Scan 40
Musical Courier 1902-01-29: Vol 44 Iss 1140, 1902
158 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 41. See the scan on archive.org.
1HAROLD BAUER IN NEW YORK.
3HAROLD BAUER'S successful playing last season is anything but forgotten, and his reappearance in this city last week with the Boston Symphony Orchestra was looked forward to with keen interest. That he acquitted himself with glory goes without saying. Read these excerpts from the city papers:
5Harold Bauer, plumper yet ever sedate, returned to New York again in company with the G minor Piano Concerto of Saint-Saëns, a composition that is, to say the least, slightly war-worn. Over five years ago Bauer made a sensation with this same concerto in Paris at a Trocadero concert. Saint-Saëns was present, and declared his preference for the interpretation of the talented young English pupil of Paderewski. Mr. Bauer last night gave a superbly finished performance of the music. We are accustomed to a more electric tempo in the scherzo, yet the pianist is justified by the composer—the marking is allegretto, and the Saint-Saëns allegretto—no matter what philological disputes may arise over the word—is slower than allegro. The lyric episodes were played with beautiful tintings.
7In the more spiritual scale of dynamics this artist is unrivaled. If fault may be found it is with his too remote treatment of passage work. His scales, arpeggios, chord work, double thirds, sixths and octaves are so unobtrusively set before us that all feeling of virtuosity, of brilliancy for brilliancy's sake, vanishes. He was first a violinist and he has the singing fingers of the fiddler. There was Bachian color in the introduction, and the Saltarello presto with its mock antique choral—oh, these psalmodyists of the piano!—was taken at a tearing speed. Bauer was recalled six times. He achieved a distinct success. He did not play an encore piece, for it is not allowed at the Boston Symphony concerts.
9It need hardly be said that Mr. Gericke accompanied with much sympathy.—New York Sun, January 17.
11The Boston Symphony Orchestra gave its third evening concert of the present season at Carnegie Hall last night.
13The solo performer was Harold Bauer, pianist. It is a pleasure to write of the performance to which he treated last night's audience. The G minor Concerto of Saint-Saëns may at some time in the history of music in this town have been played as beautifully as it was by Mr. Bauer, but this writer did not hear it, and it certainly never was played better. The truth is that a more fully satisfying interpretation of the work cannot be conceived.
15The three movements were made to disclose all their secrets. All that was in them was brought out with an art at once reposed, finished and rich in lovely musical spirit. It was a reading poetic, eloquent, complete in its understanding of the composition and in its adaptation of technical means to the demands of the interpretation. Technically it was a performance crowded with delights. The exquisite perfection of the phrasing in the allegretto scherzando was ravishing to the allegretto ear, while the management of tone tints and dynamics was masterly. And the manner in which Mr. Bauer treated the rhythm of the music was something to charm the aesthetic perceptions and to give a lesson in piano playing to every student of the art.
17On the whole the performance was that of a virtuoso who is also a musician. The audience was quick to recognize the exceptional merit of the playing, and called Mr. Bauer out several times with applause whose meaning could not be mistaken. It is worth while to have heard this pianist at his best, and we hope always to hear him thus hereafter. The audience last night was a large one.—New York Times, January 17.
19There were rest and refreshment in the Boston Symphony Orchestra's concert last evening in Carnegie Hall, and a spirit of musical beauty rested upon it as a benison.
21Harold Bauer was the solo pianist, and played Saint-Saëns' Second Concerto in G minor. He has not been heard here before this winter; but, if last evening's performance may be taken as a criterion, he returns with his stature as an artist considerably increased. The performance was brilliant, as it must needs be properly to realize the composer's intention in the work; but it was also unfailingly musical in conception and in execution. Mr. Bauer approached the work in exactly the right spirit; it is not deep, even in the more serious mood of the first movement, but it needs something more than brilliancy to show forth its significance; it needs a fine sense of proportion and an unerring sense of rhythm; it needs the power to build up an imposing climax and it needs a sense of grace and exuberant fancy. These things Mr. Bauer supplied; and they were united to make his performance charming and satisfying.—New York Tribune, January 17.
23The scheme of the program at last night's Boston Symphony Concert, in Carnegie Hall, presented Mr. Gericke in the guise of a banisher of the "blues"—for it began in good humor, proceeded in gayety and closed in rollicking joyousness.
25The Saint-Saëns Concerto served the soloist of the evening, Harold Bauer, to effect his reappearance in New York.
27Mr. Bauer last year left after him an impression of scholarship, intellectuality and, in a small measure, emotional power, which his playing last night positively emphasizes. To such an audience as that which hears the Boston orchestra a soloist must bring some definite message to justify his appearance, and Mr. Bauer is the bearer of one—a fact which seven insistent recalls abundantly proved.
