Scan 40
Musical Courier 1895-12-25: Vol 31 Iss 825, 1895
49 lines. Read by computer on 25 September 2026. Printed page 41. See the scan on archive.org.
1from Dr. Stade, insisted upon his finishing his studies at the gymnasium.
3But when young Bohlmann heard for the first time the Joachim Quartet, Bülow's Meiningen Orchestra and d'Albert and von Bülow as soloists his desire was stronger than ever to become a musician. He began to play the piano again, as an antipolyphonic instrument such as the violin did not satisfy him any longer. Although he had made considerable advancement upon the violin von Bülow and d'Albert had inspired him with such a high idea of pianistic art that he once more devoted himself to the piano. Although practice upon the violin had unfitted his hands for the piano keyboard, he set to work with indomitable will, taking his first technic lessons from Herr Zwintscher at Leipsic, afterward studying with Barth at Berlin. At the urgent desire of his father he completed the course at the gymnasium, and afterward entered the university at Berlin as a student of philosophy.
5Music, however, came uppermost, and he resumed piano study with Carl Klindworth and composition with Otto Thiersch. After three years of assiduous and enthusiastic study he was enabled to give a concert with the Philharmonic Orchestra in the Singakademie in Berlin on March 3, 1890. This concert was a brilliant success, as is evidenced by the following extracts from the Berlin papers:
7In the concert given by the pianist, Mr. Theodor Bohlmann, he presented Beethoven's sonata in F minor (appassionata), the performance of which gave emphatic evidence of a finished technic and musical intelligence. The young pianist commands a versatile touch, rich in modulations, and whether in ardent or impassioned moments or those of a tender and melodious nature, he cools shades of expression the like of which can only be found in the resources of a lively and sensitive imagination. Among other things the program offered two concertos, the D minor of Rubinstein and the E flat major of Liszt.—National Zeitung.
9Another new pianist, Mr. Theodor Bohlmann, on Saturday night was heard in a concert given by him in the Singakademie, with the co-operation of the Philharmonic Orchestra. Among his comrades of the younger profession whom we have met so far Mr. Bohlmann is one of the most gifted. He has a very remarkable facility of execution, a vigorous, at the same time elastic, touch, as well as phantasy and deep sentiment. Mr. Bohlmann gave indubitable testimony of his talent.—Vossische Zeitung.
11On Saturday night, March 3, there appeared on the concert stage a new phenomenon that excited more than ordinary hopes for the future.
12Mr. Theodor Bohlmann, a young pianist who perfected himself under Professor Klindworth, played with the Philharmonic Orchestra, directed by Mr. Kogel, the D minor concerto of Rubinstein, the E flat major concerto of Liszt, and during the interval between these great works the F minor sonata, op. 57, of Beethoven, the D flat nocturne of Chopin, the second rhapsodie of Brahms and the B minor ballade of Liszt.
14In Mr. Bohlmann's performances there is recognized a genuine musical nature, with strong sentiment and a high order of intelligence.—Allgemeine Music Zeitung.
16Thus by the union of natural genius with marvelous industry Bohlmann achieved in an astonishingly short time a success which cost others the labor of years, and Professor Klindworth has declared that he knows no similar instance in his long course of teaching. Mr. Bohlmann was introduced by Klindworth to d'Albert.
18On visiting d'Albert he played the gigantic B minor concerto of that virtuoso, and so greatly pleased him that an invitation followed to spend every summer at Eisenach. This contact with the great d'Albert was of highest moment to Bohlmann.
20Another of his teachers was Moritz Moszkowski, who also showed the greatest interest in him.
22After Bohlmann had played Rubinstein's D minor concerto with the Philharmonic Orchestra Hans von Bülow said to him: "Of the younger generation of pianists you possess the most musical intelligence." Bohlmann played under Klindworth's direction in a symphony concert, the d'Albert concerto in B minor. He earned great praise from the lips of the great Russian master, Tschaikowsky, after having played at a concert in Berlin given in honor of his first presence in that city.
24Mr. Bohlmann was engaged to make a concert tour through North Germany with Mme. Amalie Joachim, and appeared in all the larger cities with great success.
26When Mr. Georg Magrath resigned his position in the Cincinnati Conservatory in 1889 Miss Clara Baur, the directress of that institution, delegated him to select his successor, and his choice fell upon Bohlmann, who was at once engaged, but began his duties in September, 1890.
28His masters—Klindworth, Moszkowski and d'Albert—gave him letters of recommendation previous to his departure for America.
30By recitals and by chamber concerts, at which many of the most important works of classic and modern chamber music were brought out, Mr. Bohlmann has built broad and high his musical fame in America. In Detroit, Louisville and many smaller places Mr. Bohlmann has given recitals, and in Chicago, being recommended by Raphael Joseffy to the notice of Mr. Theodore Thomas, he played twice at the World's Fair, accompanied by the Thomas Orchestra.
32Mr. Bohlmann was the first to give an entire Brahms evening in the West. He has also made a reputation as a learned lecturer upon music.
34Mr. Bohlmann has had the most flattering offers from many institutions in America and abroad, but will stay in Cincinnati.
36There lately has appeared a highly instructive work, Fifty-two Selected Etudes from Heller (op. 16, 45, 46, 47), edited, revised and annotated by Theodor F. Bohlmann (the John Church Company, Cincinnati, Ohio, publishers), which is dedicated to his master, Prof. Karl Klindworth, in Berlin, and has been introduced by him at his celebrated conservatory.
38Frederic Shailer Evans.
40FREDERIC SHAILER EVANS, subject of this biographical sketch, is a conspicuous artist in the faculty of the Cincinnati Conservatory of Music, and both as pianist and musician takes high rank in the profession.
42His early musical training was molded by prominent teachers in New York, and perfected later by a four years' course in the Leipsic Conservatory, where his masters were Weidenbach, Reinecke and Jadassohn. He graduated with high honors in 1886, winning the much coveted Helbig prize, and received from noteworthy critics such encomiums as plainly pointed to his future brilliant and successful career.
44His début before an American public was made in Steinway Hall, New York, upon which occasion he played with the Metropolitan Opera House Orchestra, under Walter Damrosch, the Emperor concerto of Beethoven and the G minor concerto of Saint-Saëns. The connection of Mr. Evans for the past seven years with the faculty of the Conservatory of Music has been marked by an uninterrupted career of success, both as teacher and pianist.
46Each season his playing at the concerts of the conservatory reveals some new features of artistic merit. Those who have received instruction from him have imbibed much of the enthusiasm which he imparts to his work, and the characteristic points of his brilliant style are clearly manifest in their performances. The rewards of a conscientious teacher with an artistic soul have oft times come to Mr. Evans in the success of pupils whose entire musical education he has controlled. His services as a concert pianist are frequently called upon in other cities, and his claims to artistic excellence is always recognized. Among his pupils are a large number of artistic members of some of Cincinnati's most prominent families.
48His playing is manly, dignified and thoroughly musical, combining vigor and delicacy effectively. His phrasing is
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