Scan 43
Musical Courier 1902-02-12: Vol 44 Iss 1142, 1902
107 lines. Read by computer on 22 September 2026. Printed page 44. See the scan on archive.org.
1NO MONEY IN IT.
2THE DOWDESWELL GALLERIES,
3275 FIFTH AVENUE,
4NEW YORK, February 10, 1902.
6Editors The Musical Courier:
7WITH reference to the paragraph entitled "A Plea for Parsifal" in your last issue, will you allow me to point out a serious error? I am in a position to state that since the work was produced in 1882 until to-day not a penny of the profits arising from the representations has gone into the pockets of Frau Wagner, her son or any other member of her family, whereas the writer of the article intimates that the Wagner family makes money out of the performances.
8As Whistler once said in relation to another controversy, "One cannot expect sane people to know these things, but at least they might inquire."
9Yours truly,
10CHARLES DOWDESWELL.
12SLIVINSKI.
13JOSEF SLIVINSKI will remain in this country until late in the spring. There are some thirty recitals and concerts remaining to be played by him. We append the following criticisms about Slivinski's recent recital in Providence:
14The famous Polish pianist, Josef Slivinski, made his first appearance in Providence in a recital given last evening at Infantry Hall. It is a pleasure to record the fact that for once a great artist visiting this city was not obliged to play to empty benches. There was a large audience present, in which those prominent in musical and social circles were fully represented. The recital was an event to be remembered, a bright spot in an otherwise rather dull musical season. It is not often that we have the pleasure of listening to an artist of the rank of Mr. Slivinski, who is unquestionably one of the foremost pianists of the day. All expectations aroused by the advance reports of his high reputation and his phenomenal successes elsewhere were fully met, and even more.
15The performance of this fine program was superb from beginning to end. Mr. Slivinski displayed remarkable executive powers to begin with, a polished and flawless technic. The same might be said of many other pianists, and yet—there is a difference. He produces a lovely tone, his phrasing is finished and musically, his readings sympathetic and strong. Again, these points are to be noted in the performance of any really good player, but again—there is a difference. What can there be in the air, or the soil, or the climate of Poland that produces such pianists as Paderewski and Slivinski? For the two are remarkably alike in temperament and ability, and no other living players seem to have that peculiar touch of individuality that characterizes their playing.
16Mr. Slivinski's quality was apparent at once in his performance of the Beethoven Sonata, which served to display in the fullest degree his marvelous command of tone color, the clarity and certainty of his finger work, the brilliancy and force of his bravura. The maturity of his style and the elegance and individuality of his readings were shown to full advantage in the Schumann and Chopin numbers, while his phenomenal virtuosity found full scope in the arrangements of that premier virtuoso, Liszt. He is a virile player when strength is needed, yet he seldom if ever forces the piano beyond its legitimate expression. Altogether he is a most delightful artist.
17The audience assumed a critical attitude at the start. It was slow to applaud and not at all demonstrative. But this was all changed before, and long before, the program was finished. At every pause the player was obliged to rise and bow again and again. Finally, when the last number was finished and people had begun to leave the hall, there came such a spontaneous and overwhelming ovation that Mr. Slivinski, after repeated acknowledgments, again seated himself at the piano. For his encore number he played Liszt's arrangement of the finale to "Tristan und Isolde," and fairly outdid all his previous efforts by the magnificent brilliancy and sentiment of his performance. It was an event to be remembered.—Providence Journal.
18There was not the slightest doubt after the celebrated piano virtuoso, Josef Slivinski, had executed his first number on a program he offered in Infantry Hall last night that four out of five people in attendance had been charmed by his wonderful skill into the belief that he was every bit the equal of Paderewski, while a good percentage was willing to go further than that and declare him Paderewski's superior.
19It is not essential here to enter into any lengthy exposition of Mr. Slivinski's mastery of his art, or of his astonishing dexterity, winning grace, great interpretative ability or fantastic, almost magical touch of the piano keys. Suffice it to say that he captivated his hearers, whose only regret was that another hour of his brilliant performance could not be vouchsafed.
20Applause was enthusiastic and frequent; in fact, at times the player was kept busy acknowledging the plaudits showered upon him.—Providence Telegram.
