Scan 24
Musical Courier 1902-02-19: Vol 44 Iss 1143, 1902
58 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 25. See the scan on archive.org.
1more than cover all possible expenses, leaving a profit of $60,000. As a matter of fact, it is much more likely that the smaller sum covers all expenses, leaving $100,000 for Wagner's heirs; for Madame Wagner does not engage expensive singers, and players are dirt cheap in Germany. She runs the festivals on a strictly commercial basis, and so frequently disregards every one of Wagner's ideals that the genuine Wagnerites—those who knew him personally and attended the festivals of 1876 and 1882, given under his personal supervision—have entirely given up Bayreuth as too much of a humbug in its present condition. Put no money in their purses! Credat Judaeus Apella! Commercialism is the essence of modern Bayreuth, hence the eagerness to seem uncommercial. There are some Munich debts to pay, but these are a trifle to come out of the colossal Bayreuth receipts.
3TIVIDAR NACHEZ.
4More European Press Notices.
5Herr Nachez, a Hungarian by birth, who studied under Joachim in Berlin, is a phenomenal artist. I doubt whether among living violinists anyone possesses a more dazzling and astounding technic, although I have heard the famous Belgian violinist Thomson, who is described as the most celebrated successor of Paganini. In listening to the pieces in which virtuosity comes into the program, the "Scherzo Fantastique" of Bazzini, the Swedish Rhapsodie, op. 22, of Nachez, Etudes and Variations for G string alone by Paganini, the audience was wrapt in admiration. In all that concerns finger technic and bowing Nachez stands on the highest plane of art which any mortal can reach. That he is also an excellent musician and a great artist in delivery he demonstrated by his rendering of the Tartini sonata, "The Devil's Trill," and of the most beautiful of the three violin concertos of Max Bruch, the first in G minor. In it he displayed not only a grand, beautiful tone, but such an amount of passion and verve that the execution of his compositions was kindling and enchanting. Lesser pieces, like the "Benedictus" of Mackenzie and Schumann's "Traumerei," gave him opportunity for songful cantilene.—Hallesche Zeitung.
7An artistic bouquet arranged in London was presented yesterday by Ben Davies, Tivadar Nachez and Algernon Ashton. That Nachez is a Hungarian is clear at the first touch of his bow. Even his three years' study under Joachim has made no change. His technic seems to have no limits, his tone is full, sweet and powerful, dwelling by preference in the realm of dreamy melancholy.—Berliner Tageblatt, October 28, 1894.
9A storm of enthusiastic applause characterized the concert. In Tivadar Nachez we made the acquaintance of an artist whose technic borders on the fabulous. Brilliant fullness of tone, elegance of delivery, are further qualities of this virtuoso par excellence. The giant program, which included a sonata, a whole concerto, a composition of his own, as well as some neck-breaking pieces of Paganini, was rendered with astounding lightness.—Frankfort General Anzeiger.
11The violinist Tivadar Nachez, from London, gave his hearers peculiar pleasure by his performance of Bach's violin concerto, E major, with string orchestra and organ. Although the violin sonatas have been played often, yet knowledge of this master's violin concertos has almost entirely passed away, and yet they, as the one performed proves, deserve to be brought forward again. Herr Nachez possesses a full, round tone; if his playing does not completely exhaust the content, yet it is warm and full of expression. Herr Nachez played also the Romance, G major, of Beethoven. The Octave Etude of Paganini became under him a bravura piece of the first class. The Russian airs of Wieniawski gave opportunity to admire from the other side his great technical ability.—Kölnische Zeitung, January 20, 1902.
