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Musical Courier 1892-12-21: Vol 25 Iss 668, 1892
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1LESCHETITSKY PUPILS PROTEST.
3The small editorial in The Musical Courier of December 7, about Theodore Leschetitsky and his methods of teaching, has called forth the following letters on the subject, which will doubtless interest those of our readers who play the piano. Here they are:
5MUSIC HALL, Fifty-seventh street and Seventh Avenue, New York.
6December 9, 1892.
8Editors Musical Courier:
9Having had two years' study under Leschetitsky, I feel in duty bound to reply to the article "Leschetitsky Denounced," in the issue of December 7, and trust that this letter will receive proper courtesy.
11While I cannot deny that Leschetitsky is often extremely severe with his pupils, yet I am certain that he designs much of his severity for their good, and I dare say that each one goes away from his lessons rather angry with himself for his own stupidity than blaming Leschetitsky for losing his temper.
13As regards "young American pianists returning to their native land with their touch ruined," I can readily understand that, if they stayed with him only a few months or a year.
15Pardon me for being personal, but I know in my own case that if I had returned at the end of the first year I should have come with a hard and unmusical touch.
17Leschetitsky himself says that he can do nothing for anyone in less than two years.
19I am confident that whoever has the courage to persevere to the end of the course, which requires two years at least, will be rewarded with great power, and at the same time a most delicate, light and brilliant touch.
21Leschetitsky, while he cultivates great power and firmness, at the same time pays the utmost attention to delicacy and lightness of touch and beauty of tone, which in his own playing is marvelous.
23I am not surprised that he is denounced by Von Bülow. The methods of the two masters are totally at variance, and they are outspoken enemies, although Leschetitsky speaks well of Von Bülow as a pianist.
25Rosenthal would naturally speak disparagingly of Leschetitsky; for, while Leschetitsky respects Rosenthal for his stupendous technic, he does not admire him as an artist, and cites him to his pupils as "one who is rich in technic and uses his riches to his ruin."
27Grünfeld is to my certain knowledge a personal friend of Leschetitsky, and his portrait hangs in the latter's library along with those of the master's two favorite pupils, Schütt and Paderewski.
29Paderewski and Leschetitsky are very fond of each other. I have seen them embrace like father and son.
31The former is undoubtedly a born genius, but if I am not mistaken he attributes his great success to Leschetitsky's training. Before he studied with him he had met with little success as a pianist, and I am told that during his course with Leschetitsky on several occasions he became so discouraged and dissatisfied with his own talent that he was on the verge of abandoning the piano and devoting his time entirely to composition.
33He persevered, however, and his enviable position now in the musical world requires no comment.
35I have two friends, one of them still in Vienna, the other now in America, who began with Leschetitsky when I did. They were both sent to him by D'Albert, who was much interested in them.
37It seems strange to me that such an artist as D'Albert should send talented young pianists to a teacher who would ruin their touch!
39I have had the privilege of studying under several great artists, and am convinced that Leschetitsky, whatever his faults, has no superior as a teacher.
41I esteem it an honor to sign myself a pupil of Theodore Leschetitsky.
43CHARLES LEE TRACY.
45Editors Musical Courier:
46In your paper dated December 7 there is an article headed "Leschetitsky Denounced," which flavors very strongly of malice, spite and jealousy. Aside from being utterly false (excepting the reference to his sultanic despotism), it seriously reflects upon his pupils and followers. As such, I dare say that there is no more conscientious, exacting and wideawake teacher in existence. As to his method being a humbug; well, the proof of the pudding is in the eating thereof, and Leschetitsky has given ample proof that his method is no humbug. Paderewski, Essipoff and Bloomfield have a world-wide reputation. Ask them if they think there is any humbug about it.
48While there are many ways by which one can reach Rome, yet some are easier and more direct than others. I will agree to convince the most skeptical that Leschetitsky's method is not only one of the most direct, but also one of the simplest and most natural. I now refer principally to the position of the hand and arm, the manner of playing scales and arpeggios.
50His suggestions in regard to dynamic effects, light and shade, in other words, tone color, are such as a pupil will ever remember. And last, but not least, his manner of treating the pedal exceeds that of any other teacher I know of.
52The absurd remark in regard to "touch" needs no particular answer, except that the aforementioned pianists can certainly not be accused of a poor touch, and they have been with Leschetitsky many years.
54I will venture to say that the pupils you refer to as coming back to America with touch spoiled, never had any to spoil.
56In conclusion I will add, do not be alarmed, even should you see a general stampede from these shores toward Leschetitsky. Remember the old proverb, "Many are called but few are chosen."
58A. VENINO.
60We are not aware that Paderewski ever attributed to Leschetitsky his great success as a virtuoso.
62The Organist Must Be Paid in Advance.—Baltimore, Md., December 17.—W. C. Sederberg, the organist of Fayette M. E. Church, officiated at a swell wedding held in the church Wednesday. The bridegroom is a prominent North Carolina physician and the bride a social leader. When the organist went to collect his fee, as well as that of the sexton and organ blower, he was told that the couple had left town. As this is the third time the thing has happened, the trustees of the church passed resolutions to-day that in future the doors are not to be opened unless the organist and his assistants have been paid in advance.—"World."
