Scan 7
Musical Courier 1892-03-02: Vol 24 Iss 628, 1892
92 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 8. See the scan on archive.org.
1assisted by Misses Vendik and Blumgart, sopranos, and Mr. Leopold Godowsky, pianist, in the following program:
2Ballade No. 1…………………………………………………Chopin
3"Queen of Sheba"…………………………………………..Gounod
4Mr. Leopold Godowsky.
5Miss A. Vendik.
6(Class of Mrs. Fursch-Madi.)
7Concerto No. 7……………………………………………..De Beriot
8Moderato. Andante. Rondo.
9Master Arthur Hartmann.
10(Class of Mr. Henry Lambert.)
11Barcarolle, No. 1…………………………………………..Rubinstein
12Etude, F minor……………………………………………..Liszt
13Mr. Leopold Godowsky.
14"Hallelujah"…………………………………………………Massenet
15Miss C. Blumgart.
16(Class of Mrs. Fursch-Madi.)
17Cavatina………………………………………………………Raff
18Ungarisch……………………………………………………Hauer
19"Alla Zingaresca"…………………………………………..Tschechulin
20Master A. Hartmann.
21"Invitation à la Valse"……………………………………Weber-Tausig
22Mr. Leopold Godowsky.
23Master Hartmann shows remarkable talent for one of his years, and his selections were given in an artistic manner. Mr. Godowsky played in his usual finished manner.
25THE BANKS' CLUB CONCERT.
26The New York Banks' Club gave their second concert of this season in the Lenox Lyceum last Wednesday evening assisted by Mrs. Ida Bond-Young, soprano; Miss Lenora von Stosch, violin; Miss Avice Boxall, harp, and a chorus of young ladies, pupils of Mr. H. R. Humphries, the conductor.
27The hall was filled and the audience greatly enjoyed the excellent program presented. Mrs. Bond-Young sang "Because of Thee," by Berthold Tours; Cowen's "Love is a Dream," and the solo in the anthem "Out of Zion," by Blumner, in a manner most acceptable, her full rich voice filling the Lyceum with ease. Miss von Stosch also made a strong impression by her fine playing of a Saint-Saëns' rondo capriccioso, a "Melodie," by Paderewski, and Nachez's "Gypsy Dances."
29THE HEINE SISTERS' CONCERT.
30The Misses Heine gave their third recital Tuesday evening of last week in Behr Brothers Hall, assisted by Mr. Victor Herbert, 'cellist.
31Miss Florence Heine played her solo in an excellent manner, and also did good work in the trio. Mr. Herbert as usual was successful with his playing and was warmly encored. The following was the program:
32Sonata for piano and violin, op. 13………………………..Grieg
33The Misses Heine.
34Violoncello solo…………………………………………..Herbert
35"At the Spring"…………………………………………..Davidoff
36Mr. Victor Herbert.
37Violin solo, "Faust Fantaisie"……………………………Sarasate
38Miss. L. Florence Heine.
39Trio for piano, violin and violoncello, op. 70, No. 1……..Beethoven
40The Misses Heine and Mr. Herbert.
42MRS. TYLER DUTTON'S SONG RECITAL.
43Mrs. Tyler Dutton gave a song recital in the Chamber Music Hall of the new Music Hall Thursday evening last, before a goodly sized audience, the following being the program:
44"Nymphs and Shepherds"……………………………….Purcell
45"Mit einem gemalten Band"……………………………..Beethoven
46"Gruss"…………………………………………………….Mendelssohn
47"The Hours of Dawn"…………………………………..Schumann
48"Die Lotosblume"……………………………………….Schumann
49"Widmung"………………………………………………Schumann
50"Trock'ne Blumen"………………………………………Schubert
51"Gretchen am Spinnrade"……………………………….Schubert
52"Who is Sylvia?"…………………………………………Schubert
53"Hark! hark! the lark"………………………………….Schubert
54"The Swan"………………………………………………Grieg
55"O Humid Spring Time Evening"………………………..Jensen
56"Si tu veux, Mignonne"………………………………..Massenet one of two readings
57"Si tu veux, Mignonne"…………………………………Massenet one of two readings
58"Im Herbst"……………………………………………..Franz
59"Tralume"……………………………………………….Wagner one of two readings
60"Traume"………………………………………………….Wagner one of two readings
61"Comment disaient-ils"…………………………………Liszt
62"Ich liebe dich"…………………………………………Herbert one of two readings
63"Ich liebe dich"…………………………………………..Herbert one of two readings
64Pastorale…………………………………………………..Buzet
65"Frühling"……………………………………………….Lassen
66Mrs. Dutton possesses a clear, strong voice and gave some of her numbers in a charming manner, though the program would have been relieved of its monotony by the introduction of an instrumental solo.