29Mr. Bauer's playing of the Saint-Saëns work was in point of fact a scholastic and intellectual achievement. Lovely tone power lies in Mr. Bauer's left hand, and in his right a crystalline delicacy of touch, an exquisite exactitude in the delineation of phrase structure, which comparison with other piano virtuosi makes difficult to match. To pass upon Mr. Bauer's emotional qualities fairly it would need other opportunities than that afforded last night—but he has already indicated their possession.—New York Herald, January 17.
31As pleasant a concert as any given recently by the Boston Symphony Orchestra took place in Carnegie Hall last evening. The audience was large. The works were Weber's inimitable "Freischütz" Overture, Schubert's Unfinished Symphony in B minor, Saint-Saëns' Concerto for Piano, G minor, No. 2, op. 22, with Harold Bauer as soloist, and Berlioz's "Minuet of Will-o'-the-Wisps," "Ballet of Sylphs" and "Rakoczy March," from "The Damnation of Faust."
33Harold Bauer makes a great deal of the Saint-Saëns Concerto. He invests it with the beauties of his own fertile imagination. The moment he strikes into the opening cadenza, one feels an inclination to listen more closely, and one is well rewarded for doing so. Bauer has won an enviable position among pianists, and only from absolute merit. He is sincere and free from appeals to the gallery gods. There are passages in this concerto, especially in the allegretto scherzando, where other pianists exaggerate intolerably, and there are moments in the heavy octave work of the last movement where nine pianists out of ten get no tone whatever from the instrument through forcing it. Bauer plays with temperament and great control, and he will not permit Mr. Gericke to cloak him with somnolent rhythms. In the andante sostenuto it was a debatable question whether Bauer or Gericke conducted.
35Besides the qualities referred to, this pianist has sound technic; his runs, chord and octave playing are unusually good, and all that he does is refined.—New York Press, January 17.
37NELLIE WRIGHT'S SUCCESS.—This young artist is fast making for herself a name as a successful soloist, having recently sung in New Hampshire with much success. All the papers were most enthusiastic, a few press notices reading as follows:
39The second portion of the program served to introduce to a Concord audience Miss Nellie Linde Wright, daughter of Madame Linde, who delighted a large audience here a few weeks ago. Miss Wright has a voice full of the charm and freshness of youth, pure as a bird's and of sufficient strength. She was at her best in a group of three songs, which were charmingly rendered, and her reception must have been very gratifying to this young artist.—The Manchester Union.
41In the "Bel Raggio" aria from Rossini's "Semiramide" Miss Nellie Linde Wright, of New York, made her bow to Concord people. Miss Wright is young and has the decided advantage of a fine appearance, a strong, girlish voice and good technic. She made a decided success and was obliged to give an encore, singing a solo from "Faust."—Concord (N. H.) Evening Monitor.
43Miss Wright made her first appearance in this part of the program, and in each number fully established what the management had said in print as to her abilities.
45The audience at first hardly knew whether to approve heartily or remain passive. It was aroused to more favorable consideration of the singer, however, on her second appearance. Her first number, aria, "Bel Raggio," by Rossini, required an extraordinary range and high capabilities in the line of execution, and she was equal to the occasion.
47The writer predicts for Miss Wright a high position in the world of music. Yet young, she may lack the perfectly developed temperament, but with such a fountain of tone, ready and eager to burst forth in song, she has something which even temperament cannot create.
49Her voice sparkles with music, is virile, and in no part of her work did she cause the slightest suggestion that to her singing is anything but the embodiment of ease and a perfect delight. In the future years it is to be hoped that Miss Wright will return, and with a reputation that will command for her as much admiration as though in manner and facial beauty she were the equal of many singers who have come to Concord with these latter requirements fulfilled, but with not as good vocal accomplishments.—Daily Patriot.
51Miss Wright is a pupil of Madame Torpadie-Björksten.
53Gregory Hast's Season.
55AFTER a very successful season in this country, which has also been his first season here, Gregory Hast, the tenor, concluded his tour this week, and will leave here Saturday for England on the Umbria. Mr. Hast has already secured such a large number of return dates that he will come back to us, and will make his first appearance next January. He has had a thoroughly artistic and financial success in the United States as a lieder and oratorio singer.
57HATTIE SCHOLDER'S GREAT SUCCESS.—This gifted child pianist creates a sensation wherever or whenever she plays. Hattie was one of the soloists at Mrs. Jefferson Seligman's, of No. 11 East Sixty-ninth street, Sunday evening, January 19, where she played the following program: "Aufschwung," by Schumann; "Maiden's Wish," Chopin; "Spinning Song," Mendelssohn, and other numbers.
59Sunday evening, January 26, Hattie Scholder was one of the soloists at a musicale given by Mrs. Albert Tilt, of 5 East Sixty-seventh street.