64Music Items.
66A Wolff-Hollman Matinee.—A crowded house greeted Messrs. Wolff and Hollman in Chickering Hall last Wednesday afternoon. With that sterling pianist, Ferdinand Dulcken, three numbers from Beethoven's B flat trio, op. 97, were given. Mr. Wolff played the slow movement from Mendelssohn's concerto (taken too fast) and with great brilliancy a rondo by Wieniawski. Mr. Hollman gave a 'cello concerto of his own in D minor. Without any pretension whatever to form, it served, nevertheless, as an agreeable vehicle for displaying his large tone and virtuosity. Kate Rolla sang some French songs by Delibes, Vidal and Thomé with great taste. The Delibes song, "Regrets," by the way, is an audacious steal tonality and all from a piano etude by Henselt, "Verlorne Heimath." Even the talented fellows do it too! Miss Rose Soudarska played Rubinstein's hackneyed E flat romance and an etude by Schloezer, the latter with much facility. Mr. Victor Harris accompanied.
68Miss Florence Drake.—This young lyric soprano, whose picture adorned our pages a few weeks since, is now established in New York. In addition to several society engagements she has already sung before the Patria Club, the Women's Press Club, &c., and last week undertook the prima donna part in Mr. Wendell Stanton Howard's operetta of "King Cupid," and charmed her audience by the purity of her voice, sentiment and deft vocalization. She has evidently a future before her.
70A Sunday Concert.—Nahan Franko and his orchestra gave the usual Sunday afternoon concert at the Academy of Music last Sunday, assisted by Mrs. Felicia Kaschoska, Miss Gertrude May Stein, and Messrs. Pardo and Viviano, who gave the garden scene from Gounod's "Faust." The orchestral numbers were the overture, "Poet and Peasant;" fantasia, "Carmen;" "The Blue Danube," Strauss; gavotte, N. Franko, and the introduction to "Lohengrin," and with the exception of the latter all the selections were well given.
72The Dudley Buck Quartet at Music Hall.—This organization gave one of its delightful concerts for the Mechanics' Association of New York on the night of December 15. The great hall was packed to the roof, nearly 3,500 people being present. The quartet had the assistance of Miss Florence Russell, reader, and Mr. Arthur Wood, pianist. The quartet sang "On the Sea," "Lullaby," "In Absence," "The Three Fishers," "A Warrior Bold" and "Robin Adair." Frederick Reddall gave "On the Deck of the Santa Maria," from Dudley Buck's "Columbus," and, being recalled, gave "The Two Grenadiers." Mr. H. E. Distelhurst sang an air from "Reginella."
74Marchesi.—Mrs. Marchesi, the famous teacher of vocal music, who is about to visit America, is one of the few noted persons who have not been "spoiled by the adulation of man," as Nye puts it. Marchesi has been petted to a degree that would have made most women unbearable, but it has all seemed to enhance her charm of manner and her interest in her work. Perhaps, too, the great afflictions she has endured have had much to do with making the distinguished German the sympathetic woman she is. Ten children were born to her, and she has buried nine. In appearance Marchesi is very attractive. She has large, expressive gray blue eyes, iron gray hair and a mouth which, more than any other feature, shows her resolute spirit and strength of character. Last, but by no means least, she is one of the best story tellers in Europe.
76An Operatic Concert.—Chickering Hall has been engaged for next Friday evening, December 23, for an operatic concert. Among the artists who will appear are Mr. Natale de Sperati, tenor; Miss Ermine de Rouvillain, soprano; Miss Flora Marguerite Bertelle, soprano; Miss Alice Goodrich, contralto; Mr. Carl Schachner, baritone; Mr. Luigi Sartori, basso; Mr. Cerucios, pianist, and Mr. B. Giannini, musical director and accompanist. The program will be announced later. Mr. de Sperati is described as a handsome young man, possessing a voice that is capable of reaching high F.
78A Slight Advance Sale.—Up to Monday at 5 p. m. the advance sale of the four forthcoming Paderewski recitals was $12,000.
80This Evening.—The first concert of the Schmidt-Herbert String Quartet will occur in Chamber Music Hall on this evening. The program consists of Schumann's quartet in A major, op. 41, "Tristesse" (for violoncello) and "Alla Mazurka," by Victor Herbert; an andante from a quartet in D by Mozart; an allegretto by Rubinstein, and Dvorák's quartet in E flat, op. 51.
82A Valuable Acquisition.—The children of the late Victor Wilder have presented to the library of the Paris Opera a number of most rare operatic scores, forming part of their father's collection, and including, among others, "La Buona Figliola," by Piccini; "Le Maitre de Music," "Trecollo," and "La Serva Padrona," by Pergolesi; "Les Deux Comtesses," by Paisiello, and "La Poupée," by Jomelli.
