Scan 39
Musical Courier 1900-11-28: Vol 41 Iss 1079, 1900
63 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 40. See the scan on archive.org.
1Gabrilowitsch Plays in Recital.
3The Poetic Pianist Achieves Great Success.
5OSIP GABRILOWITSCH gave his first piano recital in Mendelssohn Hall last Monday afternoon. His program was this:
7Toccata and Fugue, D minor……………………………Pach-Tausig
8Sonate, D major, op. 28 (Pastorale)…………………Beethoven
9Nocturne, D flat major, op. 27………………………..Chopin
10Valse, A flat major, op. 34……………………………Chopin
11Carneval, op. 9…………………………………………..Schumann
12Romance, F major, op. 26…………………………….Rubinstein
13Gavotte, D minor………………………………………..Gabrilowitsch
14L'Alouette…………………………………………………Giinka-Balakireff one of two readings
15L'Alouette…………………………………………………Glinka-Balakireff one of two readings
16Rhapsodie, No. 8……………………………………….Liszt
18This program, admirable as it is, did not make any excessive demands, emotional or intellectual, upon Gabrilowitsch's powers, and the atmospheric conditions were not favorable; the excessive humidity and heat of the hall not being agreeable adjuncts to a musical performance. Nevertheless this gifted pianist did not allow the weather or an apathetic audience—apathetic at the start—to disturb his spirit. His reading of the Tausig Transcription was most inspiring; the toccata being given with great breadth of tone and the fugue with a justness of tempo and a polyphonic discrimination that revealed serious, solid training. The Beethoven was full of poetic atmosphere, of mellow feeling. It was in the right key, as far as mood, though the tempi were not in accord with modern theories. The andante, with its pizzicato accompaniment in the bass, was gravely, tenderly played; but the scherzo might have been more sprightly in speed. It lacked vivacity, humor.
20The two Chopin numbers were in a vein quite consonant with the poetic meanings of the composer. The nocturne was charming in color and sentiment, while the interpretation of the valse was absolutely novel. Instead of making it a showy salon piece, Gabrilowitsch extracted from it shades within shades, made it sing in every member and phrase, and charged it with delicacy, coquetry and grace. It was so unusual a presentation of this banal dance that the young artist must be congratulated. With the Schumann Carneval he was not invariably successful. There were élan, brilliancy and intimate feeling for certain numbers of the cycle; but it did not seem a sustained effort—perhaps the pianist was enervated by the withering heat of the afternoon. Yet how nobly he delivered the Valse Noble! With what sensuous charm he informed the Chiarina and Chopin!
22Gabrilowitsch's touch, supple and singing, is irresistible. It is both golden and nimble. He has a true feeling for dynamic values, and his deft pedaling lends depth, fluidity and atmosphere to his rich tone. He has plenty of speed when he desires it, but for him technic, for technic's sake, is inconceivable. Perfectly armed at all points for combating the most gigantic difficulties, he nevertheless prefers to sink himself in his music. So we get singularly eclectic interpretations from his fingers and a variety of moods. Such excerpts as the "Aveu," the Valse "Allemande"—the latter taken at true German tempo—Paganini, and the "Marche," were all admirably contrasted. His own Gavot has rhythmic vigor and a pretty and original musette. Here some of the harmonic combinations were very daring. The Gavot had to be repeated.
24"L'Alouette" is a brilliant bit of embroidery, requiring vivacious fingers. It is salon music of the better sort. With the Liszt Rhapsodie Gabrilowitsch astonished his audience; he thundered and lightened over the keyboard, and played the Friska with gay abandon. The coda was given at an astounding tempo. Then the audience enthusiastically demanded more, and heard a sweetly poetic performance of Chopin's B minor Nocturne. It was a true Chopin interpretation, all the rarer because of its fine blending of external beauty with sane sentiment.
26Next Friday afternoon, at the second recital, Gabrilowitsch will present a stronger and more interesting program. His success on Monday was unequivocal.
28Recital by a Bowman Pupil.
30MISS CECILE LOUISE CASTEGNIER, a talented pupil of E. M. Bowman, the New York piano instructor, gave a very successful concert in Chamber Music Hall, Carnegie Hall, on the evening of November 23. A large and enthusiastic audience was present, and the pianist received recalls and many beautiful floral tributes.
