Scan 37
Musical Courier 1902-02-12: Vol 44 Iss 1142, 1902
122 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 38. See the scan on archive.org.
1baritone, and Clarence Dickinson, accompanist. Special mention must be made of Mr. Dickinson's clever song, "One Way to Love," which Mr. Burton interpreted successfully.
3Madame Bloomfield-Zeisler honored Howard Wells' recital with her presence.
5At the eighteenth concert of the Chicago Orchestra (February 28 and March 1) Emil Bare, violinist, will be the soloist.
6Olive Mead, violinist, will play at next week's events, on February 14 and 15.
8What is the trouble at the majority of concerts where pupils furnish the programs?
9Is it not true that pupils are made to attempt compositions far beyond their powers of interpretation and of execution?
10Better to play something simple, and play it well.
12As for faculty concerts—but of those more anon.
14In the Music Hall, Fine Arts Building, the following program will be presented at Bruno Steindel's recital on the evening of February 11:
15Sonate, op. 32, for piano and 'cello…………………….Saint-Saëns
16Mr. and Mrs. Bruno Steindel.
17Concerto for 'Cello, op. 104……………………………Dvorák
18Bruno Steindel.
19Pause………………………………………………………..Schubert one of two readings
20Pause…………………………………………………….Schubert one of two readings
21Doppelgaenger……………………………………………..Schubert one of two readings
22Doppelgaenger…………………………………………Schubert one of two readings
23Feideinsamkeit……………………………………………..Brahms one of two readings
24Feideinsamkeit…………………………………………Brahms one of two readings
25Mainacht…………………………………………………….Brahms one of two readings
26Mainacht…………………………………………………Brahms one of two readings
27Emil Hofmann.
28Air………………………………………………………..Bach
29Adagio…………………………………………………….Mozart one of two readings
30Adagio……………………………………………………Mozart one of two readings
31Adelaide……………………………………………………Beethoven one of two readings
32Adelaide…………………………………………………Beethoven one of two readings
33Abendlied…………………………………………………Schumann one of two readings
34Abendlied……………………………………………….Schumann one of two readings
35Bruno Steindel.
36Der Schwan……………………………………………….Grieg one of two readings
37Der Schwan…………………………………………….Grieg one of two readings
38Traum durch die Daemmerung……………………………R. Strauss one of two readings
39Traum durch die Daemmerung………………………..R. Strauss one of two readings
40Der Musikant……………………………………………..Hugo Wolf one of two readings
41Der Musikant…………………………………………..Hugo Wolf one of two readings
42Augen, sterblich schoene Sterne………………………..Fr. Wild one of two readings
43Augen, sterblich schoene Sterne…………………….Fr. Wild one of two readings
44Emil Hofmann.
45Moment Musicales………………………………………Schubert one of two readings
46Moment Musicales……………………………………Schubert one of two readings
47Serenade Espagnole…………………………………….Glazounow one of two readings
48Serenade Espagnole…………………………………Glazounow one of two readings
49Valse Serenade…………………………………………..Lachmund one of two readings
50Valse Serenade………………………………………..Lachmund one of two readings
51Saltarello………………………………………………….Van Goens one of two readings
52Saltarello……………………………………………….Van Goens one of two readings
53Polonaise de Concert……………………………………Popper one of two readings
54Polonaise de Concert………………………………..Popper one of two readings
55Tarantelle………………………………………………….Popper one of two readings
56Tarantelle……………………………………………….Popper one of two readings
57Spinning Song……………………………………………Popper one of two readings
58Spinning Song………………………………………..Popper one of two readings
59Bruno Steindel.
61DIRECT RESULTS.
62The tremendous influence which THE MUSICAL COURIER exerts in musical circles has once again been brought to the notice of your correspondent.
63A Western instrumentalist whose press notices recently appeared in THE MUSICAL COURIER secured an important Southern engagement as an immediate and direct result.
64And a New York musician, whose name is weekly seen in your Eastern columns, has in consequence just filled a brilliant and lucrative series of Western engagements.
66MAY HAMILTON.
68Kubelik in Chicago.
69CHICAGO, February 2, 1902.
