Scan 14
Musical Courier 1898-04-27: Vol 36 Iss 947, 1898
56 lines. Read by computer on 21 September 2026. Printed page 15. See the scan on archive.org.
1SAN FRANCISCO, Cal., April 18, 1898.
3BESIDES a goodly amount of excitement upon the subject of the late earthquake, San Francisco and vicinity is considerably shaken up over the appearance of the "wunderkind," which seems to have broken out in several places, and from present appearances bids fair to become an epidemic.
5This very naturally gives rise to the question: What may be expected of a child of ten with simply ordinary talent, who is placed with the very best of teachers from the time that it is five years old? Now will come the question: If a child of ordinary talent can accomplish a great deal, in fact enough to astonish its hearers under these circumstances, who and what is the "wonderchild"? Unless it is a José Hofmann, a Gérardy, or a Mozart, it is destined to become nothing more than an example pure and simple of what may be accomplished by hard work under the best of instruction.
7The advent of this so-called wonder is to one who thinks more deeply than the usual run of people significant of a development of music and musical conditions rather than of individuals or of freaks; it is significant, first, of heredity of music, not alone of a musical sense, but of music which has passed from the primitive state into a degree of more or less development. To be more explicit, the parents will have been educated and intellectual musically, instead of simply fond of hearing music for its sensuousness. Above all, it is an example of what may be accomplished by intrusting a beginner to the very best teachers from the earliest study, instead of permitting it to study with the idea that "anybody is good enough for a beginner." That this sentiment is growing less popular with the present generation proves that music is coming into her own, and when this becomes general instead of occasional the whole atmosphere will be changed, and America may rightly rear its head and stand on the same artistic basis that Europe does. Then there will only be room for the good teachers; then the educational, the intellectual, will supersede that which is merely the love for the tune and rhythm in music.
9* * *
11To realize the importance of the musical work of San Francisco one must come just as I have come, directly from the most important centres of the East, to know as I know just what work goes on among the most earnest and successful teachers. How strange it must be to those who do not know what to expect to find this large field so full of great men and women working earnestly, sincerely and intelligently. It has long been well known throughout the country that San Francisco offers the most severely critical audiences, and it is true, for even in personal discussion the conversation and criticisms re-
13veal high ideals, and these high ideals are born of study and thought.
15Is San Francisco to be congratulated or to be pitied that its situation removes it from the close contact of a foreign or even Eastern atmosphere? Perhaps a little of both is due, with hearty congratulations that being, as it of necessity must be, dependent upon itself for its own musical atmosphere and influence upon the whole of this Coast, as far east, indeed, as Chicago, as far north as the pole, and as far south as the colonies, it must contain musicians of the most pronounced merit and workers of the most earnest type. The representative musicians and patrons of music in San Francisco are of the most dignified that any city of the East or Europe may boast, and it will be my keenest pleasure to record the doings and the workings of the local teachers and artists.
17Is it not significant of a high standard of appreciation when it is a fact that the Symphony Orchestra, under the masterful direction of Fritz Scheel, draws immense audiences without soloists? In fact, I am told that it is even more successful without a soloist than with one. Surely this denotes the love or interest in the music per se and not in the personality of a soloist. However, the line should not be drawn too closely, and it should be remembered by the program-makers that a piano or a violin concerto is a valuable piece of literature upon the program, leaving aside all soloists' personalities. When one thinks of the beauties of the Tschaikowsky, the Schumann, the Saint-Saëns (exclusive of the eternal G minor) piano concerti, and one regards the Symphony as an educational body, one feels the concerto, even if not the soloist, to be a necessary adjunct. In addition to the rare value of Fritz Scheel the Symphony has a very valuable member in its concertmaster, Giulio Minetti, who is a much respected violinist in difficult San Francisco. By the time this letter reaches New York the concert of April 14 will have occurred, and the appended admirable program will have been presented to a house which at the present time is practically sold out. Much credit is due the indefatigable Wm. Greenebaum for the invaluable assistance which has been his pleasure to give to this work and with which work he is as closely identified as the director himself.
