Scan 33
Musical Courier 1901-11-27: Vol 43 Iss 1131, 1901
112 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 34. See the scan on archive.org.
1FANNIE BLOOMFIELD-ZEISLER'S SECOND RECITAL.
3FOR her second appearance here this season Madame Zeisler chose this scheme:
5Papillons, op. 2……………………………………………..Schumann
6Variations Serieuses, op. 54……………………………….Mendelssohn
7Wedding March and Dance of the Elves…………………Mendelssohn
8Rhapsodie, op. 79, No. 2………………………………….Brahms
9Ballade, op. 23……………………………………………..Chopin
10Berceuse, op. 57…………………………………………….Chopin
11Scherzo, op. 20……………………………………………..Chopin
12Hexentanz, op. 17…………………………………………..MacDowell
13Etude (Prelude), op. 52, No. 3…………………………..Saint-Saëns
14On the Mountains…………………………………………..Grieg
15Norwegischer Brautzug im Vorüberziehen…………………Grieg
16Caprice Espagnole, op. 37…………………………………Moszkowski
18And again did she attract to Mendelssohn Hall on Tuesday afternoon of last week an earnest audience. Different from most audiences, the one that flocks to hear Bloomfield-Zeisler takes her playing and itself very seriously; they know that this artist spells her Art with a capital. As a consequence there is a happy absence of that sickening Schwärmerie which turns so many recitals into exhibitions, feminine and effeminate, at which art flies out of the ventilators. This does not deny that Madame Zeisler is an idol—to the contrary, she is very much of one, but of the sane person, not of the thrill-hunter.
20The pianist was in physically better trim than she had been on the occasion of her previous recital; and with the result that her playing was even better than it then was. Throughout the program—and it was a varied one—there was constant evidence of the firm grasp of the material and the means which stamps her playing unique. Individuality is written boldly all over her work; convention suffers as convention might and we hear read into every composition the personality of the player merged into the composers' deeper meaning. Between the two she draws an acute balance, leaning forever to the side of the artistic.
22The Schumann number, done with much gracility, sounded a gallery of pretty miniatures, none of them mawkish in color or sentiment. Then the set of Mendelssohn Variations—among the most interesting of all this type and among the best of this composer's piano music—brought out the player's sense of fine shadings. Monotony had no recognition in this reading nor in the following garish Liszt arrangement of Mendelssohn's "Wedding March" and "Elves' Dance." Not an alluring tune, the former, and banal enough to have been composed for the penny whistle of Stevenson fame; but it was a request number and may really have pleased someone.
24All uncertainty of mood ceased with the G minor Brahms Rhapsody. The Serious Man from Hamburg does not dally; he is terribly in earnest and tells it in his music. Even in this—a work given preference by performers to introduce him now and again to the public—he is so rarely careful that the title is almost a misnomer; his musical values are well contrasted—they sing by contrast. Madame Zeisler strove to make clear all the meanings, which despite the smallness of form here are weighty, and succeeded.
26For the succeeding Chopin group she seemed in fine fettle. The G minor Ballade—another request number—was very well done, its Coda ringing with brilliancy; in the Berceuse there was a dreamy and remarkably sustained level of tone and originality of conception. The Scherzo was given a dramatic and dashing interpretation. Throughout the intricate measures of the Presto the phrasing stood clear and clean. Madame Zeisler is not one of those pianists who believe that the pedal is nearest when the need is greatest.
28MacDowell, Saint-Saëns and Grieg all found the player in sympathetic frame of mind and fingers; and with Moszkowski's highly colored "Caprice Espagnole" the program concluded—at least the printed part of it. Then came continuous clamor for encores, abundantly rewarded by Schuett's tuneful and therefore beloved Valse, op. 59, No. 2; the Chopin Butterfly Study—taken at such a rattling tempo that one knew Madame Zeisler would never allow grass to grow under her fingers—and the dainty G minor posthumous Waltz. All done with no flagging of spirit or enthusiasm.
