Scan 11
Musical Courier 1902-02-26: Vol 44 Iss 1144, 1902
54 lines. Read by computer on 22 September 2026. Printed page 12. See the scan on archive.org.
1fly" Etude, op. 25, No. 9; the familiar Nocturne in double thirds and sixths, op. 37, No. 1, and the "old reliable" Polonaise in A flat, op. 53. Madame Zeisler plays Chopin with discrimination and intelligence, and with unfailing clarity. She is constantly interesting and to a high degree enlightening, because her readings are straightforward and honest. Liszt's Nocturne, "Liebestraume," disclosed a marvelous command of musical tone; Rubinstein's "Study on False Notes" was electrifying in the brilliancy of its execution. The two Moszkowski numbers, "Impatience," from op. 57, and "Caprice Espagnole," op. 37, brought the program to a close in a blaze of pianistic glory. In obedience to repeated recalls, Madame Zeisler gave an extra selection, "A la bien-aimée," a melodious and sparkling waltz by Schuett. Her playing throughout the evening was of the highest grade of technical excellence, extraordinarily pure in tone, and pervaded by a wealth of dynamic coloring. The audience was large and enthusiastic, and Madame Zeisler was the recipient of two magnificent floral offerings.—Rochester Democrat and Chronicle.
3The piano recital by Mme. Fannie Bloomfield-Zeisler at the Lyceum Theatre last night under the auspices of the Tuesday Musicale, attracted a large and fashionable audience, which grew more and more enthusiastic as the program progressed and finally, at the close, succeeded in securing an extra number in spite of the pianist's evident indisposition to give more than the program called for. Madame Zeisler is a pianist of rare attainments, and each number of the program last evening delighted her hearers.—Rochester Union and Advertiser.
5Mme. Fannie Bloomfield-Zeisler gave a concert recital at the Lyceum last evening, attracting a large, fashionable and presumably musical audience.
7It is several years since Madame Zeisler appeared in Rochester, and in the interval the fire which then illuminated her virtuosity seems to have mellowed somewhat—a transition from the ruby to the opal, perhaps—but doubtless to the making of a greater artist. Her playing is rather more even, safer, less reckless and at times infinitely more tender. She still vitalizes with her own warm personality everything she plays, even the more showy numbers of her program, of which there were several last evening. She declined all encores until the end of the recital, when on her fourth recall she played a waltz by Schuett. She availed herself of the virtuoso's accustomed privilege of changing her program, substituting for the first of the Chopin etudes—op. 10, No. 5—the Chopin waltz in G flat major, op. 70, No. 1.
9The Beethoven sonata was thoughtfully and delicately played with delightful freshness and buoyancy of mood. The jocose rhythm of the second movement was admirably defined, and the exquisite melody of the menuetto was beautifully enunciated. Mendelssohn's familiar Wedding March, decked out in the flowery trappings which Liszt knew so well how to thread upon a theme, was brilliantly treated, arousing the audience to some of the most enthusiastic applause of the evening.
11One of the gems was the Chopin Funeral March, phrased reverently and with superb richness of intonation. The "melody of hope," which follows the dirge rhythm, was played with a tenderness such as only a woman could command from the notes; and in that work the pianist touched the deepest note of sentiment revealed in all the program.
13The Chopin Waltz, Etude, Nocturne and Polonaise were all given, the crescendo of the reiterated phrase in the bass in the Polonaise being accomplished with fine effect.—Rochester Herald.
15Van Hoose to Sing with the Philharmonic.—Ellison van Hoose has filled many important engagements since he sang at the Worcester Festival last September, and he is to fill equally important engagements before the end of the present musical season. The New York Philharmonic Society has engaged him as its soloist for the concerts of March 14 and 15, where, in addition to a solo, he is to sing the tenor role in Liszt's "Faust." On the 16th he is to sing in the second act of "Samson and Delilah" in the Metropolitan Opera House, and on the 18th he is to sing the tenor role in the "Paradise and Peri" with the New York Ora- torio Society in Carnegie Hall. On March 21 and 22 he will be the soloist with the Pittsburg Orchestra in a Wagnerian program. He, too, is already engaged for many of the largest May festivals, including Cincinnati, Louisville and Kansas City. On Sunday evening last he sang at Symphony Hall, Boston, at an oratorio concert, which was given under the direction of Signor Rotoli.
17On the 27th of this month he will sing at the Brooklyn Institute, and on the 28th in Homer Norris' new work, "Flight of the Eagle," at the Waldorf.
19MR. LOUDON G. CHARLTON, CARNEGIE HALL, NEW YORK, HAS THE HONOR TO ANNOUNCE THE CELEBRATED DUTCH PIANIST: EDUARD ZELDENRUST
21"A pianist of excellent parts—a poetically minded musician."
22H. E. KREHBIEL, in New York Tribune, January 8, 1902.
24"A pianist of force, authority and strongly developed individuality."
25F. N. R. MARTINEZ, in New York World, January 8, 1902.
27BALDWIN PIANO USED.
29BLANCHARD ART BUILDING, LOS ANGELES, Cal., February 15, 1901.