32The program proved to be varied and well chosen, comprising compositions by representative musicians. Mr. Fleming, baritone, and Ralph Dayton Hausrath, pianist, gave valuable assistance, and Professor Castegnier, father of the young performer, contributed humorous elocutionary numbers.
34The opening selection was a brilliant duet, Mendelssohn's overture to "Ruy Blas," played by Miss Castegnier and Mr. Hausrath. Other piano features were Schubert's Impromptu in A flat, Schumann's Romance in F sharp, and "Aufschwung;" "From an Indian Lodge;" "To a Water Lily" and "To the Sea," MacDowell; waltz, "Soirée de Vienna," Schubert-Liszt. and "Saltarelle," Scotson Clark.
36Miss Castegnier possesses a musical touch, which abounds in varieties of tone and expression. As was recently appropriately said of it: "It is full of singing power and variety in color; it is clear and limpid at times, and again massive and mellow withal, or brilliant and sparkling, as occasion may demand."
38The event constituted the third recital given in New York by this pianist, whose rapid development under the guidance of Mr. Bowman, with whom she has studied since 1896, is a matter upon which that competent instructor may be sincerely congratulated. The interpretative power which she displayed revealed her artistic French parentage and her natural gifts, as well as the ability of her teacher.
40Voelker Violin Recital.
42FRIEDRICH VOELKER, formerly with the Thomas Orchestra, gave a violin recital in Mendelssohn Hall last Wednesday evening. Before coming to the United States Voelker was noted as a concertmeister in Hamburg. Now he is permanently located in New York, and here he will doubtless make his way as an earnest, musicianly artist.
44At his recital in Mendelssohn Hall last week Voelker presented a program somewhat out of the ordinary. He played first the Raff Suite in G minor, a work seldom heard on this side of the water. While at once revealing technical skill, Voelker was apparently nervous in his first bow before a metropolitan audience. But in the Bach Prelude, which he played unaccompanied, as an encore after the Raff composition, he had gained control of his bowing.
46In the lovely Bach air which he played at the opening of his second group of pieces, Voelker displayed a warm and sympathetic tone. His performance of the Andalusian Romanza, by Sarasate, lacked color, but in the Slavic Berceuse, by Neruda, the artist again revealed admirable qualities. As an extra number after his second group, Voelker played in spirited style a selection from Mascagni's "L'Amico Fritz."
48Three numbers were played by the violinist to close the recital. These were a composition by himself, entitled "Sentiment Poétique;" Wieniawski's "Legende," and the "Carmen Fantaisie," by Sarasate, all calculated to show the technical ability of the performer.
50Voelker was assisted at his recital by Mrs. Jessie A. McClelland, soprano, and Lacey Baker, organist.
52Pratt Piano Recital.
54SILAS B. PRATT gave a piano recital at Knabe Hall last Monday afternoon, at which he repeated the program performed at the Hotel Majestic on November 19. Two groups of Chopin and one of Pratt's own compositions made up the works presented. Mr. Pratt also gave a discourse at the close of the recital, in which he explained to the teachers and students how to study difficult parts of certain compositions.
56The Chopin numbers played by Mr. Pratt Monday afternoon were the Etude on the Black Keys, Etude in C minor, the No. 7, in op. 25; Nocturnes Nos. 1 and 2, in op. 27; the Waltz in A flat; the Impromptu, No. 1, in op. 29; the Berceuse; the brilliant Scherzo in B flat minor; the beautiful ballad No. 1 in op. 28, and Grand Polonaise in E flat. Of his own compositions the pianist played "Meditations Religieuse," "Dance of the Shepherds" and a paraphrase on "The Old Folks at Home." The educational importance of Mr. Pratt's work is appreciated everywhere, and the large audience of earnest students who heard him on Monday last applauded heartily his thoughtful poetic playing and interesting descriptive analysis.
58Monday afternoon, December 3, Mr. Pratt will give his second Chopin recital at the Hotel Majestic.
60Genevieve Bisbee's Plans.
62This Leschetizky pupil of Carnegie Hall will give monthly musicales at her studio, when, besides her own playing, that of advanced pupils will be heard. She is also preparing a very talented pupil, who studied with Dr. Mason, for Leschetizky. Miss Bisbee has some talented students, and believes they will do her credit.
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