Scan 12
Musical Courier 1903-02-25: Vol 46 Iss 1196, 1903
62 lines. Read by computer on 23 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.
1at these gatherings, and a strange confusion of tongues is heard, till suddenly, in the midst of the merry laughter and chatter, the doors of the adjoining apartment are thrown open and the professor appears.
3A burst of hearty applause greets his entry, to which he replies with a benevolent smile and a motion of the hand to demand silence. Looking back through the years to the time when I myself was fortunate enough to enjoy—advisedly I say enjoy, for despite his extreme strictness working under this great teacher had a peculiar fascination—the professor's immediate instruction, the remembrance of one particular meeting of the class is still present with me in living freshness. After a few general remarks to all Leschetizky called on a young man to open the evening. The latter advanced from among the groups at the far end of the room, seated himself, and began Beethoven's Sonata, op. 110. Of course it had to be played by heart, the professor never allowing anything else.
5Seated at his own piano, the master listened intently, now and again playing a bar with the pupil to strengthen the latter's rhythm. Ere long this gave place to a loud hammering out of the strong beats, interspersed with ejaculatory censure, which gradually broadened into a continuous torrent of invective, culminating in the peremptory order to the unfortunate player, uttered in passion thickened tones, to leave the scene he disgraced, to quit the house where imbeciles were not harbored!
7The young fellow, ashen pale and trembling in every limb, retired, longing, as he subsequently told me, for the earth to swallow him up before he left the torture chamber.
9Such an event by no means causes any contempt for the pupil, who always has the fullest sympathy of his fellow students; and as he slips in among them again—only too glad to hide himself from the public view—he is greeted with many a silent grasp of the hand or cheerful, encouraging nod and smile, which tend in some degree to chase away the gloomy look of despair which has settled on his countenance. Even the professor, happening to come across his victim ten minutes later, behaves as though he never knew what it was to feel irritable, and addresses some friendly word or smiling joke to him as he passes. These frequent outbursts are all regarded as part and parcel of the study, and are taken quite as a matter of course and as belonging to the day's work! After this storm I have just described, and in order to allow the excitement to abate, the master retired into the next room, whence were distinctly audible his muttered grumblings, mingled with Madame Leschetizky's soothing tones.
11On his return to the music room his countenance bore no traces of the late storm as he called a little girl of eight to come up. She—a sweet, wee lassie—came tripping out of some distant corner, and perfectly devoid of any fear or self consciousness, seated herself at the piano, looking up into the dreaded man's face with the most charming expression of trust. While she was playing the maestro sat unwontedly motionless, looking at her with a gentle smile flitting over his countenance, observing her so closely that not a move of a finger escaped his keen observation. No sooner had she finished than he sprang up, bent over the little maid, and imprinted on her rosy cheek his seal of satisfaction. Years afterward the girl, then one of the most famous pianists of the day, was used to say that no plaudits of enraptured audiences, no recognition by crowned heads, ever gave her a tithe of the pleasure afforded by the professor's kiss on that memorable evening! But whatever the private character or weakness of any great man may be, one is both apt and willing to overlook it, out of respect for superior intellect and capability. In such cases the man is nearly always forgotten in the artist.
13There is no denying that Leschetizky is one of the greatest and most successful masters that ever lived.
15Not one of his many pupils, from the least to the greatest, but will acknowledge that whatever his success may be he owes it to Leschetizky's marvelous method, and to his painstaking, exact—even though somewhat severe and impatient—teaching. All who have had the fortune to study with, or under him, however hard the time may have been, look back with real gratitude and pleasure, and as each one leaves to carry away with him into every quarter of the globe the secret of that wonderful "Methode," he wishes his old master many years of health and life!
17For when Leschetizky dies the musical world will have lost a great master.
19Adele Margulies' Musicales.
