Scan 34
Musical Courier 1900-10-31: Vol 41 Iss 1075, 1900
91 lines. Read by computer on 22 September 2026. Printed page 35. See the scan on archive.org.
1"The Merry-Go-Round," "Resting in the Shady Grove," and "With Drum and Fife." Very pretty and treats for the children, particularly the last. And there are others.
3Another collection for the beginner, in separate covers, entitled "Lotos Flowers for the Piano," is by Richard Ferber. "Emotion," "Affection," "Happiness" and similar titles are given these compositions, though the music does not particularly express these states of the mind. They are very nicely arranged and excellent for the purpose for which they are intended. It is the John Church Company which published the above, and great credit is due to this and other publishing houses in this country that are getting out such excellent material for music students.
5G. Lange's "Flower Song" simplified by J. W. Leman for the little tots.
7Sousa's "Hail to the Spirit of Liberty March," "composed expressly for and played for the first time at the dedication of the Lafayette monument in Paris, July 4, 1900." Published for four hands.
9Violin Music.
11August Wilhelmj and James Brown have compiled a "Modern School for the Violin." Book 3 B (third book of studies) is just out and is to be used concurrently with the third book of technical practice. The studies comprise passages in which changes of position and changes from one string to another take place simultaneously, exercises for the solid staccato, smooth bowing across the strings, short strokes near the point, polonaise hook, harmonics, double stops, raising the bow, springing bow and whipped attack.
13Some excellent pieces for the advanced student are published in folio edition, under the heading, "Selection of Pieces from Palaestria—A Collection of Sonatas, Suites and Concert Pieces for Violin Solo, with Piano Accompaniment. Carefully Marked and Annotated, by Ernst Heim." To summarize them briefly, there is the "Andante Religioso," by G. De Angelis, a beautiful piece with beautiful harmony; R. Hoffman's Gavotte, a pretty encore piece, jolly and chic, but his "Scherzino" and "Wieneglied" not so interesting. Alfred Moffat's "Hebriden Forram" of a Scotch flavor; J. Hoffmann's "Bolero," a brilliant and flashy piece, without depth, but appreciated by any audience. Lastly, an attractive piece, entitled "Gypsy Dance" (Ziguen), by S. Coleridge-Taylor, which furnishes an example of his peculiar rhythmic tendencies.
15In the above passage the rhythm of the first measures is entirely different from that in the last, which occurs shortly afterward, and these changes from one rhythm to another are of constant occurrence throughout Mr. Coleridge-Taylor's composition.
17There is a new violin concerto by P. A. Tirindelli, and as the piano part by the composer will soon appear it were best to defer the review of this composition until its arrival, as only the violin part is here at present.
19Berenice Thompson.
21Pascal's Newark Recital.
23JULIAN PASCAL, the pianist, will play the following program at his recital in Newark, Friday evening, November 2:
25Etude ………………………………………………………..Rubinstein
26Sonata ………………………………………………………..Beethoven
27Impromptu ………………………………………………….Chopin
28Etude, The Butterfly ………………………………………Chopin
29Nocturne …………………………………………………….Chopin
30Prelude ………………………………………………………Chopin
31A love song sung to the accompaniment of the waves.
32Scherzo ………………………………………………………Chopin
33Scherzo ………………………………………………………Julian Pascal
34To suggest the windy, boisterous time of the year.
35Nocturne …………………………………………………….Julian Pascal
36A love story.
37Etude ………………………………………………………Julian Pascal
38A glimpse of the fairies dancing.
39Rhapsodie ………………………………………………….Liszt
40A Gipsy wedding scene.
41The recital will be given at Association Hall.
43A Busy Managerial Office.
45THE business of managing musical artists has in the past been handled by men who were of the belief that without them the artists would starve, and that they were the only ones that could get good engagements for musicians, and that it was not necessary to be surrounded with experience and brains.
47Loudon G. Charlton, who stands to-day not only the most popular, but the most successful manager and director of tours, is of another opinion. He has associated with him in the conducting of his business men of ability as well as brains, all of whom have a presence that is sure to control the good will of the musical public wherever they come in contact with it.
