Scan 34
Musical Courier 1897-11-03: Vol 35 Iss 922, 1897
75 lines. Read by computer on 23 September 2026. Printed page 35. See the scan on archive.org.
1ing number, the G minor concerto of Mendelssohn. Mr. Liebling might give a hint to other pianists and tell them how he manages to keep in such splendid practice and still have more pupils than time to teach them.
3At 2:30 I strolled over to the Chicago Musical College, as I wished especially to hear Miss Marie Hall's performance of the Goltermann 'cello concerto and to also see what progress the young pianist Arthur Rech had made since his last appearance. I found that Marie Hall fully justified the pleasant things said of her and that her tone and technic were excellent. She was a trifle nervous, consequent on a first appearance, and possibly will be heard to greater advantage when she makes her bow to a Chicago audience at Central Music Hall. Mr. Rech, a pupil of Dr. Ziegfeld, has improved remarkably and gave a most creditable performance of Moskowski's "Momento Capricciosa" and McDowell's "Hungarian." The attendance showed how popular the college concerts are in Chicago. Assuredly they are of immense benefit to students, as they offer the inestimable boon of an opportunity to appear publicly.
5After the college concert I looked into the Amateur Club, where Mr. Krehbiel, of New York, was giving a lecture illustrated with various songs by Mrs. Krehbiel. I heard enough to show me that the lecture had been interesting, but why it was necessary for the Amateurs to commence the season by disregarding Chicago talent is best known to themselves. An organization such as this might work in the interest of Chicago people, especially when a lecturer as good as William Armstrong is available. His lectures on American and English song composers have not yet been heard publicly in Chicago. I happen to know that they are among the most interesting and thoroughly well worked out examples of this class of entertainment. Both lectures are beautifully illustrated by refined, scholarly vocal music adequately interpreted by an artist who understands exactly the standard which Mr. Armstrong is desirous of maintaining.
7The Chicago Orchestra—Theodore Thomas, Director.
9The second public rehearsal and concert of the season, happening yesterday afternoon and to-night, was attended in both instances by a full house. The program, distinguished by a couple of novelties, showed the orchestra in one of its best moods. The new concertmaster, of whom particular mention was made last week, proves on further acquaintance a musician of remarkable ability. He is apparently a violinist of extensive routine and orchestral repertory, as I noticed that, except when looking at his leader, he plays most scores from memory with closed eyes, which accomplishment is distinctly pleasurable.
11It is a novel experience to find a musician so thoroughly acquainted with orchestral literature as to be able to lead either classical or modern compositions with equal intelligence. By acclamation of the Chicago critics Mr. Kramer is an enormous improvement on last year's leader. The novelties were "Suite Scheherazade," op. 35, by the little known Russian composer Rimsky-Korsakoff, and Glazounow's Second Concert Waltz. Of these the first named is a delicately wrought series of themes elaborated by wonderful ful harmonies and deftly introducing the various instruments. The Russian composer has a consummate knowledge of woodwind and introduces it with amazing effect. As its name implies, the Suite is descriptive of scenes in the Arabian Nights' tales. It is in four movements, each of which abounds in magnificent harmonies.
13The other novelty—the Glazounow waltz—is not an improvement upon the waltz the orchestra played considerably last year. It is conventional in design and commonplace in construction and was not received with any particular favor.
15Campanari, the first soloist of the season, was hardly at his best in the "Vision Fugitive," perhaps owing to the uncertainty of the orchestral accompaniment, which, under the direction of the assistant conductor, Mr. Arthur Mess, rendered inadequate service. Responding to an insistent encore, Signor Campanari sang the Toreador song from "Carmen," but was again severely tried by the accompaniment, taken at a ridiculously slow tempo.
17The orchestral people have started a splendid season; everything has been altered for the better, and yet criticism is challenged by a poor accompaniment. This fact is incontrovertible and plainly shown by Campanari, who, after his singing of the Pagliacci prologue, was recalled seven times, but resolvedly refused to accede to the request for an encore.
19The program further included Liszt's symphonic poem "Mazeppa"; quartet (orchestrated), "Death and the Maiden," of Schubert, and the "Flying Dutchman" overture.
21Florence French.
23Some Blauvelt Dates.—Lillian Blauvelt sings in Atlanta November 15; Milwaukee, November 18; Toledo, with Thomas Orchestra, November 19; St. Paul, November 22; Minneapolis, November 23.
25Married.—The composer and critic Mr. Louis V. Saar is married. His wife is the daughter of Carl Scholl, a well-known writer on philosophical and religious subjects. Mrs. Saar is highly cultivated and pretty. Congratulations are in order.