71KUBELIK played Vieuxtemps' E major Concerto, an Aria by Goldmark, a Giga by Bach, the Paganini "I Palpiti," and four encores at his fourth recital yesterday afternoon in the Auditorium. Between 4,000 and 5,000 people were present, and the brilliant young violinist received a tremendous ovation. After his first number representatives of several local Bohemian societies came upon the stage and presented him with a violin of gilt and silver, wreaths of silver, a large silver "loving cup," lyres, picture frames and many flowers. Three of the Bohemians were in native garb. In recognition of his countrymen, many of whom were in the audience, Kubelik played their favorite air, "Kde Domov Muj," which was greeted with outbursts of enthusiastic applause.
72Societies which took part in the presentations were the Grand Lodge of the Bohemian Benevolent Sisters, the women of the First Catholic Union, the Bohemian-American Young Ladies' Association, the Jaro Club, composed of boys and girls; the women of the Bohemian Journal, the Slav Turners and the Grand Lodge of the Bohemian Women.
73The sale of seats for this concert amounted to $5,806, making the total receipts for the series of four Kubelik events in Chicago $22,060.25.
74Who would not be a Kubelik? His visit to Chicago reads like a romance.
75Mrs. Ludvik, the Bohemian actress, entertained Kubelik after yesterday's concert.
77WILLIAM A. WEGENER.
79WILLIAM A. WEGENER, the well-known tenor, of Carnegie Hall, New York, has recently been singing with much success, as the following press comments illustrate:
80The title role was committed to William Wegener, who sang and acted with dignity and understanding.—Lyman Glover, in the Chicago Record-Herald.
81William Wegener, as the Knight of the Holy Grail, was surprisingly capable. He bears himself well in the white armor of Lohengrin.—The Chicago Journal, January 28, 1902.
83The honors were shared by Miss Gertrude Rennyson as Elsa and William Wegener as Lohengrin. The latter proved an agreeable surprise. Little heralded by the management, his appearance was not welcomed, but the Swan Song alone established him at once as a favorite.
84His princely bearing, unaffected acting and physical attributes left little for the imagination as an embodiment of the Knight of the Holy Grail.—Chicago Chronicle.
86WITH THE BALTIMORE ORATORIO SOCIETY IN "THE MESSIAH."
87Mr. Wegener, the tenor, is an artistic singer, possessed of a thoroughly finished voice, and his work was artistic and highly satisfactory.—Baltimore Herald, January 22, 1902.
89The other soloists besides Emil Fischer were Miss Harvey, soprano; Mrs. Clara Poole-King, alto; William A. Wegener, tenor, and G. Wright Nicols, of Baltimore, organist. All the soloists contributed to the success of the performance. Two of them, the soprano and the tenor, were heard for the first time in Baltimore, and received generous applause for their efforts.—The Baltimore Sun, January 22, 1902.
91Mr. Wegener has been re-engaged to sing in Baltimore in May, and on February 22 he will be heard at an important Philadelphia concert, which will be attended by the prominent German singing societies of the East.
93Poland's Loss the World's Gain.
95JOSEF HOFMANN, the pianist who is now touring this country, though but a youth is himself an extraordinary example of Polish musical genius. When he was but a small boy, not so many years ago, he was held up as a model for the young pianists everywhere. He played with wonderful control and expression before his feet could reach the pedals of his instrument.
96"It is grief for the wrongs of his nation," says Hofmann, "that has created in the Pole a musical refinement and sympathy which have captivated the world." He further continued:
97"The country, divided into three parts, and under the dominion of three separate strong governments, can scarcely ever hope to regain its national life. The injustice and utter hopelessness of the situation finds passionate protest in music, art and literature. Nearly all of the music by Polish composers is sad, you know. Through it all there runs a plaintive note of opposition to the oppression which the people have known for a century."
98So, Poland's loss is the world's great gain. And yet it remains a mystery that injustice should triumph, while its fruits are apparently a blessing to the race. On this question of the justice of things, as affecting humanity, Maurice Maeterlinck, in the January North American Review, asks how it is that nations are permitted to act with injustice, while man, as an individual, is ruled, through his conscience, by the law of justice.
99Is it necessary, then, that injustice on the part of nations should triumph, in order that we may not be robbed of the inspiring pathos of life?
101MORGAN QUARTET AT MRS. ROOSEVELT'S.—The second of the series of six chamber music concerts by this organization occurred February 5, at Mrs. J. West Roosevelt's, 110 East Thirty-first street; the next occurs February 19, at Mrs. Henry William Poor's, 1 Lexington avenue.
