Scan 12
Musical Courier 1902-02-26: Vol 44 Iss 1144, 1902
117 lines. Read by computer on 22 September 2026. Printed page 13. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1of that place. They are being built by the Murray M. Harris Organ Company, of this city, the builders of the great Stanford organ.
3Miss Minnie Hance Owens returned Friday from San José, where she filled a decidedly successful concert engagement, and received most flattering praise from the press of that city.
5The next event of particular interest in local musical happenings will be the appearance of Josef Hofmann, who gives two recitals at Simpson Auditorium, respectively on February 20 and 22.
7R. U. BATO.
9BALTIMORE.
10BALTIMORE, February 23, 1902.
12HAROLD RANDOLPH gave the ninth Peabody recital on Friday, the 14th inst., presenting a program as varied and interesting as it was exacting:
14Overture to Twenty-ninth Church Cantata…………………Bach
15(Transcribed for piano by Saint-Saëns.)
16Caprice on Airs from Gluck's Alceste…………………Saint-Saëns
17Sonata in E flat major, op. 81 a…………………Beethoven
18Barcarolle in F sharp major, op. 60…………………Chopin
19Berceuse in D flat major, op. 57…………………Chopin
20Valse in A flat major, op. 42…………………Chopin
21Fantaisie in F minor, op. 49…………………Chopin
22Witches' Dance, op. 17, No. 2…………………MacDowell
23Prelude in C sharp minor, op. 3…………………Rachmaninoff
24Valse Caprice on Man lebt nur Einmal, by J. Strauss……..Tausig
26Mr. Randolph's distinguished qualities as virtuoso and musician have never been displayed to greater advantage than in the interpretation of this program.
28Probably the greatest pleasure was afforded by the wonderful Bach Overture, which was superlatively well played. Saint-Saëns' capricious composition on Glück airs was also freely done, and the Beethoven Sonata received a sane, classic reading.
30The climax of the Chopin group was, of course, the transcendental F minor Fantaisie. It was played with splendid breadth and dramatic power, if not with passion.
32MacDowell's "Witches' Dance" had to be repeated, and the Strauss-Tausig virtuoso piece was a veritable tour de force.
34Kubelik, assisted by Jessie Shay, pianist, gave a second concert at Music Hall on the 13th.
36He played better than at his first concert, the first and last movements of the Mendelssohn Concerto, giving real musical pleasure. His tone is wonderfully beautiful and his technic is certainly marvelous.
38Miss Shay repeated her former success here.
40Rudolph Friml is an ideal accompanist. Following is the program:
42Concerto for Violin……………………………Mendelssohn
43Jan Kubelik.
44Piano solo—
45Gavotte……………………………………………..Bach
46Waltz, op. 34………………………………………Moszkowski
47Concerto for Violin, D major…………………….Paganini
48Jan Kubelik.
49Piano solo, Allegro Appassionata…………………Saint-Saëns
50Miss Shay.
51Violin solo, Gypsy Melodies…………………….Sarasate
52Jan Kubelik.
54The Boston Symphony Orchestra never gave a greater concert here than that of Tuesday night.
56The program could not have been improved upon, comprising the Beethoven Violin Concerto, played by Kreisler, Tschaikowsky's Sixth Symphony and the "Meistersinger" Vorspiel. Strange as this order appeared, the concert over, everyone realized the wisdom of Mr. Gericke in so arranging it.
58Kreisler was superb. He played with such overwhelming emotion, such incomparable taste, that the lapses in intonation appeared insignificant. The orchestral accompaniment was something to be long remembered.
60The reading and performance of the symphony were beyond praise.
62The Kneisels and Harold Randolph gave a delightful concert the next afternoon at the Peabody. They played Dvorák's String Quartet in F, op. 96; Beethoven's old-fashioned and rarely heard Serenade, for violin, viola and 'cello, in D, and the Brahms Piano Quartet in A. There is little new to say of Mr. Randolph as an ensemble player. His extraordinary technical command is allied to so acute a rhythmical sense and fine a sense of proportion that he fulfills ideally the requirements of the ensemble artist.
64Thursday evening, at Lehman's Hall, Luther Conradi, pianist, and Thomas Stockham Baker, basso, gave a good concert before a large and appreciative audience. The following program was presented:
66Etudes Symphoniques………………………………….Schumann
67Vogel als Prophet………………………………….Schumann
68Novelette…………………………………………Schumann
69Vittoria……………………………………………..Carissimi
70Love Me or Not………………………………………Seechi
71Wie bist du meine Königin………………………..Brahms
72Ungeduld…………………………………………….Schubert
73Etude in E major, op. 10…………………………..Chopin
74Valse in C sharp minor…………………………..Chopin
75Scherzo in C sharp minor…………………………..Chopin
76A. Tol……………………………………………….Widor
77L'Amour……………………………………………..Godard
78The Land o' the Leal……………………………….Foote
79Love Me if I Live…………………………………..Foote
80Mavournen…………………………………………Lang
81Border Ballad………………………………………..Cowen
82Hark, Hark, the Lark!……………………………..Schubert
83(Piano transcription by Liszt.)