13We looked with eagerness for the appearance of the violinist Tivadar Nachez, who has not been heard here for several years, but the interval has been sufficient to raise him to the rank of our first violinists. He need not fear a comparison with Sarasate. Although in his Bach Concerto the fullness of the Joachim tone and the grandeur of style were missed, yet the artist showed by his noble, musically "pietativoll" rendition that he, too, had penetrated sufficiently into the old classical violin literature. The Paganini Octave Etude had astonishing success, in which the performer gave every tone and spotless purity in the double stopping. Briefly, Nachez's execution is perfect; he has reached the furthest limit of virtuosity, and, what is more, his spiritual playing reveals in every bar the deep thinking, refined feeling artist. Nachez received storms of applause.—Kölnner Tageblatt, January 18, 1902. one of two readings
14We looked with eagerness for the appearance of the violinist Tivadar Nachez, who has not been heard here for several years, but the interval has been sufficient to raise him to the rank of our first violinists. He need not fear a comparison with Sarasate. Although in his Bach Concerto the fullness of the Joachim tone and the grandeur of style were missed, yet the artist showed by his noble, musically "pietativoll" rendition that he, too, had penetrated sufficiently into the old classical violin literature. The Paganini Octave Etude had astonishing success, in which the performer gave every tone and spotless purity in the double stopping. Briefly, Nachez's execution is perfect; he has reached the furthest limit of virtuosity, and, what is more, his spiritual playing reveals in every bar the deep thinking, refined feeling artist. Nachez received storms of applause.—Kölnr Tageblatt, January 18, 1902. one of two readings
16Boston Music Notes.
17HOTEL BELLEVUE,
1817 BEACON STREET,
19BOSTON, MASS., February 15, 1902.
21MRS. CHARLES R. ADAMS gave the program at the reception by the New England Bradford Academy Club, to Miss Laura A. Knott, principal of Bradford Academy, which was given at the Vendome on Saturday afternoon, February 8. The program was a fine one, and Mrs. Adams sang most charmingly two groups of songs, one in English, the other in German. Mrs. Adams is well known as one of the vocal teachers in this city, and it has always been a matter of regret to her friends that she has appeared so seldom in concert. Next season probably she will be heard oftener if the duties of a large class of pupils will permit.
23At the Faleten Pianoforte School recital in Huntington Chambers Hall Wednesday evening, Miss Alice Julia Riche played: Sonata, E minor, op. 90, Beethoven; Moment Musical, A flat major, op. 94, No. 2, and Impromptu, F minor, op. 142, No. 4, Schubert; Impromptus, F sharp major and C sharp minor, and Polonaise, D minor, op. 71, No. 1, Chopin; Caprice Espagnole, A minor, Moszkowski. Miss Riche had her program well in hand, and was the recipient of much well deserved applause. Ensemble numbers were rendered by Miss Emilie J. Bray, Miss Ethel M. Colgate, Miss Estelle Heineman, Miss Elizabeth Povall, Mrs. Minna del Castillo, Miss Annie F. Hardy, Miss Helen L. Masten and Miss Sarah McKeen Williams.
25Arthur J. Hubbard, whose pupil Paul Savage was for the three or four years preceding his going abroad, is having considerable quiet amusement over the following, reproduced from a Western paper:
27"Paul Savage, a young man from Boston who is putting the finishing touches on a three years' course of voice training here, was the hero of a Hobsonesque episode yesterday. He sang one or two numbers at a soirée musicale in a fashionable salon on the Avenue du Bois de Boulogne, and his magnificent baritone created a profound sensation. At the conclusion of a touching English ballad, which he sang with much feeling, nearly everyone in the drawing room was in tears. Suddenly, in a burst of irrepressible emotion, one lady threw her arms around the Bostonian and embraced him tearfully in the presence of all the guests. Her example was followed first by an elderly dowager duchess, and then in turn by at least a dozen women of all ages. Despite the humor of the situation prominent musical critics will declare that no male voice heard in Paris in years has ever been complimented so spontaneously. Mr. Savage's vocal methods are finding many imitators among students of all nationalities here."
