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Musical Courier 1892-12-14: Vol 25 Iss 667, 1892
116 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 12. See the scan on archive.org.
1Adolph Hoppe.
3We have the pleasure of presenting to our readers in this number a portrait of the young organist Mr. Adolph Hoppe. This gentleman possesses the highest testimonials from the Conservatory of Leipzig and favorable notices of his public performances by many of the leading journals of Germany. Dr. Otto Guenther, the head of that famous institution of musical education, writes:
5Mr. Adolph Hoppe, of Carlsruhe, was admitted into the Royal Conservatory of Music in Leipzig on September 1, 1885. In the courses of instruction in the theory of music and composition, in piano playing (solo and ensemble), in organ playing, in choral singing and in the history and aesthetics of music he displayed "exemplary" (1.) earnestness, industry and zeal, and, with his great natural capacity, he made in his whole musical education such solid and artistically remarkable progress that the performances which he has already given to the public with brilliant success prove that in any position entrusted to him he will be found perfectly adapted and able to respond satisfactorily to the most extensive demands.
7The moral character of Mr. Hoppe in the conservatory was "exemplary" (1.) in every respect.
9Paul Homeyer, the organist at the Gewandhaus, who is also a professor in the conservatory, speaks in equally high terms. He writes: "It gives me great pleasure to be able to express to Mr. Adolph Hoppe my high appreciation of his science and skill, especially as organist and composer. His studies have been conscientious and he has already shown himself an organ virtuoso who can interpret easily, and especially musically, the most difficult classical and modern compositions. In the higher contrapuntal forms (canon, fugue and choral work) he possesses a remarkable facility of composition. Art will gain a great acquisition from Mr. Hoppe's talent, as soon as favorable opportunities summon him to the field of public activity."
11The diploma which Mr. Hoppe possesses from the Royal Conservatory repeats the testimony already quoted by us from Dr. Guenther's letter, and adds that in the final examinations for piano and organ playing, he obtained by his performance of the concerto for organ (F major), by J. Rheinberger, on February 18, 1890, "great and well merited" recognition, and took part with equal success on May 15, 1889, in Rheinberger's quartet for piano, violin, viola and violoncello (op. 38, E flat major). The diploma is dated November 25, 1891.
13At an organ concert at Freiburg, in Baden, he performed Bach's "Toccata," F major; Händel's "Largo," for organ, harp and violin, and Rheinberger's concerto in three movements, for organ, strings and three horns. "In the introductory number," a critic writes, "he displayed astonishing skill in the pedal work, which has to accompany, note for note, the rapid finger figure passages, and rendered every single note with excellent legato. But it was in the chief number, the Rheinberger concerto, that his virtuosity displayed itself most brilliantly, in which he exhibited remarkable delicacy and power in registration." Other journals speak of his "masterly performances," "his accuracy deserving all praise," "his thorough command of his instrument," and praise especially the performance of the solo cadenza for organ in the last movement of Rheinberger's concerto.
15Mr. Hoppe was born in Kissingen, July 15, 1867, entered the Leipzig Conservatory September, 1885, and graduated "with honors" Easter, 1890. He speaks and writes English very well, and will possibly pay this country a visit in the near future. He certainly would be an acquisition to any church or synagogue as an organist and choir director.
17Concert of Miss Lilian Chandler and Miss Hamlin.
19On Wednesday evening a concert was given by Miss Chandler, the Boston violinist, and Miss Hamlin, a singer, also from Boston, at Chickering Hall, with the assistance of Miss Soudarska, a Russian pianist. Miss Chandler and Miss Soudarska opened the program with Beethoven's "Kreutzer" sonata. This celestial and difficult work is a test of the ability of any artist to play, and I take pleasure in saying that both young ladies acquitted themselves admirably in it, and interpreted it in a manner that delighted the audience. The only thing to be criticised was the tempo, which was sadly hurried by the pianist at times, particularly in the adagio, which became almost an allegro. Miss Soudarska could not always restrain her fingers, and occasionally ran away from the violinist, not allowing her time to get in the artistic effects of which she was evidently capable.
21Nevertheless, as a whole the performance of the sonata was a most enjoyable one, and Miss Chandler scored a hit in the variation with repeating notes. Miss Chandler's solo numbers were the "Airs Russes," by Wieniawski, and two dances by Sarasate. These were well played, although she was much hampered by a very poor accompanist.
