Scan 28
Musical Courier 1903-02-04: Vol 46 Iss 1193, 1903
106 lines. Read by computer on 22 September 2026, twice; the two readings disagreed in places. Printed page 29. See the scan on archive.org.
1like one by Mrs. Dolmetsch. In the slow movement, however, one could detect delicate touch and a rhythmic precision unusual in the playing of women. There was no distorted sentimentality. The second number, Saint-Saëns' G minor Concerto, allowed Mme. Roger-Miclos to achieve a resounding success. Here she proved that she possesses not only most elegant and polished technic, but also real French esprit. The first movement was done with breadth sufficient to demonstrate that the pianist is a real artist, not only with her fingers but also with her head. The piquant scherzo was her best performance, and it is doubtful whether that movement has ever been played here with more taste and virtuosity. Mme. Roger-Miclos created such a favorable impression that one must look forward with special expectation to her early recital.—Staats-Zeitung, Wednesday, February 4.
3Mme. Roger-Miclos made her American début in the grand ballroom of the Waldorf-Astoria last night. There was something peculiarly apropos in the fact that her first appearance was made amid surroundings that have witnessed so many sartorial triumphs. Since her arrival from Paris Mme. Roger-Miclos has frequently set forth her views on Greek dress and her ardent desire that it shall, in some modified form or other, become the international style of dress. It would be improper, therefore, to enter upon her achievements as a pianist before paying some tribute to this phase of her high mission.
5The pianist remained the only practical Greek illustration of the evening. So anxious was the audience to obtain a glimpse of it that everyone rose when she entered, and the floor being flat obtained in consequence a view of each other's backs. But this did not affect the ardor of study inspired, for, while applauding at the close of each movement, her hearers rose with her as she made her acknowledgments. * * *
7Of the second phase of her art Madame Roger-Miclos gave two illustrations—the Beethoven C minor Concerto and the Saint-Saëns in G minor. The first she played in a hard, unsympathetic manner, relying on strong contrasts, without shading, and a devotion to the pedal, with all its blurring consequences. The opening of the Saint-Saëns was no more fortunate, the tone produced being hard and deadened in attempts to force its volume.
9With the Scherzando came quite other achievements, and there the pianist was in her very best, playing with delicacy, clearness and charming fluency.—The American, Wednesday, February 4.
11Mme. Marie Roger-Miclos, a French pianist of high distinction in her own country, made her American début last night in an orchestral concert at the Waldorf-Astoria. The entertainment was given in the large ballroom, which was uncomfortably crowded by one of those audiences often seen in this town at the first appearances of new artists. The reception of the visitor was cordial in the extreme and favorable comment was plentiful. The lady elected to display her powers in the performance of two concertos of widely different schools and to reserve performance of unaccompanied numbers for the recital which she is soon to give at Mendelssohn Hall. * * *
13Madame Roger-Miclos played Beethoven's C minor Concerto and Saint-Saëns' Concerto in G minor. The former is seldom brought forward in these days by virtuosi, for it is, in respect of its technical demands, by no means exacting, and calls for insight and musical intelligence rather than for a display of the more brilliant accomplishments of the executant. Although it is not so elevated in thought or style as the last two concertos of Beethoven, it has fundamental characteristics of the master's manner and demands sympathy with his musical temper.
15The French composer's Concerto, on the other hand, has a wealth of superficial brightness and the unfailing elegance of the Gallic school. It affords abundant scope for a display of delicate touch, of varied color and of clear digital treatment. It was in the music of her countryman that Madame Roger-Miclos was heard to the best advantage. Her Beethoven performance was good, but not especially notable. It was clear, fluent, sane and continent in tone and accentuation, but it was not above the ordinary level of dignity.
17In the Saint-Saëns music the artist disclosed the measure of her powers, which proved to be of an engaging nature. Her rhythmic sense was manifested, and she showed that she possessed a clear, facile and sure technic. In power she reached a degree as large as might fairly be expected of a woman, and she commanded praise for her restraint, for she never attempted to force her tone. Her nuancing was graceful and dainty, and her treatment of the pretty running flights of the scherzo was admirable in its clearness and equality.
