Scan 19
Musical Courier 1895-11-06: Vol 31 Iss 818, 1895
78 lines. Read by computer on 23 September 2026. Printed page 20. See the scan on archive.org.
1cal American who invites the Spanish gentleman to look out of the window, and again the simple hearted, natural man who listens to the bear and Indian stories with unfeigned delight, not forgetting those inimitable flashes which the text by no means indicates.
3That one scene with Miss Russell is the apex of the play. Human, tender, unforced, Mr. Carleton should be forgiven a wilderness of imprudent young couples for this particular episode.
5The play touches actualities. Despite its many shortcomings it is in the right key. We need American subjects by American playwrights. Hang your no-man's land wherein disport dream-like figures of conventional stage types. The story of Ambition is not clearly told, and Beck is a little given to patriotic buncombe. Besides, he might be a trifle less incorruptible, Mr. Carleton. Remember that he was a senator and an American!
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9Mr. Goodwin has a capital part in this new play, and so has Annie Russell. This lady is always a grateful figure. She is especially happy in her work as Ruth Maxwell. The second act will float the play. There are some vulgar touches, and the slang is contemporaneous. Mr. Carleton has not lost his gift of dialogue, and I smiled at the curtain drop on the first act. American writers are beginning to master the art of simple finales. The last act is unfeignedly sensational and commonplace. And most of the characters of the play are familiar ones. Arthur Hoops deserves a passing word for his generally improved acting. Some day he will entirely forget that he has a handsome figure.
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13There is gross and vibratile excitement at the headquarters of the Professional Woman's League because a coarse, hard hearted person insinuated in a morning paper that the league accomplished nothing.
15Now, what, I ask, in the name of the National Census, does this critic—evidently a woman—wish of the league? Is it not a beautiful organization? and of Things Beautiful we never demand utility. The league, allow me to intercalate, is not an incubator of actresses. Besides, you can never make bricks without straw, although the New Woman fondly imagines so. No, no, the Professional Woman's League stands on its own legs—I beg pardon—on its own casters. Don't disturb it by asking impertinent questions. Selah!
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19Everyone feels the deepest sympathy for Theodore Toedt and his gifted wife in their affliction. Mr. Krehbiel printed the following in the Tribune recently:
21"Theodore J. Toedt, long one of the most admired of New York's singers, has lost his eyesight. Afflictions have come upon him in a way that must subject his philosophy to a fearful test, but he is enduring them in a manner that has increased the admiration for his character which his friends have always had a hundredfold. Two years or so ago illness robbed him of his voice, and he was compelled to quit singing and take up teaching. Last spring his vision became dim, and he went under an oculist's care. He spent his summer vacation in Vermont, but neither he nor his friends suspected that the calamity which has overtaken him was threatening. The disease, however, for reasons which baffle explanation, took a sudden turn for the worse, and long before he returned to the city his sight had left him. His optic nerve is atrophied; he can barely see large objects in a strong light, and is compelled to have an attendant wherever he goes."
23Carl Wolfsohn Musical Club.—This club is reorganized for the season and will hold its musicales in Steinway Hall, Chicago. The club, hitherto restricted to Mr. Wolfsohn's pupils, will now be open to anyone interested in the work. Particular attention to Brahms will be given and a number of new works played. Here are forthcoming programs:
25Brahms recital—Sonata, G dur, piano and violin. Piano solo, intermezzo, op. 117; capriccio, op. 76; scherzo, op. 4. Trio, op. 18.
26December 18, 8:30 P. M.—Beethoven recital: Sonata, piano and violin, C moll. Sonata, piano solo, op. 27. Trio, B flat major, op. 97.
27January 15, 8:30 P. M.—Brahms recital: Sonata, A dur, piano and violin. Sonata, C dur, piano solo. Trio, C moll.
28February 19, 8:30 P. M.—Brahms recital: Sonata, E moll, piano and 'cello. Piano solo, intermezzo, A moll; intermezzo, A dur; ballade, G moll; two ballades, op. 116; romanz, Fdur. Quartet, A dur.
