a third concert is being freely advocated.
206PIZARRO.
208SYRACUSE, N. Y., February 26, 1892.
210A VERY lenient and indiscriminate audience gathered at the Wieting Opera House last night to listen to the maiden effort of the Syracuse Symphony Society Orchestra, an amateur organization recently formed.
212It would be as unfair on the one hand to condemn the work of this band of youthful musicians as to praise it would be ridiculous on the other.
214The fact that it has become possible to get an orchestra of thirty-five players together in this town at all speaks volumes for the great progress made in musical art in the past five or ten years, and as the society contains some good material it should be encouraged to the end that with judicious weeding out and adding to a really good orchestra may eventually be built up and maintained.
216The soloists were Mr. Conrad L. Becker, violinist, and Mr. Thomas Impett, of Troy, tenor.
218Mr. Becker played Wieniawski's "Légende" and Sarasate's "Zigeu-
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