Scan 21
Musical Courier 1897-01-13: Vol 34 Iss 880, 1897
92 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 22. See the scan on archive.org.
1TERESA CARREÑO.
3THE third concert of the Philharmonic Society occurred in Carnegie Hall last Saturday night. Friday afternoon the public rehearsal was given. Here is the program:
5Overture, Prometheus Bound, op. 38…………………….Goldmark
6Concerto for Piano, No. 4, D minor, op. 70………………Rubinstein
7Symphony No. 6, Pathétique, B minor, op. 74………….Tschaikowsky
9Both these concerts were so crowded that it could be readily guessed who was the magnet. Not since one of Paderewski's wild matinées have we seen such enthusiasm, such a throng. Even at the afternoon function, usually so tepid, so formal, there was an outburst after the performance of the concerto, and Mme. Carreño had to return to the piano after six recalls and play Chopin's berceuse, which she did with the utmost delicacy, finish and sweetness.
11Carreño is an old friend, but seven years spent in hard study and giving concerts has brought back to us this old friend greatly changed, greatly improved, and a mistress of all her resources. She was ever magnetic and dashing, and seemed to have inherited some of the glancing brilliancy of her early master, Gottschalk, but she has suffered a rich sea change. Life, arduous endeavor, personal sorrow and artistic triumphs—all have signified in her work. There was something of the heroic in her playing of the first movement of the well-known Rubinstein concerto. Not titanic, as was the composer's playing, but heroic, fiery, dauntless, and her tone is now polished and powerful.
13We can easily echo Mr. Seidl when he said that since Rubinstein he has never heard this concerto played as it was on Saturday night last. The first introductory crash was sensational in the extreme, and the ponderous chordal opening orchestrally broad. Carreño's smooth passage playing soon made itself felt. She delivered the runs in double thirds and sixths with purity, and when the section in F was reached—a true Rubinstein cantilena—her mellow musical feeling was delightful.
15The working out was clear, the building up of that big cadenza on the black keys—F sharp—something to be remembered. Here her absolute control of dynamics was apparent. The crescendo and accelerando were magnificent, and the apex almost Rubinstein-like, and then the coda rushing as a whirlwind to the smashing D minor chords at the end.
17It was superb and overwhelming, and old-time pianists and musicians in the hall went wild.
19The romanza was played with intimate feeling, and sonorous was Carreño's cantabile. She has gained so much in repose, and intensity in repose, that this movement was very satisfying. The breadth of enunciation in the A minor part and the grip on the closing bars gave us the impression of a new Carreño—a thoughtful, soulful, musicianly woman.
21The last movement was terrifically played, the rhythmical life, or clearness of passage structure, never for a moment being blurred. The stretto was as masculine as you could wish, for Carreño's powerful forearm, upper arm, her mobile wrists and strong back, combined with nervous elasticity, made her instrument—a fine specimen of the piano maker's art—ring out above the Philharmonic orchestra.
23It was indeed a noble performance by a fascinating woman, and a woman who really deserves the title bestowed upon her in Germany of the Lioness of the Piano. There is in her play something exciting beyond measure, and the ease with which she masters her moods, confides and impresses them upon you, and, above all, the control of her sumptuous temperament, all these combined with a technic that is well-nigh faultless, a staccato, a legato and scales that are gorgeous in color and vitality—all these, we say, make Teresa Carreño an unique artist.
25Her enormous successes on the Continent are readily understood.
27Her recital next Thursday afternoon at the Waldorf is looked forward to with keen pleasure by lovers of remarkable piano playing.
29Mr. Seidl accompanied Madame Carreño with conspicuous ability. In the purely orchestral numbers Goldmark's interesting overture was the better of the two, the strings sounding smoother than at any previous concert this season. In the case of the symphony we must disagree with Mr. Seidl as to his tempi. What he gains in sweep he loses in emphasis, even clearness. The scherzo is improved by being deliberately played, besides the brasses do not sound as Tschaikowsky intended them to when played at Mr. Seidl's enforced gait. As to the first movement we are open to argument, but the last loses weight and mysterious import. Mr. Seidl no doubt has his own notions, too, on the subject, yet do we believe in the traditional tempi of Mr. Damrosch, the knowledge of which was gained so as to understand at first hand from the composer. On the other hand, Mr. Seidl's personal and peculiar power was felt in every bar of the symphony, a symphony despite its popularity, not its creator's greatness.
31The fourth concert, February 6, will be given in commemoration of the 100th anniversary of the birth of Franz Schubert. The Unfinished symphony, the theme and variations from the D minor quartet, and songs to be sung by Mr. David Bispham will comprise the major part of the scheme. A novelty, Borodine's second symphony in B minor, is to be played by Mr. Seidl in the second part of the program.
