Scan 15
Musical Courier 1896-12-23: Vol 33 Iss 877, 1896
61 lines. Read by computer on 25 September 2026, twice; the two readings disagreed in places. Printed page 16. See the scan on archive.org.
1Carreño in Finland.
2Helsingfors, November 23, 1896.
3Mr. Hermann Wolff, Berlin, W.:
4Dear Sir—I send you herewith an account current of Mme. Carreño's concerts. As you will see by it, Mme. Carreño gave four concerts here in Helsingfors. The first two herself, then one with orchestra and a fourth popular concert. Mme. Carreño could not go to Abo, as no arrangements had been made for her there, and in consequence it was resolved to give four concerts here. The success was unexampled, as I telegraphed to you. The applause and bravas surpassed all previous demonstrations. After the third concert Mme. Carreño received a large beautiful laurel wreath and a bouquet. The students wished to take the horses from her carriage, but this was not permitted. The audience at her popular concert was so charmed that Mme. Carreño had to play one piece after another, and after calls of "Hand! hand!" the listeners rushed to touch her hand and her dress, nor did they cease until Mme. Carreño had promised to come back. When she said in Swedish "Jag komme tillbaka" (I come back) the enthusiasm passed all bounds. Such a success had never been seen in Helsingfors. On her departure she was escorted with songs to the railroad station and several hundred people were present. Ladies and children brought flowers.
6Inclosed find a notice from one of the journals.
7Mathilde Linsén.
9Nya Pressen, November 15, 1896.
10Mme. Carreño is absolutely a pianist of the first rank. Since her last visit here she has developed new and brilliant gifts as an artist. The volcanic in her temperament does not predominate throughout, as formerly, but when she wishes and the music demands it the inner fire glows as ardent as ever. But the volcano is now covered with a carpet of the most varicolored flowers, from the glowing rose to the sky blue violet, and they lend their perfume and charm to all that Teresa Carreño's hands conjure from the keyboard.
11It is, in the first place, her astonishing versatility, the faculty of giving to each piece its stamp of individuality, that lends such a great interest to Mme. Carreño's present playing. She grasps with equal depth the epic sublimity of Bach, the deep earnestness of Beethoven, the grace of Schubert, the schwärmeriet of Chopin and the geniality of Liszt. She evidently prefers Beethoven, and this gives to her art peculiar earnestness and dignity. But it is not the Beethoven "of everybody," the Beethoven who composed the Moonlight sonata, whom she interprets, but she performs with the same devotion and love the young Beethoven, the young Beethoven of the Mozart period, and she gives to this purely classical, pious style such indescribable grace that the public is as strongly enchained by this pure, simple, music, devoid of all effects, as by the most dazzling modern fireworks. We speak now of her wonderfully beautiful playing of the rondo schwärmeriet, op. 51, a composition which did not expect to find in the artist's répertoire. But with what nobility, with what plastic beauty did she stamp this work! Beethoven's C sharp minor sonata is not played in the same manner by two pianists. It is wonderful how differently it is conceived and can be conceived. Quot capita, tot sensus. Madame Carreño formed a new conception of the adagio, and hark! how the instrument sings! What noble sorrow, what poetry she introduces into her play. The most difficult movement of the sonata, the allegretto, became a marvel under the hands of Carreño. Liszt said of this movement: It is a fresh forest flower on the road of dim, grand desires. Such a forest flower the allegretto becomes only in the performance of Madame Carreño. Of all the enchanting beauties which we heard yesterday this simple allegretto was perhaps the most beautiful. The presto, again, received an entirely new, surprising character. No passionate, exaggerated bravura, only clearness, power, measure and intelligence, and the conception was genuinely Beethovenish, which one could not but admire in the highest degree. It was a little Chopin suite, delicately and naturally combined, that Madame Carreño made of the preludes in B flat major, &c., and the G flat major étude. The last named was played with such charming freshness, such brilliant brio, that the whole hall burst into loud applause, and the artist had at once to repeat the number. The other Chopin pieces were played with incomparable beauty. In Liszt's Campanella and D flat major étude Madame Carreño displayed the full splendor of her technic. This technic reaches the highest point of modern pianistic finish, and is, withal, so purely and clear that not the slightest bit of trickery, no hocus-pocus with the pedals, no false quiver, can be detected. The touch of the pianist is equally remarkable, so vibrant, so full and powerful is the tone. The forte is known as the specialty of Madame Carreño: it is a powerful, almost virile, convincing fortissimo of absolute virtuoso quality. one of two readings
