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Musical Courier 1902-08-27: Vol 45 Iss 1170, 1902
47 lines. Read by computer on 22 September 2026. Printed page 22. 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.
1MICHEL DE SICARD.
3MICHEL DE SICARD, the young Franco-Russian violinist, whose picture appears on the front page of this week's paper, is one of the foreign celebrities who will visit the United States next season. He was born in Russia and received his first instruction in violin playing in the Kiew Conservatory, in which institution he is now one of the professors. After taking a course there he went to Paris and entered the Conservatoire. Here he remained four or five years. Later he studied with Joachim. De Sicard is regarded as one of the most brilliant exponents of the modern French school now before the public.
5The following notices, clipped from the leading European newspapers, show in what esteem de Sicard is held in the musical centres of the Old World:
7LONDON NOTICES.
9At St. James' Hall yesterday afternoon Michel de Sicard gave the first of three violin recitals, and was warmly welcomed by a fairly numerous gathering of amateurs. His program yesterday opened with the very lengthy first movement of Vieuxtemps' Concerto in E major. In this effective piece the fine qualities of his technic were fully displayed, the tone being bright and clear, and the execution in rapid passages remarkably neat. Later in the afternoon Mr. de Sicard essayed Bach's noble "Chaconne," and answered the exacting tests imposed by that formidable example in a manner that insured compliments. He also played with praiseworthy regard for expression a beautiful "Air" by Tenaglia, and gave a firm and resolute rendering of Wieniawski's Polonaise in D major.—Daily Telegraph, April 4, 1902.
11St. James' Hall.
12Yesterday afternoon, at this hall, Michel de Sicard gave a violin recital under the direction of Charles King. We have before had occasion to make commentary upon Mr. de Sicard's playing, but we confess that yesterday we were very deeply impressed, more so, in fact, than on the former occasion, not only by the truth and accuracy of his playing, but also by the beauty of his tone, the crystal clear effects which a perfect ear assisted him to produce, and by the finely broad style of his accomplishment. In a certain "Rhapsodie de l'Ukraine," by himself, he was extraordinarily fine; the mere bowing was a joy to note, and, as Mr. Henley once said of Sarasate, when he drew the bow along a single string, it seemed to drip honey. In a "Meditation," by Gretchaninow, he showed himself to be a genuine master of musical climax, deliberately building up his effects with singular ease and neatness, though with no trace of self consciousness. In a word, Mr. de Sicard is undoubtedly a fine artist.—Pall Mall Gazette, April 10, 1902.
14Michel de Sicard gave a violin recital on Thursday afternoon at St. James' Hall. He is a pupil of Dr. Joachim, and has undoubtedly acquired a considerable amount of technic from this master. His rendering of the quick passages in Vieuxtemps' Concerto in E major was excellent. M. de Sicard also played Bach's "Chaconne" and an "Air" by Tenaglia, as well as several other items by well known composers. With the infusion of more expression into his music this artist should be enabled to hold his own with some of our best known exponents.—Court Circular.
16Michel de Sicard, a Franco-Russian violinist, who has achieved a reputation on the Continent, commenced a series of recitals at St. James' Hall on the 3d inst. A pupil of Joachim, he exhibited in his handling of Bach's very difficult "Chaconne" much of the fire and resolution that always mark that great violinist's interpretation of the piece which he first brought into favor. The first movement from Vieuxtemps' showy Concerto in E also gave M. de Sicard opportunities for the display of technical facility of which he took full advantage. A bold and rhythmical rendering of Wieniawski's often heard Polonaise and an expressive and tasteful interpretation of a stately "Air" by Tenaglia (1600) added to the good impression made by M. de Sicard, who also played a solo by Sevcik—the teacher of him and Kubelik—one of the Brahms-Joachim Hungarian Dances and Schumann's melodious "Abendlied."—Illustrated London News.
18Michel de Sicard, a highly gifted Russian violinist, who has studied at the Paris Conservatoire, and also under Dr. Joachim, gave the first of three recitals at St. James' Hall on Thursday afternoon, the 3d inst. The artist in question is the possessor of a technic of remarkably fine quality, and in all that he attempted displayed great intelligence and skill, and an almost complete command of his instrument. His treatment of the first movement of Vieuxtemps' Concerto in E major was exceedingly successful, and he attacked Bach's formidable "Chaconne" in such a manner as to meet all requirements. Later on M. de Sicard gave a refined interpretation of a lovely "Air" by Tenaglia, a masterly performance of Wieniawski's Polonaise in D major, and was also heard to great advantage in one of the Brahms-Joachim Dances, and pieces by Schumann and Sevcik.—Madame, April 19, 1902.
20Michel de Sicard, who gave a concert at St. James' Hall yesterday under the direction of Charles King, is a Russian violinist, who, if we recollect rightly, was here last year. He is, at any rate, a gifted performer, and especially in some short pieces by Wieniawski, Joachim and others, he showed himself at his best. His technical skill was likewise exemplified in a clever performance of Bach's "Chaconne."—The Daily News.
