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Musical Courier 1892-03-09: Vol 24 Iss 629, 1892
100 lines. Read by computer on 19 September 2026, twice; the two readings disagreed in places. Printed page 13. See the scan on archive.org.
1BOSTON NEWS.
3BOSTON OFFICE OF THE MUSICAL COURIER,
4157 Tremont Street, Saturday, March 5, 1892.
6THE program for the eighteenth concert of the Boston Symphony Orchestra in Music Hall this evening was: Symphonic poem, "Hamlet," Tschaikowsky (first time); concerto for violin, No. 3, in D minor, op. 58, Bruch (first time); symphony No. 4, D minor, op. 120, Schumann. Mrs. Camilla Urso was the soloist.
8The opening number, given for the first time in this country, is a tone picture of the usual characteristics, extravagant in orchestration, surprisingly bold and unconventional in treatment and abounding in opportunities for exercising one's imagination, however vivid.
10The chief satisfaction to be gained from a hearing of this work would, it seemed to us, lie in giving just such a vivid imagination limitless scope, treating it to blood congealing visions of ghosts, assassinations and gore galore. Musically it was not enjoyable. Mr. Nikisch did all that was possible to make the performance technically perfect, both in letter and spirit, and succeeded.
12The Bruch concerto also had its first hearing here this evening, and the Symphony audience was fortunate in having such a consummate artist as Mrs. Urso to give the first impressions of a work, although musically, yet somewhat tedious. As we have ever been pleased to observe, it has been an invariable delight to listen to any work Mrs. Urso may have seen fit to do for us.
14Her efforts this evening were fully as enjoyable as ever and as heartily appreciated and acknowledged by the audience.
16The soloist for the coming week will be Mr. Eugen d'Albert, who will play the Beethoven E flat concerto. The original version of the Schumann symphony No. 4, in D minor, will then have its first performance in Boston.
18Mr. Carl Baermann gave the second chamber concert of his series in Union Hall on Tuesday evening, with the assistance of Miss Gertrude Franklin, Mr. C. M. Loeffler and Mr. L. Schultz.
20The program was:
22Trio for piano, violin and 'cello, E flat (No. 5, Peters)……..Haydn
23" Margaret at the Spinning Wheel"…………………Schubert
24Sonata for piano and 'cello, C minor, op. 32……..Saint-Saëns
25" Le Doux Appel"………………………………….Widor
26Trio for piano, violin and 'cello, D minor, op. 63……..Schumann
28Owing to the professional attendance your correspondent was compelled to devote elsewhere, a review of this very important concert cannot be made.
30Unreserved expressions of praise have, however, been heard upon every hand, both for Mr. Baermann and his assistants.
32The largest and most widely enthusiastic audience of the season thus far came together in Chickering Hall this afternoon to hear Mr. De Pachmann play his "request" program, which he not only did, but with his customary generosity added thereto fully an hour of ceaseless playing of whatever works it pleased the fancy of his hearers to demand. From the abundant applause which followed every number on the program, Mr. De Pachmann cannot feel that Boston does not appreciate him and his wonderful music.
34The sixth and last concert by the Philharmonic Orchestra was given in the Tremont Theatre, Thursday afternoon, Miss Gertrude Edmonds and Mr. Wm. H. Sherwood being the soloists, and this the program:
36Overture to "Rienzi"………………………………….Wagner
37Aria, "Oh, Fatima!"………………………………………Weber
38Aria, "Vieni che poi Sereno"……………………………Gluck
39Miss Edmonds.
40Pianoforte concerto, op. 16, A minor……………………Grieg
41Mr. Sherwood.
42Symphonic poem, "Orpheus"…………………………….Liszt
43" Requiescat"…………………………………………..Helen Hopekirk (MS.) one of two readings
44"Requiescat"……………………………………………..Helen Hopekirk (MS.) one of two readings
45" Scottish Cradle Song"……………………………….Helen Hopekirk (MS.) one of two readings
46"Scottish Cradle Song"…………………………………Helen Hopekirk (MS.) one of two readings
47" O Mutter, Gute Nacht"……………………………….Helen Hopekirk (MS.) one of two readings
48"O Mutter, Gute Nacht"………………………………..Helen Hopekirk (MS.) one of two readings
49Miss Edmonds.
