Scan 13
Musical Courier 1901-04-24: Vol 42 Iss 1100, 1901
57 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 14. See the scan on archive.org.
1CINCINNATI, April 20, 1901.
3THEODOR BOHLMANN and Pier Adolfo Tirindelli gave the last of their series of seven historical recitals of sonatas and duets for piano and violin in the Recital Hall of the Conservatory of Music (Miss Clara Bauer, directress), on Tuesday evening, April 16. As usual, the elite of music connoisseurs had been attracted by a most interesting program, which this time presented works from the new German and the young American schools of composers. The former was illustrated by the Chromatic Sonata, op. 129, G minor (in one movement), by Joachim Raff, and by Richard Strauss' grandiose Sonata in E flat, op. 18. Raff's style in the work mentioned appears greatly influenced by Liszt, especially as far as modulation is concerned, which is of a striking boldness, but also in regard to form, as Liszt is to be called the inventor of the one movement sonata form. No one will hesitate to call Richard Strauss' gigantic Sonata, op. 18, the most complicated chamber-music work ever written. The work in question was composed during the Meiningen period of Strauss, when Hans von Bülow still had a strong influence over the young musician. It shows the same style of writing as his magnificent piano quartet in B minor, which also was brought out for the first time by Mr. Bohlmann in Cincinnati in connection with the Bendix Quartet several years ago. This peculiar style, common to the Strauss Sonata and Quartet, may be looked upon in the light of a building out of Brahms' style in the direction of contrapuntal complication. But one would be badly mistaken to believe that poetical beauty and lofty contents had been sacrificed to the intricate features of the form. The second themes of the first, and especially of the last, movement are marvels of melodic inspiration, and the second movement, which is called Improvisation, is of such transcendental delivery of conception and of such novelty in method of musical expression that it certainly deserves to be termed an altogether "unique" piece of music. The stretta of the Finale seems to represent the limit of the "possible" in heaping up rhythmical difficulties in the ensemble of the two instruments. Messrs. Bohlmann and Tirindelli did themselves proud in executing this sonata, and a simply thundering applause rewarded their efforts.
5The second part of the program represented the American composers with a charming Romanza, op. 23, in G major, by Templeton Strong, and with the scholarly written Sonata, op. 20, G minor, by Arthur Foote, which in the oboe movement and in the finale seems to have been suggested by the corresponding movements of Brahms' G major Sonata. All these works were first time numbers for Cincinnati, and the two gifted performers helped them to a splendid success. Upon general urgent request, this series of seven historical and international recitals will be repeated next season. It might be of interest to the readers of THE MUSICAL COURIER to see the names of the twenty-four composers put together once more whose works were given a hearing in this series. Here they are:
6Händel, Bach, Haydn, Mozart, Beethoven, Hauptmann, Schubert, Schumann, Brahms, Gade, Grieg, Sinding, Fauré, Saint-Saëns, Busoni, Bossi, Dvorák, Smetana, Tschai-kowsky, Goedicke, Raff, Strauss, Strong and Foote.
8This has been the greatest chamber music undertaking ever planned in this city, and nothing of equal importance, with exception of the Symphony concerts under Frank Van der Stucken, is to be found in the musical life of Cincinnati. Messrs. Bohlmann and Tirindelli are entitled to thanks and congratulations from the musical community for their untiring efforts.
10The first of the two song recitals to be given by pupils of Signor Lino Mattioli will take place in the Odeon Wednesday evening, May 1. We submit the program:
11Duet, Calm as the Night………………………………………Goetze
12Miss Klarer and Mr. Baer.
13My Love………………………………………………………..Lieber
14Miss Plaut.
15Aria from the Star of the North……………………………Meyerbeer
16Mr. Scully.
17A Woman's Love……………………………………………..Schumann
18Serenade………………………………………………………Chaminade
19Miss Newbrandt.
20A Song of the Dawn………………………………………….Allitsen
21Sombbrero…………………………………………………….Chaminade
22Miss Flinn.
23Aria from Simon Boccanegra……………………………….Verdi
24Carl Gantvoort.
25For the Sake of the Past…………………………………….Mattei one of two readings
26For the Sake of the Past……………………………………Mattei one of two readings
27Miss Freiberg.
28Aria from Il Pagliacci……………………………………….Leoncavallo
29Serenade to Don Juan………………………………………Tschai-kowsky
30Mr. Hubbell.
31Quartet from Don Giovanni………………………………..Mozart
32Misses Klarer and Cain, Messrs. Hubbell and Gantvoort.
34The next meeting of the Choral Union will be held at the regular hour in Smith & Nixon's piano rooms on next Thursday evening. Save one this will be the last meeting of the union this season, and a good attendance is solicited. At the final meeting at the invitation of Dr. Elsenheimer several well-known musicians will listen to the work of the chorus, and plans will be talked over for next season's work.