21Josef Slivinski will make an extended tour of New England beginning next Monday. The cities, dates and halls will include:
22February 17, Monday, 3 p. m., Steinert Hall, Boston; February 18, Tuesday, 8 p. m., High School Hall, Springfield; February 20, Thursday, 8 p. m., Horticultural Hall, Worcester; February 21, Friday, 8 p. m., Infantry Hall, Providence; February 24, Monday, 8 p. m., Wallace Hall, Fitchburg; February 26, Wednesday, 3 p. m., Steinert Hall, Boston; February 28, Friday, 8 p. m., Kotzchmar Hall, Portland; March 3, Monday, 8 p. m., City Hall, Haverhill; March 5, Wednesday, 3 p. m., Steinert Hall, Boston; March 7, Friday, 8 p. m., Colonial Hall, Lowell; March 10, Monday, 8 p. m., Odd Fellows Hall, New Bedford; March 13, Thursday, 8 p. m., Park City Theatre, Bridgeport; March 14, Friday, 8.15 p. m., Hyperion Theatre, New Haven.
24Hadden-Alexander Students' Recital.
25THE fifth of this season occurred at the handsome studios last Saturday night, and notwithstanding the bad weather a large audience assembled. It marked the first public appearance of Mrs. Alexander's chief assistant, Miss Mary E. Dickson, who was for twelve years at the head of the Jacksonville, Ill., Female College. Last summer she took the entire Virgil Clavier course (Mrs. Alexander being also one of the faculty), and she has now successful classes in Newark and Bensonhurst, N. J. Her classes in sight reading and memorizing have taken much of her time, too. She played the Reinecke Ballad with fine effect.
26The sisters Marie and Agnes Scheper also deserve mention, the former the pianist, the latter a violinist, contributing much to the evening. Miss Louie R. Boyd gave pleasure by her singing of two groups of songs. She has a splendid voice.
27Miss Cora Guild also sang most acceptably, receiving hearty applause. The program:
28Aragonaise ……………………………………………………Massenet
29Au Matin ………………………………………………………Goddard
30Mrs. Nicholas G. Cosgrove.
31Songs—
32When Love Comes Knocking at Thy Gate ………………Gottschalk
33The Sun and I ……………………………………………..Sullivan
34Nocturne …………………………………………………….Nevin
35Miss Louie R. Boyd.
36Romance Sans Paroles ………………………………….Saint-Saëns
37Gavotte ………………………………………………………Aus der Obe
38Miss Marie Scheper.
39Le Printemps ……………………………………………..Grieg
40Ballet Mignon ……………………………………………..Wachs
41Miss Frances Perley.
42Songs—
43Ave Maria ……………………………………………………Mascagni
44'Twas April …………………………………………………Nevin
45Miss Cora Guild.
46Fantaisie, D minor ………………………………………Mozart
47Mrs. Hugh Grosvenor Curran.
48Violin, Caprice de Concert ……………………………….Musin
49Miss Agnes Scheper.
50Valse Lente …………………………………………………Schütt
51The Butterfly ……………………………………………..Spindler
52Miss Josephine Grant.
53By the Brookside ………………………………………….Karganoff
54Valse Impromptu …………………………………………Raff
55Miss Molly Palmer.
56Reading, An Untimely Call ……………………………….Original
57Miss Milne.
58Ballade ………………………………………………………Reinecke
59Miss Mary E. Dickson.
60Valse de Concert …………………………………………Wieniawski
61Miss Frances Perley.
62Song, Without Thee ………………………………………D'Hardelot
63Miss Boyd.
64Four Preludes ……………………………………………..Heller
65Miss Scheper.
67RIESBERG BUSY.—F. W. Riesberg, accompanist and teacher, as well as organist of Roseville Avenue Presbyterian Church, and secretary of the New York State Music Teachers' Association, has in the past two months been associated with Percy Hemus in four lecture recitals under the auspices of the New York Board of Education. Late last month he played at the LaSalle Alumni affair at the Astoria; last week was accompanist at the Peck-Esworth recital at Norwich, Conn., and the coming Saturday in the same capacity at an Educational Alliance concert. Of the soloists at his church recently the following are best known: Mrs. Dorothy Harvey, Miss Louise Voigt, sopranos; Miss Margaret G. Keyes, alto; Dudley Buck, Jr., and Paul Dufault, tenors, and Robert Hosea and R. B. Overstreet, baritones.
