Scan 34
Musical Courier 1902-01-01: Vol 44 Iss 1136, 1902
51 lines. Read by computer on 23 September 2026. Printed page 35. See the scan on archive.org.
1MR. FROHMAN AND "O. F."
2AMERICAN TOUR OF
3JAN KUBELIK,
4THE DISTINGUISHED VIOLINIST,
51901-1902.
6(Address: Daly's Theatre, New York.)
7December 27, 1901.
8Editor The Musical Courier, City:
9DEAR SIR—Your distinguished writer, "O. F.," mentions again this week the fact that Herr Kubelik "failed" in Berlin, which is supposed to be the invulnerable citadel of modern musical criticism. "O. F." possibly remembers also that Paderewski "failed" in Berlin, and so did Josef Hofmann "fail" in the same place, so did Ysaye and Rosenthal, and I am sure that "O. F." must know that every musical artist will continue to "fail" in that capital so long as the artists persist in first obtaining musical recognition and distinction in London, New York or elsewhere.
10But this, I understand, is such a well-known tradition that it is a fact generally known.
11What I wish, however, to respectfully gainsay in "O. F.'s" article, is his statement that Boston, in the case of Kubelik, "coincides with Berlin." I do not know where, or how, "O. F." obtained his authority for this statement. Certainly not from the press of that city, which was generally unanimous in its enthusiastic praise of the violinist; not in the business, for, though he had not so large a house on his début in that city as he had in New York, it was more than doubled on his second appearance there.
12I wish to make no claim for Herr Kubelik, except to correct erring statements, but I can understand the natural resentment of "O. F.," with his Berlin prejudices, and his pronunciamento against "commercialism," because an artist like Kubelik has from the very start drawn continuously such enormous audiences, and that New York appears to repeat in his case the London experience. Most un-Berlin-like! Cannot London, New York, Rome, Milan, Paris and Vienna audiences approve of an artist without the Berlin cachet? And do crowded houses and the appreciation of the public really lessen his artistic value? I am, Very respectfully yours,
13DAN'L FROHMAN.
14MUCH of the success of Kubelik is due to the extraordinary managerial ability of Daniel Frohman. Mr. Kubelik is eminently a performer for the public—for the great masses of people, and that was the discovery which Mr. Frohman made and which he is utilizing with tact and intelligence, and with a professional managerial instinct that is of the highest credibility to him. In another part of this paper some editorial comment is made on this very matter which was written before this letter was received. Individual successes and successes of operas and compositions are rhythmical and also sectional and also very frequently national and also occasionally individual. So many elements enter into it that it requires much time and space to analyze it. In the matter of Mr. Frohman's references to Berlin failures, it must not be forgotten that there were also a great many successes that were not indorsed in this country, but which were nevertheless successes, and that is often a managerial question. For instance, Sembrich was a success in Berlin and also here. Melba was a success in Berlin and also here. Marteau was a success here and also in Berlin. Jean de Reszké never sang in Berlin, but he was a success here and in London. Calvé never sang in Berlin, but she was a success in London and here. De Pachmann was a success in Berlin and a success in London and here. Willy Burmester was a decided success in Berlin and a failure here.
15Gabrilowitsch was a success in Berlin and London and here. Emil Sauer was a success in Berlin and a success in London and here. These are rhythmical matters; in fact, they are a kind of tempo rubato, and there is no rule for them, but they are of deep psychological interest.
16["O. F." is Otto Floersheim, of The Musical Courier.]
17Sebastian B. Schlesinger.
18SUCCESSFUL musical entertainment took place recently at the residence of Sebastian B. Schlesinger in Paris. One of the participants was Harold Bauer, the distinguished pianist, who played pieces by Schubert, Schumann and Liszt. Mme. Elizabeth Parkinson, a pupil of Marchesi, sang airs from Massenet's "Manon" and Charpentier's "Louise" and Madame Braggiotti gave some airs by her father, who also lent his assistance to the program. Several of Mr. Schlesinger's songs were sung with fine effect, the composer playing the accompaniments.
19Mr. Schlesinger's songs have received many favorable notices from the European critics and eminent singers have added them to their repertory. With regard to Mr. Schlesinger's compositions the Sunday Sun said:
20"America is not generally looked upon as the home of composers, but possibly this is rather due to the narrowness of our vision than to any lack of productive capacity. There is just now in England an American lyrical composer whose achievements as a song writer deserve for him a place among the best of contemporary workers in a somewhat wide field. Sebastian B. Schlesinger combines in no common way the traditions of the creators of German song and the freedom from convention, which is the enviable birthright of American citizens. If Mr. Schlesinger has any model it is that one great composer native to Vienna, Franz Peter Schubert. Songs there were before Schubert—those of Schulz of Zumsteeg, of Haydn, Mozart, and one at least of Beethoven, "the Liederkreis," op. 98—but, in a measure, he was the great creator of German song. Of American song writers Mr. Schlesinger should be the Schubert. No one will easily forget the delightful Schlesinger Album of two years ago, in the Collection Litoff, and the rare promise put forward in this album has been amply fulfilled. "The Cry of the Dreamer" (Boston, Arthur P. Schmidt), which is before us, is one of his more recent efforts which demands attention. It is written with true musicianly feeling, and with intelligent phrasing on the part of the singer would be most happy in its effect. The constantly broken phrases might in some songs prove wearisome, but in this case the device is well suited to the character of the words, which, by the way, are distinctly above the average of ballad versifying.
