Scan 5
Musical Courier 1901-01-23: Vol 42 Iss 1087, 1901
45 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 6. See the scan on archive.org.
1succeeded with this in the case of the two G flat studies from op. 10 and op. 25. Most other pianists are glad if they can play either of those studies decently with both hands. Godowsky performs them perfectly simultaneously.
3A specially interesting pianistic event was the concert of Leopold Godowsky with the Philharmonic Orchestra. He enthused his numerous hearers not only by means of his grandiose technical ability, but also through the beauty of his touch and delivery. Then the critic goes on admiring "the musical skillfulness" with which the Chopin study arrangements have been constructed and the refinement with which the performer surmounts the greatest of technical difficulties.—Kreuz Zeitung.
5The Boersen Courier, after confirming the "great, almost sensational success" of the début, says:
6Mr. Godowsky is not only a virtuoso of the first rank, but also a serious artist, replete with noble sentiment. This was shown above all in the fine musically delivery of the Brahms' D minor Concerto, in which the artist placed his all conquering virtuoso technic solely in the service of the art work itself, which thus was brought to mental cognizance of the listener in clearest perfection. Then the critic praises as "especially pleasing the moderation of Godowsky's playing, which never, even in the greatest dynamic climaxes waxed into desolate piano pounding." Of the Weber transcription, he says that it is "the ne plus ultra of technical difficulty," and that the performance in "infallible execution was astounding, nay, flabbergasting."
8Albert Werkenhin, himself a pianist of note, in the Volkszeitung grows very effusive over Godowsky, of whom he says that "at one single stroke he has become highly renowned in Berlin, and deservedly so, for he unites in his art all virtues and excellencies of the most virtuoso-like and at the same time most musically of all pianists. I am still full of enthusiasm over this concert, which I attended from beginning to end."
10December 24, 1930.
11The near approach of the Christmas holidays could be plainly felt in the musical life of the German capital by the sudden, strong decrease in the number of concerts, even if it had not been heralded by the annual performance of Bach's "Christmas" Oratorio on the part of the venerable Singakademie Chorus. Of this reproduction I heard just enough to satisfy me that Georg Schumann, the new director of the Singakademie, is successfully attempting to wake the old and once upon a time foremost choral organization of Berlin from its Rip Van Winkle state of lethargy, and I doubt not that in future concerts, with programs of the conductor's own selection, he will bring this great chorus back to something like its former prominence, based no longer merely upon seniority and social privileges and distinctions, but upon real artistic merit.
13The most important of the few concerts of the past days was the fifth symphony evening of the Royal Orchestra, which, as is the annual custom, assumed the shape of a Beethoven commemoration. The program, of course, was made up exclusively from Beethoven, consisting of the "Namensfeier" and the "Leonore," No. 3 overtures and the B flat Symphony, performed under Weingartner's direction, as well as "by request," and under Halir's leadership the renowned septet.
15When sovereigns celebrate their birthday, then cannon shots and trumpet fanfares announce the opening of the festivities, which are later on followed by less noisy and more serene methods of commemorating. Thus was also the case on the day of the celebration of the birthday of the sovereign in the realm of tones, His Majesty Ludwig, the first and only one, Van Beethoven. If I abstract from the weakly pièce d'occasion, the overture to the "Namensfeier," with its hollow noisiness, the "Leonore" overture, with its trumpet fanfare, took care of the pompous side of the festive program. Unalloyed serenity, however, was promulgated through the remarkably smooth and yet very brilliant and spirited performance of the sunny and charming B flat Symphony. The sensation of the evening, however, was (on revient toujours à ses premiers amours), the Septet. It had, indeed, a not over-favorable place among two works for orchestra; moreover, the unanimity of pitch and mood of the performers left something to be desired; but after a short while the listeners became accustomed to the somewhat suppressed tone effect that came down from the vast podium, and in adequate manner the performers grew into and adapted themselves to their task. All in all it was a worthy celebration of Beethoven's birthday anniversary. one of two readings
