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Musical Courier 1902-03-05: Vol 44 Iss 1145, 1902
98 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 10. See the scan on archive.org.
1KREISLER WITH BOSTON SYMPHONY.
3Fritz Kreisler was received with the usual enthusiasm when he played with the Boston Symphony Orchestra, and also at his recital. Here are extracts from the criticisms:
5Kreisler was the welcome soloist on the Symphony program of last week.
7Some artists who are satisfactory in a recital program are much less pleasing in ensemble work with a large orchestra, but Mr. Kreisler is not one of that kind, for his style is broad, when required, and he achieved as great a success in the Spohr concerto as in any of his recital numbers in which the violin merely has the piano for the accompaniment. So many encomiums have been given this splendid artist since the opening here of the concert season that praises now would be iteration, and his performance calls for nothing more than a general commendation for an interpretation unusually effective, brilliant and powerful. The audience was very demonstrative and called Kreisler to the platform again and again.—Boston Globe.
9Mr. Kreisler played much of the Spohr concerto very beautifully. Mr. Kreisler was recalled again and again, having aroused the heartiest enthusiasm that in years has been called forth by a violin concerto.—Boston Transcript.
11Mr. Kreisler did not endeavor to magnify the work into nobility by a broad or powerful interpretation, but set about portraying its sweetness with a frank abnegation of his stronger vein of playing. As a consequence, we received a picture of gentleness and delicacy that was, to say the least, unexpected. The sympathetic tones of Mr. Kreisler won a great popular triumph, and the soloist was recalled over and over again.—Boston Advertiser.
13KREISLER'S FOURTH BOSTON RECITAL, FEBRUARY 11.
15Again Mr. Kreisler delighted all by the charm, the manly simplicity, the unaffectedness of his playing. To listen to Mr. Kreisler is like sitting by a running brook in a wood, so restful is his playing, so sparklingly gay, so tender, always delightful, and never for an instant sad. Whether in the sweetness of the Mendelssohn andante, the airy grace of the rondo, the breadth and dignity of the Tartini sonata, or the enchanting rhythm of the Godard canzonetta, in all Mr. Kreisler's playing, as in nature itself, there was never a jarring note. Such playing one can listen to again and again.—Boston Transcript. one of two readings
16Again Mr. Kreisler delighted all by the charm, the manly simplicity, the unaffectedness of his playing. To listen to Mr. Kreisler is like sitting by a running brook in a wood, so restful is his playing, so sparklingly gay, so tender, always delightful, and never for an instant sad. Whether in the sweetness of the Mendelssohn adagio, the airy grace of the rondo, the breadth and dignity of the Tartini sonata, or the enchanting rhythm of the Godard canzonetta, in all Mr. Kreisler's playing, as in nature itself, there was never a jarring note. Such playing one can listen to again and again.—Boston Transcript. one of two readings
18Fritz Kreisler added another recital last night in Symphony Hall to his series in Boston. His program was of a somewhat popular nature, admirably arranged, and it was not until he had responded with his fourth encore that his audience were willing to retire.
20Mr. Kreisler, as a violinist, certainly leaves little to be desired; his style is of the Franco-Belgian school; he is brilliant, yet he has a breadth and depth of feeling which one associates more generally with the Teutonic. His bowing especially is broad and free, his harmonics full toned and pure, his technique masterly.
22The best received numbers of his program were the "Elflantanz" by Popper, the "Canzonetta," by Godard, and the Chopin mazurka, arranged by himself, which last had to be repeated. The Bach aria, his third encore, was given with a breadth of style and beauty of tone which, too, brought forth much applause.—Boston Advertiser.
24Fritz Kreisler gave a violin recital last evening in Symphony Hall before a large audience, which, while not filling that vast room, would have overflowed any of the smaller concert halls.