36At the coming concert for the benefit of the German Widows' Home, to be given in the Odeon, several instructors of the College of Music will take part. Signor Albino Gorno's Scherzo, for two pianos, recently published, will be played by his brother, Signor Romeo Gorno and Dr. N. J. Elsenheimer. Dr. Elsenheimer's compositions, "Eventide" and "Angels' Lullaby," will also be given. The date of the concert is May 10.
38Mr. Van der Stucken has departed for New York, from where he will soon sail for Europe.
40A. J. Gantvoort left to-day for a short stay in New York.
42Three of a series of four violin recitals by advanced pupils of Pier Adolfo Tirindelli were given the present week in the Conservatory Recital Hall. On Monday evening April 15, Miss Cora Mae Henry appeared, assisted by Miss Martha M. Henry, soprano. Her playing is characterized by a great deal of temperament, and her technic is sure and clean. She gave proof of these qualities in her playing of two movements from Mendelssohn's Concerto in E minor, and in some first time numbers by Tirindelli, which the composer and teacher accompanied himself. Miss Martha Henry sang with repose and expression.
44The second recital was presented by Matthias R. Oliver, who was assisted by Miss Frances Shuford, pianist, and Miss Laura Strubbe, soprano. Mr. Oliver's playing is maturing and gives much promise. He plays with warmth and intelligence. His numbers were a suite, for piano and violin, by Schuett; two movements from the Mendelssohn Concerto E minor, and the "Fantasia Appassionata," by Vieuxtemps. Mr. Oliver will continue his studies in Europe next year. Miss Shuford maintained a fine ensemble in the suite, and Miss Strubbe was in excellent voice.
46Several other pupils of Mr. Tirindelli were heard to advantage in the third recital on Thursday evening, April 18. They were assisted by Miss Lola Bell Harris, elocutionist. Miss Daisy Mae Seiler played the first movement of Viotti's Concerto, No. 22, with a cadenza by David; Miss Ida Hossfeld, a romance and rondo by Wieniawski; Miss Francesca Nast, the Ninth Concerto of De Beriot; Mr. Oliver repeated the "Fantasia Appassionata" of Vieuxtemps; Miss Cora Mae Henry was heard in the "Ziguerweisen" of Sarasate, and Miss Gretchen McCurdy Gallagher in the Ballade and Polonaise by Vieuxtemps. A berceuse by Dunkler and mazurka by Wieniawski were played by Miss Seiler. All the work showed conscientious, careful training, and some of it decided talent.
48The fourth will be a violin and piano recital by Miss Gretchen McCurdy Gallagher, violinist, and Miss Edna Strubbe, pianist, on Wednesday evening, May 1. They will be assisted by Miss Ada Ruhl, soprano.
50Among the younger members of the College of Music faculty who is drawing exceptionally marked attention to himself by reason of his artistic growth and steadily increasing maturity, is Ernest Wilbur Hale of the piano department. Mr. Hale was the pianist of the last chamber concert in the Odeon, where he appeared in the Rubinstein Trio. In it he showed a delicate sense of values and an admirable appreciation of the requirements of ensemble playing. Mr. Hale is carving out for himself an unmistakable individuality. On Wednesday evening, April 17, he assisted Edmund Alexander Hahn, baritone, in a song recital. Mr. Hahn gave proof of his interpretative facility, and Mr. Hale's piano numbers were the following: Prelude C minor, Rachmaninoff; "Hark, Hark, the Lark," Schubert-Liszt; Barcarolle, F minor, op. 30, Rubinstein; Fantaisie Impromptu, op. 66, Chopin. Mr. Hale contemplates a trip to Europe for rest and recreation during the summer.
52The offer of Mrs. F. H. Alms to give $100,000 for a memorial music hall in honor of her late husband, on condition that the College of Music be affiliated with the University of Cincinnati, was withdrawn by her this week, as the conditions placed could not be met, and any affiliation with the university could not be accomplished without disturbing the endowment funds and seriously impairing the individuality of the college. It is probable that Mrs. Alms' liberality to the college will assume some more practicable shape.
54Many of the musical people of this city are stirred up because of the several bands which have been engaged for the Pan-American Exposition. Cincinnati has not been honored with a single engagement. And this in spite of the fact that there are one or two bands in this city that have a national reputation, and whose fame broadcast ranks with the best of them. As there is likely to be a Cincinnati or Ohio Day at the Exposition, the commissioners ought to bear these facts in mind. It is not too late to mend their ways.
56Tuesday evening, April 18, an operatic concert was given in the Star Course of the Y. M. C. A. in Music Hall, by the Orpheus Club, under the direction of Charles A. Graninger. The club was assisted by Mrs. Hissem
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