Scan 18
Musical Courier 1899-11-29: Vol 39 Iss 1028, 1899
99 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 19. See the scan on archive.org.
1but one for use in traveling. Mr. Virgil told him that it was being said that he cautioned people against the use of the Clavier, whereupon he exclaimed: "That is false; I recommend it to everybody—it is invaluable as a means of acquiring a correct touch. I practice upon it constantly and would not be without it." He then added: "Money speaks louder than language; I am here to-day to purchase another Clavier with a traveling trunk, for which I wish to pay the regular professional price. I will accept it on no other terms."
3Mr. Ward Stephens is of the opinion that emotional people and those "who have music in their blood" require constantly during practice to hear the sound of the piano, and that practicing on a dumb piano is a strain on the nervous system. I think the reason that there are so many people in the world who are emotional and musical enough to be fine players and yet are not, although they devote many hours a day to practice, is because their feelings get the better of them and their head is allowed to play no part in their study. Heart and soul are good things for a pianist to have, but if he wishes to perform absolutely artistically and to make effects that will be understood and appreciated not only by himself, but also by his hearers, he must not forget that he needs to cultivate also his mental activities, as these control the physical functions employed in piano playing. I think it is more strain on an emotional person to exercise fully the mental faculties when hearing tone than when not hearing it, but perhaps this is taking too cold-blooded a view of the matter to please Mr. Stephens. I believe it was Madame Essipoff who said she could not accomplish certain difficulties in piano playing until she had arrived at the point that she was able, by means of the exercise of special will power, to be entirely oblivious to tone while practicing. This great exertion would have been spared her had she practiced on a toneless instrument.
5It is, of course, true that fine pianists can be made without the Clavier—given a musical genius of phenomenal physique, with excellent brains, nerves and muscles and well shaped hands, and he will succeed with or without the Clavier, but I certainly think there are very few pianists in this world who would not be benefited by a judicious use of the instrument so greatly despised by Mr. Stephens, and I know, as a fact, that all would accomplish their object very much more quickly if they would submit to the logical method of training laid down in the Virgil method.
7I cannot enlarge upon all the points to which Mr. Stephens refers, nor go into detail about the various pianists he mentions. I will only say respecting Von Bülow that he took the pains to see Mr. Virgil several times while he was in America and was highly interested in his invention and begged him to visit Germany, saying that if he did so he would do all in his power to help him. With regard to Von Bülow's playing, I am of opinion that it would not have been so stiff and cold had he made thorough use of the Clavier and the Virgil method. But a truce to all this. I would fain answer at length Mr. Stephens' other remarks, but time and space forbid, and perhaps, too, it would be waste of energy, for he is evidently one of those who despises reason and loves to "darken counsel by words without knowledge," and, as Humboldt wisely remarks, "to an unreasonable mind nothing is so unreasonable as reason."
9FLORENCE DODD.
11Wednesday Morning Chamber Musicale.
13This morning, at 11 o'clock, in Carnegie Lyceum, the second Wednesday Morning Musicales of the series arranged by Townsend H. Fellows will be given. The performers will be Alexander Rihm, pianist; Henry Schradeck, violinist; William J. Maier, viola player, and Leo Schulz, violoncellist. The singer is Townsend H. Fellows. These numbers will be given:
15Trio, B flat major, op. 52……………………………A. Rubinstein
16Baritone solo, Romance from Tannhäuser…………….Wagner
17Townsend H. Fellows.
18Quartet, G minor, op. 25……………………………….Brahms
20(CLEMENTINE)
21Season 1899-1900
22DE VERE
23WITH MAURICE GRAU OPERA COMPANY.
24For Concerts and Oratorios
25Address:
26HENRY WOLFSOHN'S MUSICAL BUREAU, 131 East 17th St., NEW YORK.
28MANSFIELD,
29SOPRANO.
30Address: THE WOLFSOHN MUSICAL BUREAU,
31131 East 17th St., New York.
33Edward MacDowell
34PIANO RECITALS.
35For terms, dates, etc., address ONLY, care
36ARTHUR P. SCHMIDT, Music Publisher.
37Boston: 146 Boylston St. New York: 136 Fifth Ave.
39JOACHIM VIOLIN SCHOOL,
40(no line here) one of two readings
41CARNEGIE HALL, NEW YORK. one of two readings
42Conducted by
43Miss GERALDINE MORGAN.
44Only school in America authorized by Prof. Dr. Joachim to teach his method.
45CARNEGIE HALL, NEW YORK. one of two readings
46(no line here) one of two readings
48THE MUSICAL COURIER.
50STEINERT HALL, BOSTON, November 26, 1899.
51BOSTON'S LIMITATION.
53WHEN two weeks ago I launched forth, "Sans peur et sans reproche," with the statement concerning Boston's need of a manager to handle the large amount of talent now going to waste in this city, I had little idea that the matter was as serious as it is, and within this time I have had private hearings of many genuine talents. Not all live in Boston proper.
