Scan 23
Musical Courier 1897-09-15: Vol 35 Iss 915, 1897
36 lines. Read by computer on 21 September 2026. Printed page 24. See the scan on archive.org.
1George Lehmann.
3THE concert violinist George Lehmann is an artist whose permanent return to New York all good musicians will welcome cordially. Mr. Lehmann's American début was made in New York some years ago, but his excellent musicianship and sympathetic mastery over his instrument are fresh in the recollection of a majority of artists and of the artistic public, who will be glad to realize that he has now finally decided to make New York his home.
5Born in Germany, Mr. Lehmann received his early instruction at the hands of some of the foremost teachers of the present day. The great Wilhelmj quickly recognized his abilities, and foreseeing the future in store for him upon a thoroughly systematized training advised the young artist to enter the Leipsic Conservatory. This he did in 1880, studying with tremendous earnestness and purpose for three years, during which he achieved distinction in the various branches of music as well as in the practice of his instrument, the violin, and by his especial gifts succeeding in attracting the interested attention of Joachim as he had hitherto done that of Wilhelmj. In 1883 he performed at the Leipsic Gewandhaus the Joachim Hungarian concerto with such tremendous fire, dash and brilliant accuracy that the composer-virtuoso was delighted and impressed beyond power to express, and always thenceforward kept a particularly green spot in his memory and affections for the spirited young artist, George Lehmann, who had made his (Joachim's) own work sound so brilliantly and attractively in his own ears.
7For his performance of this work Lehmann was awarded the Helbig prize.
9Choosing America as the field of his career, Lehmann made his début in New York as a solo violinist some years ago, following up his metropolitan appearance by appearance in nearly all the leading cities of the East. In one and all he was greeted with most liberal favor, the press at all points agreeing upon his sterling ability, and the public finding his performances unusually sympathetic and interesting. Criticism was all in his favor, and his popularity in the East almost certainly assured had the artist's health only permitted his remaining in this section of the country.
11But an asthmatic affection forced him to leave New York and its vicinity. He was ordered to find drier air, and after a briefly successful series of concerts, during which he made many friends among musicians and laid for himself a strong basis of artistic esteem, Mr. Lehmann went West.
13From 1886 to 1889 he remained established in Cleveland, where he taught, played, but principally distinguished himself by the formation of the Lehmann String Quartet, a most capable body which did not take long to build up for itself a high-class reputation, and which proved a valuable influence and feature of artistic pleasure in that portion of the West. It also gave concerts by engagement at distant points, and always evoked the most cordial public satisfaction and the most flattering notices from the press. Cleveland will now miss its quartet, which was a factor of such sterling value and importance in the musical scheme of this important centre. For its organization and the impetus thereby given in the matter of good chamber music a large vote of credit and thanks is due to George Lehmann.
15Mr. Lehmann had a large class of pupils in Cleveland, his success as a teacher being remarkable and bringing him through its solid results pupils from nearly all quarters of the West. So pronounced was his success that, although he does not henceforward intend to make teaching a prominent branch of his profession in New York, a large number of his old pupils are still anxious to study with him. Several are coming to New York for the purpose, and these he will continue to instruct, while he does not propose to enlarge or renew his class to any material extent.
17In 1889 the violinist returned to Europe for travel and further study. He remained abroad three years, one of which was spent in coaching with his old friend Joachim, the other two in travel throughout England and France, playing at intervals, hearing the best music everywhere and meeting and forming friendships with some of the most prominent and distinguished artists living.
19Joachim had not heard Lehmann play since the performance of the Hungarian concerto six years before, and was delighted at the breadth and repose which the violinist's own quiet, careful practice and study had now permanently impressed upon his work. Lehmann had coming season as soloist with most of the leading orchestral societies. He is a born player of the violin, and it is as such a concert violinist that he settles upon New York as his headquarters, while he will not totally abandon the field of teaching. Directly upon his settlement here, early though it be in the season, he has been engaged for a series of six concerts by the Aeolian Company. This company's good artists and programs are a familiar feature in New York musical life. He has also been engaged for one of the Sunday night Metropolitan concerts under Anton Seidl.
21That so good an artist will find abundant occasion to display his gifts is to be hoped, as in his intelligent and sympathetic performances an artistic public may find infinite pleasure.
23Berlin Music Notes.
25AT present, with the exception of desultory performances of opera at Kroll's Garden and the new Theatre des Westens, Berlin offers the eager chronicler of musical doings absolutely no material. It is interminably dull here, for everybody that is somebody has long ago sought the solace of woodland or seashore. The only musicians in town are the organists, and even their performances fail to arouse any interest unless the financial end of the entertainment be presided over by a daringly agile monkey in red flounced pants, blue coat, green cap and yellow feather. And yet, in defiance of a public that is too wise to be reformed, some idle dreamers scream "Art for Art's sake."
27Felix Kraemer, alert, bustling, genial, entertaining, ubiquitous, is in Berlin. One could not help but know it within two hours after his arrival. I found Mr. Kraemer at the Savoy Hotel, where he was demonstrating to Prof. S. S. Sanford, of Yale College (the same for whom a chair of music was created), that viewed from either a scientific, a purely musical, or an absolutely artistic standpoint, "there is no better piano in the market to-day than the Kranich & Bach."
29That Mr. Kraemer's explanations are lucid and that his energy and genuine American perseverance brook no obstacles, are facts amply sustained by the practical business results he has achieved as European traveling representative for the house of Kranich & Bach. He informed me that he has established connections for his firm in Hamburg, Munich, Copenhagen and Karlsbad, besides having interested piano dealers in Rotterdam, Antwerp, Stockholm, Amsterdam and Brussels.
31It is surprising how quickly an American grasps and solves business problems and conditions. Mr. Kraemer talks of general business in Europe as one to the manner born. Judging by his own experiences, he firmly believes there is a market in Europe for American pianos, and that it is not difficult to open new channels and awaken general interest, provided the instruments are first-class. Though in Berlin but a few days, Mr. Kraemer will leave many newly-acquired but fast (no imputation intended) friends when he sails for New York on September 9.
33While in Stockholm I heard some good music and more bad. The Andra Nordiska Musikfesten (Second Scandinavian Music Festival), consisting of three orchestral concerts and three chamber music soirées, took place in the presence of the court before large, devout, enthusiastic audiences.
35Prone as they are to admire and imitate foreign customs and manners, the Swedes are unflinching in their devotion to Swedish composers and Swedish music. Whether it be a result of ignorance or parochialism (the two seem some-
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