Scan 13
Musical Courier 1894-03-14: Vol 28 Iss 731, 1894
107 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 14. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1with the audience it would seem that the pieces have elements which will make them popular.
3The concertstück by Bazzini is very brilliant and affords ample opportunity for displaying virtuosity as well as tone. It is a very valuable addition to 'cello literature. As a composition the Locatelli sonata was one of the most delightful pieces I have heard for some time. Each movement is a gem. For the minuetto Mr. Becker did not possess the grace necessary to do full justice to the sparkling music. If the quality of Mr. Becker's tone were as satisfactory as the quantity his playing might improve in sympathy. Though possessing considerable technic his execution on this occasion was far from perfect. He was very successful with the audience. Mr. Becker is, by the way, a brother of one of the most popular violin teachers at the Conservatory.
5At the second concert of the Lehrer-Gesang-Verein an opportunity was again offered for hearing a manner of male chorus singing which was perhaps as nearly perfect as may be accomplished. The wonderful results that this splendid chorus of some 200 voices has achieved are again indicative that intelligence and culture are almost indispensable commendations for those aspiring to the exceptional in music. It is a pleasure to mention in terms of unqualified admiration the able conductor Mr. Hans Sitt, in whom at all times the beautiful and refined in music has a most able exponent. To his guidance voices may safely be intrusted. That he understands so well to produce such legitimate vocal effects is the strongest proof of his excellent musicianship. The program:
6The Twenty-ninth Psalm………………………………………Edgar Tinel
7Concerto for 'cello, A minor………………………………….Goltermann
8Miss May Taylor.
9Gesang der Geister über dem Wasser…………………….Schubert
10Lieder—
11"Vittoria mio core"…………………………………………..Carissimi
12"Frühlingslied"……………………………………………….Mendelssohn-Barth
13Mr. Robert Kaufmann.
14Two choruses—
15"Gott Chüte dich"…………………………………………..Lechner (1580)
16"Herzlieb, zu dir allim………………………………………V. Hasler (1564-1612)
17Solo pieces for 'cello—
18Adagio cantabile……………………………………………..Tartini
19Serenade………………………………………………………..Sitt
20Am Springbrunnen…………………………………………….Davidoff one of two readings
21Am Springbrunnen……………………………………………..Davidoff one of two readings
22"Rinaldo," for chorus and orchestra……………………..Brahms one of two readings
23"Rinaldo," for chorus and orchestra………………………..Brahms one of two readings
24The new chorus by Tinel is everything that might have been expected of the composer of "Franciscus." It is one of the most excellent a capella compositions of modern times. In "Rinaldo" Brahms shows many colorings and happily reflects the spirit of the text.
25Mr. Kaufmann was heard to a much better advantage both in his songs and in the elaborate solo of the cantata than at the Gewandhaus in "Missa Solemnis." He quite deserved the many recalls with which he was favored.
26Miss May Taylor, from Oxford, has very much to learn yet to be justified in playing at so excellent a concert. Though showing the effects of good tuition, she is far from being sufficiently advanced for the concert stage.
28Lillian Sanderson's concert as a whole was one of the most enjoyable given at the Altes Gewandhaus so far this season. The able assistance of Charles Gregorowitsch, violinist, and Hans Brüning, pianist, from Berlin, was very much appreciated by the largest audience—not invited—that the venerable concert hall has harbored for some time. Mr. Gregorowitsch especially, ingratiated himself with the audience from the first, and by his excellent performance of Sarasate's "Faust" fantasia created quite a sensation. The pianist in the Mendelssohn-Liszt "Midsummer Night's Dream" proved himself a virtuoso of considerable merit, and in the Grieg sonate in C minor, for violin and piano, as well as in the accompaniments, a thorough musician.
29Mrs. Sanderson's singing of three groups of lieder won the favor of her audience, and at the close she was prevailed upon to give two encores. Her voice filled the Altes Gewandhaus very well, and in my opinion it would be amply resonant for any modern concert hall had it been properly placed. The cultivation of it, however, is far from perfect, and it is too bad that an improper formation of tones prevents a naturally very beautiful and sympathetic organ from serving its owner to the best advantage. Mrs. Sanderson has temperament, too, and excellent delivery; and the fact that, despite the disadvantage mentioned, she captivates her audience speaks well for her musical abilities.
31At his third concert Mr. Rudolph Zwintscher played
32Concerto, G major, op. 38………………………………………Beethoven
33Concerto, E minor, op. 11………………………………………Chopin
34Concerto, D minor, op. 70………………………………………Rubinstein
35Mr. Zwintscher's playing of the Beethoven concerto was a surprise. He not only played it clear and finished technically, but displayed musicianship throughout that commanded the highest encomium. Of the cadenzas by himself the first cannot be too highly praised. While giving ample opportunity for virtuosity, the strict conformity to the character of the composition shows an aptitude seldom to be found.
36The Chopin concerto was interpreted very unsatisfactorily. Mr. Zwintscher would do well to lay this concerto aside entirely. His playing, from the very first chords, was so devoid of the Chopin character, so foreign to Chopin's intuitions, that he may hardly hope for a sufficient change in his temperament ever to be able to do justice to this composition. His playing in this concerto was at times very harsh.
37In the Rubinstein concerto he again showed many admirable qualities. But so many points in detail are open to criticism that the correction of them comes in the sphere of the teacher rather than of the commentator. With one year's study with a great master, Mr. Zwintscher could undoubtedly make a great effect with this concerto. He has herculean power, a musical temperament and seemingly much natural technical aptitude. But many of the fine qualities, the vital requirements of artistic playing, are entirely wanting. Mr. Zwintscher's playing at his last concert was incomparably superior to his first, though the audience was not quite so enthusiastic.
