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Musical Courier 1896-03-04: Vol 32 Iss 835, 1896
64 lines. Read by computer on 20 September 2026. Printed page 30. See the scan on archive.org.
1and it is not without touches of Brahms' naughty academic spirit. But it offers no wanton opportunities for the virtuosity of the pianist. It does not lend itself to spectacularizing.
3It was quite in keeping with Joseffy's genius—simple, noble, quite without trickery and essentially masculine—that he should have selected it for his reappearance in public.
5He played it superbly. His style, as I have said, is distinguished, cerebral, savant, noble. His touch is argentine—as my confrère of the Morning Advertiser would say. While his playing is conspicuously intellectual it is also rich, very rich, in emotion; but the emotion is that of a man. Here is not the slightest trace of hysteria. Never a mood is forced. There are immense strength and complete control. And Joseffy plays the piano with a full recognition of the limitations of his instrument. He is not under the impression that it is a brass band. He makes no attempt to force it to out-clamor the orchestra. The result is that he gives you all the piano can give. The tone is that of the piano. It was wonderful and inspiring to hear again at its best this abused instrument, which has been knocked about by gymnasts and used as an adjunct to hair.
7And that andante—what a marvel of silver serenities he made it!
9Six times they recalled the slight, dark little man. They stormed at him with loud and furious applause, simply forcing from him an "encore." He played Schubert's La Moment Musical.
11It was a triumph for Joseffy—a complete and overwhelming triumph. He has not played in public for years. His performance yesterday afternoon craned him at once above all the flamboyant virtuosi who have risen in the meantime.—Vance Thompson in the Commercial Advertiser.
13Like the lamented Hans von Bülow, Mr. Rafael Joseffy is a wit as well as a pianist. Five years have elapsed since his last metropolitan appearance as a pianist. During all this time he has lived in retirement in a small town on the Hudson River, and whenever a friend expressed his surprise at this involuntary retirement from a brilliant career he replied, with a wink, "I am quite satisfied, for am I not the greatest pianist in Tarrytown?"
15Fortunately, Mrs. Thurber was able to secure his services as professor of the piano at the National Conservatory. His pupils there were the only mortals who had the privilege of hearing him play. They told tales out of school, and that made those who heard them long for his reappearance on the concert stage. It was not his own fault that he remained silent so long. He suffered from insomnia, which increased as soon as he began to resume his practice, so that his plans were again and again frustrated. At last Mr. Theodore Thomas induced him to come forward again. He played in Chicago and won a triumph, which was duplicated later in Boston. Indeed it was said by the Boston papers that he was more frantically applauded than even Paderewski.
17Yesterday afternoon at last an opportunity was given to hear him in this city. An audience such as one seldom sees at a Symphony Society concert came to greet him. When he appeared on the stage the applause was deafening, and after he had taken his seat at the piano the applause continued until he had got up three times to bow his acknowledgments before the audience would allow him to begin. He had chosen for his reappearance the second Brahms concerto, which he was the first to play in America, on December 8 and 9, 1882, at a concert of the Philharmonic Society. Apparently he has not grown tired of this concerto in all these thirteen years; he certainly played it con amore. But he must have been aware that he was hardly dealing fairly with his admirers in selecting such a work for his renaissance. Whatever may be the musical merits of Brahms' second concerto (many excellent musicians consider them extremely small, as far as real inspiration is concerned), it must be admitted that it gives a pianist comparatively little opportunity to display his personal accomplishments.
19Possibly Mr. Joseffy thought that if he could win with Brahms his success with other composers was certain. It was a bold venture, but he came out so triumphantly that he can now afford to laugh at those who warned him against his course. For the audience applauded every one of the four movements cordially, and at the end he was recalled fully a dozen times. The audience simply insisted on his playing again, and he at last gratified them by playing most charmingly Schubert's Moment Musical in A flat. Ah, that was music! Did Mr. Joseffy wish to prove that Dr. Hanslick (Brahms' high priest) was right when he wrote in a notice of the first concerto: "Schubert is incomparably more charming, more melodious, more sensuous than Brahms; he affects us much more directly"?—H. T. Finck, in the Evening Post.