21THE second of three chamber music matinees was given at the residence of Mrs. Thurber Wednesday afternoon, February 18, by Miss Adele Margulies, the pianist. Miss Margulies was again assisted by Leopold Lichtenberg, violinist, and Leo Schulz, 'cellist. The pianist and violinist played first the brilliant Suite in D minor, by Schütt, and the performance was one remarkable for all that makes ensemble music a thing of beauty. Instead of being played before the exclusive assembly, it seemed a pity that an audience of a thousand did not hear the performance. Miss Margulies is an artist of uncommon gifts. Possessing a musical intelligence beyond that of most women, she is also endowed with the skill that combines finger deftness and wrist flexibility. The artists associated with her are masters of the instruments they play. In the ensemble each seems to recognize the necessity of self effacement, and consequently the unanimity and harmony are complete. For three years Miss Margulies, Mr. Lichtenberg and Mr. Schulz have rehearsed together, and their playing conclusively shows that their work has been thorough.
23As the second number of the afternoon, Miss Margulies and Mr. Schulz played one movement of Grieg's Sonata in A minor for piano and 'cello. There was vigor and warmth in the performance, and yet without a trace of exaggeration, a fault common in playing Grieg. Tchaikowsky's beautiful Trio, op. 50, in A minor, was played by the three artists in a way that put the subscribers under a spell. This Trio, written, it is said, to portray the life of Nicholas Rubinstein, brother of Anton Rubinstein, is magic music, if ever such a description can be applied to the divine art.
25The third and last matinee in the series will be given Wednesday afternoon, March 18. Beethoven's Sonata in A major, for piano and 'cello; the Rubinstein Trio in B flat major, and a group of violin solos, will be the program.
27Only Too True.
29A PITTSBURG paper prints an article headed "We Are Easy Marks." Is not that where the Grau Opera Company is to go after the close of the New York season?
31ST. LOUIS.
33ST. LOUIS, February 20, 1903.
35If judged by public interest and patronage by far the most important musical event of the season is the three weeks' engagement at the Century Theatre of the Castle Square Opera Company. Full houses and frequently standing room only have been the order from the beginning of the engagement. Last week Puccini's "Tosca" was given four performances and Wagner's "Lohengrin" four. Sheehan, Norwood and Goff sustained the principal parts in "Tosca," and did themselves and the composer great credit by their faithful and competent singing and acting. Seldom has an opera been so well performed in St. Louis. Puccini's opera, although an entire novelty in St. Louis, drew large houses, which fact is food for thought, especially for those persons who hold that only the old operas may be given safely. The general opinion of "Tosca" seems to be that it is a work of great merit, much originality and dramatic interest. It is more a music drama or drama set to music than an opera, and as an illustration of this school of composition, deserves a place in the front rank.
37Mr. Savage should have a theatre of his own in St. Louis and play opera here at least thirty weeks each season. He could easily keep a theatre open for that period of time with his grand and light opera companies and make it the real home of music in this city. Where one person will go to a symphony concert a thousand would attend such performances as he is giving, and the musical education and increase of interest would be in proportion. Now is a good time and St. Louis is a good place in which Mr. Savage could begin to build up a circuit of theatres which could finally include all of our principal American cities. He is the man and the country is certainly ready.
39The following recital program was performed a few evenings ago with unqualified success:
41Piano duo, Valse, op. 64, No. 1……………………………Chopin
42Mrs. Child and Miss Pettingill.
43Bendemeer's Stream (Irish melody)………………………..M. V. White
44The Spring Has Come………………………………………Weckerlin
45Conseils à Nina…………………………………………….Mrs. George C. Carrie.
46Dainty Davie……………………………………………….Gilchrist
47Irish Spinning Song……………………………………….Marzials
48Aria, Radiant Aida……………………………………….Verdi
49George C. Carrie.
50Duet, A Night in Venice…………………………………….Mr. and Mrs. George C. Carrie.
51Butterflies…………………………………………………….Corbett
52A Song of Dawn…………………………………………….Allitsen
53Bid Me Discourse…………………………………………..Bishop
54Sleep, Darling, Sleep………………………………………Somerset
55My Dreams……………………………………………………Tosti
56Tho' You Forget…………………………………………….Tipton
57Duet, My Heart Greets the Morn………………………….Goring Thomas
58Mr. and Mrs. Carrie.
59Miss Pettingill, accompanist.
61A benefit concert was given for the Baptist Orphans' Home in the Odeon Thursday evening, February 12, under the direction of Charles Galloway, in which he was assisted by Mrs. Georgia Lee Cunningham, soprano, George C. Carrie, tenor; John Rohan, bass, and P. G. Anton, 'cellist. An interesting program was performed in the presence of a large and appreciative audience.
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