Scan 6
Musical Courier 1898-01-05: Vol 36 Iss 931, 1898
56 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 7. See the scan on archive.org.
1playing, promise which is more likely to be fulfilled, since it is shown most distinctly in such pieces as do not make exceptionally heavy spiritual demands on the pianist. He played Raff's "Fabian" and Godard's "Novellezza" a great deal better than Schubert's "Impromptu." Mrs. Katharine Fisk was the vocalist and made her first appearance in London since her return from America. She chose for the first group of German songs Secchi's "Lunge dal Caro bene," Brahms' "Feldeinsamkeit," in which she realized the dreamy solitude of the wood; Hollander's "Winters Nacht" and Schubert's "Der Tod und das Madchen"—the latter a really very fine effort, in which Mrs. Fisk brought out the full meaning of the words; one could almost see death approaching. The eight bars at the end, after the voice had finished, made a fitting sequence to a most effective song. Two folk songs by Chadwick—both little gems—were most delightful combinations of music and poetry. Hawley's "My Little Love" was also appreciated and the "Red, Red Rose," a most charming setting of Hasting's to a favorite poem, "My Love Is Like a Red, Red Rose," made a very favorable impression upon a large audience. We shall be pleased to hear more of this composer's songs. one of two readings
2playing, promise which is more likely to be fulfilled, since it is shown most distinctly in such pieces as do not make exceptionally heavy spiritual demands on the pianist. He played Raff's "Fabian" and Godard's "Novellezza" a great deal better than Schubert's "Impromptu." Mrs. Katharine Fisk was the vocalist and made her first appearance in London since her return from America. She chose for the first group of German songs Secchi's "Lunge dal Caro bene," Brahms' "Feldeinsamkeit," in which she realized the dreamy solitude of the wood; Hollander's "Winters Nacht" and Schubert's "Der Tod und das Mädchen"—the latter a really very fine effort, in which Mrs. Fisk brought out the full meaning of the words; one could almost see death approaching. The eight bars at the end, after the voice had finished, made a fitting sequence to a most effective song. Two folk songs by Chadwick—both little gems—were most delightful combinations of music and poetry. Hawley's "My Little Love" was also appreciated and the "Red, Red Rose," a most charming setting of Hasting's to a favorite poem, "My Love Is Like a Red, Red Rose," made a very favorable impression upon a large audience. We shall be pleased to hear more of this composer's songs. one of two readings
4Herr Sauer is admitted, I believe, to be the foremost exponent of the Deppe system of technic, and I have seen him described in advertisements as "The world's greatest pianist," but an undisputed claim to this title certainly could not be granted to Herr Sauer upon the testimony of his playing on December 8. His power is magnificent, his delicacy and finish are very remarkable, but there is a want of naturalness and this deficiency mars the effect that Herr Sauer's other qualities would undoubtedly produce.
6No orchestral concerts have taken place the past week except the Royal Amateur, which calls for no special mention, and the Westminster Orchestral Society, which would be passed over here but for the fact that it served for the debut of a young English violinist, Donald Heins. He has recently completed his studies at the Leipsic conservatorium, where he earned golden opinions from all, his masters being Hans Sitt, Schrek and Richard Hoffmann. His instrument is a valuable Stradivarius, and the tone he produces, though not very powerful, is extremely sweet and clear, the intonation being absolutely perfect. His technic is really wonderful, and the only fault to be found with his playing—lack of fire and dash—is one which time, probably more than anything else, will cure. one of two readings
7No orchestral concerts have taken place the past week except the Royal Amateur, which calls for no special mention, and the Westminster Orchestral Society, which would be passed over here but for the fact that it served for the début of a young English violinist, Donald Heins. He has recently completed his studies at the Leipsic conservatorium, where he earned golden opinions from all, his masters being Hans Sitt, Schrek and Richard Hoffmann. His instrument is a valuable Stradivarius, and the tone he produces, though not very powerful, is extremely sweet and clear, the intonation being absolutely perfect. His technic is really wonderful, and the only fault to be found with his playing—lack of fire and dash—is one which time, probably more than anything else, will cure. one of two readings
9Dwight Edwards, the young American baritone, gave an evening concert at Queen's (small) Hall the 10th inst., when he was associated with T. B. Gridley, the pianist. The concert attracted a full house. Mr. Edwards' singing of "La Splendeur Immortelle de l'Art" being probably the best piece. He was also assisted by Miss Jeanne Douste, Maurice Farkoa, Miss Rosa Green, Mme. Belle Cole and others.