21Mme. Norcrosse.
23THE readers of this paper are presented this week with an excellent likeness of the now famous prima donna, Mme. Norcrosse, of whose brilliant success in the rôles of Carmen and Amneris in Holland last autumn mention was made in a recent number.
25Since these appearances Mme. Norcrosse has received numerous offers from different parts of the Continent for operatic engagements. Signor Tamagno, who has been for some weeks in St. Petersburg, sent her a communication, asking her if she would accept the offer of principal dramatic soprano of the Italian Opera Company which goes over to give opera each year in Buenos Ayres. The famous tenor will be the leading singer in many of the principal rôles, and he is very desirous of having so capable an artist as Mme. Norcrosse associated with him there. She has also had offers from Italy, and negotiations are now pending with some of the more important theatres there.
27In the meantime Mme. Norcrosse has been in Paris preparing the rôles in Italian of Amneris in Aida, Carmen, in Bizet's opera, Fidès in Le Prophète, Delilah in Samson and Delilah, and other rôles.
29In all of these she will sing if she accepts these engagements in Italy and also South America. She, however, doubts the advisability of her leaving Europe when her prospects are so bright, and in the course of a few weeks I may be able to inform my readers of her future movements.
31I had the opportunity of meeting a gentleman who was in Holland when Mme. Norcrosse made her second appearance in Carmen, and he said that such enthusiasm had not been witnessed there for years, and on the third performance hundreds were turned away from the theatre. Her magnificent appearance, her grand mezzo-soprano voice, with wide range, and the wonderful magnetism of her personality, all contributed to this phenomenal success, and wherever Mme. Norcrosse appears the eyes of connoisseurs of operatic talent will follow her with interest. In her we have an artist combining all the talents necessary to acquiring a position of the first rank, and filling that position with distinct honor. Our readers are presented with notices which she received on the occasion of her appearance as Amneris in Holland:
33On last Tuesday evening the fauteuils, boxes, balconies and galleries of the opera house were densely packed with an expectant audience. Whether this crowd was drawn by the first appearance in Holland of Verdi's Aida or the début of Mme. Norcrosse, or both, was hard to answer, but it was soon apparent that here was a specimen of a splendid contralto voice from a good school. Mme. Norcrosse has shown in the fourth act that she has great gifts.—Handelsblatt.
35Mme. Norcrosse, who filled the mezzo soprano part of Amneris, showed herself to be a well trained singer, and played this extremely difficult part with great distinction. Her acting is very skillful, and shows that she has a ripe experience. She may be equally proud of her fine voice. Her performance was wholly pleasing and satisfactory.—De Telegraaf.
37A String Orchestra of Women.
39THE Ladies' String Orchestra Society of New York is the name of a new organization composed entirely of women who play the various instruments of the violin family, and includes a number of well-known performers. The burden of selecting the performers upon the different instruments has been borne by Carl V. Lachmund, a well-known musician. Mr. Lachmund has had his hands full of work lately receiving applicants, attending rehearsals and answering the many requests from prominent people desirous to learn the plans and purposes of this novel band. Encouraged by the proficiency displayed by the pioneer members at rehearsals, and by their evident determination to hold the place they have taken, it has been decided by the management to engage Mr. Lachmund as conductor, and to leave no stone unturned to place the orchestra on a high artistic plane.
41Mr. Lachmund was seen yesterday afternoon at his home, No. 132 West Eighty-fifth street. "Yes," he said, in answer to questions, "we are already well under way, and are preparing for our concert, a complimentary affair to be given at the Waldorf in April. We intend to make the orchestra profitable financially as well as artistically to those who are devoting their time to the work. I am well enough acquainted with the entertainment business to know that shrewd managers in New York and elsewhere will see the drawing possibilities of an organization composed exclusively of skilled woman performers on stringed instruments, and I am permitted to say that several communications have already been received asking the orchestra to give public performances before the most select audiences.
