Scan 9
Musical Courier 1895-12-11: Vol 31 Iss 823, 1895
44 lines. Read by computer on 28 September 2026. Printed page 10. See the scan on archive.org.
1Ondricek's Great Success.
3Of Franz Ondricek's playing since his début in this city nothing but sincere praise can be heard. Few violinists have been more critically received and more warmly welcomed, and he has won an enviable place among the virtuosi that have sought fame in America.
5The following clippings from the newspapers of New York city will bear out the above:
7Mr. Ondricek effected his entrance on the American concert platform with two compositions for the violin which are plainly written in a manner native to his feelings and temperament. The impression which he made was that of a player full of fire and in possession of a technical equipment upon which he draws extravagant drafts with a daring that borders on recklessness. A listener might desire to hear a firmer, fuller and warmer tone than he gets out of his G string, but this deficiency is forgotten when he climbs into the high position on the A and E strings, where all is vital, brilliant and inspiringly energetic. He has the dash which commands admiration where more academic, or, let us say, even more correct, players win only respect; but with all his vehement eagerness he never forgets justness of intonation, and for that he must be heartily welcomed to our concert rooms. His success was immediate and emphatic, and after many recalls he supplemented his set pieces with a transcription of Schubert's Erl King, without accompaniment.—H. E. Krehbiel, in New York Tribune.
9He was heard yesterday in Dvorák's A minor concerto, and in the Airs Hongrois by Ernst. In the first of these it was quickly discovered that the man possesses a tone that is full and singularly pure, a superb technic, genuine musical authority, and that he is a master in the art of bowing.—New York Herald.
11Ondricek is a man of striking appearance. He suggests the musician born. His head is large; his shoulders are broad. His violin playing has the fire and force of natural enthusiasm. He is not subtle; he is virile.—Reginald De Koven, in New York World.
13In the first movement (allegro, non troppo) Ondricek demonstrated one fact clearly—that he is an accomplished artist. So far, so good. He has sweetness of tone, boldness of bowing, cleanliness, and style. In the adagio is a long, sensuous melody, which he sang charmingly, and then cut away into the welter of embellishments. It was clever; it was virtuosity.
15It came in the finale, an allegro giocoso of drunken footed dance tunes. Here was temperamental gayety—the absurd Magyar view of life. I can well imagine what Paprika Ondricek has been to the tired European palate. And we, too, are tired. You will lose that tired feeling when this fiery little violinist flames up.—Commercial Advertiser.
17Ondricek, the Bohemian violinist, responded to the persistent demands for an encore by a masterly performance of the Bach chaconne. The fashion has been set, and this composition is now de rigueur.
19The particular qualities displayed by Ondricek in this instance were those of a superlative technic, an irresistible fire and a rhythmic fugue.—New York World.
21The soloist was Mr. Ondricek, who made his American début on this occasion. Being a Bohemian, it was natural that he should choose the violin concerto of his countryman, Dvorák. It is not one of that composer's most inspired works, but it is difficult enough to tempt the most daring virtuoso, and that Mr. Ondricek surmounted its awkward intervals without lapse in intonation was a pleasant surprise to begin with. His bowing is smooth and easy, his phrasing never inartistic; but his most striking trait is that to which German critics have called attention—the refreshing animation of his playing. He seems to enjoy himself, and that proves contagious to the audience. He was also heard in Ernst's Hungarian airs and Bach's chaconne, in which he gave further proof of his mastery of the violin.—Henry T. Finck, in New York Evening Post.
23The solo performer was Franz Ondricek. He has a fine and well developed command of the finger board. His stopping is clean and accurate, and his intonation is well-nigh flawless. He has a good bow arm, and he produces from his instrument a moderately large and penetrating tone. It is a good tone, however, in that it has individuality and a potency for the hearer. He plays with dash, vigor, warmth and genuine musical feeling.—New York Times.
25Franz Ondricek is an artist of a strong individual bent, and as a player fiery, passionate and intensely musical. * * * Ondricek not only a highly trained executant, but a man of musical temperament and vigor. His tone is broad and virile, while not at all rough. Ondricek was enthusiastically received.—New York Mail and Express.
27Life, verve, sweep; a daring, bold, aggressive performance; the first played with an élan and authority and a magnetic fire which drew the audience completely, the second with a shiver of feeling in its veins, a touch of genuine heartbreak that proved Ondricek a player of fine strung temperament just as much as of strong dramatic fibre. He played with technic, so to speak, and dazzled the house by the simple mastery of difficulties which make average players wince. Now and again he was reckless, and the technic suffered somewhat, but the lapses were pardonable. A fine spirit not to be measured by a foot rule or fettered too unalteringly by detail made itself felt in Ondricek. After the Hungarian dances his popularity with the audience was assured.—New York Recorder.
29A rightful estimate of Ondricek can scarcely be made after a single hearing. That he has immense technic and also a bountiful supply of emotional feeling is quite certain. But both his playing and his personality are elusive. He was much applauded, and made an unequivocal success as far as pleasing his audience went.—New York Sun.
31Ondricek is a magnetic man, a little fellow with broad shoulders, a very confident pose and a strong, interesting head. His eyes are Slavic, rather veiled in glance, and handsome.
33His second number—Ernst's difficult Hungarian airs—was delivered with abundant virtuosity and surety. At the public rehearsal his success was instantaneous, and he had to come out and bow a dozen times.
35Ondricek is a big fellow, and plays with dramatic feeling and vim. His best performance is said to be the Beethoven concerto.—New York Morning Advertiser.
37Ondricek's triumph in Chicago was none the less emphatic, as the following from the Chicago press shows:
39Franz Ondricek, the Bohemian violinist, was heard in Chicago for the first time yesterday afternoon at the Auditorium with the Chicago Orchestra, it being the fifth of the series of concerts. The selections in which the soloist appeared were the concerto for violin and orchestra, op. 53, by Dvorák, and Hungarian Airs, by Ernst. While in the first named work the newcomer seemed as if unduly restrained by the limitations fixed by the composer, in the wild melodies of the latter he showed himself a master of his instrument. He won his audience completely, the enthusiasm being not less than that accorded the efforts of the great artists who played in these concerts last season. In appearance Ondricek does not suggest the dignity that is characteristic of César Thomson, nor the force of Ysaye, but the man was forgotten yesterday in the worth of his art. Dvorák's concerto might as well be entitled for orchestra and violin as the reverse. The reserve with which the soloist treated his part was therefore a recognition of the fitness of things. When given full scope his individuality made itself felt. His command was perfect over such technical difficulties as he had to contend against. Evidently he can conquer others when presented. His tone is broad, full and rich. This was evidenced in the adagio of the concerto. A particular excellence noted was the tonal truth and purity of the harmonics. He was encored after each number in which he appeared.—Inter-Ocean.
41In Mr. Ondricek's playing there is maintained in unusual degree the balance between intelligence and emotion. His tone is not large, although quite as good in volume as that of Mr. Ysaye. In quality it is fresh and sweet. His bowing is firm, and his technic crisp and clean. His performance of the Dvorák concerto, op. 53, his chiet solo number, was of finish and elegance, but nevertheless virile. There were conveyed in his performance of yesterday the impression that he would be at greater advan-
43ONDRICEK.
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