Scan 36
Musical Courier 1902-02-19: Vol 44 Iss 1143, 1902
73 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 37. See the scan on archive.org.
1indulge in this friendly display, but then Carl Zerrahn only came once a year, and the Boston singers who did the solo work were equal strangers. Besides, these country conventions were little less than a good time for the chorus, after dallying along through a season with intermittent attendance, rallying at the final rehearsals previous to the following musical and social yearly picnic.
3One would think that so serious a man as Conductor Mollenhauer would be disgusted to be greeted with this childish applause every time he comes upon the stage. To make the absurdity complete he should be applauded, as well, every time he retires from the stage.
5As director of the performance he should impress upon this friendly body the glaring impropriety of this absurd display, so lavishly indulged at every opportunity, and forbid its intrusion in the future.
7Let him set the example for other choral bodies by banishing the custom at once.
9The voice of the public is being raised against this nuisance, and if it is offensive to even a comparatively small number of appreciative patrons, that is sufficient reason to call for its discontinuance.
11This "foolish and impertinent practice of chorus singers applauding noisily solo singers and conductor before the performance and during the performance," as one complainant terms it, has excited sufficient disgust in New York to call forth the following letter:
13"To the Editor of the New York Times:
15"I am going to the Metropolitan Opera House Sunday evening, and expect to have a rich treat in hearing the People's Choral Union * * * but I do wish that these most excellent singers would come at last to consider themselves seriously.
17"I like to see their splendid enthusiasm, but I think it is woefully out of place for them to show it by applauding the conductor when he first comes on or by applauding the soloists or any portion of the program.
19"If they wish to be taken seriously they must act seriously. Let them applaud Mr. Damrosch at the rehearsals as much as they choose, but he should discourage all such kindergarten displays in a public concert.
21"The Choral Union members must learn that they are performers as well as the soloists and orchestra, and that it is utterly ridiculous for them to applaud a program of which they are a part.
23"Also it is in shockingly bad taste for those who don't pay to get in to try to represent with applause the sentiment of the paying public.
25"The sentiment of the stage is one thing; the sentiment of the paying seats is quite another."
27The chorus of the Handel and Haydn Society is composed of most estimable men and women, proficient in cultivation and good taste. Now, I believe if its members could realize how ridiculous, how absurd is this custom in question, they would remedy the matter at once by discontinuing these demonstrations indulged at their splendid performances.
29The chorus has made itself the dominant element of enjoyment in its performances; soloists only of the highest degree can compete with it in artistic work.
31It should present itself as a serious body absorbed wholly in its legitimate work, and not as a promoter of enthusiasm over the appearance or performance of others engaged.
33I cannot understand why so intelligent a body does not regard itself in the light of a performing factor only.
35The press, which is certainly its champion, has endeavored to impress the absurdity of these demonstrations of applause upon its attention, and it would seem that as a body it should give the matter serious reflection and not wait for the time to arrive when the board of government must make a rule forbidding applause in the ranks at concerts, or for the conductor to read the riot act because of the impropriety of its actions, and the consequent disturbance.
37This performance was attended by an audience that occupied every seat and every available bit of standing room. The prices also were raised in anticipation of the expensive engagement of that superb artist and eminent vocalist, M. Plançon, who unfortunately could not keep his engagement because of the critical illness of his mother (a devotion to be commended) and other increased liabilities. The extra price did not affect, however, an over-full attendance of the patrons of the society.
39Harold Bauer gave his third recital on the afternoon of February 11 at Steinert Hall, the program including Fantaisie in F minor, Mozart; "Etudes Symphonique" (including the five posthumous etudes), Schumann; "Rondo Capriccioso," Mendelssohn; Prelude in A flat, Mazurka in F sharp minor, Etude in C minor and Rhapsodie No. 2, Chopin. The Schumann Etudes were a stupendous task for the performer, who imparted to the interpretation a vigorous, unyielding tenacity as regards power and uncontrasted effect. The prolixity of this number consequently weighed somewhat upon the attention of the listener. The Prelude and Mazurka of Chopin were accurately presented, while the Etude and Rhapsodie were delivered with a more sensitive touch. The Rondo of Mendelssohn was exceedingly well handled. What a new life this brilliant and tripping Capriccioso has taken upon itself of late, since Pachmann imbued it with the genius of his deft hand and entrancing touch. Mr. Bauer drew a fair sized audience, which was enthusiastic over his artistic conceptions and his technically perfect performance of his program.
41Fritz Kreisler gave a recital at Symphony Hall Tuesday evening, February 11, an opportunity offered the public by the enterprising manager, L. H. Mudgett, to hear this now famous artist play at popular prices.
43The public responded in very good numbers, not filling the large hall, but yet a good sized audience.
45The program offered was Mendelssohn's E minor Concerto; Tartini's "Devil's Trill" Sonata; "Walter's Prize Song," Wagner; "Elfentanz," Popper; Canzonetta, Godard; Mazurka, Chopin-Kreisler, and "Scene de Czarda," Hubay.
47The large audience was held spellbound by the magnificent playing of this masterly performer.
49It is well that such great artists as Wilhelmj, Ysaye and Kreisler play the Mendelssohn Concerto and thereby unfold the beauty, purity and melodious spontaneity of this immortal gem in the crown of its author's genius.
51It has become the habit, or fashion, of late to scoff at this marvel of classic inspiration, a work that to this day, in the hands of such masters as above mentioned, is ever fresh and engaging to the listener whose soul still dwells within the circle of pure music and is not swayed wholly to the path of modern extravagances in overladen, unmelodious and discordant forms of violin virtuosity.
53I have heard many violinists of note make a very poor job of playing this concerto, a sure index of incapacity in the higher walks of their art.
55MME. EVANS von KLENNER
56School of Vocal Music.
57Voice Culture, Style and Repertoire in Four Languages.
58Paris Exposition, 1900. one of two readings
59Only Honorable Mention or Distinction of any Vocal Instructor one of two readings
60Paris Exposition, 1900. Only Honorable Mention or Distinction of any Vocal Instructor one of two readings
61Resumes teaching at new Residence-Studio,
62230 West 52d Street,
63September 18
64It is in fact a test piece of the real artistic worth of the player, as much so as a Mozart sonata is to the pianist.
65Mr. Kreisler shone as well in his playing of the Tartini Sonata, which, like the Mendelssohn Concerto, does not diminish in value or interest because of its antiquity, if it but falls to the hand of the master in its interpretation.
66It is unnecessary to say that the lesser numbers upon the program were delightfully played, and that Mr. Kreisler was recalled with enthusiastic applause and shouts of "Bravo!" The usual number of encores were demanded by the delighted listeners.
68Master David Robinson, advertised as the Russian boy violinist, and supposed to be a wonder-child, gave a concert in Steinert Hall on the evening of February 12 before a small and friendly audience.
69This boy, a good sized boy of fifteen years, showed that he was apt in his chosen profession, but wholly immature for public appearance. I understand that he began with a good teacher, who refused to longer instruct him when he found that the boy's friends were determined to prematurely put him before the public.
70If those who have charge of this young aspirant would have him succeed as a violinist they should withdraw him from public appearance and put him under some competent pedagogue for three or four years' further instruction.
72For the fifteenth Symphony concert Mr. Gericke presented the following program: Overture, "Solenelle,"
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