103THE SEMNACHER PUPILS' RECITAL.
105BRIEF mention was made last week of the concert in the Carnegie Lyceum which was given by the pupils of the National Institute of Music, under the direction of William M. Semnacher. So successful was the concert, and so much favorable comment has it elicited, that a longer and more detailed review seems called for.
106The program, as was mentioned last week, was in all respects a good one. It was judiciously arranged and carried out with a most faithful regard for details.
107The opening number was "Progress" Rondo, one of Mr. Semnacher's compositions, which was played with captivating abandon and true musical feeling by the youngest of the pupils, Miss Sadie Rosenzweig.
108Another young and exceptionally talented pupil is Miss Carrie Berger, who gave an interesting performance of a Berceuse by Schytte.
109"Pastorale," op. 34, by D. M. Levett, was played by Carrie Henes, who on this occasion made her first appearance in a concert. She displayed a broad, musicianly and brilliant style, and interpreted the work with intelligence.
110Miss Fannie Smith played "The Maiden's Wish," by Chopin-Liszt, in a brilliant and graceful manner, doing full justice to the composition. She possesses a high order of pianistic talent.
111Master S. Steinberg, a lad of thirteen years, is nothing less than a genius. He gave Bach's Bourrée and Minuet and "Fairy Fingers" Caprice, by S. B. Mills. These two pieces—the antitheses of each other—he played most effectively. In the Bach numbers he disclosed a bright musical intelligence and a polished technic, and in the Caprice he was brilliant and fascinating. The boy was called out four times, and played as an encore "Music Box," by Liadov. one of two readings
112Master S. Steinberg, a lad of thirteen years, is nothing less than a genius. He gave Bach's Bourrée and Minuet and "Fairy Fingers" Caprice, by S. B. Mills. These two pieces—the antitheses of each other—he played most effectively. In the Bach numbers he disclosed a bright musical intelligence and a polished technic, and in the Caprice he was brilliant and fascinating. The boy was called out four times, and played as an encore "Music Box," by Liadow. one of two readings
113One of the most impressive features of the program was the "Tannhäuser" Overture, arranged for two pianos (two performers at each piano), which was given most effectively by Miss Semnacher, Miss Carrie Henes and Miss Annie Tarnowski and A. Wechsler. The performance of this work was really masterly and aroused the audience to a high pitch of enthusiasm. The manner in which the climax was worked up was surprising. The audience insisted upon the repetition of this number, but the demand was not complied with. The performers were the recipients of much praise, which was deserved.
114A noteworthy performance was that of Miss Angele Spielmann, who played "Staccato Etude," by Boekelman, and Ketten's "King and the Fairies." This young pianist showed the excellent method which is common to the Semnacher pupils. one of two readings
115A noteworthy performance was that of Miss Angele Spielmann, who played "Staccato Etude," by Boeckelman, and Ketten's "King and the Fairies." This young pianist showed the excellent method which is common to the Semnacher pupils. one of two readings
116Miss Annie Tarnowski displayed amazing strength, endurance and a fine musical feeling in her playing of the difficult "Polonaise Militaire," by Chopin.
117Miss Ida May Missildine is one of the most advanced of Mr. Semnacher's pupils. She has a well developed technic and is a trained musician. She played "Concert Fugue," by Rheinberger, and "Prima Melodie," by Martucci (revised and fingered by Mr. Semnacher). These numbers were given in the style of a finished pianist. Miss Missildine is beyond doubt an artist who deserves a place among our best women pianists.
118A. Wechsler gave a brilliant performance of the Second Rhapsodie of Liszt, and, being vociferously applauded, added as an encore Schumann's Nocturne, which he played with refinement and true expression. He aroused much enthusiasm and received some handsome compliments.
119Miss Semnacher's admirable work, both as soloist and accompanist, already has been spoken of.
120The concert was brilliantly closed with Mendelssohn's "Capriccio Brillante," for two pianos. The performers were Mr. Wechsler, first piano, and Miss Semnacher, second piano. It had been arranged that this work should be accompanied by a string quartet, but owing to the fact that the music was not forthcoming the string accompaniment was dispensed with. The two performers did most commendable work.
121Upon the success of this concert Mr. Semnacher was warmly congratulated. It enabled his pupils to show the excellence of his method, which often has been praised in this paper.
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