12It is, in the first place, her astonishing versatility, the faculty of giving to each piece its stamp of individuality, that lends such a great interest to Mme. Carreño's present playing. She grasps with equal depth the epic sublimity of Bach, the deep earnestness of Beethoven, the grace of Schubert, the schwärmeriet of Chopin and the geniality of Liszt. She evidently prefers Beethoven, and this gives to her art peculiar earnestness and dignity. But it is not the Beethoven "of everybody," the Beethoven who composed the Moonlight sonata, whom she interprets, but she performs with the same devotion and love the young Beethoven, the young Beethoven of the Mozart period, and she gives to this purely classical, pious style such indescribable grace that the public is as strongly enchained by this pure, simple, music, devoid of all effects, as by the most dazzling modern fireworks. We speak now of her wonderfully beautiful playing of the rondo schwärmeriet, op. 51, a composition which did not expect to find in the artist's répertoire. But with what nobility, with what plastic beauty did she stamp this work! Beethoven's C sharp minor sonata is not played in the same manner by two pianists. It is wonderful how differently it is conceived and can be conceived. Quot capita, tot sensus. Madame Carreño formed a new conception of the adagio, and hark! how the instrument sings! What noble sorrow, what poetry she introduces into her play. The most difficult movement of the sonata, the allegretto, became a marvel under the hands of Carreño. Liszt said of this movement: It is a fresh forest flower on the road of dim, grand desires. Such a forest flower the allegretto becomes only in the performance of Madame Carreño. Of all the enchanting beauties which we heard yesterday this simple allegretto was perhaps the most beautiful. The presto, again, received an entirely new, surprising character. No passionate, exaggerated bravura, only clearness, power, measure and intelligence, and the conception was genuinely Beethovenish, which one could not but admire in the highest degree. It was a little Chopin suite, delicately and naturally combined, that Madame Carreño made of the preludes in B flat major, &c., and the G flat major étude. The last named was played with such charming freshness, such brilliant brio, that the whole hall burst into loud applause, and the artist had at once to repeat the number. The other Chopin pieces were played with incomparable beauty. In Liszt's Campanella and D flat major étude Madame Carreño displayed the full splendor of her technic. This technic reaches the highest point of modern pianistic finish, and is, withal, so purely and clear that not the slightest bit of trickery, no hocus-pocus with the pedals, no false quiver, can be detected. The touch of the pianist is equally remarkable, so vibrant, so full and powerful is the tone. The forte is known as the specialty or Madame Carreño: it is a powerful, almost virile, convincing fortissimo of absolute virtuoso quality. one of two readings
13The applause of the listeners to Madame Carreño's playing was tempestuous. The enthusiasm passed all bounds. The public applauded frantically, and with cries of "Brava" called out the artist repeatedly, and at last, when she had with amiable generosity added one number after another, among them a rhapsody of Liszt, an étude by Henselt, a pretty waltz of her own, the admiring audience rushed up to the piano, where the charming Juno ruled supreme.
14Karl Flodin.
16Vanderveer-Green.
17We publish herewith, reproduced, a number of extracts from important papers which give opinions regarding the singing of Mme. Vanderveer-Green, who is well known in this country, and who has sung at a great many musicales here lately.
18Mme. Vanderveer-Green is booked for a long tour all over the country, and will sing in a large number of cities before she returns to Europe.
19Mme. Vanderveer-Green, who is possessed of a mezzo-soprano voice, sang with extreme good taste and artistic finish. She gave four songs. The peculiar quaintness of the Willow Song was duly appreciated, and her encore song, The Lullaby, was especially charming. Her ambitious efforts during the evening were Chante Arabe (Bemberg), with 'cello; Mon Coeur s'ouvre à ta Voix, Saint Saëns, and In Sevilla. The lady gave unqualified satisfaction to the critical audience, and the committee are to be congratulated on their choice.—Hull Daily News, England
20Mme. Vanderveer-Green was the vocalist. She is an American, a pupil of Marchesi, and has been thoroughly trained in the Parisian school. Her voice is mezzo-soprano, and in all her songs she is decidedly artistic before anything else.
21Mme. Vanderveer-Green sang Lalo's beautiful L'Esclave with great charm, and was encored in a Sérénade Printanière by Mlle. Holmès: she also sang Tschaikowsky's exquisite Nur wer die Sehnsucht kennt.—London Daily Times.
22He was assisted by Mme. Vanderveer-Green, an accomplished vocalist, who sang expressively and like an artist some well chosen songs by Tschaikowsky, Lalo and others. Mme. Vanderveer-Green should remain in England.—St. James' Gazette, London.
23The concert was further memorable for the beauty of Mme. Vanderveer-Green's singing. We have rarely heard anything more charming than her rendering of Lalo's L'Esclave and Holmès' Sérénade Printanière.—London Musical News.