84Five Organ Recitals.—Mr. John D. White has planned five organ recitals, of which the first will take place in Chickering Hall this afternoon at 3:30 o'clock. Mr. White will play a prelude and fugue in A minor by Bach, two movements by Widor, Thiele's chromatic fantasia, and Reubke's sonata on Psalm XCIV. The organ pieces will be interspersed by vocal selections, one of which will be a setting of "Verbum Supernum" by the concert giver.
86Conried's Company.—Mr. Heinrich Conried is a very busy man at present completing the details for the appearance of his opera company, which will make its first American début at the Amberg Theatre on Monday, December 26, in the original "Der Voglehaender." He says that the opera will be staged in the same elaborate manner and with all the details as he produced it at the Casino. Carl Schulz, comedian and first tenor from the Friedrich-Wilhelm-Stadt Theatre, will sing the part originally played by Miss Marie Tempest at the Casino.
88"Miss Robinson."—The Folies Dramatiques Theatre had a big success Saturday evening with an operetta in three acts and ten tableaux. The music is by Varney, the text by Paul Ferrier. The title is "Miss Robinson."
90The subject of the operetta is very pleasing. A young girl falls in love with "Robinson" on hearing him relate his travels. She marries "Robinson," but he, tired of traveling, demands to stay in Europe. His wife refuses and returns to an island, where she again sees "Friday" with a negress called "Saturday." From this point there are many adventures. Corsairs seize the wife and take her off to Japan.
92The scenery in this part is very fine. Everything is satisfactorily arranged at the end. The music is charming. Mrs. Simon Girard plays the principal rôle. It had a great success.—"Tribune."
94For the Free Scholarships.—A concert was given by the pupils of the Grand Conservatory of Music at Chickering Hall Wednesday evening of last week. An excellent program was presented and the concert was a pronounced success. A large audience was present, and a considerable sum was added to the free scholarship fund.
96A Beethoven Recital.—A lecture recital on the works of Ludwig van Beethoven was given by Mr. I. V. Flagler, of the Ithaca Conservatory, at that place last Friday evening. He was assisted by Gertrude Walker-Egbert, Wm. Grant Egberet and Geo. M. Chadwick.
98A Cleveland Musicaie.—A musicaie was given in Cleveland recently at the residence of Mr. and Mrs. Earl Oglebay, 596 Euclid avenue. About 400 of the elite of Cleveland social circles were present. The program was an exceedingly fine one, and the various numbers were received in an enthusiastic manner.
100The artists were Mrs. S. C. Ford, soprano; Mrs. O. A. Treiber, contralto; Mr. Charles R. Hawley, baritone; Mr. Charles Heydler, 'cello; Miss Marie St. Urbain, harp; Miss Johnson, violin, and Mr. Emil Ring, pianist. Mrs. S. C. Ford was in excellent voice, and her singing of Gounod's "Ave Maria" was exquisite. Mrs. O. A. Treiber's sweet and powerful contralto was heartily appreciated in her various numbers, and Mr. Charles R. Hawley, who has just returned from his studies abroad, sang with good taste.
102Second European Musical Course in St. Louis.—Dr. Robert Goldbeck will conduct at Goldbeck College, March, April, May, his second European Musical Course. The first session in the spring of 1893 met with unprecedented success. Pupils attended from nearly every part of the United States. This year the prizes will be a handsome diamond medal, two gold medals and two college pins. For further information address Musical Art Publishing Company, St. Louis, Mo.
104Miss Van den Hende Plays.—The violoncello virtuoso, Flavie Van den Hende, played in twenty concerts between October 11 and November 15, and had to reject five offers on account of previous engagements. Among cities she played in are Washington, New York, Brooklyn, Baltimore, Montreal, Toronto, Philadelphia and Newark, besides smaller towns.
106Death of Mrs. Jennings.—We regret to have to record the death at her residence in the St. George's road, Southwark, London, of Mrs. Maria Jennings, the mother of Mr. J. E. Jennings, for many years on the printing staff of The Musical Courier and a frequent contributor to its columns, and of Mr. F. J. Jennings, with the firm of Justin Browne & Co., piano manufacturers, Euston road, London. Her death was not entirely unexpected, as she had been ill for some time, unusual fortitude and resignation being shown by her in her suffering. Her loss will be felt by her large circle of friends.
108Paderewski Busts.—Paderewski's busts can be purchased at $5 apiece at the music store of Edward Schubert & Co., 23 Union square.
110Bertha Visanska Will Play.—Little Miss Bertha Visanska, a pupil of Miss Adele Margulies in the National Conservatory, will play next Sunday night at Newark, Weber's concertstueck with orchestra. Mrs. Fursch Madi will sing.
112The National Conservatory Examinations.—The semiannual entrance examinations will take place as follows: Composition—January 9, 1893, from 9 a. m. to 12 m. Piano and organ—January 10, from 9 a. m. to 12 m., and from 2 to 5 p. m.; applicants are required to bring their music. Harp,
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