Scan 30
Musical Courier 1901-12-11: Vol 43 Iss 1133, 1901
86 lines. Read by computer on 22 September 2026. Printed page 31. See the scan on archive.org.
1audience who had hitherto remained passive toward the artist's performances were roused to stormy enthusiasm by the phenomenally executed A flat major Polonaise, by Chopin, and compelled to unlimited admiration by the Glissando Rhapsodie of Liszt. Yes, whatever may be objected against Paderewski's playing, he still remains a grand artist.—Schlesische Volkzeitung, October 28, 1901.
3A Virgil Recital in Staten Island.
5MISS LAURA DEAN, who has been a prominent teacher at West Brighton for some years, is about to retire from professional life, and Miss Cora C. Hulburd, a teacher connected with the Virgil Piano School, 29 West Fifteenth street, is to take her place.
7Miss Hulburd will advance Virgil ideas in her teaching. By way of interesting the people of Staten Island still further and deeper in these ideas, which have of late years become so successful and satisfactory to pupils, parents and teachers alike, it was thought best to invite Mrs. Virgil and some of the players of her school to give a recital. Accordingly the following program was given on Saturday, December 6, to a large and highly interested audience at the Woman's Club, St. George, Staten Island, together with a short address thoroughly to the point and full of merit by Mrs. A. M. Virgil, who in her enthusiastic talk aroused in her audience a great deal of interest:
9Hunting Song……………………………………………..Mendelssohn
10Concert Sonata…………………………………………….Scarlatti
11Miner Walden Gallup.
12Bagatelle………………………………………………………Beethoven
13March Héroïque…………………………………………….Schubert
14Adele Katz.
15Rainy Day…………………………………………………….Chopin
16Waltz………………………………………………………..Chopin
17Etude………………………………………………………..Hans Barth Bergman.
18Mazurka………………………………………………………Godard
19Laura Race.
20Nocturne…………………………………………………….Chopin
21Waltz………………………………………………………..Chopin
22A la Ture……………………………………………………Janke
23Tannhäuser March………………………………………..Wagner-Löwe
24Adele Katz.
25Etude………………………………………………………..Wilson G. Smith
26Tarantelle…………………………………………………..Heller
27Prelude………………………………………………………Mendelssohn
28Waltz………………………………………………………..Moszkowski
29Laura Race.
31CRITICAL PRAISE FOR VAN HOOSE.—"At last Sunday's Metropolitan Opera House concert the singing of Ellison Van Hoose was received with the warmest appreciation. Being an American, Mr. Van Hoose was not well known to his audience, and his voice and art came in the nature of surprises. He has sung on several occasions recently, and it looks as if he was about to obtain the recognition which he deserves.
33"Mr. Van Hoose has a pure tenor voice, exquisite in quality, warm and beautiful in tone, with a register that is without breaks, and he uses it with skill and taste. On Sunday his singing of Walther's 'Preislied' and of 'Celeste Aida' was a delightful achievement.—New York World, December 8.
35WETZLER'S SONGS PUBLISHED.—Two books of songs by H. H. Wetzler are being published in Germany, and may be obtained at Novello's and Schirmer's. They are the children's songs, and five songs, op. 2. These songs have been sung with greatest success by Milka Ternina and David Bispham in London and New York, and many prominent singers in Germany have taken them up in their repertoires.
37FIRST KUBELIK RECITAL.
39IN Carnegie Hall last Saturday afternoon Jan Kubelik appeared here for the second time, but chose this for his first opportunity to display his skill in recital playing. And on this occasion he was assisted by Miss Jessie Shay, and accompanied by Herr Rudolph Friml. The program was the following one:
41Concerto in E major (Allegro Moderato, Introduction and Rondo)……………………………………………..Vieuxtemps
42Piano soli—
43Rigaudon…………………………………………………….Raff
44Etincelle…………………………………………………….Moszkowski
45Aria………………………………………………………..Bach
46Romance, G major………………………………………Beethoven
47Rhapsodie Hongroise, No. 12………………………….Liszt
48Nel cor piu non mi sento……………………………….Paganini
49Herr Kubelik.
51Herr Kubelik.
53The hall was crowded to the doors with an eager and enthusiastic audience, and as soon as the slender Kubelik tripped into view round after round of applause greeted him. Though a great public cast its applause before, this was but a shadow of what was to come. The very air was charged with applause, and Kubelik had but to toss off some one—any one for that matter—of his marvelous runs or trills, and it would come thundering down on him. But he stood bravely under it all—his seasons in London have acclimated him to this sort of thing—and he played to the end with an unflagging display of dexterity.
55Over the difficulties of the Vieuxtemps Concerto he leaped with no effort at all, and the intricate cadenza, at which all criticism and most violinists balk, he played with such a convincing show of ease that in the end one believed it really was quite as easy as it looked. All this breath taking show of technic he does without ever an unnecessary circling of the bow arm or a grimace of the fingering hand.