33The Apollo Club of Minneapolis.—A new club has been established in Minneapolis, Minn., Emil Ober-Hoffer director, which is destined to follow out the same high-class vocal scheme of the Apollo clubs of New York and Boston. The club numbers plenty of good voices, and the program already forwarded us is excellently arranged.
35BASSO CANTANTE WANTED.—One who understands English diction, who is a sight reader, who knows routine in church service. Salary, $500. Large city. Ample chances for large classes in singing. Address B. A. L., care of this office.
37AMATI VIOLINS.—Two genuine Amati violins—one Hieronimus and the other Nicolas—for sale. Address genuine letters only to "Violin," care of this paper. They are the property of an artist, not of a collector or dealer.
39WANTED—Position as accompanist and to coach singers in the studio of a vocal teacher. Applicant is a young lady who has had experience. Address Miss A. B. X., care THE MUSICAL COURIER, New York.
41A New Operatic Concert Company.
43THE Helen von Doenhoff Operatic Concert Company has recently been organized, consisting of a quintet of well-known operatic and concert artists headed by the contralto, Mme. Helen von Doenhoff, who is accorded by general consent of press and public throughout America and Great Britain a place in the very first rank of operatic artists. Her characterization and singing, especially of the rôles of Azucena in Trovatore, Ortrud in Lohengrin and Fides in the Prophet, have won for her the highest encomiums of the critics.
45Mme. von Doenhoff is an American and has won her laurels in company with many of the great artists of Europe. Her tours have been with the Juch-Perotti Opera Concert Company, the Carl Rosa Opera Company of England, and with the Tavary Opera Company (first season.)
47In England, after her concert appearance at the Liverpool Philharmonic Society, she was proclaimed one of the greatest of contraltos and soon after made a most triumphant tour of Great Britain. Mme. von Doenhoff is possessed of magnificent voice and dramatic ability and is eminently fitted to head an operatic organization.
49Musical societies will doubtless avail themselves of the opportunity to engage her, with or without her company. The organization is not on tour, but holds itself in readiness for special engagements only.
51First Mildenberg-Reed Recital.
53MR. ALBERT MILDENBERG, pianist, and Mr. Graham Reed, baritone, gave the first of their series of recitals of piano and song at the Castle Ladies' School at Tarrytown on the Hudson recently.
55Mr. Mildenberg is director of the department of music at the school. Mlle. Reigo has charge of the vocal department, and Miss Proctor has charge of the violin department, both of which ladies assisted. The interesting program, which delighted the audience in the large music room of the Castle was as follows:
57Soprano, Shadow Song, Dinorah……………………………Meyerbeer
58Mlle. Reigo
59Baritone, Prologue, Pagliacci……………………………Leoncavallo
60Mr. Reed.
61Piano solos—
62Valse Impromptu……………………………………………..Liszt one of two readings
63Valse Impromptu…………………………………………..Liszt one of two readings
64Impromptu…………………………………………………….Schubert
65Mr. Mildenberg.
66Violin solos, Andante from Concert……………………..De Beriot one of two readings
67Violin solos, Andante from Concert……………………De Beriot one of two readings
68Miss Proctor.
69Romanza………………………………………………………..Verdi
70Mlle. Reigo
71Baritone solos—
72Widmung………………………………………………………Schumann one of two readings
73Widmung…………………………………………………….Schumann one of two readings
74The Ring…!……………………………………………………Rubinstein one of two readings
75The Ring…!………………………………………………….Rubinstein one of two readings
76Es Blinkt der Than…………………………………………..Mr. Graham Reed. one of two readings
77Es Blinkt der Than………………………………………Mr. Graham Reed. one of two readings
78Piano solos—
79Etude, D………………………………………………………..Liszt one of two readings
80Etude, D………………………………………………………Liszt one of two readings
81Twilight…!…………………………………………………….Schumann one of two readings
82Twilight…!……………………………………………………Schumann one of two readings
83Why…!………………………………………………………..Schumann
84Rhapsodie…………………………………………………….Liszt
85Mr. Mildenberg.
87Mr. Reed's vocal numbers and Mr. Mildenberg's work at the piano captivated the audience; and Miss Proctor, violinist, and Mlle. Reigo received a hearty encore after each number.
89Miss Josephine Mildenberg was the accompanist.
91Carreño Recital.—Mme. Teresa Carreño's first piano recital will be given at the Waldorf on Thursday afternoon, January 14, at 8:30. Mme. Carreño will play Fantaisie-Chromaticque and Fugue of Bach; Sonata Appassionata, op. 57 of Beethoven; two preludes (B flat and G flat); Nocturne, G major, op. 31; Etude, G flat; Polonaise, A flat, op. 53, of Chopin; Impromptu, op. 90, No. 3 of Schubert; Soirée de Vienne, Schubert-Liszt; La Campanella, Paganini-Liszt; Senetto del Petrarca, and Rhapsodie Hongroise of Liszt.
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