22M. de Sicard's second recital took place yesterday (Wednesday) afternoon, when another well arranged and interesting scheme of music was presented—César Franck's Sonata in A major, for violin and piano. M. de Sicard is quietly unassuming and eminently thorough in his work. Each movement of the sonata was well done, the most delicate notes maintaining their full value. An important item in the recital, played without accompaniment to the talented violinist, was the Bach "Gavotte et Gigue." Here we again listened to some of M. de Sicard's beautiful and strong bowing work and harmonics, well nigh marvelous in their power and firmness. The Wieniawski "Airs Russes," which followed on this, were as admirable in their verve as in their many poetical expressions of feeling. For this an encore was asked and given, M. de Sicard playing Tenaglia's lovely little "Air," which was so admired at his first recital. Of the remaining excerpts essayed by the violinist the Wagner-Wilhelmj "Romance," the Ries "Perpetuum Mobile" (a remarkably skillful and notable piece of work), the Gretchaninow "Meditation" and M. de Sicard's "Rhapsodie de l'Ukraine" were all of great interest in his hands.—The Stage.
24At his final recital M. de Sicard, the Franco-Russian violinist, placed on his program Mendelssohn's exquisite Violin Concerto. He played the work skillfully, and with good, if not deep expression, while his intonation was throughout irreproachable. His treatment subsequently of a group of pieces by Wieniawski likewise merited commendation, the "Légende" being played with ample boldness and passion, and the "Obertass" with fire and decision. Pieces by Bach, Nachéz, Raff and Saint-Lubin were also presented by the gifted artist.—Lady's Pictorial, May 3, 1902.
26Michel de Sicard, a Russian violinist, gave the first of three recitals on the 3d inst. at St. James' Hall, and gave evidence not only of considerable technical requirements, but of genuine musicianly feeling. The inevitable "Chaconne" of Bach was one of the numbers given, in which he had the least success, as he courts comparison with performers more gifted in the matter of tone volume; but in an interesting old "Air" by Tenaglia (1600), a Brahms-Joachim Dance, a Polonaise of Wieniawski and the "Abendlied" of Schumann, his rendering was thoroughly artistic. The program, if we exclude the encore which followed, concluded with a "Rhapsodie Slave" from the pen of the much talked of Professor Sevcik, from whom we believe M. de Sicard has had some instruction.—Musical News.
28M. de Sicard, the Russian violinist, of whose playing we have before spoken, gave his second concert yesterday afternoon at St. James' Hall, and although this is the fringe of the concert season, he attracted a good audience. His program was headed with César Franck's Sonata in A major. In this he was associated with Percival Garratt, and the two furnished a rendering which was in every way both artistic and capable. M. de Sicard followed this with a performance of Bach's delightful old Gavotte and Gigue—which, if not so satisfactory as the first named, was, at least, not without its fine points. Of the rest of the program M. de Sicard was most advantageously heard in Wieniawski's familiar "Airs Russes."—Standard, April 10, 1902.
30The first of Michel de Sicard's recitals was held on Thursday afternoon, April 3, and may be regarded as a thorough success. This talented musician is watched with great interest by the musical world, and his performance on Thursday serves only to prove his right to be held in the first rank of violinists. He warmed to his work, and in Brahms' Intermezzo, op. 118, No. 1, and in Schumann's "Abendlied," the delicacy of his execution could hardly be surpassed.
32On Wednesday, April 9, M. de Sicard held his second recital, and on the whole it was even better than the first. The program opened with César Franck's Sonata in A, which was much appreciated. Michel de Sicard also gained much applause for his rendering of the Gavotte and Gigue in E, by Bach. He plays with much intelligence and thought.—The Citizen.
34Mr. de Sicard has been quite the bright particular star of the season. At least by his three concerts he has succeeded in impressing his personality on his hearers, and it is something for the average artist to accomplish even that much nowadays, when virtuosi tread in one another's footsteps like the shadow figures of a thaumatrope. At his concluding recital Mr. de Sicard gave the Mendelssohn Concerto, among other things, and if he hardly succeeded in making one forget that an orchestral accompaniment was wanting, he played the work all the same in a sufficiently agreeable manner—with sympathy and sweetness as to its earlier movements, and with all needful fire and animation in the concluding allegro.—The Westminster Gazette.
36BERLIN.
38We heard yesterday M. de Sicard in the Philharmonic. He is a violinist of the highest rank. His technic is splendid, and his tone powerful as well as sweet.—Berliner Zeitung.
40M. de Sicard, the Russian violin virtuoso, played the Beethoven Violin Concerto with warm feelings, and enthused his great audience. He was encored and encored. He showed us his splendid virtuosity in Vieuxtemps.—Berliner Tagblatt.
42The Russian violin virtuoso, M. de Sicard, gave his third concert yesterday with the assistance of the Philharmonic Orchestra. It was a very great success for this artist, and he enthused the full house, which called him again and again. He played Beethoven with a splendid, sure technic, and we also admired his virtuosity in Vieuxtemps.—Berliner Borsen Courier.
44ST. PETERSBURG.
46M. de Sicard played the Grieg Quartet in G minor with the Auer Quartet. As soloist he played the Vieuxtemps Concerto in a masterly manner. In Bach's "Air" his tone was so broad that one thought to hear a singer. In Wieniawski's Polonaise, and other solos, he showed how exquisite a violin can be. In one word, de Sicard proved that besides being a celebrated quartet player he is also a brilliant virtuoso and a great composer. In his compositions for the violin, e. g., the "Rhapsodie de l'Ukraine" and "Perpetuum
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