57To show that not all his powers had run to technical seed, he gave as a second number the well beloved Wilhelmj arrangement of the Bach Aria from the D major Suite. In this, while his phrasing was long breathed and cautious, he did not succeed in drawing from his G string a very beautiful or a very big tone. True, there was in it a semblance of sympathy and warmth, but of the earnest emotion of Bach he got not the slightest vestige.
59Nor did he fare better with the following classic, Beethoven's G major Romance, in which the austere mood was not evoked; also was the outline blurred; in a word, it was un-Beethovenish. Why does Kubelik attempt these masters at all? Perhaps when he grows older and really learns (after the present foolish social adoration has been worn threadbare) that it is enough of a task for one man to be one kind of a genius, he will give up trying to be several kinds of them at the same time.
61Then for a last printed number there was Paganini's Variations on an air from Paisiello's "La Molinara," in which the youthful violinist set off most of his violin pyrotechnique at once. One forgot that he ever had a beautiful tone—one did not care whether or not he had one or not—the brilliancy of the work dazzled the ears, which could not follow fast enough the hurtling arcs of tone while the composer of the player seemed to belie their possibility. Double stopping—thirds, sixths and octaves with astounding ease; the same in harmonics and in chromatic scales; arpeggi and trills, all drove the audience to a state of applausive hysteria. His staccato passages were clear and decisive. All these tricks he trotted out again in one of his encores, that difficult version of the "Lucia" sextet, which he played so that one believed that he had fiddled away all the technical difficulties that ever had existed. For another encore he played a movement from Bach's E major Violin Sonata, and finally Sarasate's "Spanish Dances." The audience applauded madly and indiscriminately. In the Vieuxtemps Concerto it broke in with its applause immediately after every solo passage and thus interrupted the piano tutti, destroying the continuity of the number; it should at least be borne in mind that one applause in the hand is worth two in the tutti.
63Again in the excerpt from the E major Sonata of Bach did Kubelik prove that he has no real understanding of this master; his playing lacked lamentably in breadth and comprehension. He has not even a bowing acquaintance with the classics.
65In the matter of intonation he sins frequently and grievously. Of course he keeps his instrument tuned sharp in order to give additional brilliance to his tone—a trick resorted to by Paganini. Yet he often plays disagreeably sharp.
67His one great feature is his technic, and there for the present at least his greatness rests. He walks away with technical difficulties and in the end technic walks away with him.
69Miss Shay played her three solo numbers with that dash now identified with all her work. And incidentally she shows how easily possible it is for one with talent to have it developed on this side of the water and nurtured to a point of virtuosity.
71One feels in her work a thorough acquaintance with the composition—structure, phrasing and interpretation; and the ease with which she masters knotty problems of fingering is noteworthy. The Raff Rigaudon was daintily done; Moszkowski's "Etincelle" was swift and brilliant, and her reading of the Liszt Twelfth Rhapsodie was remarkable. The audience was responsive to her and applauded liberally.
73Herr Friml played the accompaniments discreetly.
75CHARITY CONCERT.—A concert for the benefit of the Riverside Association was given last Friday evening at the Fifth avenue studio of Miss Nora Maynard Green. The program was contributed by Mrs. George A. Smith, Mrs. Irving Pierson, Miss Katherine Richards, Miss Augusta Rossiter and Miss Florence de Vere Boese, vocalists. Miss Theo Boone recited in French, and accompaniments were played by Miss Sibyl Worthington Smith and Frank H. Warner. The Riverside Association maintains a settlement house in the Nineteenth Assembly District, a district with a large tenement house population. The patrons of the concert were Mrs. Hamilton McK. Twombly, Mrs. Frank H. Dodd, Mrs. George H. Mairs, Mrs. Frank Jefferson Blodgette, Mrs. George Shearman Weaver, Miss Martha Gilbert Dickinson, Miss Dodd, Mrs. Herbert Jerome Davis, Mrs. Harvey Edward Fisk, Mrs. Wilbur C. Fisk, Mrs. Eugene E. Adams, Mrs. Simon E. Baruch, Mrs. William G. Wilson, Mrs. S. B. Rossiter, Miss Blanche B. Sammis, Mrs. Charles W. Morse.
77ARTHUR WHITING.—Arthur Whiting will give a series of four recitals of chamber music at the Fine Arts Building, West Fifty-seventh street, on Sundays, December 15, January 19, February 2 and March 23, at 4 p. m. The program for the first recital will be as follows:
79Sonata, G major (Köchel, No. 379)……………………..Mozart
80Sonata, E minor (Köchel, No. 394)……………………..Mozart
81Violin and piano.
82Rubáiyát of Omar Khayyám, op. 18……………………Whiting
83Baritone and piano.
84Sonata, D minor, op. 108……………………………….Brahms
85Violin and piano.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.