24Mme. Vanderveer-Green delighted her audience by her charming delivery of songs of Tschaikowsky and Lalo.—London Sunday Times.
25Mme. Vanderveer-Green is one of the most charming singers now before the public. She had scarcely been heard in London when she sang on the opening night at the Queen's Hall concerts in the well-known aria from Saint-Saëns' Samson and Dalila, Mon Coeur s'ouvre à ta Voix. She gave the accent of genuine passions to Dalila's seductive strain, and her subsequent singing of a Scotch ballad, Loch Lomond, showed that she could be simple and touching as well as intensely dramatic.—The Speaker, London.
26Mme. Vanderveer-Green's rendering of He Was Despised was most artistic, her perfect intonation and clearness of enunciation securing a triple recall.—Daily News, London.
27Mme. Vanderveer-Green may especially be complimented on her singing of the Three Ravens. This lady's strength appears to lie in such ballads.—London Daily Telegraph.
29Mr. Wm. H. Rieger's Southern Notices.
30Next in point of favor after Mme. Nordica was Mr. Rieger. He is certainly artistic to a high degree, and his beautiful tenor is broad, rich and sympathetic. His execution is dramatic, possessing that fire and spirit that carry his audience by storm.—The Times, Richmond, Va., November 11, 1896.
31The well-known tenor, Mr. William H. Rieger, was in excellent voice. His superb singing of the aria from Verdi's Il Masnaderi was irreproachable and, suffused with the curious glamor of genius, which few can gain possession of, called forth another tempest of approval which had to be lulled by another piece.—The Dispatch, Richmond, Va., November 11, 1896.
32Mr. William H. Rieger, the well-known tenor, captivated the audience with his exquisite selections. He sang with ease and grace, and his tender, ravishing notes were as much the gift of lofty genius as the result of cultivation. His low notes were as full and sweet and rounded as those of an Aeolian harp, while his high notes were as clear and rich as the peal of distant chimes. He was encored several times.—The News, Lynchburg, Va., November 13, 1896.
33Mr. Rieger, the tenor, also took the house by storm. He is a lyric tenor par excellence. His voice is tender and sympathetic. A remarkable thing about his voice is his blending of different registers.—The Tribune, Knoxville, Tenn., November 13, 1896.
34Mr. William H. Rieger shared the honors of the evening with the diva, Madame Lilian Nordica. He has a beautiful voice, a tenor of the highest range, of wonderful sweetness, and he uses it most artistically, and his high notes were marvelously clear, flexible and sweet. In all, it was one of the best and most finished tenor voices heard in Louisville for many a day. He completely captured the audience, and at each appearance was given a double recall.—The Commercial, Louisville, Ky., November 17, 1896.
35The tenor, Mr. Rieger, evidently ran Madame Nordica herself very close for the highest favor of the audience. His voice is sweet without being over-luscious, his methods are refined and dignified, and his efforts are wrought by insight of his subjects and genuine straightforward artistic training. The program shows Mr. Rieger's width of emotional range, and this even was enlarged by the pretty Lassie w' the bonny blue een, which he gave as his last encore.—The Courier-Journal, Louisville, Ky., November 17, 1896.
37Mary Louise Clary, America's Greatest Contralto.
38J. H. McKinley, Tenor.
39Carl E. Dufft, Bass-Baritone.
40Kathrin Hilke, Dramatic Soprano.
41And Other Leading Artists.
42Remington Squire, Manager.
43113 West 96th Street, New York. J. H. McKinley.
44Carl E. Dufft.
46RICHARD W. CROWE,
47Mus. Doc. (Cantab.),
48CONCERT ORGANIST.
49(Organist and Choir Director of St. Agnes' Church, Brooklyn.)
50Compositions edited, revised and scored for Piano, Voice, Organ or Orchestra. Advanced pupils received in the study of harmony, counterpoint, fugue, composition, the organ and orchestration. Clubs and societies conducted. Correspondence solicited as to terms.
51Address care of
52C. H. DITSON & CO., 867 Broadway, New York; or
53F. H. CHANDLER, 300 Fulton Street, Brooklyn.
55THE SCHOOL OF VOCAL SCIENCE, (Organized 1896-7).
56Training the voice for singing from a scientific standpoint; also for speaking, more especially public (clergymen, lawyers, actors, &c.).
57Eradicating defects like lisping, stammering and stuttering. Diseased conditions of the throat and nose treated by a well-known specialist.
58The Swedish system of physical culture (employed by great singers, actors and public men).
59Instruction in the anatomy and physiology of the voice, musical theory, interpretation, accompanying, languages, acting, fencing, stage deportment, &c.
60Department for training teachers. For particulars and circular address or call at 241 W. 44th St., New York City.
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