Scan 39
Musical Courier 1901-12-25: Vol 43 Iss 1135, 1901
119 lines. Read by computer on 26 September 2026. Printed page 40. See the scan on archive.org.
1SECOND KUBELIK RECITAL.
3FOR his second matinee recital Jan Kubelik chose last Wednesday afternoon and Carnegie Hall. The program again was designed to display the violinist's agility in finger and bow wrist.
5Concerto, F sharp minor………………………………………Ernst
6Andante from the Seventh Concerto………………………..Spohr
7Souvenir de Moscou………………………………………Wieniawski
8Witches' Dance……………………………………………..Paganini
10There was a certain amount of interest to hear Kubelik play the Ernst Concerto—that difficult bit of writing which violinists respect for its technical hurdles; but the player launched in the work, the famous difficulties pattered out until one verily believed the composition had become less difficult over night. With no effort at all did this boy fiddle through the number—the harder the passage the more fluent his work. And after the difficulties had been conquered so easily there remained little to admire in the composition itself. The cantabile part is of the most puerile sentimental sort, to which easily could be fitted the words of half a dozen concert hall songs. Nor did Kubelik's reading of the Spohr Andante vary much from the dignified manner in which he had interpreted the other work by the same composer several weeks ago. The Wieniawski number was brilliant and effective. But in the Paganini "Witches' Dance" he loosed all his tricks of technic, and if the music failed in its eerie effect it must be attributed to prosaicness of the time. A single instrument has lost some of its former magic for us; it takes a Strauss, with an enormous band, or a Tschaikowsky, his tonal palette heaped with sobbing purples and screaming scarlets, to send us home shuddering. So to our vitiated ears this Paganini work sounded very old fashioned.
12Perhaps Kubelik realized that sentiment had not been prominently displayed on his program, for when the encore microphone began his ravages the violinist played the Schubert "Ave Maria," Sarasate's Spanish Dance, "Zapateado," op. 23, No. 6, and the Godard Berceuse from "Jocelyn." Here his tone was mellow and sufficiently languid to please even the youngest of the applauding fair ones who had sacrificed a pair of gloves for the extra pieces.
14There is scarcely anything new to add to the previous cataloguing of his skill. His technic is and remains his talent.
16The remainder of the program was made up of piano selections played by Miss Jessie Shay. This pianist achieved even a greater success than she had at the former concerts, and was more than equal to it, for her work was astoundingly fleet and corsutant. She played Grieg's "Wedding Day"; Moszkowski's Scherzo-Valse and Saint-Saëns' Allegro Appassionato—the latter a triple mixture of the styles of Schumann, Chopin and Liszt. In all her playing there is an enviable dash and assurance of which the public is cognizant and appreciative. The audience was not so numerous as it was on the former occasions, but the popular enthusiasm has not yet begun to wane, and the applause was vigorous. Herr Friml again was the accompanist.
18Kubelik in Sunday Night Concert.
20Jan Kubelik played the Beethoven Concerto at the Metropolitan Opera House last Sunday night; played it with technical finish and astounding bravura. He gave the Joachim Cadenza with an ease that took away the breath of local violinists.
22Kubelik is not an intellectual interpreter of the classic, yet he held his audience throughout, a feat when one considers the usual unmusical quality of a Metropolitan Sunday night audience. He also gave Sarasate's "Zigeunerweisen" with orchestra, and the Wieniawski Variations with many encores. His reception was overwhelming. The house was jammed, the receipts being $5,070.
24Miss Estelle Liebling made her début under rather trying circumstances. She sang with flexibility and tonal purity the Mad Scene from "Lucia." She was well received by the Metropolitan audience. We wish now to hear Miss Liebling in a more artistic environment. She should give a song recital where her versatility and musicianship and the beauty of her voice will be tested. Rudolf Friml played Liszt's A major Piano Concerto with abundant virtuosity and vigorous style. Mr. Paur conducted the "Oberon" overture and the accompaniments with his usual sagacity.
26Recital by Etta Edwards' Pupils in Boston.
28STEADY, vibrating tone, good carrying quality, surety attack without audible stroke of the glottis; logical, reasonable shading, always retaining the sweetness of the voice in sustained and forte passages, breathing unnoticeable, yet everywhere sufficient; distinct enunciation, memorizing of music, color to suit the meaning of the music, accuracy of pitch, lack of artifice or effort—these are some of the leading qualities of the singing of Mrs. Edwards' pupils at their first morning musical of this season in Steinert Hall, Boston, on December 14. This was the first of a series of four morning musicales that are to be given during the season, different pupils appearing at each of the four mornings. Those who appeared on Saturday were not all of the advanced or finished classes.
30These mornings are an innovation in the school; they are not intended as concerts or "show-off" exhibitions, but as a means of classroom résumé; the work is chosen and assigned when too late for special drill. The work is chosen from the regular repertory of the school, and as showing the actual results of daily work.
32Parents and intimate friends only are admitted, and the pupils are taught to focus the mind upon the subject and not upon self and the audience. The following was the program:
34Ungdom Skjönhed…………………………………………Sinding
35Miss Sigrid Olsen.
36Sweet Evenings……………………………………………..Coleridge-Taylor
37Mighty Lak' a Rose…………………………………………Nevin
38Mrs. Rufus Corlew.
39Chanson Fleurie (Louis XV)……………………………Jane Vieu
40Puisque c'est l'été…………………………………………..Jane Vieu
41Ballato, C'era una Volto (Ruy Blas)…………………….Marchetti
42Miss Edith Ellsbree.
43Sapphic Ode………………………………………………….Brahms
44Gae to Sleep………………………………………………….Fisher
45Miss Ethel Wilson.