21L'élite de la colonie américaine et anglaise s'était donné rendez-vous hier, à l'hôtel Continental, pour entendre les œuvres de M. Schlesinger, le remarquable compositeur américain qui est l'hôte de Paris.
22De brillantes et printanières toilettes, nombre de frais visages ajoutaient à l'éclat de cette réunion, tout à fait "selected."
23M. Schlesinger a fait de fortes études musicales. Son style, notamment dans les œuvres de piano, porte l'empreinte des maîtres classiques. Sa musique vocale, tour à ton pathétique et légère, garde un caractère franchement national, qui la rendra bientôt populaire dans les pays de langue britannique.
24Les interprètes étaient dignes des ouvrages exécutés.
25En première ligne, citons le compositeur lui-même, dont on a applaudi la belle voix de baryton et l'excellente méthode, et ses filles. Mme. la baronne von Reibnitz et miss Schlesinger, toutes deux aussi habiles artistes que jolies femmes. Le ténor, M. Whitney Mockridge, possède un organe souple, au timbre franc et clair, qui ferait merveille sur une scène lyrique.
26Enfin, l'éminent pianiste, M. Arnold Reitlinger, a interprété avec sa maestria accoutumée les savantes compositions du maître américain.—Le Matin, Paris.
27ESTELLE HARRIS ENTHUSIASM.—The dramatic soprano sang at Paterson as soloist of the Orpheus Club, C. Mortimer Wiske conductor, recently, and the following vouches for her success. The Morning Call said she "was found to have a sweet yet resonant and powerful voice, of both range and timbre. The aria was given magnificently, and she was compelled to give an encore. Harris' 'A Madrigal' was sung by her in brilliant style." The Evening News said she was "one of the most pleasing soloists the Orpheus has ever had. She has a voice of rare sweetness and power; the aria was a masterly effort. So flattering was the applause that she responded to an encore." The Guardian said "her florid passages were most clearly executed, showing great flexibility of voice and admirable vocal training; her efforts were altogether successful and met with flattering recognition." The Daily Press was perhaps most enthusiastic of all, having as headline "Miss Harris Charmed All," with, in part, the following: "Of the assisting talent the laurels of the evening should be accorded Miss Harris, who captured the hearts of the listeners. Her superb voice, fresh and sweet, coupled with well directed schooling, beautiful enunciation and tone, combined with a charming girlish appearance, made her a delight to the eye as well as to the ear. The triumph she achieved will long be remembered with pleasure by those fortunate enough to hear her. Her smaller solos were sung in a manner that brought forth tumultuous applause."
28ANNA E. OTTEN.—Miss Anna E. Otten passed the holidays resting in the country. This young violinist is in great demand for private musicales. Among her more important engagements is a concert in Baltimore with Josef Hofmann in March. Miss Otten appeared recently with great success at the concert of the St. Louis Apollo Club. In the report of this concert published by the Globe-Democrat the following mention was made of Miss Otten's playing:
29The soloists were Miss Anna Otten, of New York, and Gregory Hast, of London.
30Miss Otten is a young woman, appearing scarcely more than a girl. Her name was familiar to but few in St. Louis. It will be remembered by a great many with decided pleasure. She plays admirably, according to art standards, having careful regard for the qualities that go to make an artistic performance. She evokes a beautiful tone, resonant and of exceptional evenness, and marked by delicate shading. Added to these is the player's personal magnetism, which vitalizes her playing and holds her audience to closest attention.—Globe-Democrat, St. Louis, Mo., November 27, 1901.
31Mme. FANNY RICHTER
32Grand Orchestra and Solo Pianiste.
33Decorated by Queen Marguerita of Italy and the Grand Dukes of Saxe-Weimar and Schaumburg-Lippe.
34Graduate of Berlin High School of Music and Winner of the Grand Mendelssohn and Mozart Prizes.
35For Terms, Dates, &c., address ALBERT FUCHS, Riverside Drive, Corner 97th St., New York City.
36Mr. Gregory Hast
37Famous English Tenor.
38Of the St. James' Hall, Popular, London Ballad, Queen's Hall, Oratorio, Crystal Palace, Saturday and Royal Albert Hall Concerts.
39Sole Direction: Loudon G. Charlton, Carnegie Hall, New York.
40GREGORY HAST. In America until January 25, 1902.
41MINNE HUMPHRYES
42Soprano, Concert and Oratorio.
43FOR TERMS, DATES, ETC., ADDRESS
44ARNOLD SOMLYO, Sole Manager, Room 95 Carnegie Hall, New York.
45JULIAN WALKER
46BASSO.
47WOLFSOHN MUSICAL BUREAU, 131 E. 17th St., New York.
48RARE OLD VIOLINS
49Remarkable values in fine old instruments from $30 to $10,000. Largest and finest collection in the world. Send for a copy of our Catalog, just issued, containing Biographies, Fac-simile Labels, Etc. Easy Terms.
50LYON & HEALY, 133 Adams Street, CHICAGO
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