29March 11, 8:30 P. M.—Brahms recital: Sonata, E moll, piano and violin. Piano solo, intermezzo, 5 and 6; capriccio 7, op. 116; two rhapsodies, op. 10. Quartet, G minor.
31Mr. Wolfsohn, piano; Mr. Eugene Boegner, violin; Mr. Yunker, viola; Mr. Bruno Steindel, 'cello, are the artists.
33PADEREWSKI.
35AGAIN Ignace Jan Paderewski! Carnegie Hall of New York city last Monday night found the famous Polish piano virtuoso once more on its platform, and once more he won a great and well deserved triumph. Paderewski is hardier in appearance and his hair is closer clipped. A certain constraint in his playing, natural under the circumstances, wore off after the first movement of the F minor concerto of Chopin, and from the larghetto on to the close of the concert the enthusiasm was cumulative.
37Richard Burmeister's admirable orchestration of the Chopin concerto was used. It was critically dealt with in the columns of THE MUSICAL COURIER nearly two years ago. Mr. Burmeister, it may be remembered, slightly changed and strengthened the piano part, introducing a cadenza to replace the missing coda in the first movement and using octaves, &c., to make the finale more brilliant. Paderewski, however, employed the old piano version. The performance was a broad, impassioned one, very modern and very brilliant.
39In the Liszt E flat concerto the lion awoke, and the critical audience had an opportunity of judging Paderewski's technical growth. The old magnetic charm he will never lose, and he plays now with more freedom and more dynamic intensity. In a word, his tone is bigger and more massive. The heavy chordal work of the hackneyed Liszt concerto fairly fought the orchestra in volume. The velocity of the finale was overwhelming, and a storm of applause and shouts broke out at the end. Paderewski has never played in New York city with more fire and fury. He let loose the dogs of warring music and the harmonic tempest howled into a perfect tonal gale.
41As an encore he played a Mendelssohn song without words in G, with charming naiveté.
43After all, the new Polish Fantasy for piano and orchestra was the touchstone of the evening. It has been praised by continental critics, and estimating it at a first hearing one is disposed to agree with all that has been written of it.
45Like Chopin, Paderewski has sought for inspiration in the music of his people. He has made his own themes, however, and in profile they are distinctly individual and characteristic. The work is symphonic, the piano part by no means playing the rôle of a selfish protagonist. Nor is it very difficult in the technical sense, yet how many pianists could play it as did the composer? Such tenderness, such delicious coquetry, such superb swing, and above all hovered the true Polish "zal"—that subtle, sensuous, sad, ironic and sweet quality so seldom found in the playing of pianists. The work is in the key of G sharp minor, but the tonality is flickering as the rhythms are capricious and involved. A composition displaying marked musicianly skill and the orchestration warm in tinting is always effective. At no time do we get over elaborated passage writing. Indeed the note of simplicity throughout is rather bewildering. As to form, the fantasy is free and Lisztian, but it easily outranks the Hungarian Fantasy in poetry and distinction. It is Polish, but Paderewskian. It is not as individual a work as the composer's op. 17, the piano concerto, but it is destined to more popularity. There is a very engaging mazourka-like movement after the first section which wins the ear, and the melancholy Dumka in B, with its duo for English horn and viola, is unique in piano literature. The introduction of a harp in the score is also unusual.
47The last movement is a tantalizing national dance from the Krakowiak. This shows poetic caprice and piquancy, and it made an enormous effect.
49The audience could contain itself no longer after the Fantasy. It left the stalls and crowded to the front of the house and forced the great pianist to play a Hungarian Rhapsodie, an obscene, jangling thing by Liszt, and Schumann's Nachtstück in F. It was the greatest triumph Paderewski has enjoyed in America. The Steinway piano he played was a noble specimen of the piano makers' art. After the outrageous ordeal of three concertos its temperament escaped unsinged. It was mellow, musical and militant in tone, and Paderewski has never had a better instrument upon which to exploit his lovely playing.