29Mr. Savage's method was obtained entirely from Arthur J. Hubbard, and the compliment to that teacher is equally great as to Mr. Savage. A beautiful baritone voice, splendidly handled, and an artistic temperament, make a fine combination for a young man with ambitions for a future in the musical world.
31One of the musical events of the Lenten season is the series of four chamber concerts to take place in Chickering Hall, Huntington avenue. The course opens on Wednesday evening, February 19, with Tennyson's "Enoch Arden," with music for the piano by Richard Strauss. B. J. Lang will be pianist and George Kidder reader. The second concert will be given Wednesday evening, February 26, by George Proctor and Francis Rogers; the third on Thursday evening, March 6, by Mrs. Beach, Miss Edmands and Miss Olive Mead, and the fourth on Thursday evening, April 3, by Miss Edith Thompson, T. Adamowski and Josef Keller.
33A recital will be given in Steinert Hall Tuesday evening, March 4, by Carl Faleten. This will be Mr. Faleten's fifth recital of the season, and the seventeenth in the series of standard piano works. Introductory remarks will be made by Mrs. Reinhold Faleten. An interesting program has been arranged.
35Ernest Hutcheson, pianist, announces a piano recital for the afternoon of March 10, in Steinert Hall.
37A musical service, under the American Guild of Organists, will be given at the First (Unitarian) Church, corner Berkeley and Marlboro streets, on Wednesday evening, February 26.
39A concert on the evening of March 5, in Chickering Hall, is to be given by Miss Alice Cummings, pianist, and Miss Anna Miller Wood, mezzo-contralto, with the assistance of Karl Ondricek, violinist.
41A concert will be given, February 23, in Symphony Hall, the works announced being Gounod's "St. Cecilia Mass" and the Palestrina Motet ("Panis Angelicus"). These will be followed by a miscellaneous program of classical and popular selections. The soloists include Ellison Van Hoose, tenor, and Campanari, baritone, and other prominent vocalists. The direction of the concert will be in the hands of Signor Rotoli.
43At the entertainment to be given at the Hotel Buckminster, February 24, Mrs. Batcheller will sing several groups of songs. Mr. Henschel and Miss Adah Campbell Hussey will contribute some compositions.
45PECK-ENSWORTH RECITAL AT NORWICH.—Sarah King Peck, George Ensworth, the Kaltenborn Quartet and F. W. Riesberg will be associated in a concert at Whitinsville, Mass., next week, when the singers will give some of their best songs, both solos and duets. After the recital at Norwich, Conn., last week, the Evening Record said:
46The recital given at the Norwich Club last evening by Miss Sarah Peck and George Ensworth, of New York, was artistic in the extreme and delighted a fashionable audience. Mr. Ensworth has been heard here before with pleasure, and his many warm admirers were charmed with being given the opportunity of again listening to him. The agreeable impression he first made was only strengthened by his second performance, which was unusually excellent in every way.
47Both Mr. Ensworth and Miss Peck were in brilliant voice, and their respective numbers were in a most artistic manner. Miss Peck's voice is of great purity, and she has absolute control of it. She gave her numbers with ease and confidence, and shared the honors with Mr. Ensworth. In the duets Mr. Ensworth's rich baritone tones and Miss Peck's limpid notes harmonized wonderfully well, and the applause was enthusiastic and spontaneous. The program, a difficult and varied one, was agreeably calculated to show the rare ability of both performers.
48F. W. Riesberg's accompaniments were very sympathetic.
50New Hotel Bellevue.
51NEW, MODERN, FIREPROOF HOTEL.
52BEACON STREET (near Tremont Street),
53BOSTON, MASS.
54Central Location. European Plan.
55HARVEY & WOOD.
57EXCEPTIONAL ADVANTAGES FOR ORGAN PRACTICE ARE OFFERED TO STUDENTS AT THE Guilmant Organ School. FOR TERMS AND FULL PARTICULARS REGARDING USE OF ORGANS, ALSO TUITION ADDRESS 34 West 12th St., NEW YORK.
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