Scan 29
Musical Courier 1901-12-25: Vol 43 Iss 1135, 1901
58 lines. Read by computer on 26 September 2026. Printed page 30. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1one from Russia; respectively, Jean ten Have, Joseph Debroux and Michael Zacharewitsch. Of the three, ten Have is easily the most important. He has a sure, brilliant technic, a fair sized but very sympathetic tone, and refined musical taste. He achieved decided success in Saint-Saëns' B minor Concerto. Debroux is a better musician than virtuoso. His technic is lacking in many essential points. Double stopping and purity of intonation did not seem to be his chief artistic virtues. Nevertheless, he displayed a certain intellectual grasp of his program and fine talent for characterization. Zacharewitsch is too young and too wild to be taken very seriously. He seems to have temperament, but it is all extraneous. His technic, too, he uses merely for empty show. In three or four years Zacharewitsch might have something worth while to say on the violin.
3Dr. Ludwig Wüllner gave one of his interesting song recitals at Beethoven Hall. The program was devoted solely to Brahms. Wüllner is specifically a German product. He is the great voiceless singer. Outside of Germany he would hardly be appreciated. With him the texts of his songs are the songs themselves. He declaims them with wonderful art. He has a large following here, and his success is always enormous.
5Bernhard Dessau is one of our best violinists. He has tone, technic, taste and temperament, the four important T's in the make-up of an artist. Besides, he is a first-rate musician, with experience and authority. His performance of Mozart's A major Concerto was superior to Halir's. The audience rewarded Mr. Dessau with much applause, and he responded with several encores.
7Martha Schley is a singer who takes herself far too seriously. Adelheid Helm, another singer, should go to hear Miss Schley. Else Gründlich, pianist, wore a tasteful white frock; Heinrich Scheden, tenor, didn't.
9Siegfried Wagner was in town, and conducted part of the Wagner Society concert, and all of his opera, "Bärenhäuter." Some authorities agree that Wagner societies are superfluous nowadays. The same opinion has been expressed about Siegfried's operas. Criticism, then, is superfluous, too. Besides, I heard neither the concert nor the opera.
11The following works were performed last week at the Royal Opera House: "Hänsel und Gretel," "Die Puppenfee" (ballet), "Marriage of Figaro," "Der Bärenhäuter," "Prophet," "Rheingold" and "Walküre." The Theater des Westens gave "Rigoletto," "Marriage of Figaro," "Undine," "Wildschütz" (Lortzing), "Don Juan," "Beggar Student" and "Carmen."
13Dolores in Oceania.—Mlle. Antonio Dolores sang at Sydney, New South Wales, on the 17th, the last one of a series of song recitals. We have seen a number of the local criticisms of a high order, referring to her artistic demonstrations of vocalism, her purely legato style and her distinct enunciation by means of which every syllable received its due value, and it is said of her also that she has flexibility, accuracy and execution, as well as a temperamental nature. Bizet, Grieg, Mascagni, Haydn, Kjerulf and Saint-Saëns are the composers whose songs she sang on that occasion. Evidently she is a singer who is an artist.
15KINDERGARTEN MUSIC BUILDING.
16Views of the Science of Music for Children by a Correspondence Student.
18It appears like presuming when one attempts to write on "Kindergarten Music Building." Such grand work gives forth pure, heavenly thought, and any expression that falls short of embodied harmony will be like a cloud before a star. The beauties of nature, the purity of child life are revealed in so natural a manner that the question presents itself: How could one have been, heretofore, so blind to many blessings that the Heavenly Father has scattered around and about all? The writer has lived long enough in this world to discover that she does not possess any genius for composition, and this attempt, therefore, is the practical result of the influence "Kindergarten Music Building" has had upon one of its many students. At least, there will be the effort, and if success is still far distant, will try, try again. The beautiful study appears to the untutored mind somewhat rugged and unyielding at times, and at first I was nonplused over various problems, but I have been creditably coned through the profound though simple study by my patient guide, Mrs. N. K. Darlington, the originator of the system, who has taken every opportunity to remind me that the glad new century is rich in golden opportunities for those who are willing to accept them, and ready to work for sufficient intelligence to gain an impression of their presence. Human nature owes Nina K. Darlington a debt of gratitude for that which she has uncovered in her wonderful system, and "Kindergarten Music Building" cannot fail to gain worldwide fame in the coming age. Heretofore the interest of child expression in relation to music has been greatly neglected, but with the combined efforts of the faithful workers in this new idea it will reach the zenith of its glory. During my life as a teacher I have been vainly seeking to discover some means to plant and stimulate the germ of truth in the young mind. Under the system of "Kindergarten Music Building" the growth of the child's mind is greatly advanced, and this during the early period of his life, when the memory accepts lasting impressions. To quote of this period from Jean Paul: "Man learns more in the first three years of childhood than in the three years of college life." The children keep a lively interest in the work throughout, and every lesson brings forth some new and beautiful thoughts. Each idea, as it unfolds, sounds a responsive chord in the little hearts, because in the method known as "Kindergarten Music Building," the cultivation of the youthful mind is so gradual and natural that the child soon gains independence of thought, the foundation of all higher mental development.—Norma Draper Baugh, in the Boston Times, February 23, 1901.