50Romance in F sharp, op. 28, No. 2……………………….Schumann
51March from suite, op. 21……………………………….Raff one of two readings
52March from suite, op. 21………………………………..Raff one of two readings
53Mr. Sherwood.
54" Invitation to the Dance"……………………………….Weber one of two readings
55"Invitation to the Dance"……………………………….Weber one of two readings
57The orchestral numbers and accompaniments were, as usual, roughly played. Attacks were indifferently made and nuances in shading carelessly observed. This organization, the "raison d'être" of which so far is "one of those things no feller can find out," again distinguished—and from all indications extinguished—itself on this occasion. From the beginning it has struggled on against every manner of odds, the least of which has not been its inferior performances.
59Mr. Sherwood, in the Grieg concerto, made a heroic effort to keep up with the orchestra, which seemed determined to have its own way, a sort of each-for-himself, the-devil-take-the-hindmost way, so popular with this organization. Mr. Sherwood was too familiar with the score, fortunately, to allow himself to be entirely lost sight of.
61In his solo numbers later on the program he was heard to much better advantage, particularly in the Raff march, which received a most satisfactory rendition.
63Miss Edmonds was hardly in her best condition, at least her singing so impressed us. While in nowise faulty (an impossibility with this singer), her work seemed rather lifeless, apparently lacking confidence in her support. Miss Edmonds has justly won distinction among the first contraltos in this country. More beautiful voices are very rarely heard.
65Four pupils of Miss Gertrude Franklin—Miss Katherine Clancy, Miss Alice Hutchinson, Miss Gertrude Miller and Miss Georgia Nixon—issued invitations to the general public to be present at a song recital at Steinert Hall on Thursday afternoon. So many availed themselves of the opportunity that the hall was quite early filled.
67A program of considerable length and limited as to variety was offered, yet not a tiresome number did it contain and not a single instance of inartistic singing was noticeable during the afternoon. These young women had a difficult task set them and they accomplished it gloriously with infinite credit to themselves and Miss Franklin, whose handiwork is ever intellectual and artistic; whose pupils are sure to sing with understanding and good taste, if she be given a reasonable amount of material to work with. Voice and brains are more or less needless, to be sure.
69The extra concert by the Boston Symphony Orchestra, for the benefit of its members, on Wednesday evening, proved, as was expected, an affair of the "red letter" order.
71Mr. Paderewski and Mrs. Julie Wyman volunteered their very valuable services, and in consequence a particularly large and high-classed audience was drawn together on this occasion.
73The program was attractive, interesting and very well performed, the members of the orchestra evidently putting their best efforts into the work, especially in the opening number, the "Tannhäuser" overture, which was given with a finish, fire and grandeur never before equaled by this band.
75Mr. Paderewski gave a broad and artistic interpretation of the Schumann concerto in A minor, at the close of which Mr. Kneisel, on behalf of the orchestra, presented him with a magnificent laurel wreath of silver. Thereupon the enthusiasm of the audience knew no bounds, and Mr. Paderewski was compelled to bow his acknowledgments again and again, finally giving in response to such imperative demands Schumann's "Des Abends."
77Mrs. Julie Wyman contributed several enjoyable vocal numbers and Mr. Schroeder a group of short compositions for the 'cello. The concert came to an end with the Liszt Hungarian fantaisie for piano and orchestra. Taken all in all the occasion was a most enjoyable one, and with nearly every seat in the Music Hall taken must have been productive of very satisfactory results from a financial point of view.
79At the New England Conservatory of Music the pupils' rendering of six of Mr. Paderewski's compositions on Wednesday last was a unique tribute to the distinguished composer and pianist. As Mr. Paderewski entered the hall a laurel wreath entwined with the national colors of Poland, together with a bunch of violets and a large picture of the institution, which he has so flatteringly indorsed by his recital lately given at the conservatory, were presented by two charming girls, after which an introductory address was made by Mr. Faletin, the director. Mr. Paderewski was evidently delighted by the interpretation of his works which followed, particularly by the piano solos of Master Strong and Mr. Proctor, the former of which so pleased the great virtuoso that he warmly embraced the lad as he finished playing.—"Gazette."