46A Talk on the Correct Way of Learning French.
47Miss Fannie Edgar Thomas (Officier d'Académie, Paris).
48Aria from La Favorita………………………………………Donizetti
49Miss Sigrid Olsen.
50L'Esclave…………………………………………………….Lalo
51Les Glas des Fleur…………………………………………Jane Vieu
52Miss Mabelle Leslie.
53The Robin…………………………………………………….MacDowell
54Mother, Sleep……………………………………………….Lehmann
55Nymphs and Shepherds…………………………………..Purcell
56Miss Edith Ellsbree.
57Ave Maria…………………………………………………….Gounod
58Miss Lillian Whiton.
59Violin, Miss Ethel Crafts.
60Miss Adeline Raymond, accompanist.
62The evening concerts will again be a résumé of the whole work of the school, in the presence of a large public and amid more brilliant surroundings.
64MARIE SEYMOUR BISSELL SINGS.—Miss Bissell, whose glorious voice has so long been the feature at the Broadway Tabernacle services, emerged from this semi-privacy last week, singing "Come Unto Him," from "The Messiah," at Carnegie Hall, at the Young People's Orchestral Concert. Many present heard her singing with enthusiasm, and especially were her high notes and the artistic finish of the entire number in evidence. Few metropolitan singers have the churchly repose and style of Miss Bissell, and this it is in great part which has kept her in the prominent position she occupies. While she has withdrawn from general public singing, her pupils are the gainers, for to them she devotes all her time, having every hour filled.
66Mrs. Carl Alves has a larger class this season than ever before. She has a number of fine voices, some of which give promise of great things to come. Madame Bouton, the contralto, who has been so successful this season, is a pupil of Mrs. Alves.
68SOME BOSTON ENGAGEMENTS.
70THE soloist at the Symphony Concert on December 21 was Miss Pauline Cramer, and on December 28 Miss Heindl, Miss Spencer, Herbert Johnson and Frederic L. Martin will sing.
72At Steinert Hall, Gregory Hast, tenor, January 7; Felix Fox, December 31; Ernest Hutcheson, March 10; George Hamlin, date not announced; Bendix String Quartet during January, February and March.
74Two Faelten Pianoforte School Recitals at Huntington Chambers Hall January 8 and 15.
76At Chickering Hall, the first concert by the Adamowski Quartet, T. Adamowski, first violin; Arnold Moldauer, second violin; Max Zach, viola, and Josef Keller, violoncello, will take place Thursday evening, January 2.
78Florizel, the nine year old violinist, will play at Symphony Hall February 6.
80Miss Electa Gifford will be the soloist with the Symphony Orchestra at Sanders Theatre, Cambridge, December 26.
82At Symphony Hall the Handel and Haydn Society give the two Christmas "Messiahs" Sunday evening, December 22, and Wednesday evening, December 25. E. Moltenhauer, conductor; H. G. Tucker, organist; the soloists on Sunday being Miss Anita Rio, soprano; Miss Clara Poole King, alto; Ellison Van Hoose, tenor; Frederic L. Martin, bass, and on Wednesday, Miss Effie Stewart, soprano; Miss Tucker, alto; Glenn Hall, tenor; Whitney Tew, bass.
84Kubelik's next recital will be at Symphony Hall January 1, that not being a holiday in Boston.
86Arthur Whiting is the assisting artist at the Kneisel concert December 30 at Chickering Hall.
88Harold Bauer announces a recital on January 21 at Steinert Hall.
90Klingensfeld's "Violin Method."
92THE publishers of Heinrich Klingensfeld's "Violin Method" have received many voluntary commendations of the work. We add some of the more recent endorsements:
94Messrs. Breitkopf & Haertel, New York:
95Dear Sirs—Have examined Klingensfeld's "Elements of Violin Playing," which seems to me an excellent work, and that by following out the lines laid down by it fine results may be attained.
96Very truly yours, BENJAMIN CUTTER.
97BOSTON, MASS.
99Messrs. Breitkopf & Haertel, New York:
100Dear Sirs—Acknowledging the receipt of Klingensfeld's "Elements of Violin Playing," I thank you for attracting my attention to this good work. Respectfully yours, JOSEPH VILIM.
101CHICAGO, III.
102American Violin School.
104Messrs. Breitkopf & Haertel, New York:
105Dear Sirs—Klingensfeld's "Elements of Violin Playing" is, in my opinion, a carefully compiled and interesting work, and of great value as a supplementary to a violin school, as which I shall use it when necessary. Yours respectfully, FRITZ SCHMITZ.
106DALLAS, TEX.
108Messrs. Breitkopf & Haertel, New York:
109Gentlemen—After repeated and careful perusals of Klingensfeld's "Elements of Violin Playing," I take great pleasure in saying that I consider it an excellent work, which cannot fail to be of valuable assistance to teachers engaged in the guidance of young students of the violin. The book deserves and no doubt will meet with general recognition.
110Yours truly, L. MATTHIES.
111TOLEDO, Ohio.
113To Messrs. Breitkopf & Haertel, New York:
114Four weeks ago I received Klingensfeld's "Elements of Violin Playing," and must bestow on it my fullest recognition. The editor has discovered a new method, which especially examines the position of the fingers on the finger board. Theory and practice also receive extended treatment. The beginning of the work is particularly recommended for self-study.
115PAUL APEL.
116CHICAGO, III.
118ESTHER PALLISER.—Miss Esther Palliser had to replace Mlle. Ternina at only a half hour's notice at the Waldorf-Astoria morning concert of Mr. Bagby on Monday week last. Miss Palliser made a most successful appearance on that occasion, despite the fact that she was suffering from a cold and that she was called upon suddenly to do the work.
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