26Mr. Kreisler's playing was, as is his wont, perfectly adapted to each of the different genres represented. His beautiful, sustained tones and his fullness of feeling were shown in the andante of the Mendelssohn, the rondo of which he took (as was pleasant to hear) far more lightly and at a much more moderate pace than mere virtuosos are apt to do, and in the Tartini he preserved the quaint, uncanny general sentiment and the different individualities of the movements against the insistent, malicious, haunting trill which gives the old piece its name. The following group were all airy, fanciful, fascinating and provocative of the recalls and encore which only waited while the animated czarda was being played with its national energy and dash.—Boston Herald. one of two readings
27Mr. Kreisler's playing was, as is his wont, perfectly adapted to each of the different genres represented. His beautiful, sustained tones and his fullness of feeling were shown in the adagio of the Mendelssohn, the rondo of which he took (as was pleasant to hear) far more lightly and at a much more moderate pace than mere virtuosos are apt to do, and in the Tartini he preserved the quaint, uncanny general sentiment and the different individualities of the movements against the insistent, malicious, haunting trill which gives the old piece its name. The following group were all airy, fanciful, fascinating and provocative of the recalls and encore which only waited while the animated czarda was being played with its national energy and dash.—Boston Herald. one of two readings
29Fritz Kreisler gave another violin recital in Symphony Hall last night, which drew an audience that comfortably filled the big edifice. It was announced as going to be a popular concert, which was rather superfluous when one considers the popularity Mr. Kreisler attained with previous recitals.
31For his first number he played Mendelssohn's concerto in E minor, and when he finished he was loudly applauded, having to come out and bow his acknowledgments three times. This same thing was repeated when he played Tartini's sonata, "Devil's Trill." Without this number it could hardly have been a Kreisler recital, as he is justly famed for his rendition of the selection. When he concluded it the audience again applauded him very heartily.
33Yet it remained for the third number to cause those present to become wildly demonstrative. There were four selections, the last one being a Chopin mazurka arranged by Kreisler. The first three proved delightful, but the fourth overshadowed them, and in response to the continued clapping Mr. Kreisler played it a second time.
35The final number, Hubay's "Scene de Czarda," evoked the same enthusiasm, and Mr. Kreisler simply could not resist it, and was forced to play encores.—Boston Globe.
37CARL LEADS THE CHEERING FOR PRINCE HENRY.
39William C. Carl, the organist of the "Old First" Presbyterian Church, and director of the Guilmant Organ School, led the cheering for Prince Henry on lower Fifth avenue last Tuesday afternoon (February 25) Troop A was escorting the royal visitor and his suite, and when the troopers upon their horses turned into the avenue from Waverly place there were not many people aware that the Prince's carriage was so near at hand. When the procession reached the "Old First" Church, corner of Twelfth street, Mr. Carl, who was standing beside a MUSICAL COURIER representative, was the first to spy the kindly, beaming face of the German Emperor's brother.
41"Why, here is the Prince now," exclaimed Mr. Carl in subdued tones, and at that moment he raised his hat and shouted "Hurrah!" Then the crowd saw that the Prince's carriage was riding by. Prince Henry acknowledged Mr. Carl's salutation with a pleasant smile and a bow, and several other persons cheered and the women waved their handkerchiefs.
43Despite the rain the Prince rode in an open carriage, Rear-Admiral Evans occupying the seat at his side. The procession passed the church a few minutes after 5 o'clock. Mr. Carl, by the way, had been practicing at the organ for his series of Lenten concerts, when the noise from the crowds about the church attracted his attention. Last evening (Tuesday) Mr. Carl gave the first of these concerts. The assisting soloists were Lisa Delhaze Wickes, pianist, and Alfred Donaldson Wickes, violinist. These concerts are free to the public, and no tickets of admission are required.
45A POWERS PUPIL IN THE WEST.—Miss May Huffsmith, a young lady of nineteen, and one of Francis Fischer Powers' Western pupils, is having great success in Kansas City, Mo., and is hoping to come to New York that she may be in her teacher's winter class here as well as in the summer class at Kansas City. The following is taken from the Kansas City Journal of February 2:
47Miss May Huffsmith, the gifted young soprano, is to receive a testimonial in the form of a concert at the First Presbyterian Church, Tenth and Forest, on Monday evening, February 3. This has been arranged by the music committee of the church, and Miss Huffsmith will be assisted by the choir, of which she is a member—Charles A. Larson, baritone; Miss Byrd Fisher, contralto; George Curtiss, tenor, and Lawrence Robbins, organist, who will do piano work that evening. Others assisting will be Miss Ruby Clark, of Des Moines, contralto; Miss Maud Smith, of this city, violinist, and the popular 'cellist Carl Smith. Mrs. E. C. White will play the accompaniments. A brilliant and interesting program is assured, and it will be a rare opportunity to hear Miss Huffsmith again in solo. Her beautiful voice is constantly increasing in volume and power of expression. There is something pathetic and at the same time satisfying about her pure legato singing. Operatic selections seem best suited to her dramatic force and freedom. Yet the exquisite repose of her work would make her a shining success in oratorio. The voice is phenomenally smooth, apparently without flaw of any kind in the entire range of a wide register. Her high notes always cause especial admiration—they are attained with so little apparent effort and with such a poetic delicacy of intonation. This expression of her colleagues is a graceful and timely tribute to her talent. She will sing "Dost Thou Know?" "Mignon" (Thomas), "My Song" (Hahn), "My Lassie" (H. A. Beach), Ave Maria (Ch. Gounod), organ, piano and violin; "The Bell" (Saint-Saëns) and "Good Night, Good Night, Beloved" (Pinsuti), quartet.