49Edward S. Brown, the assistant manager of Mr. Charlton's two offices, was formerly associated with Victor Thrane, and is well known as a manager of wide possibilities.
51Richard Heard, special representative, is a man of wide acquaintance, and his experience in the managerial business covers a considerable number of years. Mr. Heard is a Bostonian, and a member of some of the most exclusive clubs in the country. He is extremely popular, and a forceful talker—one who never fails to convince his auditors.
53Ernest H. Jackson, brother of Leonora Jackson, has also had years of experience, he having assisted in the management of his sister all through her successful career.
55Bennett Griffin, advance man, long connected with the managing of Thomas' Orchestra, Van Eweyk and Minnie Fish-Griffin, the soprano, is another of this force with which Mr. Charlton has surrounded himself.
57Besides these he has representatives in a number of the large cities of the States and Canada who are looking out for his interests.
59Mr. Charlton has just recently started on a trip to cover a period of from four to six weeks, and, with himself and three other good men on the road, expects to do more business for the artists under his management than they expect.
61Mills and Van den Hende.
63Loudon G. Charlton announces that Miss Lotta Mills, pianist, and Flavie Van den Hende, 'cellist, will make an extended tour this season, giving a series of joint recitals. Their programs are interesting, and taking into consideration that these two artists are of the highest calibre this should be a very busy combination. Manager Charlton has already booked a number of engagements for these gifted young women.
65HAROLD BAUER.
66[By Cable.]
67Paris Office The Musical Courier, October 30, 1900.
68Musical Courier, New York:
69Harold Bauer tremendous success in Madrid and Barcelona.
70Fannie Edgar Thomas.
72Breitner Assists.
74THE usual large audience of women that patronize the Kneisel Quartet was again in evidence at Mendelssohn Hall yesterday afternoon at the first concert of the season to be given by that organization.
76The personnel of the quartet is the same as last season. The Beethoven Quartet, in A major, op. 18, No. 5, and the Dvorák Quartet, in E flat major, op. 51, were the two compositions played by the Kneisel Quartet at this concert. They served as a comprehensive medium for the display of the good and bad points in the concerted performance of this organization.
78In the Beethoven work, for instance, the ensemble (with the exception of one bad slip in the andante cantabile) was most satisfactory; the reading was correct; the rhythm was clean cut and exact, and the balance of parts was intelligent. On the other hand, the interpretation suffered in that too much repression was exercised by the individual players, in a mistaken attempt to allow themselves to be entirely dominated by one spirit. It is natural, perhaps, that several musicians who play together continually, while at the same time they are made to subordinate themselves to one man, and, as it were, submerge their own individuality in his, may unconsciously fall into such a state, but in this case it may develop in time that too much Kneisel is not a good thing, as we have frequently pointed out.
80The op. 6 of Richard Strauss, a Sonata for piano and 'cello, received a hurried reading—not an interpretation—at the hands of Messrs. Breitner and Schroeder. Ludovic Breitner is a most excellent musician and pianist, but the massive, unklavier massig, piano part of this sonata evidently could not appeal to a pianist.
82The 'cello part is particularly ungrateful in the first movement, and Schroeder was compelled (or thought he was) to force his tone against the massive piano part to such an extent that it lost in musical quality what the player added in strenuousness. This genre is evidently not the most congenial field for Richard Strauss, who needs the wider scope of a full orchestra in which to display his creative talent to advantage.
84Mr. Breitner produced a beautiful quality of tone on the Baldwin grand piano, which proved its musical worth as the recent recipient of the Paris Exposition Grand Prix.
86Minnie Tracey as Elsa.
88THE performance of Wagner's "Lohengrin" at the Metropolitan Opera House last Monday night attracted a fair sized audience. Minnie Tracey, the Elsa, sang the role for the first time here, and those who heard her excellent singing as Aida expected her to prove equal to the dramatic requirements as the fair heroine of Brabant, and it is a pleasure to record that expectations were realized.
90The dreamy, fragile type of Elsa has not been seen in this city in a decade, and therefore Miss Tracey's impersonation was equal and in many respects superior to that of the prime donne in the Grau foreign company. The remainder of the cast received notice at the previous presentation of the opera several weeks ago.
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