19Mobile, Ala., February 9, 1901.
21TONKUNSTLERS GIVE A BEETHOVEN NIGHT.
23No one could picture greater contrasts than those attending the Beethoven night by the Tonkünstler Society. The members have had much difficulty in seeking a suitable meeting place for the Manhattan nights, there being also Brooklyn nights every month. After a few meetings at the Aschenbroedel Club house, the committee, not being quite satisfied with the arrangements, voted to return to the former meeting rooms, 114 East Fourteenth street. This number stamps the gay and Bohemian character of the neighborhood. While the members of the society may not be able to do better for the present in the matter of a clubhouse, they should not rest until they have found a place that is conducive to the advancement of art. The Beethoven evening, Tuesday, December 17, was arranged in commemoration of the anniversary of the great man's birth, which occurred some time in or about the middle of December, 131 years ago. An evening with the sublimest of composers would be more in keeping with the subject if performed under different surroundings. It is doubtful if the members of the society themselves relished the clinking of beer glasses in the near distance, the clang of horse car bells, and occasional whiffs of smoke through the open door as an accompaniment to Beethoven. Then can anyone imagine hearing good music in a room three times longer than it is wide?
25Henry Schradieck, the violinist, and Miss Katharine C. Linn, the pianist, played the "Kreutzer" Sonata as the opening number. It proved a thoroughly musical performance, and certainly there was no suggestion in the music or in the playing of it of anything to arouse the baser nature of man. Poor Tolstoi; he simply selected the wrong music to adorn a tale. Messrs. Bendix, Bauer, Altschüler and Schulz played one of the early string quartets, the one in G major, No. 2, op. 18. Mr. Bendix is an excellent concertmeister, but in ensemble music of this kind he is less convincing. His violin was too prominent and his conception was not in accord with the best Beethoven readings. Leo Schulz is a solo player, but he has mastered the art of effacing himself in quartet playing. Nothing could be more beautiful than his 'cello tones in the second movement of the quartet.
27The vocal numbers of the evening were contributed by Miss Martha Wettengel, a talented young contralto, and Anton Schott, of operatic fame. Miss Wettengel, a pupil of M. J. Scherhey, sang sympathetically and with much taste three of the songs by the great composer, "Busslied," "Ich Liebe Dich" and "Mailied." Mr. Schott, who was in remarkably good voice for a veteran, sang the song cycle "To the Distant Beloved," and he sang it with wonderful art. It was a pleasure to hear this sterling artist once more. Louis V. Saar accompanied for Miss Wettengel, and Josef Weiss for Mr. Schott, and both pianists are entitled to a share of the success of the evening.
29KREISLER AND SCHUMANN-HEINK IN RECITAL.—Tuesday afternoon, December 31, Madame Schumann-Heink and Fritz Kreisler will be heard in a violin and song recital in Mendelssohn Hall. This will be the first appearance of either of these artists in a recital here this season.
31Mme. FANNY RICHTER
32PIANISTE
33Decorated by Queen Marguerita of Italy and the Grand Dukes of Saxe-Weimar and Schaumburg-Lippe.
34For Terms, Dates, &c., address ALBERT FUCHS, Riverside Drive, Corner 97th St., New York City.
36Mr. PLUNKET GREENE, Basso-Cantante,
37In America March, April, May, 1902.
38All communications regarding Terms and Dates to be addressed to
39GEO. MAXWELL, 9 East 17th Street, New York City.
41Edmund J. Myer.
42VOCAL INSTRUCTION.
4332 East 23rd St., New York City.
44CIRCULAR FREE.
45Summer Term on Lake Chautauqua.
47CONCERT DIRECTION
48ROBERT STRAKOSCH
4956 Rue La Bruyere, PARIS.
51ANGELA ANDERSON
52PIANIST.
53PARIS-LONDON, 1901-1902.
54ADDRESS
55CARE W. ADLINGTON,
5622 OLD BURLINGTON ST.
57LONDON
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