19Indeed, she played the scherzo as a whole in a manner to call for nothing but the warmest praise. It was a performance fully justifying the esteem in which she is held in Paris.
21On the whole, then, it may be said that, so far as she revealed herself last evening, Mme. Roger-Miclos is a pianist who combines musical sensibility with great grace and elegance of style, and a technic adequate to the communication of her temperamental traits.—The Sun, Wednesday, February 4.
23In the ballroom of the Waldorf-Astoria last night, before a large and interested audience, Madame Roger-Miclos, a French pianist, made her formal American début, having the assistance of an orchestra. * * * Her program contained two concertos—the C minor of Beethoven and Saint-Saëns' familiar work in G minor. * * *
25The cordial welcome which the artist received was acknowledged by her in an easy, graceful manner, which can be reckoned as no small factor in the total of her evening's success. At the instrument she exhibited little or no mannerism and after the first few moments displayed poise and composure. In appearance she is very charming—a handsome woman of distinguished manner.
27The impressions conveyed through her playing would seem to mark her as capable and an interesting artist. To speak broadly, it may be said that the Beethoven Concerto defined her limitations and that of Saint-Saëns emphasized her better qualities. Her tone found its purest expression in the middle and more delicate ranges of dynamics; in passages of power it lost caste.
29The player, too, while in general showing admirable judgment in her use of the damper pedal, was often at fault in blurring the articulation of a climax. This was noticeable at one point in the cadenza of the Beethoven Allegro, in the Rondo of the same composition and in the Presto of the Saint-Saëns Concerto.
31Her technic seemed generally ample, and she turned it to admirable account in her treatment of rapid passage work in pianissimo and in her delicacy of staccato. There were, however, disappointing moments, these again when reflection gave place to proclamation.
33Indeed, reflection and scintillation seemed to constitute Mme. Roger-Miclos' métier. Her playing was French, and it was feminine, but in both guises it was entirely charming. For these reasons the allegro scherzando of the Saint-Saëns Concerto deserved all the hearty applause it received.—The Herald, Wednesday, February 4.
35Of Mme. Roger-Miclos enough was heard to make it sure that the musical people of New York will desire her better acquaintance. How high her fancy can fly cannot be said after her first appearance. She played Beethoven's C minor Concerto and the G minor of Saint-Saëns, already referred to. Greater fluency of finger, nicer gradation of nuance, finer rhythmical precision than she displayed in the scherzo of the second concerto will neither be asked nor expected. Unhappily, the fine impression which she made in this movement was partly dissipated by her restlessness of tempo in the finale; but this fact did not necessarily disturb the excellent impression created by her earlier efforts.—The Tribune, Wednesday, February 4.
37Madame Roger-Miclos, a fair and gifted French pianist, who is held in high esteem in Europe, made her début in New York at the Waldorf-Astoria last night. She was welcomed by a large and fashionable audience in the big ballroom.
39The new pianist chose to introduce herself with solid music—Beethoven's Concerto in E minor and Saint-Saëns' in G minor—challenging comparison with the great pianistic lights. She did not quite meet the test with success in the first, her interpretation lacking force and breadth, but her performance of the Saint-Saëns opus stamped her as an artist of the first rank.
41With a very fluent technic, a good tone, much authority, an artistic degree of moderation, a marked absence of affectation, and, above all, a preservation of the feminine quality in expressiveness, Madame Roger-Miclos won the sympathetic approval of her audience.—The World, Wednesday, February 4.
43MAX BENDIX OUT.
45MAX BENDIX is no longer concertmaster of the Wetzler Symphony Orchestra. His passing from the post occurred Monday morning.
47Mr. Wetzler was rehearsing the Mozart Symphony in E flat for the Thursday concert. "We will phrase this passage thus and so," directed Mr. Wetzler. "I will not," suddenly remarked the concertmaster; "I have never phrased that passage thus and so, and I do not propose to change now."
49"I am the leader," ventured Mr. Wetzler, "and it is for me to determine the phrasing. I am not guessing. I have studied these scores, and I know whereof I speak. If you do not care to play as I wish, we must sever our relations and at once." Thereupon Mr. Bendix packed up his violin and left the hall. The other players who had been on the side of their concertmaster took Mr. Wetzler's hint. The passage was phrased exactly as the leader desired. This is only an example of the perverted orchestral conditions in New York. Some leaders are unable to enforce discipline. Their men chafe under restraint. They ridicule requests and resent commands. The men lead the leaders. New York, the American metropolis of music!