16When sovereigns celebrate their birthday, then cannon shots and trumpet fanfares announce the opening of the festivities, which are later on followed by less noisy and more serene methods of commemorating. Thus was also the case on the day of the celebration of the birthday of the sovereign in the realm of tones, His Majesty Ludwig, the first and only one, Van Beethoven. If I abstract from the weakly pièce d'occasion, the overture to the "Namensfeier," with its hollow noisiness, the "Leonore" overture, with its trumpet fanfare, took care of the pompous side of the festive program. Unalloyed serenity, however, was promulgated through the remarkably smooth and yet very brilliant and spirited performance of the sunny and charming B flat Symphony. The sensation of the evening, however, was (on revient toujours à ses premiers amours), the Septet. It had, indeed, a not over-favorable place among two works for orchestra ; moreover, the unanimity of pitch and mood of the performers left something to be desired; but after a short while the listeners became accustomed to the somewhat suppressed tone effect that came down from the vast podium, and in adequate manner the performers grew into and adapted themselves to their task. All in all it was a worthy celebration of Beethoven's birthday anniversary. one of two readings
18Last Wednesday afternoon Bechstein Hall was filled with Americans, English, English speaking Germans and members of embassies. The attraction was a concert for the benefit of the "American Women and Students' Club," arranged by Mrs. Boise. It was a very successful undertaking financially, and the music found enthusiastic reception. The program was as follows:
19Adelaide …………………………………………..Beethoven
20Aria from Carmen ………………………………….Bizet
21Three Paraphrases on Chopin Studies ………….Godowsky
22Two Etudes …………………………………………Liszt
23Group of Songs …………………………………….Hahn-Ferrari-Brockway
24Melodie ……………………………………………..Tchaikowsky
25Havanaise …………………………………………..Saint-Saëns
26Group of Songs …………………………………….Cornelius-Händel
27Duet, Una Notte a Venezia ………………………..Lucanton
28Miss Sylvana and Mr. Cole.
30Mr. Cole has a beautiful natural tenor voice, with which he afforded keen delight to the audience. Miss Sylvana is a true artist, and, having heard her, I can quite understand how she scored such brilliant successes in Kiel and Cologne, where she sang recently. Both these singers are pupils of George Fergusson.
32Everyone was eager to hear Godowsky, whose recent triumph at the Beethoven Hall made him the most prominent feature in the pianistic world of the German capital. As I stated before, no artist has achieved here so much by one single appearance. His musicianly qualities, coupled with his command of the keyboard, place him in a unique position. In this case, the greater the abilities of the critic, the more enthusiastic his appreciation. Godowsky is so modest and undemonstrative that the untutored are liable to underestimate his attainments. This was not the case on Wednesday afternoon, however, for the audience applauded until exhausted.
34Mr. Petschnikoff is a great favorite in Berlin, as is evinced by the attendance at his own concerts. Few artists can attract so many paying listeners, and he well deserves the favor of music patrons, for he is a conscientious artist and a born violinist.
36The program was not too long, and it was all edifying, so the audience went home with unimpaired musical digestion.
38At his own second concert at the Beethoven Hall Petschnikoff had called again upon his charming wife's assistance and co-partnership as a special drawing card and attraction. The artistic couple, with Otto Bake at the piano, performed in most harmonious and tonally as well as musically matchless ensemble the C major Sonata (trio) for two violins and piano by Bach. Of course, the applause was quite in accordance with the enthusiasm of the audience, and the usual encore had to be granted.
40Petschnikoff's solo selections consisted of Wieniawski's D minor Concerto, the wonderful big C major unaccompanied Fugue by Bach and the afore-mentioned Tschaikowski melody and Havanaise by Saint-Saëns. Two more encores, among them the Bach G minor Fugue, were insisted upon by the audience before the artist was allowed to retire from the podium for good, at least for the night of the concert.
42Another violinist, a very young lady by the name of Juanita Brockmann, ventured out upon the concert platform of the Beethoven Hall last Monday night. Her appearance in public, although she is reported to have achieved success elsewhere, must be considered somewhat premature. She is not without talent, more of a mechanical than a musical sort; but altogether, and although she is said to have graduated from the sacred precincts of the Royal High School with honors, her playing creates an impression of unripeness and amateurishness. This was especially the case in so taxing a work as Brahms' Violin Concerto, which should only be performed by musically mature artists, while in the portions of the Vieuxtemps A minor Concerto and bagatelles like the Joachim Nocturne, op. 12, and a Zarzycki Mazurka Miss Brockmann was able to please her audience with slightly better claims to applause.
44Only one more victim volunteered his scalp to the scalpels of the critics. His name is Edmond Monod, from which you may infer that he is a Frenchman. That he is a pianist will at once be apparent if I state that he is a pupil of Varette Stepanoff, and that he played a program embrac-
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