84Hungarian Rhapsody, No. 8………………………..Liszt
86Mr. Conradi is a virile player, who has gained since last year on the poetic side. He has also acquired a more varied tone color and greater delicacy. Technically, he is equal to the most exacting compositions, as his performance of the Schumann Etudes proved. Some of the studies were exceedingly well played; in some the rhythms were erratic and the tone forced.
88The Chopin Waltz and "Hark, Hark, the Lark!" were daintily given, and the latter was repeated. Dr. Baker is one of the many successful pupils of Dr. E. S. Kimball who have distinguished themselves upon the operatic and concert stage.
90His voice is of uncommonly beautiful quality, his intonation true and his enunciation delightfully distinct. A broad culture and warm temperament were reflected in the interpretation of a remarkably attractive collection of songs. These were augmented, after a number of recalls, by a charming rendition of "Drink to Me Only With Thine Eyes."
92A students' recital was given in the east hall of the Peabody Institute last Friday night by pupils of the preparatory department, of which May Garrettson Evans is superintendent.
94The students of the piano, voice and violin who played are pupils of Misses Ascherfeld, Ballard, Coulson, Cummins, Parkison, Randolph, Sanders, Warden and Woods and Mr. Moses.
96There were a number of evidences of very marked talent and all the results showed able and discreet teaching guidance.
98The pupils who played were Mildred Holbrook, Marion Jones, Helen Evans, Louise Marsh, Margaret Holmes, Dora Boker, Katharine Russo, Sadie Weil, Mima Thornton, Adele Griffith, Nancy Darling, Abigail Wolfe, Rhea Plaenker, Katharine Gunther, Marian Fort, Edna Fultz, Adelaide Porter, Lillie Mohr, Corinne Sanders, Ray Waters, Eileen Adler, Evelyn Hewes, Isaacetta Calder, Theo. Fessenfeld, George Weikart, Charles Dorsey and Selma Rosenheim.
100BOSTON SYMPHONY ORCHESTRA.
102THE fourth evening concert of the Boston Symphony Orchestra, given on Thursday of last week at Carnegie Hall, presented the following program:
104Overture, Leonore, No. 3, op. 72……………………Beethoven
105Concerto for Violin, No. 8, in A minor, Scena Cantante, op. 7……..Spohr
106Fritz Kreisler.
107Symphony No. 6, Pathetic, in B minor, op. 74……..Tchaikowsky
108Vorspiel to Die Meistersinger………………………..Wagner
110It is about time to take tonal beauty for granted in this orchestra from Boston; the instruments are good—in many cases excellent—the players have enough rehearsal to perfect balance of tone, and finally the band is never driven to any extreme, either tempo or dynamics, in order to make a sensational effect. Mr. Gericke's pulse and temperature are never dangerously above normal. Earlier in the season, when our ears are more sensitive and our tempers less irritable, we shout aloud with joy at the very sound of this wonderful aggregation of players; but all pleasure is short-lived. So when at this time we glance at a Boston Symphony program to find it made up of old acquaintances enthusiasm lags a bit, for we know in advance just how piano will sound the fortissimos and how pianissimo the pianos; we know that Mr. Gericke will not vary his readings, and we know his readings by rote. Thus threatens monotony.
112Beethoven's "Leonore" Overture, miscalled No. 3, stands very near the head of the great overtures. All through it are unmistakable evidences of the giant brain which conceived the work. From that mysterious adagio which descends step by step into the region of the tragic to the racing final presto it is dramatic, loaded to the utmost with climaxes. That blaring trumpet call, twice repeated, with its following moment of saving repose, is among the greatest episodes in program music; and the frantic coda would sound ridiculous had it been penned by any but this huge master, who insists that this is exactly the thing he wanted, and that nothing else possibly would answer in its place. "Music," Beethoven protested, "should strike fire to the soul, or it is naught."
114The performance of the Overture at this concert was as un-Beethoven as his dearest enemies could have wished it to be. The work was made to sound Italian and neatly so; the composition was rendered spineless. Technically the performance was very good, but how much this makes amends for robbing an esteemed work of its character is not for present discussion.
116The Spohr's "Scena Cantante" has been heard here several times this season, but Kreisler's reading and playing of it was the most satisfying. The work sounds old fashioned to the present generation; yet it is interesting, and this quality serves to keep it alive. Those lengthy recitatives—we smile to think how seriously Spohr must have taken them—are Italian in every curve and the melodies most grateful. Fritz Kreisler played beautifully. His tone was not huge, but firmly founded, and technically it was
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