27Flavie Van den Hende.—Madame Flavie Van den Hende, the celebrated 'cellist, has been engaged for the following concerts: An Aeolian recital on November 18; a recital in Troy, N. Y., on November 14, and a concert in Albany on November 16.
29"America's Greatest Contralto."—Mary Louise Clary has been engaged for the role of Delilah in the performance of Saint-Saëns' "Samson and Delilah," which is to be given by the Arion Musical Club, of Milwaukee, under the direction of William L. Tomlins, for whom Miss Clary sang this same work a season or two ago with the Apollo Club, of Chicago. In speaking of this engagement the Milwaukee Wisconsin says:
31A great deal of interest centres in the "Samson and Delilah" program to be given February 22, and for which there is engaged Mary Louise Clary, whose Delilah ranks with that of Mme. Rosa Sucher, the celebrated German soprano. Frau Sucher, by the way, was an exponent of this role in one of the earliest performances of the opera in Hamburg, 1883, "Samson and Delilah" having been brought out for the first time on German soil at Wiemar, some time, we believe, in the seventies.
33The Seidl Orchestra Tour.
35The tour of the Seidl Orchestra, with Madame Rivé-King, pianist, is turning out a sort of triumphal march. Wherever they have appeared the press has been unanimous in praising their work. The following telegram was received at this office, which speaks for itself:
37Editors The Musical Courier: BUFFALO, November 1, 1897.
38Rivé-King, with Seidl, in Rubinstein's D minor concerto, to-night scored tremendous success. Great ovation. Heard nothing equal to it since the author played it in this country.
39ZIELINSKI.
41Of the concerts in Cincinnati the press make the following comments:
43No one can listen to Seidl's wonderful orchestra and see his magnificent control of his men without feeling a thrill of admiration. It has been truly said: Mr. Seidl makes his orchestra into one "ne instrument.
45All through the work of Herr Seidl and his orchestra the feeling that comes to one when listening to the pure tones of a great organ obtruded itself, only the melodies were so infinitely varied and the shading so much more exquisitely tender. The sixth and last number, Tchaikowsky's "Symphonie Pathétique," in B minor, received a genuine and hearty ovation. This, coming, too, after the audience had just settled back from a vociferous manifestation of Mme. Julie Rivé-King, was a tribute of which to be proud. For an encore she played Chopin's op. 37, No. 1, G minor.
47Her style, which is familiar to Cincinnati music lovers, is masculine in its vigor and vehemence, yet superbly delicate in tone and finish.—Commercial Tribune.
49The Seidl concert last night at Music Hall, attended by a large audience, deserves to be of musical record in this city. Mr. Seidl's control over his orchestra is magnetic—wonderful. He conducts with absolute self-control and never failing dignity and composure. At the same time his baton is energetic and inclusive in the right direction. He conducts with his eyes, an expression of his face or a movement of his body. In fact, his entire self appears to be the embodiment of the music he interprets.
51Mme. Julia Rivé-King fully proved her claim to being one of the greatest pianists of the present day. Nothing like her playing in dynamic force and musical capacity has been heard here since Madame Carsena's visit. But she has not only the fire and brilliancy that form part of the interpretation of Rubinstein, she is exquisitely poetic and delicate in her playing whenever required. Her musicianship has fully ripened. Technic with her is subordinate to the higher musical thought. She was overwhelmed with enthusiasm by the audience, and in response to an encore she played with the daintiest execution and poetry of expression the Chopin nocturne G minor, op. 37, No. 1.—Cincinnati Enquirer.
53At Dayton the spacious Opera House was packed to the doors and both Seidl and Madame Rivé-King received a tumultuous ovation of applause. The Daily Journal says in the course of a long critical article:
55The closing movement, the "Tarantelle," was proclaimed by Madame King with a verve and dynamic energy that simply carried her auditors out of themselves; but, as she might naively say, "Who could be so cold as to remain unmoved with such uplifting support as Mr. Seidl's men gave?" She was compelled to give an encore.
57A pretty tribute from one artist to the other.
59Carl Bernhard in Concert.—Carl Bernhard, the baritone, who has been recently heard in a number of prominent concerts, will give a vocal recital in Steinway Hall on Thursday evening, November 4. Mr. Bernhard will be assisted by Hans Kronold, 'cellist. Miss Lillian Julian will act as accompanist.
61SOPHIA MARKEE, SOPRANO.
62Address care Musical Courier, New York.
64BEEKMAN, Soprano.
65Concert, Oratorio, Recitals.
66Room 88 Decker Building, 33 Union Square, New York.
68HANS KRONOLD, VIOLONCELLIST.
69Concerts, Musicales.
70Address:
71MUSICAL AGENTS, or
72HANS KRONOLD'S STUDIO,
73132 East 47th Street,
74NEW YORK CITY
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