Scan 10
Musical Courier 1895-11-06: Vol 31 Iss 818, 1895
117 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 11. See the scan on archive.org.
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1pable of great improvement yet, as he is but twenty-two years old. He studied in Moscow under Johann Hrimaly, carrying off the first prize at the conservatory at the age of seventeen. Hrimaly's name is little known outside of Russia, but the fact that he has produced such a pupil as Petschnikoff proves him to be a great teacher. He is a native of Pilsen, Bohemia, and studied at the Prague Conservatory under Mildner. In the sixties he traveled as a virtuoso quite extensively. In 1869 he settled in Moscow, attracted thither by Ferdinand Laub, whom he had chosen as his ideal violinist, notwithstanding that Vieuxtemps, Wieniawski and Joachim were then in their best years. I have heard others, too, great living violinists, say that Laub was the greatest virtuoso that they ever heard. And yet how comparatively little is known about him!
3* * *
5Laub was born in Prague in 1832, and studied at the conservatory of his native city under Moritz Mildner. During these years of study he came in contact with Hector Berlioz and Ernst, and was greatly influenced by them. Later he enjoyed the patronage of the Archduke Stephan, of Austria, who opened for him the doors of success in Vienna, and who presented him with a fine Amati violin. In 1851 he played in London with great success, and in 1858 he became Joachim's successor as concertmeister at Weimar under Liszt. Two years later he gave up this position for a more lucrative one as teacher at the Stern Conservatory in Berlin and as concertmeister of the Royal Orchestra.
7He traveled extensively on the Continent in company with Carlotta Patti and other eminent artists. I think he was also in America for a short time, but I am not positive of this. In 1866 he went to Moscow, and became the leading musical light of that old city of the Czars. Here he remained till his death in 1875. His playing was characterized by a beautiful, large tone, extraordinary left hand facility and certainty, absolute purity of intonation and a bold and brilliant but musicianly style.
9Like Ernst, he was largely dependent upon the mood of the moment, so that his playing was very unequal. At times he was very unsatisfactory, but when at his best he could rouse an audience to the highest pitch of enthusiasm. If he had not hidden himself away in Moscow during the last ten years of his life his name would no doubt be a greater factor in the violin world to-day.
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13On Wednesday, the 16th, the first 'cellist of the season was heard in Bechstein Hall. This was a girl of about thirteen years of age, I should think—Elsa Ruegger, of Brussels. Miss Ruegger scored a pronounced success, and she deserved it, for she is a positive genius on her instrument. There is real artistic finish in her playing, and none of the crudeness and amateurishness common to the average so-called 'prodigy.' She draws from her small, three-quarter sized 'cello a clear, sweet, carrying tone. Her technic is well developed, her ear perfect and her conception intelligent. Of course it is largely the conception of her teacher, for she is too young to have an individual conception. Yet her playing is by no means mechanical, from a musical point of view. In ten years, when she will be wholly her own individual self, her playing will be wonderful. Her bow arm is naturally perfect, though some of the more intricate kinds of bowing are not yet properly developed. The bowing is very apt to be the weakest point in young artists. Her playing of Popper's Papillons was not effective, because she has not yet mastered her spiccato; the forearm moved too much, and her wrist was stiff. This was not the case in other kinds of bowing, where she showed a perfectly flexible wrist. one of two readings
14On Wednesday, the 16th, the first 'cellist of the season was heard in Bechstein Hall. This was a girl of about thirteen years of age, I should think—Elsa Ruegger, of Brussels. Miss Ruegger scored a pronounced success, and she deserved it, for she is a positive genius on her instrument. There is real artistic finish in her playing, and none of the crudeness and amateurishness common to the average so-called prodigy. She draws from her small, three-quarter sized 'cello a clear, sweet, carrying tone. Her technic is well developed, her ear perfect and her conception intelligent. Of course it is largely the conception of her teacher, for she is too young to have an individual conception. Yet her playing is by no means mechanical, from a musical point of view. In ten years, when she will be wholly her own individual self, her playing will be wonderful. Her bow arm is naturally perfect, though some of the more intricate kinds of bowing are not yet properly developed. The bowing is very apt to be the weakest point in young artists. Her playing of Popper's Papillons was not effective, because she has not yet mastered her spiccato; the forearm moved too much, and her wrist was stiff. This was not the case in other kinds of bowing, where she showed a perfectly flexible wrist. one of two readings
16If I were to go into technical details I could of course point out numerous little defects, but I am confident they are defects which she is bound to overcome. And then I much prefer to stay on the praising side of one so meritorious. She is a modest looking little girl, with winning manners and no touch of conceit. May her great talent be fully developed!