23Miss Hamlin has a good mezzo soprano of pure quality. Her first number was by Händel, and the second comprised two charming songs by Chadwick. Miss Soudarska is from the Moscow Conservatory, where she was a pupil of Pabst, and is a very talented pianiste. She has a fine technic, fire and freedom, and that peculiar something which stamps the concert player. Her touch is very good, being musical and powerful. She played a romance by Rubinstein and a ballade by Chopin, and for an encore a magnificent etude, bristling with difficulties, by Paul Schloezer. This last was a veritable sensation, and will be repeated by Miss Soudarska on Wednesday evening at the Wolff-Hollman concert.
25Amy Fay.
27The Russian Choir Concert.
29A RUSSIAN Folk Song Concert was given last Saturday night by Mrs. Lineff's Russian Choir of fifty singers at Music Hall. The program, a curious one indeed, was this:
31PART FIRST—Songs from Great Russia.
32Khorovod (Dance) Songs—
33"Notchka" ……………………………………… The Choir.
34"Outitza" ……………………………………… The Choir.
35Possidelotschni (Social) Songs—
36"Lootschina" ……………………………………. Mrs. Lineff and Choir.
37"Sséni" ………………………………………….. The Choir.
38Rekroutski (Recruiting) Song, "Ne beli Snegi" …………. The Choir.
39Bourlatski (Bargemen's) Song, "Ay, Ouchnem" …………. The Choir.
41PART SECOND—Songs from the Ukraina.
42Lyrics—
43"Chodit Soroka" …………………………………. Mrs. Lineff.
44"Oi, ou Ssadotckou" …………………………….. Women's Voices.
45Humorous Song, "Hop, mot gretchaniki" ……………… Mrs. Lineff and Choir.
46Rekroutski (Recruiting) Song, "Oi, ou Loosi" …………. Mr. Borodkin and Choir.
47Historical Songs—
48"Oy i ne harazd" …………………………………. Men's Voices.
49"Hay, ne divoute" ………………………………… Men's Voices.
51PART THIRD—Modern Artistic Music.
52Church Music, "Da Ispravitsia" …………………….. Bortinskyanskiy Messrs. Borodkin, Palin and Jakoubowsky and the Choir.
53Operatic Music—
54Maiden's chorus from "Eugene Onegin" ………………… Tschaikowsky
55Bass air from "Roussian" ……………………………. Glinka
56Trio from "Roussalka" ……………………………… Dargomijsky
57Mrs. Nesvitsky, Messrs. Borodkin and Jakoubowsky.
58Slava (Gloria) from "Chovamtschina" ………………… Moussorgsky
59The Choir.
61Mr. H. E. Krehbiel, in a few well chosen words, described the salient characteristics of the Muscovitish folk songs and the eminently musical nature of the Russian peasant, who sings from the cradle to the grave. He also outlined the nature of the songs sung on this occasion.
63The singing of this choir was in nowise vocally remarkable, but they sang with freedom, swing and unconscious polyphony the melancholy songs of their land. All the sadness, gladness, madness and badness of Russian life and character are in these folk songs, which are in turn jovial, sad, amorous and martial. The native costumes worn by the choir, the rhythmic swing of their bodies and the involuntary dancing that accompanied some of the songs made Music Hall stage an animated picture. Mrs. Lineff conducted.
65The Wolff-Hollman Concert.
67JOHANNES WOLFF, violinist, and Joseph Hollman, violoncellist, made their public début in this city last Friday evening at Chickering Hall and achieved an instantaneous success. They are a pair of virtuosi who delight in those regions of their art wherein prevail deftness of execution, dazzling flights of pyrotechnics and effects eminently of the modern romantic school, overwrought in sentiment at times, but interesting and charming nevertheless. In a sober epoch of music, where seriousness and classical objectivity play a very important part, the artistic efforts of Messrs. Wolff and Hollman appear in the nature of a revival of the old palmy days of virtuosity. They are first and foremost virtuosi, then musicians; in either rôle they shine, and their success was well merited. Here was the program presented on this occasion:
68Piano, violin, violoncello, trio in B flat ……………… Rubinstein
69Messrs. Alexander Lambert, Johannes Wolff, Joseph Hollman.
70Aria, "Suicidi," "La Gioconda" …………………….. Ponchielli
71Kate Rolla.
72Violin, concert romantique …………………………. Godard one of two readings
73Violin, concert romantique ……………………….. Godard one of two readings
74Mr. Johannes Wolff.
75Piano—
76Barcarole ………………………………………….. Rubinstein
77Etude de concert ………………………………….. Moszkowski
78Mr. Alexander Lambert.
79Violoncello, andante and finale, in A minor …………… Goltermann
80Mr. Joseph Hollman.
