Scan 25
Musical Courier 1896-12-16: Vol 33 Iss 876, 1896
84 lines. Read by computer on 26 September 2026. No printed page number was found. See the scan on archive.org.
1devil, is this fiend in Lenau's Faust whom Liszt has musically limned for us. Such a cynical, corrodingly evil, subtle demon is he, and he lures you on with the most lascivious pulse in the world!
3Never have the accents of an infernal voluptuous passion been so sung, not even by Wagner in Tristan and Isolde. The second theme of this valse is a caressing, syncopated sigh that makes riotous the blood and blind the judgment. It is swooning and dangerous music and even in the working out section the ingenuity of Liszt's counterpoint does not obtrude itself nor damage the integrity of the mood picture, while its decorative scheme courts comparison with Berlioz or Wagner.
5It was exquisitely read by Mr. Paur and his men.
7The symphony was played as it only could be played by this orchestra. The scherzo with its brace of trios, an uncomfortable nut for the purists to crack, was delightfully given. The strings, those mellow marvels, the strings of the band from Boston, never sounded so luscious, so intense as in the cantabile. The trills were superlatively fine. It is an orchestra of which you are never tempted, after the bony manner of George Eliot, to sing "Oh, may I join the choir invisible," for have we not an angelic choir, a visible choir at the concerts of this organization?
9Mr. Paur conducted with unusual power and precision.
11Second Huberman Recital.
13BRONISLAW HUBERMAN, the Polish boy violinist, gave his second New York recital on Tuesday evening, the 8th inst., with the assistance of Miss Katherine Ruth Heyman, pianist, and Mr. E. Romayne Simmons, accompanist. His program included the Goldmark concerto, the Romance from the E minor concerto of Chopin, and the Vieuxtemps Ballade et Polonaise.
15There was a wide advance step between the boy's playing at his first and that at this second recital. Intonation was improved, there was less emotional excess, and rhythms were brought into more regular shape. Evidently the boy must have been extremely nervous at his first appearance. It is now admitted that he was ill, and had even been forbidden by the doctor to appear; therefore it can be understood why he was unable to do himself the justice at his début which he succeeded in doing at his second concert.
17The concerto was remarkable, a tour de force in technics, which the astonishing youth spun forth with a marvelous ease and an exactitude which did not characterize his first performance. The tendency to run off with tempi and indulge in meretricious outbursts of sentiment, as well as violent tonal contrasts, was still in evidence, though better controlled. This boy needs to keep his eye on a stern conductor's stick, and make up his mind that he is to follow, not drag, until time will have curbed his impetuosity.
19The orchestral stretches on the piano were dreary, and naturally with his back to the accompanist the boy had things all his own way. Nevertheless this tremendously difficult concerto, which bristles with terrors for accomplished adult virtuosi, was, taken all in all, a wonderful performance.
21The boy is born to music, even as the sparks fly upward, and his flaming temperament charges every phrase and compels the sympathy of an audience. If the phrases are to-day often overcharged it is only overflow, which by-and-by will settle down to the regulated depth of experience. We must remember with Alfred de Musset that "it takes a great deal of life to make a little art," and this child musician is but fourteen, and has already accomplished temperamental and technical wonders. He was not altogether happy in the Chopin romance, which was sentimentally exaggerated.
23Miss Heyman is a young pianist, new to the public, but a welcome addition to pianistic ranks. She played the E flat polonaise of Chopin with uncommon grace, clarity and excellent rhythmic definiteness. She has technical facility, and her style is marked by ease and finish. Her passage work was fluent and limpid, and her phrasing intelligently musical. Miss Heyman played also Liszt's Gondoliera and a tarantella of Wehle. She was cordially applauded, as she deserved.
25Of course the house half lost its head over Huberman, who exercises the musical magnetism which belongs solely to genius. He is a wonder-boy. He proved himself so at this recital. We must accept him as such, and pray the Muses for music's sake that he may not miss the touchstone of experience which shall make of him a giant among the adult artists of his age.
27Messiah in Cincinnati.—Miss Kathrin Hilke, soprano; Mary Louise Clary, contralto; Mr. J. H. McKinley, tenor, and Dr. Carl E. Dufft, basso, will sing in The Messiah in Cincinnati on January 3.
29HELENE MAIGILLE
30LABORDE METHOD.
31VOCAL INSTRUCTION.
326 East 17th Street, New York.
33Residence: 319 Washington Avenue, Brooklyn, N. Y.
35Amadeo von der Hoya.
37A MADEO VON DER HOYA, concertmeister of the Court Opera, Weimar, was born in the South, where his parents took an active part in musical education for twenty-eight years, and from them he received his first instruction. He made his appearance in 1882 at the Charleston Music Festival, where he played the seventh De Beriot concerto, and officiated as concertmeister in orchestral work. A writer in the American Art Journal, in a notice of the performance, said:
39But what shall I say of Amadeo, the young Paganini of the South, as he was enthusiastically called. A bright, healthy, young boy, only eight years old, and yet what a marvel! What a prodigy! He
41School, preparatory to entering that institution, for which he was then too young.