61Wagner and the Bayreuth Festival
63Superbly Illustrated
65Meaning
67Music
69Scene,
71Including the entire
73Ring of the Nibelungen and Parsifal
75MRS. CHAS W. RHODES
76MR. BARRON BERTHALD, Tenor
77MR. ADOLPH GLOSE, Pianist
78Astor Gallery of the Waldorf-Astoria, on the morning of Friday, January the thirty-first, at eleven o'clock.
79Tickets, $2.00
80On sale at the Waldorf and at Ditson & Co
82OLIVE MEAD,
83VIOLINIST.
85HAVE YOU SEEN THE NEW SONG,
86"BUBBLES."
87Published by BERENICE THOMPSON,
88128 Maryland Avenue S. W., Washington, D. C.
89Singers, inclose stamp and program for sample copy.
91Mesdemoiselles YERSIN,
92Authors of the
93PHONO RHYTHMIC FRENCH METHOD.
94Winter address:
95465 Lexington Avenue, NEW YORK.
96Summer address:
97Newport House, BAR HARBOR, ME.
99EDWARD BROMBERG,
100BASSO-CANTANTE,
101SOLOIST OF THE BRICK CHURCH,
102(87th St. and Fifth Ave.)
103ORATORIO, CONCERTS, SONG RECITALS,
104VOCAL INSTRUCTION.
105Residence-Studio: 138 West 91st Street.
107DELMA-HEIDE,
108Tenor Singer and Teacher,
109WILL REMAIN IN ITALY ANOTHER YEAR.
110Address care THE MUSICAL COURIER; or, Corso Venezia 65, Milan, Italy.
112CLIFFORD ALEXANDER
113WILEY,
114BARITONE.
115ORATORIO, SONG RECITALS, CONCERTS.
11664 West 98th Street, New York.
117Also Wolfsohn Bureau. Telephone, 1658 Riverside.
119J. LEWIS BROWNE,
120Concert Organist—Pianist,
121Atlanta, Ga.
123CARL FISCHER,
1246, 8 & 10 Fourth Ave., NEW YORK.
125LATEST PUBLICATIONS.
1261. "Before the Mast, Nautical March," by L. P. LAURENDAU, for piano solo ………….Price, .40
1272. "King Over All, March," by W. H. SCOUTAN, for piano solo ………………… .40
1283. "An Arbor University March," by C. D. BARNARD, for piano solo ………………… .40
1294. "Artist's Dream, Waltz," by O. VOLSTEDT, for piano solo ………………… .75
1305. "Read the Stars, Waltz," by O. FETRAS, for piano solo ………………… .75
1316. "Columbia, Waltz," by TH. M. TOBANI, for piano solo ………………… .65
1327. "I Love Thee, Columbia," by TH. M. TOBANI, for piano solo ………………… .50
1338. "The Missionary's Flirtation, Humorous Song," for vocal and piano, by F. KLENGEL .50 one of two readings
1348. "The Missionary's Flirtation, Humorous Song," for voice and piano, by F. KLENGEL .50 one of two readings
135"Also published for Orchestra and for Military Band." one of two readings
136Also published for Orchestra and for Military Band. one of two readings
138MUSIC PUBLISHER and IMPORTER. Books. Well-known publishers are represented.
139"THE METRONOME." A monthly published in the interest of the musical profession. Subscription, $1.00 per annum; 10 cents each copy.
141COLOGNE-ON-THE-RHINE.
142Founded in 1830.
143The Conservatory of Music.
144Principal: PROFESSOR DR. FR. WULLNER.
145The Conservatory embraces: First, Instrumental (comprising all solo and all instrumental instruments); second, Vocal, and third, Theory of Music and Composition (tools).
146The Vocal School is divided into two sections (a) concert singing and (b) operatic singing. There is also a seminarium for pianoforte teachers. In connection with these subjects there are classes for Italian, German, literature, liturgy, choral singing, ensemble playing (chamber music), ensemble singing, musical dictation, elocution, sight reading, orchestral playing, conducting, &c., &c. Teaching staff consists of forty teachers.
147Winter Term begins in November. Summer Term, April 1. Entrance examination takes place on the first Monday of the College (Wolfstrasse 3-5). The yearly fees are 300 marks ($75) for piano, violin, viola, violoncello classes; 200 marks ($50) for all the other orchestral instruments, and 400 marks ($100) for solo singing.
148For full details apply to the Secretary.
150SCHOOL FOR PIANOFORTE AND MUSICAL THEORY
151Mas. CLARA A. KORN, Director,
152600 Springdale Ave., East Orange, N. J.
154W. A. HOWLAND,
155BARITONE.
156Address: University School of Music,
157Ann Arbor, Mich
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