81A Timely Tribute.
83BOSTON, March 5, 1892.
85Editors Musical Courier:
87IN the last number of your esteemed paper I read with much regret the sad news of Prof. Lambert Massart's death. Having been fortunate enough to know him and to receive his valuable instruction, I feel called upon to write a few lines as a tribute to the deceased, who has done so much for his art and whom it seems impossible to replace. There has, perhaps, never been a teacher of his instrument whose persevering efforts were so crowned with success. In 1884 as many as forty pupils who formerly belonged to his classes had been rewarded with the first prize of the Paris Conservatory, a good many following in later years, until he left the institution in 1889.
89Many of his pupils are well known this side the water; many more hold leading positions in leading orchestras and conservatories in Europe, especially in France. In younger years he was proposed for the leadership of the first violins at the Grand Opéra in Paris, but could not be accepted owing to his Belgian birth, and really it must be considered a fortunate circumstance, as it preserved him for the entire devotion to teaching. He was a kind friend and in later years a father to his pupils, and used to aid many of those among them who had not the means to follow the course of study. Especially the younger ones in his classes were his favorites, as he himself had no children and had always a great liking for them and he showed much patience in teaching them. Much attention was given by him to the preparation of his classes for the examinations, and the day preceding them everybody had to go to his house and to prepare his violin and extra E strings carefully for the occasion.
91Massart was a favorite among the best Parisian circles, and in younger years used to go hunting with many of the French princes and noblemen. His house in Rue de la Chaussee d'Antin was at all times a rendezvous of many of the artists and learned people of Paris. He was a personal friend and great admirer of Berlioz and helped him in every way when Berlioz was in trouble. The following incident will show his influence in high quarters and the kind way he used it: A pupil of Dutch nationality, Mr. H., who lives now in England and is there regarded as one of the best violin and viola players, was on the point of leaving Massart's class before having finished his course, owing to want of means to support himself. Massart, who took great interest in him, wanted to get a purse for him from the king, and wrote a letter to the minister in Brussels. He received the answer that there had been already too much money spent for art purposes and none could be spent any more. But Massart was not idle. He took the next train to Brussels, demanded an audience at the court, was received by the king, and after having explained the matter to his majesty was granted the petition and went home with a two years' purse for his young friend.
93Very amusing is the story M. told us of the way he first met his celebrated pupil Wieniawski. It was on a wet day. M. went through one of the thoroughfares in Paris, when he saw a small boy of about five years eagerly occupied in making a little fiddlestick float like a boat in the street channel, pushing it along with his feet, the channel then being full of water from the falling rain. Massart was much amused with the little dwarf's childish play, though he advised him not to repeat it and asked him to come up and see him the next day. So Wieniawski became his pupil, getting the first prize of the conservatory when he was seven years of age.
95Massart was a pupil of Kreutzer's, and was kept like a child in Kreutzer's house, alternately studying with Rudolph and his brother. Sometimes he, too, received instruction from P. Rode and Lafont, who both lived for years at Kreutzer's house. M. was Kreutzer's only heir, who left him, besides his house, his valuable library of music and books and a fine collection of Italian instruments, among them one of the best Strads I ever saw. There will be some curiosity about the lucky man who may be destined to possess this treasure for the next years, M. having some far relatives, of whom one, a cousin, lives as a violin teacher in Liège.
97When I knew Massart he was already an old man and he seemed so, too, when you saw him at home; but in his classes he looked completely changed and showed at times an astonishing amount of youthful vigor and artistic fire. He was an imposing personality and an inspiring instructor and knew wonderfully well how to push his pupils. Mrs. Massart, one of the best piano teachers and pianists of the time, died just before I left Paris in 1887. Her funeral attracted a large crowd of mourners, friends and former pupils of both Mr. and Mrs. Massart, both being esteemed in the great metropolis. Mrs. Massart's death hurt him a great deal, for he seemed quite broken down, and one could be sure that he would not survive her long. Very much do I regret that I was not able to accompany my well beloved master to his last resting place, and show him this small sign of my gratitude; but the great water lay between us.
99Massart, who was born July 19, 1811, though grown up
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