Scan 13
Musical Courier 1902-02-26: Vol 44 Iss 1144, 1902
66 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 14. See the scan on archive.org.
1free from most slips; in intonation it was pure and mellow, and his phrasing shows the artistic conception of which he is capable. The orchestra played a sympathetic accompaniment.
3Then came our old nerve racking acquaintance, Tchaikowsky's "Pathétique" Symphony, but with the thrill carefully deleted. And if this is not meant to be emotional music emotionally played, then, in the name of Peter Illyitch, what is its purpose? There is only one movement in it which might be classed as "pretty" music, the five-four Allegro, which practically plays itself, and to which many conductors—Richard Strauss included—do not find it necessary to beat time at all. Beyond this there is passion in the work, passion unrefined when it is not heartrending. The composition simply will not submit to a suave reading. It must surge along, emotional to the point of hysterics—or it is nothing. And it needs above all things a beat as elastic as the moods of a nervously balanced woman. one of two readings
4Then came our old nerve racking acquaintance, Tschai-kowsky's "Pathétique" Symphony, but with the thrill carefully deleted. And if this is not meant to be emotional music emotionally played, then, in the name of Peter Il-yitch, what is its purpose? There is only one movement in it which might be classed as "pretty" music, the five-four Allegro, which practically plays itself, and to which many conductors—Richard Strauss included—do not find it necessary to beat time at all. Beyond this there is passion in the work, passion unrefined when it is not heartrending. The composition simply will not submit to a suave reading. It must surge along, emotional to the point of hysterics—or it is nothing. And it needs above all things a beat as elastic as the moods of a nervously balanced woman. one of two readings
6Now Mr. Gericke makes it a point to articulate the smallest detail of score, and it is doubtless a pride with him; but by doing so he allows the strands of the composer's meaning to escape him and with it the meaning entire. And so on Thursday night we had a very careful reading of the "Pathétique," in which the strings sang beautifully. For the rest it might have been composed by Mendelssohn. "O flesh, flesh, how art thou fishified!"
8The concluding number, "Die Meistersinger" Vorspiel, was brilliantly played. The audience was not very large.
10The program for the Saturday concert was this:
11Ouverture Soleilne………………………………………Glazounow
12Concerto for Piano in A minor, op. 17…………………Paderewski
13Symphony No. 1, Rustic Wedding, op. 26………………Goldmark
15The Glazounoff overture was a novelty, but not very much of one; one doffed one's hat continually to old thematic friends. The work is weak and humbly conventional, not even the color—the strong emotional point with the Russian—is imposing. Tschaikowsky, Wagner and Bizet are the component parts of this musical goulash, which is served cold.
17Paderewski roused the audience, which was a large one, to excitement by his appearance on the stage. His concerto and his playing of it fitted the mood of the afternoon exactly. The work is very graceful and grateful. The first movement is the best made and the most interesting; but tear bags are opened by the Romanza and heads set nodding by the final Allegro. In it we recognize some of the thematic ancestors of "Manru." The composition tends to display the abilities of the virtuoso at their best, and is warm in orchestral coloring.
19Paderewski played brilliantly—especially the Slavic dance of the last movement. And then the heavens were cleaved with applause. Upon this he sat down to play an encore, breaking the rule of the Boston Symphony. He chose the Chopin A flat Polonaise. It was a vigorous, broad reading; but if all the notes he dropped ever come due Paderewski will be bankrupt.
21The sweetly tuneful Goldmark Suite, which is palmed off to inattentive ears as a symphony, concluded this popular program. There is a protest admissible here: If Mr. Gericke insists upon constant pianissimo, then should he use muted cymbals; as it is, the untamed sound of these crashes through brass and strings and harshly upsets the balance of the orchestra.