11Miss Katie Goodson and Marix Loevensohn gave a piano and 'cello recital the 9th inst. at St. James' Hall, prior to their leaving for a continental tour. These young artists, who now have considerable reputations in London, were accorded hearty applause for their playing of Mendelssohn's Theme and Variations in D major, Op. 17, and the Rubinstein Sonata in D major, the romantic second movement being played with much expression and the finale with ample vivacity. The young pianist was somewhat lacking in warmth of sentiment, though her execution was satisfactory in Beethoven's sonata, Op. 90. Among the other items of her performance were two numbers from Chopin and "Lucciole," by her master, Leschetizky—probably her best efforts. Mr. Loevensohn, in his 'cello selections from Mozart, Davidoff, Popper, Saint-Saëns and others, displayed great breadth of tone and artistic phrasing, and his playing generally showed an artist of excellent qualifications, though he has not yet reached the age of twenty.
13Among other concerts which have taken place the past week was one by Miss Gwendolin Thomas and Miss May Fussell, who gave a piano and 'cello recital at the Queen's (small) Hall, assisted by Plunket Greene.
15Arthur Boosey gave his last ballad concert before the Xmas holidays Saturday afternoon. On December 2 Harrison Brockbank gave a concert, when he was supported by a number of well-known artists. Thomas Meux and Luard Selby gave a concert in Queen's (small) Hall the 8th inst., and the students of the Royal Academy of Music contributed a program at the Imperial Institute the evening of the same date. F. V. ATWATER.
17Guilmant's Organ Recital.
19THE characteristics of Alexandre Guilmant as an organist, his personal qualities, his successes, were spoken of so fully in THE MUSICAL COURIER of December 22, which might be called a Guilmant number, that there seems little to add to concerning him or his playing, except to regret that the recital at Mendelssohn Hall on Tuesday may be his last in New York. Certainly the attendance, which included many of the most cultured musicians, amateur and professional, in the city, and others capable of appreciating the higher development in any form of art, indicated that the desire to hear him is not yet entirely gratified.
21When M. Guilmant came on the stage accompanied by William C. Carl, who has been with M. Guilmant at all his recitals, some interesting and flattering comments came to the writer's ears from those who had not yet seen the fine looking and courteous organist. The only valuable bit of information imparted, however, was that volunteered by a critic to the effect that Guilmant did know in advance the subject for improvisation. This amused many who either knew Guilmant personally or through the accurate accounts of him in THE MUSICAL COURIER; who knew that the theme for improvising is to Guilmant what the subject of moment is to an orator.
23Given natural eloquence and a mind well trained and stored with musical ideas and the results may always be confidently anticipated. To all doubters we may again point out that Guilmant's improvisation and mastery of logical construction have never failed him during the many concerts given abroad and here. Each new hearing confirms the impression that no organist in the world can equal him in improvisation; and few in his mastery of all the technical resources of his art. He is absolutely free from trickery and maintains his power over an audience by legitimate musical means. His improvisation Tuesday was based on a theme sent in by Walter Danrosch. The theme was decisive and somewhat similar to Dudley Buck's theme given at the second church recital. It had the merit of being easily recognizable as it appeared and disappeared in entirety or in parts, expanded or contracted, changed in rhythm and variously harmonized. It received logical and artistic treatment throughout, and came out triumphant at the end, after passing through some marvelous contrapuntal complexities.