30Whatever else might be said of Madame Zeisler's playing—and all of it praise—would be sheer repetition. She is a rare player and her attractions, apart from her mechanical proficiency, arise from the ability to disentangle the artistic from the commonplace. She makes everything of merit seem worth while, and above all she succeeds in convincing the listener.
32Scherhey Pupils' Recital.
34M. J. SCHERHEY and his pupils will give a concert at Knabe Hall on Tuesday evening, December 3. Hugo Troetschel, organist, and Miss A. Zur Nieden, will assist. The program follows:
35Kermess, from Faust-Gounod………………………………….Saint-Saëns
36Aria, from Elijah……………………………………………..Mendelssohn
37Patria………………………………………………………..Mattei
38The Sweetness of Love Is Dreaming………………………..Bartlett
39Aria from The Daughter of the Regiment…………………Donizetti
40Duet, Calm as the Night…………………………………….Goetz
41Prayer, from Faust…………………………………………Gounod
42I Heard the Voice of Jesus Say…………………………..Harris
43Prologue from Pagliacci……………………………………Leoncavallo
44Ave Maria……………………………………………………Luzzi
45Aria, from Samson and Delilah……………………………Saint-Saëns
46Aria, from Don Carlo………………………………………Verdi
47Aria, from La Favorita……………………………………Donizetti
48A Song of Dawn…………………………………………..Allitsen
49Soupir………………………………………………………Bemberg
50Mignon…………………………………………………….D'Hardelot
51Aria, from Norma…………………………………………Bellini
52Duet, Pearls of Love………………………………………Pinsuti
53Miss Elsa Green and Miss Daisy Klinger.
55Josef Hofmann at the White House.
57FOR the second time within eight months Josef Hofmann has been honored with an invitation to dine at the Presidential Mansion at Washington. On March to the young artist was with the late President McKinley, who jokingly remarked to him at that time: "It has after all some advantage to be at the White House, for it gave me an opportunity to hear you play."
59Last evening young Hofmann was the guest of President Roosevelt, and later the artist played a few selections to the delight of a number of invited friends.
61Organ and Harp Concert.—William C. Carl will give an organ and harp concert, assisted by Miss Maud Morgan, harpist, in the First Presbyterian Church, Fifth avenue and Twelfth street, New York, next Tuesday evening, December 3, at 8:15 o'clock. This concert will terminate the autumnal series of free concerts given in the "Old First" Church. A brilliant program has been arranged. No tickets required. On the following evening Mr. Carl will inaugurate a new organ in Centenary Collegiate Institute at Hackettstown, N. J.
63Orchestral Engagements Season 1901-2.
64Boston Symphony Orchestra—Boston (third time).
65Boston Symphony Orchestra—New York.
66Boston Symphony Orchestra—Philadelphia.
67The Chicago Orchestra—Chicago.
68Personal address: 1425 Madison Avenue, New York.
69Sole Management of FRED R. COMEE, Symphony Hall, BOSTON, MASS.
71ADAMOWSKI QUARTET
72Fourteenth Season.
73Mr. T. ADAMOWSKI, 1st Viola.
74Mr. A. MALDAUER, 2d Viola.
75Mr. M. ZACH, Viola.
76Mr. J. KELLER, Violoncello.
77Members of the BOSTON SYMPHONY ORCHESTRA.
78Under the Sole Management of FRED. R. COMEE, Symphony Hall, BOSTON, MASS.
80Gerardy in Pittsburg.
82FOLLOWING are additional press notices about Jean Gerardy, the cellist:
84The soloist, Jean Gerardy, felt quite at home in view of several former appearances in this city. A marvelous "Strad" 'cello, reputed to have cost $10,000, responded obediently, yea, even lovingly, with tones of crystalline purity and magic beauty to the bowing of this master's right hand, and to the fingering of his eloquent nimble left hand, its vibrant strings ever flinging out
85"Sweet peals anew
86Of music, delicate, soft, intense."
88Gerardy impresses you on the spot as a genuine artist. Time and again he escaped the temptation to exaggerate passages of sentimental content, while his facile, beautiful fingering, up string and down, and even at whirlwind pace, never once detracted attention from his music, which meant everything to him. Gerardy has temperament, that's clear; amazing technique is his, and trills he shades into lover's sighs. I swear that twice with ravishing pianissimos he held his audience dangling in midair, and that on two occasions an icicle shot down your back, best represented the feelings inspired by his luscious C and G string sounds and harmonics near the bridge.