23The rhapsody was given with verve and brilliancy. The tempo rubato was nicely proportioned, without being overdone. There was a nice punctuation of the themes and the dramatic contrasts were not in doubt. It is particularly in this rhapsody that the excellence of the woodwind made itself felt. Its smoothness, beauty and purity of tone will compare favorably with that of any orchestra ever heard here. The first flute in his solo work deserves special praise. He commanded a round, full tone of much sweetness. And in this connection the first oboe ought not to be forgotten, for the solo passages in the Berlioz Symphony were of a fascinatingly pastoral character. one of two readings
24The rhapsody was given with verve and brilliancy. The tempo rubato was nicely proportioned, without being over-done. There was a nice punctuation of the themes and the dramatic contrasts were not in doubt. It is particularly in this rhapsody that the excellence of the woodwind made itself felt. Its smoothness, beauty and purity of tone will compare favorably with that of any orchestra ever heard here. The first flute in his solo work deserves special praise. He commanded a round, full tone of much sweetness. And in this connection the first oboe ought not to be forgotten, for the solo passages in the Berlioz Symphony were of a fascinatingly pastoral character. one of two readings
26Jean Gérardy, the soloist, sustained himself as a favorite with his Cincinnati audiences. His playing a few seasons ago in Music Hall had not been forgotten. He gave the Saint-Saëns Concerto with scholarly refinement. In the last movement he proved particularly his claim to technical skill and virtuosophy. But it is as the thorough, legitimate musician that Gérardy appeals to the strongest recognition.
28In response to continued applause he played two encores—the Bach Aria and a Serenade by Hans Sitt.
30Theodor Bohlmann, of the Conservatory of Music, recently made quite a hit at the Spiering Quartet concert in Chicago. The critic of the Music Review, of that city, in the February number pays him the following high compliment:
32"Mr. Bohlmann played the piano part in the Brahms F minor Quintet, and deserves the highest praise. Never obtrusive, still bringing out clearly every meaning and nuance with repose, the pianist reminded me strongly of Brahms' interpretations of his own works when the master appeared in Berlin with the Joachim Quartet."
34Jan Kubelik, the Bohemian violinist, played his second engagement at Music Hall on Thursday evening, February 20. There was a slim audience, but the enthusiasm knew no bounds. He is a colossal technician.
36Longfellow's will be the next birthday celebration by the C. S. E. Dramatic Club, and will take place on next Thursday evening in the Odeon. Miss Mannheimer has arranged an excellent program for this occasion, which promises to be the most entertaining of any of this series of birthday celebrations of American authors inaugurated by this department this season. The program is replete with monologues and sketches by the great poet, opening with a paper, "Henry Wadsworth Longfellow," and including "Tales of a Wayside Inn," by Mary E. Rusk; "The Courtship of Miles Standish," with the recitations, "The Lover's Errand," by Genevieve Lloyd, and "Priscilla," by Jane M. Kline; "The Song of Hiawatha," in which Blanche Sternberger will recite "Hiawatha's Wooing" and Mabel Brownell "The Famine"; "The Meeting with Gabriel" and "The Exile of Arcadie," from "Evangeline," the recitations to be given by Marie Gebhardt and Charles Chesley respectively, and to conclude with the balcony scene (Act I., Scene 3) from "The Spanish Student." Bertha M. Topp will appear as Preciosa and Adolph P. Osler as Victorian. Incidentally, the beautiful serenade, "Stars of the Summer Night," will be rendered by a vocal trio composed of Miss Kathryn Gib-
38LOUDON G. CHARLTON, Carnegie Hall, NEW YORK,
39Has the Honor to Announce an Extended Tour of
40KATHERINE RUTH HEYMAN
41Distinguished American Pianist.
42Tour—October to April—New Booking.
43Now Touring in America.
44SLIVINSKI
45FOR DATES APPLY
46STEINWAY HALL, NEW YORK.
47STEINWAY PIANO USED.
49LOUISE B. VOIGT
50SOPRANO.
51Oratorio, Concert and Song Recitals.
52Address
53RICHARD BYRON
54Manager.
55301 West 139th Street, NEW YORK
57M. VITTORIO CARPI.
58Vocal Instruction.
59ITALIAN, ENGLISH, FRENCH AND SPANISH.
60210 WEST 59th STREET, opposite Park, NEW YORK.
62Elizabeth Hazard
63SOPRANO
64Drawing Room Concerts Song Recitals
65Direction Emile Levy 141 Fifth Ave.
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