25The sixth sonata, with which Guilmant opened his program, is, like all his sonatas, constructed with masterly knowledge of form and is full of melodious beauty. It was, perhaps, less effective on the Mendelssohn organ than on the organ of the "Old First" Church, where he first played it, for the Mendelssohn organ is harsh and noisy in many of the combinations and does not satisfactorily lend itself to an especially fine interpretation, yet the strong theme of the allegro con fuoco, the brilliancy of the fugue and the placid loveliness of the meditation made a strong impression, notwithstanding the limitations of the organ and the lack of contrast on registration. Following this came the cheerful first movement of Händel's fourth concerto, in which Guilmant's phrasing was so clean and expressive as to put the audience in great good humor.
27In his own caprice in B flat, too, which he played after the Widor andante cantabile, the organist showed a delicate and subtle humor which caused appreciative smiles. In an entirely different vein was his composition, "Ce que dit le silence," for voice, piano and organ, which was marked by simplicity and purity of feeling. It received good interpretation through the singing of Miss Emma Juch, Mr. Carl at the piano and M. Guilmant at the organ.
29Recalled, Miss Juch sang the omnipresent "Ave Maria," by Bach-Gounod. Her other songs were by Schumann, all sung with pleasing art, but with lack of power. Th. Dubois' "Fiat Lux" was M. Guilmant's final number.
31The numerous recalls received by M. Guilmant testified to the delight he bestowed upon the listeners. It would be welcome news to many to know that he could be heard here again upon a better organ than that in Mendelssohn Hall.
33The Hardman, Peck & Co. Musicales.
35THE first of a series of four matinees musicales given by Messrs. Hardman, Peck & Co., by arrangement with Messrs. Phipps & Campiglio, managers, took place in Hardman Hall on Tuesday afternoon, December 28. Miss Katherine Evans Enos, soprano; Miss Florence Dillard, violinist; Clarence Strass, pianist, and the Anglo-American Male Voice Quartet, composed of Messrs. Williams, Stuart, Warren and Ralston, furnished the program. Taken en ensemble this initial musicale was a decided success.
37The vocal quartet made a particularly good impression, singing with excellent tonal quality, precision and color. The rhythmic sense was also well observed. One lullaby song was given with most delicate expressiveness and called forth an encore in the shape of a swinging march chorus which went with vigor and dash.
39The soprano, Miss Enos, is the possessor of a very charming voice, brilliant in timbre, and quite pure in the production. She does not yet sing with the freedom and verve which would disclose her powers to the fullest, but shows sympathy, refinement and excellent vocal control. Among other numbers she sang Massenet's "Pensée d'Automne."
41Violin solos by Miss Dillard varied, but did not largely enhance, the program. Her tone is at times rough and the intonation not always impeccable. One of her program numbers, "A Romance Sans Paroles," by Gorno, collapsed after a few bars—evidently an affair of memory.
43Three Chopin numbers were played by Clarence Strass, a young pianist who has plenty of time ahead to curb his superabundant energy. This energy, coupled with a confident ardor, is at present productive of noisy and indistinct results. The great "Heroic" etude of Chopin, in C minor, substituted for the etude in G flat, was played with reckless sweep, uncertain finger and serious abuse of the pedal. Mr. Strass, however, has material for training.
45The audience was good and showed cordial approval of the program.
47Charlotte Maconda.
49Miss Charlotte Maconda, the gifted young soprano, whose brilliant, flexible voice and artistic methods have always made her a favorite in New York, will sing with the Harlem Symphony Orchestra at its first concert on February 5, in the Harlem Opera House. Miss Maconda will be heard in a second concert at the Astoria Hotel.
51Signor ARTURG NUTINI,
52"The Blind Paderewski,"
53CONCERT PIANIST:
54Direction, J. BISTOLFI,
55151 West 46th Street, New York.
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