68Rosa Czillag's Death.—To the Editor of the "World."—In your issue of February 23, giving an account of the death of Rosa Czillag, the celebrated prima donna, you unwittingly do me an injury in stating that she was the divorced wife of my father. The facts really are that she was the divorced wife of my elder brother, and not of my father. She was also the aunt of Mr. Carl Streitmann, at present with the Lillian Russell Company. There is certainly some error in your cablegram regarding her dying in poverty, for to my certain knowledge she was in comparatively easy circumstances. Even if she had not been she has wealthy relatives in the city of Vienna who would never allow her to be buried in a pauper's grave. By kindly giving this article as much prominence as the former one you will greatly oblige, yours respectfully, A. Hermann.—"World."
70Eugen d'Albert.
71THE pianist d'Albert is again in America. No one forgets his advent here two years ago, when his marvelous playing carried everything before it, as did Rubinstein's nearly twenty years before.
72According to Von Bülow, the successor of Rubinstein is Eugen d'Albert. He is one of a trio of pianists to whom the designation of "great" is truly applicable; indeed, several years ago, before d'Albert had attained his present eminence, Von Bülow proclaimed this young artist's right to rank with Rubinstein and himself, and said: "He is yet young and bids fair to surpass us all."
73Eugen d'Albert was born in Glasgow, Scotland, Sunday, April 10, 1864, and is therefore less than twenty-eight years old. His father, Charles Napoleon d'Albert, was a French composer of eminence, living at the time in England, and who fostered the evident genius of his son, and trained him so carefully and well that at the age of twelve young Eugen was elected Newcastle Scholar in the National Training School, London, where he studied the piano, harmony and composition under Ernest Pauer, Dr. Stainer, Mr. Prout and Arthur Sullivan. His progress was so rapid and brilliant that in 1879 an overture of his was accepted and played at St. James' Hall, and in 1881 his concerto in A was played by himself at the Richter concert in London. There Mr. Hans Richter met him and was so impressed by the genius of the youthful player and composer that he took young d'Albert to his home in Vienna and taught him for a year, at the end of which time he took him to Liszt, who in turn showed an unworlded interest in the young artist.
74The progress made by d'Albert during the next five months astonished even the great master, who called him "a second Tausig," in allusion to his extraordinary technique. As a result of his superb playing in Weimar he was appointed in 1882 by the Grand Duke of Weimar as court pianist—a distinction remarkable in that it had never before been granted to so youthful an artist. His subsequent concerts in Berlin, Vienna, Hamburg, Dresden and other cities have been unparalleled successes, continuing without a break to the present.
75It is as a player and interpreter of the works of Beethoven, Schumann, Chopin, and that class of profound composers, that his greatest gifts have been shown, and which have won the unstinted admiration of the public and compelled such musical critics as H. Ehrlich to say of recent performances in Berlin and Hamburg, "He is the foremost of pianists and the greatest interpreter of Beethoven next to Joachim;" or Emil Krauze to write that "his rendering of Beethoven's concerto stands above all criticism;" or Professor Boedeker to say "the artistic impression which he made will resound long in living remembrance;" or William Blanc to say "he is unquestionably the greatest of living pianists," and the "Berliner Zeitung" to proclaim him "indeed the first."
76These are but repetitions in kind of what our own eminent critics had already said. Mr. Krehbiel's words were "there is no risk in saying that he is the most magnetic player that has been heard in America since Rubinstein." H. T. Finck said: "Such stupendous pianism has not been heard in New York since Rubinstein was here," and Mr. Henderson wrote: "It is safe to say he is the greatest living pianist." D'Albert is that rare thing in a pianist, the combination of a profound musical nature behind which are a great musical brain and a warm, artistic temperament, with an unlimited technique.
77D'Albert's compositions are full of nobility and beauty, and a still greater career is doubtless opening up before this genius. Among his most prominent works, which also number many for the piano alone, are his overture "Hyperion," played at a Richter concert June 8, 1885; his symphony in F at the same May 24, 1886; also last January at the Philharmonic concerto under Von Bülow in Berlin and Hamburg, and his concerto in A played at the Richter concert in 1881. He has also completed a grand opera which is soon to be produced in Germany.
78D'Albert is short in stature, with a round face, small black eyes and a heavy shock of dark brown hair. He bears a striking facial resemblance to Tausig.
79It is enough in concluding this sketch of the great piano virtuoso to repeat what Rubinstein averred after hearing d'Albert's performance of his D minor concerto: "It is the most satisfactory I have ever heard."
80Eugene d'Albert will make his first appearance in Boston May 11 and 12, with the Boston Symphony Orchestra. Afterward he will appear in other large cities.