43It must be remarked that Von der Hoya had taken up the study of the piano simultaneously with the violin, and up to the time of his going abroad he had frequently appeared in concert as soloist on both instruments, and not without success, as a great number of criticisms show. In Berlin Herr von der Hoya also played before Prof. E. Rudorf, first professor of the piano department of the Royal High School, who declared that if he should earnestly pursue his study on this instrument he would reach a high point of virtuosity. The violin, however, being Von der Hoya's favorite instrument, was finally decided upon. During the winter season of 1884 Von der Hoya made his appearance before the Berlin public and secured a most brilliant success. The Neue Berliner Musik Zeitung writes:
45The highest interest was occasioned by the appearance of a nine year old boy, Amadeo von der Hoya, who, with the first few bars of the eighth concerto of De Beriot, received an ovation. He shows in every respect the born virtuoso genius. Already his bowing, strength, finish and execution are something wonderful. The lad plays with marked clearness, a proof of his fine ear.
47Another critic in the Allgemeine Deutsche Musik Zeitung said:
49We wish to speak of a rising young genius, a nine year old boy, Amadeo von der Hoya. The boy already shows a wonderful technic, his intonation is excellent, and he has a power and strength in his tones which are really something unheard of.
51The Deutsche Tageblatt said:
53On March 10 we attended a concert at the Hall of the Kaiserhof, at which we had the pleasure of hearing a new rising star on the violin. As we are now entering again upon a new era of the wonder children, young Von der Hoya can well take the first place among them. With his playing there is not the slightest sign of unnaturalness or imitation. Everything unfolds itself in the most natural manner, and the strength of the bowing, the knowledge of education, the firmness of the left hand make us believe, when we close our eyes, that we hear a much older player.
55During this year young Von der Hoya was received as a pupil of the Royal High School, in consequence of Joachim's indorsement. He studied there as a member of the artist class with Willy Burmester, Gabriele Wietrowitz and Ch. Gregorowitz.
57In the following year an offer was made to Von der Hoya's parents inducing them to take their son on a concert tour through Holland and part of Germany.
59After the termination of this Holland tour Von der Hoya returned to Berlin to continue his studies under Johann Kruse, to whom Joachim had commended him.
61In the following year he returned to America and spent his time in retirement in his father's plantation near Atlanta, Ga. It was here that Von der Hoya first attained to the knowledge of natural science which later on became of such assistance in his researches on the nature of technical execution in music, on which subject he is now engaged in writing an elaborate work, dedicated to his old master, Joachim. From 1886 to 1889 Von der Hoya did not appear in grand concert except once, in 1888 with the Metropolitan Orchestra, when Anton Seidl introduced him to the New York public. All the prominent New York musical weeklies united in bestowing upon young Von der Hoya the most flattering praise. A contract was about to be signed for a month's tour with the Emma Juch Concert Company when Von der Hoya resolved to return to Europe and study under Emile Sauret. Von der Hoya became a favorite pupil of Sauret and was the first violinist that played the eighteen Grand Etudes de Concert before they were printed.
63At this period Sauret was engaged in writing his famous Suite Italienne and his Allegro Romantique de Concert, and Von der Hoya, being a daily guest at Sauret's home, would often be asked to play the score on the piano while Sauret played the solo part. The brilliant virtuosity and the intense emotional nature of Sauret have undoubtedly exerted a strong influence on the individuality of the young artist. In 1891 Von der Hoya returned to America and remained until 1893, partly in the South and partly in New York, although no public appearance was made. In 1893 he returned to Europe, and at Weimar was introduced and played before Prof. C. Halir.
65Through Halir he was initiated into the works of the modern masters. Having taken the place of Halir on the occasion of a Wagner festival with E. Lassen, Richard Strauss and Terese Malten, Von der Hoya became known to the Weimar Court, and was invited by the Princess Pauline of Saxe-Weimar to attend a private circle, where he played with Dr. E. Lassen as accompanist. This evening's concert was given in honor of Prince Gaetano of Naples, who is himself a composer. Later on Von der Hoya was honored by a series of invitations extended to
67AMADEO VON DER HOYA.
69
71
73JAN VAN OORDT,
74The Netherland Violinist.
75FIRST APPEARANCE IN AMERICA.
76ADDRESS CHARLES DE GROAT.
7742 University Place, New York City.
79FLORENCE TOWNSEND
80ACCOMPANIST,
81For Vocalists and Instrumentalists.
82224 West 21st Street, New York.
83Coaching a Specialty. Reference: Editor MUSICAL COURIER.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.