18Her program was:
19Concerto in E minor…………………………………………..Carl Lindner
20Kol Nidrei………………………………………………………..M. Bruch
21Sonata in A major……………………………………………..L. Boccherini
22Aandacht………………………………………………………..D. Popper
23Du Bist die Ruh'……………………………………………….F. Schubert
24Papillons………………………………………………………..D. Popper
26* * *
28Fräulein Betty Schwabe gave a concert in the Singakademie on the 17th, with the Philharmonic Orchestra, under the direction of her teacher, Joseph Joachim. She played the Brahms concerto, the romance from Joachim's Hungarian concerto and the Bruch G minor concerto—a pretentious program, indeed, for a young lady, but the young artist did herself and her illustrious teacher great credit with it. Indeed I was surprised at the manner in which she overcame the technical difficulties of the Brahms concerto. These are not only great difficulties, but they are difficulties of the most ungrateful kind, as the technic of the work is not adapted to the violin. The concerto is the work of a composer who has great ideas to express, but who expresses them in his own way, regardless of the adaptation and limitations of the instrument through which he chooses to express them. No one but a violinist appreciates a good performance of the solo part in the Brahms symphonic concerto.
30Fräulein Schwabe did remarkably well with it. She has a big technic, an excellent tone, fine bowing, and deep, refined expression. The romance from the Joachim Hungarian concerto is a noble movement in Spohr's pure style, with a not too strong yet very perceptible Hungarian flavor. Though greater in intention than in effect it is nevertheless a strong piece of writing. This and the adagio of the Bruch concerto were admirably rendered. The difficult Bruch last movement was performed with clearness and precision, though I could have wished for a more energetic style of expression at times.
32On the whole Fräulein Schwabe deserves the warmest praise. Joachim is reported to have said that she was the best young lady pupil he had ever had. I cannot vouch for this. Moreover, it is of little significance, as such reports are too numerous nowadays. Certain it is that the young artist has very few rivals among the violinists of her sex.
34One thing she lacks, however. The power, the magnetism, the temperament, the soul—call it what you will—that deeply moves an audience, that tugs at our heart strings, that plays on our nerves—that something which makes us forgetful of everything except the longing to hear more. Most excellent as her playing is, there is a sameness to it throughout that suggests that she has trod a comparatively smooth and uniformly pleasant upward road, that she has not tasted deeply of the bitterness and sorrow of life. She will no doubt learn some of life's sad lessons in due time, and then we may look for that quality in her playing that arouses our sympathies and our longings, and that not only arouses but satisfies them.
36ARTHUR M. ABELL.
38Cologne.—The Gürzenich concerts began at Cologne October 22. The novelties to be produced this season are The Beatitudes, by Cesar Frank; the Christ Symphony, by Samuel; Tschaikowsky's Sixth Symphony; Strauss' Till Eulenspiegel; La Forêt Enchantée, by Victor d'Indy, and Schilling's sea piece.
40Guadagnini.—A violin by Guadagnini was sold in London lately for 5,000 frs. This dynasty of violin makers has lasted 200 years. Lorenzo worked at Placentia from 1695 to 1743, and was succeeded by his sons, Gianbattista, Gaetano, and Giuseppe, 1740–1786. In 1800 Carlo Gaetano II., Giuseppe II., and Felice were busy; from 1831 to 1881 Antonio. The present members of the family are Francesco and Giuseppe, whose workshop is in Rome. The first Lorenzo Guadagnini was a pupil of Stradivarius.
42200 Free Organ Recitals
43By GERRIT SMITH.
45Send for classified list of over six hundred compositions performed at these Recitals. Address
46GERRIT SMITH,
47South Church, Madison Avenue, Cor. 38th St., NEW YORK.
49ARTHUR M. ABELL,
50VIOLINIST,
51Potsdamerstr. 27 B, 2Ed Villa, BERLIN, W.,
52WILL ACCEPT A LIMITED NUMBER OF PUPILS.
53Especially recommended by CARL HALIR, Principal together with JOACHIM of Violin Department at Berlin Royal High School and Concertmeister of Berlin Royal Orchestra.
54Empowered to teach his method and prepare pupils for him.
55Four years his private pupil.
57MISS JENNIE E. SLATER
58PRIMA DONNA SOPRANO.
59Soloist at the ROSSINI and BACH FESTIVALS, Florence, Italy.
60Decorated by Società FilarmonicaFlorentina.
61Available for Concert, Reception and Festival engagements.
62Limited number of pupils received for thorough artistic voice training.
63ADDRESS
64152 West 49th Street,
65NEW YORK.
67MAUD POWELL,
68VIOLINIST,
69SOLO OR STRING QUARTET.
70Address until January 1:
71Care Redpath Bureau, Monadnock Building, Chicago, Ill.