43"We are going ahead slowly but surely. I am astonished at the vigor and studious persistency of the individual performers, many giving up important engagements to attend the rehearsals. All seem to be impressed with the importance of the new enterprise. With such a spirit shown the venture cannot prove other than a success. Mme. Camilla Urso has kindly consented to become our honorary president, having been requested by a unanimous vote of the society. In her note of acceptance Mme. Urso says: 'Indeed there is so much excellent talent among women of the kind required that needs but an opportunity to be heard, that I have no doubt of the society's success.' The office of president will soon be filled by the selection of a lady prominent in the musical, literary and social world.
45"In order to put the orchestra on a first-class financial basis, a number of prominent people interested in our progress have signed either the founders' or associate members' list. Certificates, are issued at $25 and $10, respectively. Each founder will be entitled to fifteen invitation tickets to the opening concert and five tickets to each of the three concerts to be given next season. Associate members will have four tickets for each concert. The entertainments of the society will be private, and only founders and associate members and their friends will be admitted."
47The following have been accepted as active members of the society: Violins, Miss Martina Johnstone, Mme. Jeanne Franko-Kraemer, Miss Ida Branth, Miss Winfred Rogers, Miss Helen Reynolds, Miss Laura Phelps, Miss Charlotte Demigg, Miss Emilie A. Wagner, Miss Clara Beach, Miss Wilhelmina Ballade, Miss Sara Sheinart, Miss June Reed, Miss Sara Goldman, Miss Linda Pinkham and Miss Nellie Sperry Udelle; violas, Miss Corinne Fluit, Miss Ethel Franklin Ellis, Miss Louise Neidhart and Miss Hattie B. Tidd; violoncellos, Miss Mabel Reynolds, Miss Helen Collins, Miss Dressler, Mrs. Anita Touell and Miss Susie M. Howell. The double bass players have not yet been selected.
49Among the founders are Mrs. Richard Watson Gilder and Mrs. Henry Villard.—Tribune.
51Music in Baltimore.
53BALTIMORE, February 29, 1896.
55CARL FAELTEN, of Boston, gave a recital at the Peabody Institute on Friday. 21st inst. His last appearance in this city was in the season of 1891-2. I was unable to attend, and therefore quote from The American of the 22d:
57"In selecting his program Mr. Faelten evidently wished to make up somewhat for his infrequent appearances by appearing a great deal at once, and his scheme was a very lengthy one, ranging in the conventional recital manner from Bach through the classics to Liszt. It was well selected and arranged, and capable of bringing out all the points a pianist should have, and to say Mr. Faelten did it full justice, is but to say the truth. Throughout Mr. Faelten was master of the situation, and aroused much enthusiasm, the audience honoring him with several recalls."
59The Kneisel Quartet and Harold Randolph, pianist, gave its third concert in Music Hall, Tuesday, February 25. The program was: Quartet, A major, op. 41, Schumann; suite for piano and violin in D minor, op. 34, Emile Bernard; quartet, E flat, minor, op. 30, Tschaikowsky, written in memoriam of Ferdinand Laub.
61Throughout this series of concerts this splendid organization has been affording the lovers of chamber music the most delightful performances of programs that are models of their kind. Each concert shows this quartet to better advantage, and the last was the culmination of artistic excellence. The Bernard suite was played by Mr. Kneisel and Mr. Randolph. It was entirely new to a Baltimore audience. Both artists were at their best, and that means a thoroughly satisfying and artistic performance. These concerts have demonstrated Mr. Randolph as an ensemble player of the first rank. The Tschaikowsky quartet was likewise new to the audience. Its performance was simply a delight. In all my experience I can recall nothing more exquisite than the performance of the andante funebre.
63The fourth concert of the season of the Boston Symphony
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