82Melopoia of Plainfield.—A most delightful concert was given on Tuesday evening, February 23, by the Melopoia Society of Plainfield to its subscribing members and friends, in the beautiful Casino. Mr. W. R. Chapman is conductor and Mrs. Lillian Blauvelt, Mr. Galassi and the Rubinstein Trio were the assisting artists. The concert was a great success in every particular, each number well sung and enthusiastically received. Mr. Chapman's new "Sanctus" was sung for the first time and received great applause and praise. The Melopoia are to be congratulated on their brilliant success.
84Impressions from the Old Tone World.
85BERLIN, February 15, 1892.
86NOTHING that has happened during the present somewhat arid musical season in the Prussian capital has created half the stir attendant upon Anton Rubinstein's reappearance after an absence of over six years. Hardly had the announcement of his concert "for charitable purposes" been announced before every available seat had been disposed of, and that at prices we should even at home regard as high. Strange to say, this very year, 1892, in which he has chosen to present himself once more before the public of Berlin, will bring with it the fiftieth anniversary of the day when, as a boy of twelve, his marvelous pianistic ability was first here admired.
87The reports that had preceded Rubinstein's coming on the present occasion from Russia, Vienna and Dresden had reassured the musical world that no disappointment would be in store for that vast majority to whom Rubinstein is, and ever must be, the one great and incomparable pianist for all time. And yet it seemed well nigh incredible that an artist who had practically given up practicing these latter years, and who had to all intents and purposes bid farewell to the concert stage forever, should not have fallen off in one or the other respect from what he once had been. These doubts therefore that formed so important a part of the neutral attitude the vast assemblage had brought to last Friday's concert it behooved Rubinstein to set at rest. But hardly had he played half a dozen bars of his E flat concerto before it was made evident to everyone that all cause for apprehension on that score was groundless.
88As a pianist he is still what he has always been and as such he may still count on the most numerous multitude of followers and admirers that has ever been vouchsafed to any one artist. But everyone knows that for such honors, which have ever been so easily within his grasp, he cares little or not at all. It is as a composer he would be acclaimed of the public; yet though the program of this his latest concert showed only a list of his own compositions—the G minor symphony, the E flat concerto, the "Caprice Russe" and several piano solos—little of the applause and less of the critical praise showered on him in the various notices of his reappearance was won by the works themselves independently of their composer, who so lovingly exerted himself in the direction of their best conceivable interpretation. It is strange, not that Rubinstein has been able to impose so very few of his works on the musical world as masterpieces pure and simple, but that, given the extreme affability and charm belonging to one side of his character, he should not have succeeded in gathering about himself a band of faithful followers, ready to uphold even the most trifling products of his all too facile invention.
89If the visit to America in the fall is really accomplished, and, in spite of all that may be cabled, written or reported, the question is still shrouded in particularly impenetrable doubt, the old world will have every reason to envy the good fortune of the new. In the meanwhile Rubinstein's "Die Musik und ihre Meister" is creating quite as much stir in musical circles on this as on the other side of the water. There is but one sentiment expressed—of deep regret that chagrin and disappointment should have led to the publication of opinions that only react on the "Meister," who has so acridly expressed them.
90Following closely on the reappearance of Rubinstein comes the return for but two occasions, a concert and its public rehearsal, of Albert Niemann from that private life to which he so suddenly and unexpectedly retired after the memorable performance of "Fidelio" at the Berlin Opera House some three years ago. The occasion that has induced the veteran Wagner singer once more to present himself before his well beloved adorers of old is a concert to be given this evening at the Philharmonic by the Wagner societies of Berlin and Potsdam. Dame Cosima, who is credited with irresistible powers of persuasion and a complete equipment as siren "of the first water," which would never be suspected by those who have only of late years met the arrogant lady wielding her haughty sceptre at Bayreuth, is said to have made a special appeal to Niemann in behalf of the concert, its givers and the "good cause," and as events proved did not make it in vain. Of the tenor's subsequent regrets at having allowed himself to be entrainé, only the inner house circle has tales to tell.
91The rehearsal occurred yesterday morning and as was to be expected the large hall was filled to overflowing. The program offered the "Kaiser March," the first act of "Die Walkure," with Niemann as "Siegmund," and Sucher as "Sieglinde," and finally "Siegfried's Rhine Journey," the death scene and march, and the grand finale. For Mr. Sucher excuses were made ere the concert began, her exertions in an admirable performance of "Tristan und Isolde," at the Opera House the night before, the anniversary of Wagner's death, having very naturally greatly fatigued her. For Niemann, however, no indulgence was asked, and yet it was most cordially given, for though his auditors applauded him to the echo and tried to make him feel he was now just as much "their Albert" as
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