51Following is the program for the Wetzler concert on Thursday. The soloist will be Hugo Heermann: Symphony in E flat……………………………Mozart Concerto for violin……………………………Beethoven Macbeth, tone poem (new, first time)….L. von Gaertner Rakoczy March, symphonically arranged………….Liszt
53MRS. WEBSTER NORCROSSE HERE.
55SOME Americans who have heard Mrs. Webster Norcrosse sing abroad will be interested in hearing that the London singer has been favorably received in New England. While visiting her husband's family at Grafton she gave a recital at Worcester. The appended extracts from an article published in a Worcester paper speak for themselves:
57It was Mrs. Norcrosse's first visit to Worcester, which she knows very well as the home of the great music festival, and she made a most favorable impression on the critics by the way she used her wonderful dramatic soprano voice.
59Her selections were made with a view of showing what her voice is capable of doing, the numbers being Mascagni's "Volo Sapete," from "Cavalleria Rusticana"; Guy d'Hardelot's "Dawn" and "Summer's Message," and "Hear Ye, Israel," from "Elijah." Her magnificent voice was more than enough to fill Mr. Leland's music room, but her auditors were men who could thoroughly appreciate what she could do under more favorable conditions, among the auditors being Jules Jordan, of Providence; Daniel Downey, Arthur J. Bassett and others who are prominent in musical circles. one of two readings
60Her selections were made with a view of showing what her voice is capable of doing, the numbers being Mascagni's "Volio Sapete," from "Cavalleria Rusticana"; Guy d'Hardelot's "Dawn" and "Summer's Message," and "Hear Ye, Israel," from "Elijah." Her magnificent voice was more than enough to fill Mr. Leland's music room, but her auditors were men who could thoroughly appreciate what she could do under more favorable conditions, among the auditors being Jules Jordan, of Providence; Daniel Downey, Arthur J. Bassett and others who are prominent in musical circles. one of two readings
62She told the reporter she was a California girl, and that she is proud of her nationality and her people. She went to France when she was fourteen years old to study, and that may have given the foundation for the stories that she is French.
64Mrs. Norcrosse is—perhaps better known in Europe than she is in this country, because all her career as a singer has been passed in the musical centres of the old country, where she has appeared with signal success at nearly all the leading opera houses. She has enjoyed the distinction of singing before King Edward and Queen Alexandra of England.—The Worcester Spy, January 31, 1903.
66Van Yorx in New Jersey.
68THEODORE VAN YORX has filled many engagements this season and recently had a fine success singing the tenor role in Berlioz's "Damnation of Faust." Press notices follow:
70Theodore van Yorx, the Faust, made a most favorable impression by his sympathetic interpretation of his part, one which furnishes few opportunities for the declamatory performance without which many tenors are greatly handicapped. Mr. van Yorx's voice, while clear, has enough of the vibrant quality to permit its classification among the robust singers, and at the same time it has enough of the lyric quality to permit of its delicate handling in the sotto voce passages.—Orange Chronicle, January 23.
72Mr. van Yorx's opening of the work with "The Winter Has Departed," which he sang par excellence, with fine pronunciation, charming pianissimos and decrescendos and remarkable self reliance, inspired the audience with confident ease and allayed the nervousness of those whose natures fill them with anxiety, although they may be passive participants because of the sympathy for the artists in the execution of a work of such magnitude. "O Thou Gentle Twilight, I Greet Thee," Mr. van Yorx sang passionately, with dramatic fervor, and very touchingly indeed. The duet, "What Do I See? 'Tis He. Can I Believe Mine Eyes?" and "Angel I Adored," was sung by Marguerite and Faust with majestic musical grandeur, and words are inadequate to depict the effect of this gem of the entire work toward the close of the third part.
74There is no messenger able to reach the human heart more effectively than did Mr. van Yorx through his "Invocation to Nature." The epilogue was of the same recreative and delightful effect which prevailed throughout the entire work. Mr. van Yorx's voice is of remarkable fineness, range and purity; his singing soulful, artistic and impressive; his tones are pure and beautiful.—Orange Journal, January 23.