81Violin, ballade and polonaise ………………………. Vieuxtemps one of two readings
82Violin, ballade and polonaise ……………………… Vieuxtemps one of two readings
83Mr. Johannes Wolff.
84Songs—
85"Still wie die Nacht" ………………………………. Boehm
86"Chant Venetien" ………………………………….. Bemberg
87Violoncello…. { Romance. ……………………………. Kate Rolla.
88{ Mazurka. ………………………………………….. Hollman
89Mr. Joseph Hollman.
90Accompanist, Mr. Victor Harris.
91The trio was most respectably played, the three players subordinating themselves with commendable unselfishness. Kate Rolla, an American singer—a Mrs. Rammelsberg by name—is better known abroad than in her native country. She was unwise in her selection of the "Gioconda" aria, for it needs the mise en scene of the operatic stage, besides her voice is much better adapted for a larger space than the Chickering Hall auditorium. In the Tosti encore Mrs. Rolla displayed a well trained vocal organ, much taste and an excellent style. She is vigorous and dramatic in manner, and is a welcome addition to the ranks of metropolitan concert singers. Mr. Wolff, whose personality is pleasing and amiable, at once gave us his artistic measure in the last three movements of Godard's seldom played concerto romantique in A minor.
93Mr. Wolff's tone is pure, and if not large is musical and warm. He plays with the greatest facility, dash, and his bow work, staccato, cantabile and phrasing were alike admirable. He plays with what our Gallic friends would call "ravishing sentiment," and in his encore—a romanze in F, from the violin suite by Franz Ries, he rather exaggerated the sentimental character of the piece. In the well-known canzonetta in B flat, in the Godard concerto, Mr. Wolff played with verve and elastic freedom. He phrases in most musical fashion and it is evident he is to the manner born. Of his mannerisms, likewise those of his colleagues, extended reference need not be made here. Abroad they are possibly necessary; here they are not. Music stands on its own merits and needs no adventitious boosting from personal peculiarities—Verb. Sap.
95Mr. Hollman, 'cellist, is not only the proud possessor of a magnificent instrument, but also of a magnificent tone. He fairly outsings in volume most contemporaneous 'cellists, though his technic, as deft and as finished as it is, by no means transcends that of several local artists. He plays with a sweep and warmth of style that is very taking. His is a very magnetic personality, and his success, like Mr. Wolff's, was indubitable. He played for encore after the antiquated Goltermann concerto, Schubert's "Ave Maria." He is as individual among 'cellists as Edouard de Reszké is among bass singers.
97Mr. Lambert played, besides the piano part of the Rubinstein trio, the same composer's A minor barcarole and the G flat etude of Moszkowski with finis' and genuine elegance. His tone has mellowed considerably and he well deserved the applause that followed his efforts. Mr. Victor Harris acquitted himself of his difficult and ungrateful task as accompanist with great credit and materially aided the artists of the evening in their efforts by his musicianly playing.
99The first Wolff-Hollman matinée occurs this afternoon at Chickering Hall. Kate Rolla will again assist the artistic pair and Miss Soudarska will play the piano.
101The second concerto will take place next Monday evening, in which Miss Jessie D. Shay, pianist, and Caroline Osterberg, soprano, will participate.
103The First Kneisel Quartet Concert.
105THE first concert by this most excellent chamber music organization occurred last Saturday afternoon at Chickering Hall, and was the first of a series of four, the second of which will be given January 14. The program on this occasion consisted of Haydn's quartet in D, Beethoven's quartet, op. 95, and Brahms' piano quartet in A, op. 26. The playing of the club was, as usual, distinguished by musical feeling and finish and in the Brahms number by intense fervor.
107Mr. Arthur Nikisch presided most ably at the piano, and gave us a taste of his quality as a piano artist. He played with sustained fire, brilliancy and an intellectual grasp of his subject. The quartet is one of the most genial examples of Brahms. It fairly glows with healthy musical energy and beautiful themes. The scherzo was given superbly. The program was a well contrasted one, and Chickering Hall was well filled by earnest music lovers, for in the sanctuary of the string quartet the blasphemer and unbeliever must not intrude. It is a recondite art form, and is, alas, generally caviare to the public.
109BREITKOPF & HÄRTEL,
110LEIPSIC, BRUSSELS, LONDON, AND AT 15 E. 17TH ST., NEW YORK.
112Breitkopf's Popular Piano Music.
113A collection of pleasing modern compositions of medium difficulty.
114CAREFULLY FINGERED.
115Ask for Novelty List No. 5 and for List of Music Books bound in cloth.
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