69MARY LOUISE CLARY.—Mary Louise Clary, the contralto, has been engaged for the Louisville Music Festival, which takes place on April 21, 22 and 23. She will be heard in several other cities in the South and West in connection with these dates. Miss Clary sings this (Wednesday) evening in a song recital with George W. Jenkins, tenor, at Dr. Madison Peters' church, in Brooklyn.
71SUNDAY SYMPHONY CONCERTS.
72Herman Hans Wetzler, Conductor.
73WITH every promise of big success the first of a series of symphony concerts will be given in Carnegie Hall next Sunday afternoon, February 16, at 3.30 o'clock. The concerts will embody much that should appeal to music lovers in that popular prices will prevail and that Herman Hans Wetzler has been secured as conductor.
74The soloists for the opening concert will be David Bispham and Mrs. Black. Here is the program:
75Overture, Le Nozze di Figaro ………………………………….Mozart
76Orchestra.
77Aria from the The Seasons ………………………………….Haydn
78Mr. Bispham.
79Symphonic Poem, Orpheus ………………………………….Liszt
80Orchestra.
81Kerest du das Land? ………………………………………Liszt
82Mrs. Black.
83Quand ero paggio, from Falstaff ……………………………Verdi
84Drink to Me Only With Thine Eyes ……………………..Old English
85Killiccrankie ……………………………………………..Wetzler
86Mr. Bispham.
87Vorspiel and Liebestod, from Tristan and Isolde ……….Wagner
88Orchestra.
90Vittoria Coppi-Baldisseri.
91MADAME BALDISSERI is a professional pupil as well as a diplomée of the Marchesi school of Paris; a professional pupil inasmuch as she has sung throughout Italy in opera. Of a distinguished Florentine family, her connections were adverse to the continuance of the brilliant career already assured, and thus, in accepting the bonds of matrimony she decided to relinquish her artistic aspirations.
92Since the time of her retirement from public work she has dedicated her unusual knowledge of vocal culture to the artistic development of a few chosen pupils, and with such extraordinary success that she has decided finally, and after much persuasion, to give regular lessons to female pupils only at her study at No. 2 Piazza Cavour, Florence.
93The following certificate from Madame Marchesi testifies as to her studies as well as natural and acquired aptitude for her work:
94"I hereby declare that Signora Vittoria Coppi-Baldisseri, of Florence, has studied the art of singing in my school for various years. Her natural intelligence and high education, her musical knowledge and dramatic talent, make me hope that in dedicating herself to teaching she may obtain the highest results.
95"MATILDE MARCHESI.
96"Marchesa della Rajata, Paris."
98HADDEN-ALEXANDER IN VERMONT.—Mrs. Hadden-Alexander gave a piano recital at Manchester, Vt., last week, assisted by Gladys Perkins Fogg, soprano; J. Melville Horner, baritone, and Milo Benedict, accompanist, under the auspices of the Manchester Musical Club. The program contained excellent cuts of the artists, text of the songs, &c., and an audience of nearly 1,000 people attended. Mrs. Alexander evoked much appreciation and enthusiastic applause, and the following, culled from the Manchester Union, gives some idea of her success:
99Stella Hadden-Alexander, the New York pianist, could hardly desire a higher compliment than that paid her by the ladies of the Manchester Musical Club in having her play a return engagement under their auspices. She appeared here three years ago, and though at that time she proved eminently satisfactory, she seems to have made great strides, though perhaps unconsciously, both in breadth of style and in that finesse of interpretation that show the thorough student. Though she may lack the fire and facility of a virtuoso of the first rank, yet she manifests wonderful technic and for a woman great power of endurance.
100Not the least remarkable of her qualities is her versatility, calling for a special understanding of the scheme of the varied composers, whom she essays to interpret. * * * Leaving all hackneyed musical nomenclature out of this critique it suffices to say that Mrs. Alexander's work was highly artistic in the true sense. And though all her selections were of the strictly classical kind, and away out of the ken of the lovers of the so-called popular music of Sousa, &c., yet it was not the less instructive and entertaining to the very large number of musicians, students and lovers of music who so vociferously applauded the artist. Though she was recalled again and again, she wisely avoided the encore nuisance by bowing her acknowledgments.
102Portraits of Successful BOWMAN PUPILS
103ADDRESS E. M. BOWMAN,
104Piano and Theory Studio, Steinway Hall, New York.
105EDGAR C. SHERWOOD.
106Organist of the Church of the Saviour, Brooklyn, N. Y. Professional Pupil of E. M. Bowman.
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