55The surrounding country holds many young women and young men who have come into Boston for study, and from here have gone abroad and after long and serious study have returned to what? To their own homes, somewhat out of the city, and no possibility of booking with anyone here whose business it is to know where soloists are wanted, and so these people sink into total oblivion, to say nothing of the sentimental side, to say nothing of the disappointment and the discouragement, the lost years of work in bringing to an artistic condition a talent which is God-given. Yes, Boston is a beautiful field run to waste completely. New York is sadly overrun, and this is the solution it has to take that which should be shared by Boston.
57Little good it is to tell these people that they must go to New York. New York has its own and has been the receptacle for all the talents of America, and why should it be necessary for Boston to pour its talents into New York to take care of? The condition is a ridiculous one. Here is a city which in musical importance ranks second to none. From personal observation I believe that there is more healthy early instruction here than anywhere that I have ever been; with this good foundation and the opportunities for hearing music which are unparalleled, the artists who emanate from here or who come here to locate are practically lost. There is not one out of a thousand that can possibly make either reputation or success, and I would not like to say how many give it up in sheer hopelessness.
59Why has Boston no manager? What do people mean when they say that Boston is conservative? Has conservatism anything to do with a bright, hustling, business man who knows the business and the country, coming into Boston and taking hold of it?
61* * *
63This has been an overwhelming week to concert-goers, to say nothing of the army of music critics, who must digest the delectable concerts spread before them, whether they will or not. The only redeeming feature of this cyclone of concerts is that they all were remarkably well presented and from one side or the other were interesting.
65* * *
67The Boston Symphony presented:
68Overture in the Italian style, in C major, op. 170………….Schubert
69Les Veillées de L'Ukraine. Morceau de Concert pour violin et orchestre……………………………………………..Loeffler
70Une Nuit de Mar (La Noyée—Runa). Lento.
71Les Paroiki s'amusent. Allegro giocoso.
72Till Eulenspiegel's Lustige Streiche, op. 28………….Richard Strauss
73Symphony No. 4, in E minor, op. 98……………………Brahms
74Soloist, Franz Kneisel.
76Charming, indeed, was the work of C. M. Loeffler, and Kneisel presented the work of his colleague in a manner which proved his entire sympathy with it. Eight years ago Loeffler himself presented this composition, under direction of Nikisch; since then he has rewritten it, adding here, eliminating there, until it is in such condition as to call forth delight from the most fastidious. Here is no striving for effects, spontaneity being its principal charm. Poetic, absolutely not sentimental; vigorous, yet essentially graceful; brilliant, yet never blatant nor commonplace, and, most remarkable of all, melodious ever, one might even say tuneful, yet never once approaching cheapness, is a resumé of the essentials of this concert morceau.
78The orchestration, too, is done with a masterly touch. Rich, flowing, full of individuality and of glimpses of has shown himself a thoughtful, original and poetic writer, has shown himself a thoughtful, original and poetic writer, free from bombast and from the desire of obtruding his personality for the sake of doing things differently.
80The presentation was admirable; nothing could have been desired in nuances, tempi, grace or those innumerable indescribable details that make a perfect entity between composer, composition, soloist, orchestra and, may I not add, audience, as the reception accorded it was one which was marked with hearty and open admiration and appreciation.
82The Strauss "Till Eulenspiegel" had a clearly comprehensive and lucid presentation, one which seemed to set forth in every detail the desire of the composer, if bursts of mirth and then of sentiment without a chiaroscuro was to be expected. To be sure there was one effect which sounded like the noise which we have learned to expect when the heavy comedian falls down the stairs, a noise which seems to be executed by a wooden rattle, but this, too, we have learned to enjoy from Richard Strauss, who has also taught us to look pleasant during a double quartet of cymbals.
84The Brahms Symphony received specific treatment in last week's criticism of the Philharmonic concert in New York, so there is nothing to say of this splendid masterpiece save that its presentation by Mr. Gericke and his men was masterly and imposing.
86Next week Fannie Bloomfield-Zeisler, not inaptly called the "Sarah Bernhardt of the keyboard," will play the Grieg A minor piano Concerto. The Symphony No. 3 of Tchaikowsky will also have its first presentation here.
88* * *
90Besides attending the interesting concert of the Kneisel Quartet, at which Richard Burmeister was the assisting artist, I went to Cambridge on Tuesday night, attracted by two numbers on the program that I wanted very much to hear. These two numbers were Dvorák's Terzetto, for violins and viola, op. 74, and especially the Richard Strauss piano Quartet in C minor, the piano being played by Heinrich Gebhard.
92Both compositions were superb and well worth going that distance to hear. The piano quartet was a distinct surprise, for nothing could be more compactly and simply built. All the bravura and self-will shown in the orchestral writing of this composer were absolutely eliminated from the chamber music, and the andante was a noble piece of writing. It was admirably played and Gebhard did very commendable work and shows to good advantage in ensemble. In the Boston concert the Borodine Quartet was a refreshing bit of writing, all of it interesting, although the finale seemed rather trivial.
94At the next concert Madame Maas-Tapper will assist at the piano; also Max Zach and H. Heberlein.
96* * *
98A musical event of enormous importance was the celebration of the two hundred and fiftieth anniversary of the Second Church of Boston, which lasted for two days. The Sunday services, besides including Mendelssohn's "Hymn of Praise," presented hymns of the earliest times. On Mon-
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