51The concert concluded, he held an informal reception in his dressing room and was adored in the old fashion. He also nursed a wounded finger which he received while executing one of the dazzling and dangerous glissandi which abound in his fantasy.
53Walter Damrosch and his Symphony Orchestra accompanied Paderewski with sympathy and precision.
55His first recital occurs next Saturday in Carnegie Hall at 2:30 P. M.
57Manuscript Society's New Quarters.
59THE formal opening of the M. S. Society's new club rooms, at 17 East Twenty-second street, took place on November 1, and was prolonged at the hours of 11 to 1, 4 to 6 and 9 to 11 through Friday and Saturday to enable the members of the society to receive and hospitably entertain their friends. The new rooms are bright and pretty, and were made specifically interesting for this opening occasion by the exhibition of a valuable collection of musical autographs, manuscripts, portraits and letters, numbers of them bearing the signature of world-famed composers both from here and abroad.
61The world of music, with all its first cousins in arts and letters, managed to be present at some period of the two days' reception, during which Mrs. Gerrit Smith, assisted by the wives of different members at different hours, made a very charming and cordially welcoming hostess. The book which records the names of the long list of visitors (everyone was invited to sign) would form a fair directory of the artistic world of New York, and will be something which in after years the M. S. S. (this ought to be the writing of their title) will like to review with pleasure.
63Good musical programs were furnished during the reception hours.
65At the Friday afternoon reception the artists were: Miss Charlotte Walker, soprano; Miss Fielding C. Roselle, contralto; Mr. Heinrich Meyn, baritone; Mr. Orton Bradley, pianist; Mr. Paul Ambrose, accompanist.
67On Friday evening: Miss Mary H. Mansfield, soprano; Mrs. Adele Laeis Baldwin, contralto; Mr. J. H. McKinley, tenor; Mr. Louis Blumenberg, violoncellist; Mons. Jos. Pizzarello, pianist; Mr. Frank Sawyer and Richard T. Percy, accompanists.
69Saturday afternoon the artists were Mrs. Elizabeth Northrop, soprano; Mr. Tom Karl, tenor; Mr. E. G. Marquard, baritone; the New York Ladies' Trio; Miss Dora V. Becker, violinist; Mme. Van Den Hende, violoncellist; Miss Carrie Hirschmann, pianist. Mr. Bradley at the piano.
71Saturday evening: Mrs. Tyler Dutton, soprano; Mr. Ericsson F. Bushnell, baritone; Mr. Hubert Arnold, violinist; Mr. Hans Kronold, violoncellist; Miss Laura S. Collins, and Mr. Levy at the piano.
73The entertainment committee, which must be congratulated on having performed its functions well, was composed of Mr. Albert C. Thies, Mrs. Antonia H. Sawyer, Miss Laura Sedgwick Collins, Mr. Richard T. Percy, Mr. Lucien C. Chaffin and Mr. William Courtney.
75Despite the rain of Saturday evening visitors were not deterred and the rooms were crowded with an exceptionally merry throng. Under bright social as well as uniquely artistic auspices did the Manuscript Society open its new doors, and the indications are for good fraternal as well as musically gatherings within the first real home the society has enjoyed.
77Sinsheimer Recital.—A soirée musicale was given by Mr. Bernard Sinsheimer, violinist, on November 1 at his residence, 169 East Seventieth street, being the first of the season. The program consisted of the Rubinstein and Liebling trios, a new fantaisie for flute and violin admirably performed by Mr. Jacquet and Mr. Sinsheimer, a new suite for piano and violin by Schult, and an Ave Maria of Isidore Luckstone, sung by Mrs. Luckstone Myers. There was also a novel quartet for piano, violin, 'cello and flute, artistically performed, as was every other detail of the program. It was a delightful musicale.
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