39"Gosanna," Jomelli; "Exultate Deo" and "Agnus Dei," Scarlatti; "Media in nocte," Perez; "Christus factus est," Zingarelli; Altarie and duet from "Stabat Mater," Pergolese; altarie, "Inter oves locum praesta," J. A. Hasse; fuga, cantabile and moderato for organ, Scarlatti. Anton Sistermans gave a second song recital at the Altes Gewandhaus. There have been a great many minor concerts the past two weeks, and some very interesting ones are announced for the near future.
40AUGUST GÜSSBACHER.
42Vienna.
43VIENNA OFFICE THE MUSICAL COURIER, February 6, 1894
45THE program presented at the sixth Philharmonic concert on Sunday last was as follows:
46Symphony, B flat major………………………………………Mozart
47Suite L'Arlesienne…………………………………………..Bizet
48Carneval Romain…………………………………………….Berlioz
49Symphony, E flat major………………………………………Haydn
50The selections chosen by Hans Richter on this occasion may be considered as a tribute to the now supremely reigning mirth of the carnival season as well as to the conservative spirit of the audiences at these concerts. The piece de résistance was Haydn's celebrated E flat symphony, dating from the year 1795, a masterpiece, which will surely stand the test of another century to come. The same could hardly be asserted of Mozart's B flat symphony, composed especially for the limited musical knowledge of the Court of Salzburg, a sort of courteous tribute, which in these advanced days should hardly merit as much applause as was bestowed upon its recent production, demonstrating how little insight into Mozart's real greatness most people possess. The sunny humor and jolly mirth sparkling out of the "Roman Carneval" and the "L'Arlesienne Suite" acted as a charming contrast. The dazzling virtuosity of the Philharmonic Orchestra triumphed supreme in the French pieces, and vociferous applause greeted Richter at the completion of these two numbers. The menuet from the suite was redeemed, an honor which the supreme rendering by the orchestra richly deserved. As far as this movement itself is concerned, I only can say that it reminded me very vividly of the menuet from Weber's first piano sonata. Berlioz's overture, as far as technical construction is concerned, surely demonstrates the great French composer's supreme effort in every direction, not only on account of its brilliant instrumentation, but because of the richness of intelligent and original ideas pervading the whole of this grand composition. Needless to say that under Richter's masterly direction the performance was a most brilliant one and resulted in endless recalls and shouts of "Bravo."
52Richard Epstein will be the pianist at the next concert given by the Quartet Rosé early in March.
54Jean Gérardy's second concert was another occasion for demonstrative outbursts of enthusiasm and the young virtuoso scored an immense success. The beauty and wonderful charm of his tone and his marvellous facility of execution were demonstrated to the greatest possible advantage. Miss Cziuk, a young Servian lady, sang songs by Schubert, Brahms, Goldmark and Schumann, and created a most favorable impression, showing in her unaffected delivery and with a well trained voice of agreeable quality the results of careful study. A lovely new song, called "Arabian Song," by a young rising composer, Walter Henry Rothschild, deserves special mention. It was accompanied by the composer and deserves to become popular. Mr. Rothschild accompanied throughout the evening with good taste and painstaking care.
56George Enescu, a young Roumanian and pupil of Prof. Josef Helmesberger, gave a recital on Sunday last in the Bösendorfer Saal, which was crowded with the entire Rou-
58SOUSA'S CONCERT BAND.
59JOHN PHILIP SOUSA, Director.
60DURING THE SEASON OF 1894.
61Concerts and Social Engagements in New York and Brooklyn during the Winter.
62Madison Square Garden from May 13 until June 26.
63Festival Tour until July 1.
64Manhattan Beach from July 1 until September 4.
65St. Louis Exposition from Sept. 6 until Oct. 22.
66Concert Tours thereafter.
67Address, for Concert or Social engagements, locally or throughout the country.
68D. BLAKELY, Manager.
69Hotel Beresford, New York.
70* * * As this is a purely Concert Band, no parade engagements are solicited.
72Blumenberg Concert Company
73TOUR OF THE UNITED STATES.
74THE MOST MAGNIFICENT COMBINATION OF ARTISTS TRAVELING.
76MR. LOUIS BLUMENBERG, Violoncellist.
77MME. CAROLINE OSTBERG,
78Sweden's Greatest Singer.
79PRIMA DONNA ROYAL OPERA HOUSE, STOCKHOLM, SWEDEN.
80MME. LUCIE PALICOT,
81Officier de l'Academie de France.
82The Renowned French Pedalia-Pianiste
83MR. DAVID G. HENDERSON, Lyric Tenor.
84MR. F. OSCAR ELMORE, Accompanist.
86W. T. GLOVER, Manager,
87148 Fifth Avenue, New York.
89New York German Conservatory of Music,
905 & 7 West 42d St., near Fifth Ave., New York.
91THE LEADING SCHOOL.
92Among the faculty are: S. B. Milla, Minor C. Baldwin, M. D., Jul. E. Meyer, V. A. Benham, L. G. Parma, F. Tamburello, L. Ricca, S. Herzeg I. Niedzielski, R. Scharwanka, &c. SEND FOR CATALOGUE.
94THE NEW YORK CONSERVATORY OF CATHOLIC CHURCH MUSIC.
95Established under the patronage of
96THE MOST REV. ARCHBISHOP M. A. CORRIQAN D.D.
97Particulars may be had on application.
98REV. JOSEPH GRAF, Director,
99139 East 43d Street, New York.
101New York College of Music,
102128 and 130 EAST 58th STREET.
103ALEXANDER LAMBERT, Director.
104ALL BRANCHES OF MUSIC TAUGHT
105Faculty comprises the most eminent instructors.
106SEND FOR DESCRIPTIVE CATALOGUE.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.