76In the trio and the "Invocation to Nature," Mr. van Yorx compelled hearty approval by the agreeable quality and the abundance of his tones and his artistic employment of them.—Newark News, January 23.
78Theodore van Yorx, the tenor and Faust of the evening, carried most of the vocal work upon his shoulders. He sang with spirit and fine conception of the part throughout. He was in good voice and perfectly satisfied the large audience with his presentation of the famous legendary character.—Newark Advertiser, January 23.
80Mr. van Yorx has a remarkably fine tenor voice. It is of great range and each tone is pure. The high notes are always rich and full, with never a sign of forcing. Mr. van Yorx rendered the "Cujus Animam" with much expression, and his great range allowed him to take the high note in the final cadenza with ease and to give it full value.—Brockton Daily Enterprise, December 16.
82Mr. van Yorx showed the finished artist in his every number. His singing is earnest, his voice rich and round and the expression he puts in such selections as "She Is So Innocent" and "The Lass With the Delicate Air" leaves a lasting impression on an audience.—South Norwalk Sentinel, December 15.
84Miss Mackenzie's Success.
86MISS REBECCA MACKENZIE, the soprano, has had an extremely busy month. Her success has been, as usual, very marked. The following are some of the very flattering notices received:
88We need all our superlatives when it comes to telling about what Miss Mackenzie did toward the general joy. Now there's a singer who not only has a beautiful voice, an artistic temperament and a charming personality, but a soul for a song, and her soul warms the music like the sun unfolds a rose.
90The handsome, gracious young Scotch woman received a perfect ovation. She will always draw a crowded house in New Brunswick.—Daily Home News, New Brunswick, N. J., January 23.
92Miss Rebecca Mackenzie, of New York, was the soloist. She is a soprano, and her work last evening was praiseworthy in a marked degree. Miss Mackenzie sang at a concert here two years ago, and since that time has lost none of her power to charm audiences. She appeared twice last evening, first in Verdi's aria from "Traviata" and second in a set of three songs, "The Princess," "Shepherd, Thy Demeanor Vary," and a Norwegian echo song.
94To say that Miss Mackenzie carried her audience by storm would be to express it mildly. All who heard her were enthusiastic from the start, and she was repeatedly recalled. The soloist has a charming manner and sings with a grace and ease that captivates the listener. Her encores were Scotch songs—sung with all the pathos and feelings of which the true vocal artist is capable. Miss Mackenzie is certainly a favorite locally.—Berkshire Eagle, Pittsfield, Mass., January 30.
96Miss Mackenzie's selection from "Traviata" was well chosen, and she brought out the full meaning of Verdi's composition. It is certain that she will be accorded a fine reception if the Symphony Society engages her for another concert in this city.—The Evening Journal, Pittsfield, Mass., January 30.
98Edward Strong, Tenor.
100EDWARD STRONG sang in "The Creation" at Mount Vernon, N. Y., last week, under the direction of Alfred Hallam, with Frank L. Sealy at the organ. The appended concerns that occasion:
102The honors of the evening surely fell to Edward Strong, the tenor, who is also new to Mount Vernon audiences. He has a strong, yet sympathetic voice, under good control and perfect enunciation. His beautiful rendition of "In Native Worth" will long be remembered, and should he visit Mount Vernon again his welcome is assured.—Mount Vernon (N. Y.) Daily Argus, January 24, 1903.
104Mr. Strong has the following engagements:
105February 3, Parkersburg, W. Va., matinee and evening concert, with Clary and Mrs. DeMoss; 4th, Moundsville, W. Va., recital; 5th, Wheeling, W. Va., recital; 8th, Roseville, N. J.; 12th, St. Paul, Minn., Verdi Requiem; 13th, Minneapolis, Minn., Verdi Requiem; 16th, Eau Claire, Wis., recital; 2nd, Glen Ridge, N. J. (Fifth Avenue Presbyterian Church Quartet); 4th, Hoboken, N. J., "Stabat Mater." April 9-10, Montreal, Can., "Messiah"; 12th, Glen Ridge, N. J. (Fifth Avenue Presbyterian Church Quartet).
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