31THE fifth symphony concert, given yesterday afternoon at the Los Angeles Theatre, was, as a whole, one of the best presented programs of this season. The "Oberon" Overture was an unusually excellent piece of work on the part of the orchestra, while the playing of the symphony, Mendelssohn's "Reformation," had much to commend in it. The soloist of the afternoon was Louis Angeloty, and seldom has an artist received a warmer response from his listeners than was accorded the talented young Los Angeles violinist. Mr. Angeloty, if I mistake not, is yet in his 'teens, though his work, in conception and execution, bespeak more of the mature artist. He is the son of Carl Angeloty, an esteemed musician of this city, and is an inheritor of those valuable temperamental qualities of his ancestors, the Hungarians. His early training was given him by his father, while his artistic guidance during the past few years has been under that excellent artist and teacher, J. Bond Francisco, of this city. Mr. Angeloty's vehicle for the display of his capabilities and talents at yesterday's concert was the Gounod-Sarasate "Faust Fantasie."
33The sixth symphony concert will be given on the afternoon of Friday, March 6. The symphony will be Beethoven's Sixth, in C minor; the soloist will be Mrs. Katherine Fisk. A supplementary concert by the orchestra is announced to be given this season, the soloist to be Louis Heine, 'cellist, now of the Pittsburg Orchestra.
35Probably no such audience, in point of culture as well as numbers, ever assembled in Los Angeles to do honor to an artist as was that which greeted Mme. Lillian Nordica at Simpson Auditorium on the evening of February 4. The spacious hall—which, by the bye, ranks among the finest concert auditoriums in the country—embraced among the 2,500 or more listeners within its walls the cream of the musical and social life of the city.
37Madame Nordica, though hardly recovered from the shock of her recent railroad shake-up, gave a superb reading of a program made up, for the most part, of compositions of small form. E. Romayne Simmons' work, both as pianist and accompanist, was thoroughly artistic and enjoyable, and well worthy the association with that of the great cantatrice.
39Mme. Emma Nevada and her company of talented artists appeared before a large audience at Simpson Auditorium, Tuesday evening, February 11. The California songbird was in better voice than when she appeared here two years ago. Her faultless technical equipment and her delicious, almost ethereal, pianissimo tones captivate as of yore, though one does not find the same beauty in the upper register that was wont to be there. Madame Nevada sang the Bell Song from "Lakmé"; Felicien David's "Chanson du Mysol"; Gounod's "Mignon" and other lyrics well suited to her voice and style. Leon Moreau proved a most acceptable accompanist, and in his own "Esquisse" displayed musicianly qualities as a composer which entitle him to high praise. M. Casals, the 'cellist, created a marked impression. No 'cello player comparable with him has visited us since Gérardy's appearance here three or more years ago. His sympathetic work, literally artistic to his finger ends, with abundant but not over-riding temperament, made his playing a matter of keen enjoyment to the listener. Mr. Maquarre, the flutist, would seem to be in a class by himself. He fingers with utmost facility and secures an exquisite, well modulated tone that makes a revelation of unexpected beauty emanate from his handsome silver keyed "whistle."
41Madame Nevada and her associates repeated their Tuesday's success with a matinee the following Saturday. They are touring Southern California under Blanchard & Venter's management.
43Dudley Buck's cantata, "The Coming of the King," was repeated at the Church of the Unity before a large audience, Sunday, February 2, by the choirs of the Church of the Unity and the Pasadena Universalist Church. The soloists were Mrs. Frank Colby, Mrs. Minnie Hance Owens, J. J. Helder and Charles A. Bowes. The work was excellently done.
45One of the most creditable pupils' recitals ever heard in Los Angeles was that given by the violin pupils of Arnold Krauss, at Blanchard Hall, Wednesday evening, February 5. The program was made up of the best class of string compositions, including some exacting ensemble numbers, and without exception was given in a manner most commendable and far above the usual mediocrity of such affairs.
47Liza Lehmann's song cycle, "In a Persian Garden," will be given at Hotel Green, Pasadena, February 18, under H. E. Earle's direction. The following prominent Los Angeles singers will make up the quartet: Mrs. Frank H. Colby, soprano; Miss Lillian Scanlon, contralto; Joseph P. Dupuy, tenor, and Harry S. Williams, bass.
49The choir of the Independent Church of Christ are giving a series of monthly evening praise services that are crowding the big Hope street edifice whenever they occur. The choir consists of Mme. Genevra Johnstone-Bishop, Mrs. Florence Scarborough, Charles Modini-Wood and Edward Quinlan; Mrs. Blanche Rogers, organist. At the praise services this choir of excellent singers is augmented by some of the best instrumentalists of the city.
51Mme. Genevra Johnstone-Bishop is in Honolulu, where she recently sailed to fill an engagement in "Elijah." Madame Bishop has been filling numerous successful engagements throughout Southern California.
53Mr. and Mrs. Clarence Eddy are making a sojourn in Southern California. The eminent American organist is to be heard in two "opening" organ recitals in Pomona, Cal., early in March. The two organs to be "inaugurated" are each $3,000 instruments, one for the Congregational church and the other for the Methodist church
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