49REPEATS LECTURE ON "MANRU."—Walter L. Bogert repeated his lecture on "Manru" on February 20, at the studio of Mesdames Babcock and Ingersoll, in Carnegie Hall. In the illustrations the lecturer was assisted by Miss Henry, soprano, and Mr. Volkmann, tenor.
51SECOND POWERS RECITAL.
53The second recital of Francis Fischer Powers' advanced pupils occurred on Friday evening last week, and notwithstanding the inclement weather a large audience gathered to hear another of these rare programs. When it was found that Miss Florence Levi and Percy Hemus were to sing, and that Miss Julia C. Allen would play the violin, the audience felt amply repaid for wading through snow and slush to be in attendance upon the affair. Mr. Powers can boast of no better pupils than Miss Levi and Mr. Hemus, and they certainly never did themselves and their teacher more credit than on Friday evening last. Miss Levi possesses a beautiful mezzo-soprano voice, and as she has in addition to this a splendid art and great personal charm, it is not surprising that she always enjoys the most signal success. Her numbers at this affair were given with a finish and style that completely captivated all present. Mr. Hemus deserves unstinted praise for his really great work. His numbers were given with an authority and grandeur that bespoke the artist.
55Miss Julia C. Allen, who is head of the violin department in connection with Mr. Powers' studio, made her first New York appearance at this musicale. Her playing aroused great enthusiasm, as Mr. Powers predicted it would, and showed her to be an artist of the first water. Mr. Powers expresses his pleasure at being associated with so sterling an artist as Miss Allen, and is greatly pleased at the unusual success she has enjoyed in her teaching at his studios. Miss Allen studied with four masters—Musin, of Liège; Marsick, of Paris, and Marchot and Ysaye, of Brussels, and is the possessor of very rare violins. She is also the owner of a steel bow made by Villaume. There are but four others in existence. Miss Allen used these instruments in her numbers, and the quality of tone was bewitching. The Chopin numbers were given with brilliancy and verve, while the others displayed great versatility. Following is the program:
57Where'er You Walk (Semele)………………………………………Händel
58Vulcan's Song (Philemon and Baucis)……………………………Gounod
59Faithful Johnnie…………………………………………………….Beethoven
60Adelaide………………………………………………………..Beethoven
61Percy Hemus.
62Introduction and Polacca………………………………………Chopin
63Miss Julia C. Allen.
64Liebespin………………………………………………………..Fitzenhagen
65Untreue………………………………………………………..Fitzenhagen
66Barcarolle………………………………………………………Fitzenhagen
67Miss Florence Levi.
68Ihr Bild………………………………………………………..Schubert
69Aufenthalt…………………………………………………….Schubert
70Am Meer………………………………………………………Schubert
71Erlkönig………………………………………………………..Schubert
72Auf Dem Wasser……………………………………………..Schubert
73Wiegendien…………………………………………………Schubert
74Mr. Hemus.
75Berceuse………………………………………………………Thomé
76Gipsies………………………………………………………..Sarasate
77Miss Allen.
78Loreley………………………………………………………..Bungert
79Sein Weib…………………………………………………….Bungert
80Waldweh……………………………………………………..Bungert one of two readings
81Waldweh………………………………………………………Bungert one of two readings
82Miss Levi.
83The Snowy Breasted Pearl………………………………………Old English
84Pretty Creature……………………………………………..Old English
85Mr. Hemus.
86Romance…………………………………………………….Simonetti
87Hungarian Dance……………………………………………Brahms
88Miss Allen.
89Es Liegt ein Traum auf der Haide……………………………von Fielitz
90Das Kraut Vergessenheit…………………………………….von Fielitz
91Miss Levi.
92O That We Two Were Maying……………………………….Henschel
93Gondoliera……………………………………………………Henschel
94Miss Levi and Mr. Hemus.
95Accompanist, Harold Stewart Briggs.
97At the next recital, on the evening of Saturday, March 8, Mrs. Sherman Stanley, soprano; George Goldsmith Daland, baritone, and Morris Powers Parkinson, pianist, will be heard.
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