73THE MUSICAL COURIER.
75The Virgil Recitals.
76THE growth of the Virgil Piano School has been marvelous in the three years of its existence, and it bids fair to be one of the foremost schools in the country for the study of the piano.
78The first of a series of recitals by the pupils of this school was given in Jersey City, N. J., Thursday evening of last week. The cosy hall connected with the Hasbrouck Institute was filled to overflowing, and though the audience was not so demonstrative as is usual in New York, the close attention showed a marked interest. A varied program, including Bach, Schumann, Chaminade, Rubinstein, Liszt and Chopin, was rendered in an artistic style worthy of such compositions.
80Miss Florence Traub was at her best in a romance étude by Mason. Her touch is fascinating, soft and clinging, yet firm and true. Though but twelve years of age, too young to have lived the romance of her life, she was happy in her imagination of what might be in store for her.
82Mr. Claude Griffith played a Spanish caprice of Chaminade in a charmingly capricious manner. His tone, full and round, runs rippling, and chord passages blending; his delicate touch is especially suited to this style of composition.
84Miss Ehrlich, who is teacher of music in the Hasbrouck Institute of Music, seemed slightly nervous in the Rubinstein barcarolle, but was on her mettle in the caprice of Sternberg, and played splendidly. She thoroughly understands her chosen instrument and will do good work in the school during the coming year.
86When a tiny little tot, too small indeed to take her seat at the piano without assistance, played crossing exercises at 112 with the greatest ease, followed by a dainty little air in C major by Hunten, amusement and wonder was depicted on every face. Little Paula Schwab may well be proud of her début on the concert stage, and she already has what many artists sigh for in vain—a perfect legato touch.
88Miss Stella Newmark performed the feat of the evening by playing a difficult composition on the clavier and going to the piano with it for the first time before the audience. There were many skeptics as to the truth of this statement, when she repeated it at the piano without an error and with a great deal of expression. This was to show the value of the clavier in memorizing pieces. Later she played a concert waltz of Wieniawski in a masterly manner, showing a wonderful technic and a power and brilliancy rarely found in so young a pupil. She has a bright future before her.
90New York and Brooklyn are to be favored with recitals in the near future.
92MARGARET SPENCER.
94Paris.—At the Opéra Lalo's unfinished opera, completed by A. Coquard, La Jacquerie, will, according to one report, be produced during the winter. It has already been performed at Monte Carlo. According to the Minstrel it will not be given, as it resembles closely a piece by Bruneau named Messidor, already ordered.—At the Théâtre Libre will be performed the new operas, l'Épreuve, by X. Leroux; Roi Arthur, by Ernest Chausson, and Saint Julien, by Camille Erlanger.
96A Grand New Bell.—La Savoyarde, the now famous bell of the Basilica of the Sacré Cœur, sounded over Paris for the first time October 19 at exactly 6 o'clock in the evening. The note is superb and deep and the vibrations lasted six minutes and a half.
98Unfortunately, says the Figaro, it is only possible for the present to toll this bell, which is the largest in the world, as the belfry in which it hangs will not permit of its being rung. There is reason to hope, however, that this difficulty will be got over and that the gigantic bell will then be heard not merely at a distance of 2 kilometres, but for 40 kilometres round Montmartre.—Paris Herald.
100For the use of Vocalists, the Clergy and all Public Speakers.
101"MIND AND VOICE." A Practical Study of Development by J. BARNARD BAYLIS. (1s. 6d. and 75 cents, of NOVELLO, EWER & CO., New York and London). Resulting in CLEARNESS, POWER and MAINTENANCE of voice without fatigue. Instruction given personally or by letter. Address 60 Bakers St., LONDON, W.
103"The Times" (New York) says: "There is no question but that exercises will prove most excellent in correcting faulty emission of voice, and will be found equally helpful to public speakers and vocalists."
104THE MANAGER (London): "A cleverly thought out course of practical study which vocalists and public speakers would do well to read."
105CHARLES LUNN writes: "I am very glad to see how successful you are in carrying out the principles of the only school of voice training as taught to me by Catanzano."
107WILLIAM E. HILL & SONS,
108HER MAJESTY'S VIOLIN MAKERS,
10938 New Bond Street, London, W.
110Violins by Stradivari and all the other great makers. Authenticity guaranteed. Bows, Cases, Strings and all other accessories, with the latest improvements and of the finest quality only.
112ELEMENTARY SCHOOL FOR PIANO.
113BY JEAN MANNS.
114The copyright of the above book has been renewed and transferred to the author, JEAN MANNS.
115A. R. SPOFFORD, Librarian of Congress.
116WASHINGTON, October 11, 1885.
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