19Here is the program:
21Overture, Manfred………………………..Schumann
22Symphony, C major………………………..Schubert
23Symphonic Poem—
24The Ratcatcher of Hammelin………………Urban
25Venusburg Music Bachannale……………….Wagner
26(Paris version.)
28May 15 there will be a complimentary concert to Scheel, when the Beethoven Ninth Symphony will be given. One hundred and fifty voices will be heard in the choral work, which will be under the training of H. B. Pasmore. Beginning on Monday, May 9, the orchestra will be heard in a two weeks' engagement in support of the Pantomime company, who will present Vance Thompson's "In Old Japan," with music by Aimé Lachaume, who will conduct the performance. The cast will include Pilar Morin, Mlle. Severine and Edmond Morin. The second week the "Dresden Shepherdess" will be given.
30During this engagement the orchestra will present a suite of Peter C. Allen, who is connected with the faculty of the San José Musical Conservatory. Mr. Allen is a young Californian and a student of Leipsic. The suite is founded upon negro melodies, not developed as Dvorák has done, but in the original form. Much is expected from this suite.
32On April 5 the Pianists' Club, under the direction of Robert Tolmie, whose name is well known in New York and Vienna, gave an interesting soirée to a large audience. All of the numbers were given with understanding, some of them being highly enjoyable. Special mention must be made of the charming and intelligent way in which Miss Cora Mott played Brahms. Miss Mott is a pupil of Mr. Tolmie, and reflects the highest credit upon her teacher. Miss Davenport, also a pupil of Tolmie's, earned much applause in her solo. Miss Schorcht is a violinist of some virtuosity and delicacy. This program was given:
34Rakoczy March………………………………………Liszt
35Mrs. A. L. Lengfeld, Mrs. A. S. Lavenson, Miss Alice M. Brooks, Miss Edith Manning.
36Les Eolides, The Winds………………………….César Franck
37Mrs. F. G. Beatty, Miss Nellie Davenport.
38Impromptu, No. 2………………………………….Chopin
39Miss Nellie Davenport.
40Piano and violin sonata, F major, op. 8………….Grieg
41Miss Edith Manning, Miss Valesca Schorcht.
42Bolero……………………………………………….Reinecke
43Mrs. A. S. Lavenson, Miss Nellie Barrett.
44Invitation to the Dance……………………………Weber
45Miss Edith Manning, Mrs. F. G. Beatty, Miss Nellie Barrett, Miss Marjorie R. Johnson.
46Rhapsodie, op. 79, No. 1………………………….Brahms
47Miss Cora Mott.
48Wotan's Farewell and Magic Fire…………………Wagner
49Miss Nellie Davenport, Mrs. F. G. Beatty, Miss Marjorie R. Johnson, Mrs. A. L. Lengfeld.
51On Saturday afternoon Anton Schott, the Wagnerian tenor, gave a recital at Sherman-Clay's Hall. He was assisted by Miss Gordon, soprano, Arthur Fickenscher, pianist. Critical mention is impossible, as I did not know of it in time to attend, but as another will be given April 15 I shall give a full report.
53Those assisting on the program were Florence Scar- nine, is holding an audience entranced by her capital performance. She is thoroughly musical to begin with, and has what no teacher could have given her in addition to everything that a fine teacher has given her. She has been a pupil for some years of Phila Becker, formerly of Leipsic, now of Los Angeles, which is the home of this little one. The child has a deep poetic imagination, as is evident from her compositions, which reveal the talent of the little girl even more than her playing does. Of course she has technic; if she did not have it she would not appear in concert, as would also be the case if she had no interpretation; but what she does most beautifully is the pedaling. If I were to predict a brilliant future for this child, it would be on the ground that she has pronounced talent, a magnificent groundwork, and her pedaling is intelligent. Paloma Schramm, aged nine, justifies me absolutely in the stand which I take concerning the "wonderchild." It is the magnificent application which she has made of her instruction which places her away above the usual in my opinion; it is the intelligent unfolding of the natural gift which enables me to say with justice to the child and to music that she is an enjoyable, gifted and beyond all unusually talented pianist. More of this child next time.
55Those assisting on the program were Florence Scarborough, contralto, and Arthur Fickenscher. Mrs. Scarborough has an extremely round, rich voice without its being aggressively heavy. Her intonation is pure and
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