90In the Lalo concerto his musical conception was most convincing, notably in the lovely intermezzo. Of the orchestral accompaniment, he said in all sincerity to the writer: "Fine, very fine." As encore he gave charmingly a selection of Saint-Saëns. To piano accompaniments in the second part he offered a Bach aria; also Pergolesi's "Aria di Tre Giorni," concluding with Davidoff's "Am Springbrunnen," in which he attained supreme heights of technical skill.—Pittsburg Post, November 16, 1901.
92Jean Gerardy, the soloist of the evening, proved himself all that anticipatory notices had painted him, and a little more.
94His first number was a concerto by Lalo, with fire and enthusiasm, and later a Bach aria with inimitable grace. "Am Springbrunnen" illustrated his command of the technic of his instrument admirably, and to an insistant encore he rendered a dainty little composition of Herbert's, to which the genial conductor played the piano accompaniment.—Pittsburg Gazette.
96Jean Gerardy, the 'cellist, was soloist. He was warmly received by the audience, even before he played a note. When he struck the strings and there came a full, ripe tone, the listeners were amazed at the virility of the young virtuoso, and gave him an ovation.—Pittsburg Times, November 16.
98Jean Gerardy won a triumph at Carnegie Hall last night. His masterly handling of the 'cello in the Concerto in D minor, by Lalo, evinced unbounded enthusiasm. Many recalls compelled the youthful performer at last to yield to the demand for an encore. In the second half of the program his work was still more thoroughly enjoyed.—Pittsburg Chronicle, November 16, 1901. one of two readings
99Jean Gerardy won a triumph at Carnegie Hall last night. His masterly handling of the 'cello in the Concerto in D minor, by Lalo, evoked unbounded enthusiasm. Many recalls compelled the youthful performer at last to yield to the demand for an encore. In the second half of the program his work was still more thoroughly enjoyed.—Pittsburg Chronicle, November 16, 1901. one of two readings
101Here is a criticism from the Providence Journal of November 14:
102The concerto by Lalo which M. Gerardy chose for his solo number is a fine work, and its beauties were fully brought out by the superb playing of the young virtuoso. M. Gerardy is no longer a boy prodigy in curls and knee breeches. He has, however, unlike some "prodigies," quite fulfilled the promise of his earlier years, and is now an artist of the first rank. Technic he had to a marvelous degree some years ago, and to this are now added the repose, the form, the grace, and the intelligence of the mature player. His performance was masterly in every way, and that it delighted the audience was convincingly shown by the number and warmth of the recalls which greeted him at the close of the concerto.
104FROM the BENNETT STUDIO.—Another of S. C. Bennett's pupils, Miss Ella Devine, has lately achieved great success in her singing with the "Mamselle 'Awkins" Company. The Philadelphia Record has the following: "Miss Ella Devine has an exceptionally sweet and well cultivated voice and scored a success of very considerable proportions." one of two readings
105From the BENNETT Studio.—Another of S. C. Bennett's pupils, Miss Ella Devine, has lately achieved great success in her singing with the "Mamselle 'Awkins" Company. The Philadelphia Record has the following: "Miss Ella Devine has an exceptionally sweet and well cultivated voice and scored a success of very considerable proportions." one of two readings
107The song "Mary Green," written for and sung by Miss Devine, had to be repeated five or six times at each performance.
109ADELE LEWING.—Mme. Adele Lewing, pianist; Miss Kathryn Hilke, soprano, and Hans Kronold, 'cellist, appeared at a concert last week in Madison Assembly Rooms, Morristown, N. J., with great success. It was a subscription affair. Referring to Madame Lewing, the Morristown News stated:
110Madame Lewing had the entire sympathy of her audience from the first. " "
111Very charming was Miss Hilke's song with obligato, played by Mr. Kronold, and in the group of songs composed by Madame Lewing both singer and composer were recalled several times.
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