Scan 23
Musical Courier 1903-02-25: Vol 46 Iss 1196, 1903
77 lines. Read by computer on 23 September 2026. Printed page 24. See the scan on archive.org.
1BOSTON SYMPHONY CONCERTS.
3LAST week there were two interesting concerts at Carnegie Hall by the Boston Symphony Orchestra. Following were the dates and programs:
5THURSDAY EVENING, FEBRUARY 19.
6Overture, The Water Carrier………………………………………Cherubini
7Concerto for Piano, in A minor, op. 54………………………..Schumann
8Tone poem, Death and Transfiguration……………………………R. Strauss
9Symphony No. 5, in C minor, op. 67……………………………Beethoven
11SATURDAY AFTERNOON, FEBRUARY 21.
12Overture, L'Orestie…………………………………………………Taneiew
13Aria from Titus…………………………………………………….Mozart
14A Siegfried Idyl…………………………………………………….Wagner
15Aria, But the Lord Is Mindful, from the oratorio St. Paul……………………………………………..Mendelssohn
16Suite No. 3, in G major, op. 55……………………………Tschaiikowsky
18The scheme for Thursday suffered a slight change, inasmuch as Mme. Fannie Bloomfield Zeisler, the soloist, was just before the concert suddenly recalled to Chicago, where her husband lay ill. In consequence for the Schumann Piano Concerto Gericke substituted Bach's F major "Brandenburg" Concerto Grosso, No. 2, for violin, flute, oboe and trumpet. The players were Kneisel, Macquarre, Longy and Knoepfel.
20The work was given a performance truly remarkable under the circumstances, as there was hardly time for much rehearsing before the concert. For the true Bach lover these combination concertos form the highest kind of musical enjoyment. There is every opportunity for the individual soloist to distinguish himself, and yet without the spirit of perfect ensemble the work cannot be properly or even adequately played. This may be a paradox, but if so, then also the playing of the Kneisel Quartet is a paradox. This was a performance of the Kneisel Quartet with three of the players changed. And than Franz Kneisel there is today no better interpreter of Bach. The utmost enthusiasm deservedly rewarded this substituted number.
22Strauss' tone poem is beginning to be one of the familiar orchestral war horses, but that neither dims its elemental beauty nor lessens its effectiveness. The paraphrangers and analysts and annotators have begun to let this early work of Strauss shift for itself, and the result is both beneficial and surprising. It is accepted as absolute music, and that is its real province, for as Philip Hale points out, the explanatory poem about the fever stricken patient was not invented until after Strauss had written his music. Gericke played the impassioned work with genuine sympathy and spirit. There seems to be real vitality in the leader and in his men. "Real vitality" must be distinguished from the galvanic or induced kind, which has been noticeable in some New York orchestral productions this winter.
24The Beethoven "Fifth" has never been Gericke's masterpiece. Its first theme has knocked in vain at the portal of the Boston leader's musical sympathies. Doubtless he understands the symphony thoroughly, but he does not convince us that he feels it. The reading was polished, but cold; flawless, but inanimate. The Cherubini Overture is vivacious, and was brilliantly done.
26At the second concert the chief interest centred in Taneiew's "L'Orestie" Overture, a compilation of excerpts from the Russian composer's "L'Orestie" trilogy, based on Æschylus' "Orestiea." The name is by far more formidable than the composition. As a Russian of the new school, and not as a scholar, Taneiew approached his task. It is not the intention here to imply that a Russian cannot belong to the new school, and at the same time be a scholar. But the fact remains that Taneiew has in this work written music of a strongly national Russian hue, and that except for its name, only the composer would be able to find in the score anything Grecian in melody, harmony, or instrumental treatment. This is not exactly a reproach, for the "L'Orestie" Overture is full of big, tangible melody, has moments vital and exciting, and was made by a man who knows his Tschaiikowsky and his Wagner. With sweep and swing the work was played, and it seemed to make an unusually favorable impression on the public, which as a rule does not take over kindly to orchestral novelties.
28Again, there was a change in the solo number, for instead of the arias already announced, Mme. Schumann-Heink sang a solo from Bruch's "Achilles," and Liszt's effective song, "Die drei Zigeuner." In the Bruch piece there were admirable vocal breadth, and a due regard for the dramatic element. The Liszt song displayed to the full Schumann-Heink's marvelous power of musical characterization. A better bit of ballad singing has not for many a moon been heard on a local concert platform. Needless to state the popular soloist was rewarded with what might truthfully be termed an ovation.
30The Tschaiikowsky Suite was a rousing finale to a splendid concert. The polacca, with its irresistible rhythm and vigor, ended in a blaze of color, spirit and enthusiasm. It was a glorious piece of orchestral virtuosity.
32"Angelo Mio," by Brager, and the tenor and basso gave the duet from "Faust."
34The music committee of Plymouth Church spared no effort to make the concert a success. The members of the committee are George T. Bradley, Theodore R. Blakeslee, Eldridge E. Howe, William R. Demarest, William M. Parsons.
36Remarkable Musical Festival.
38RECENTLY there turned up an old program of a remarkable musical festival given by James W. Morrissey in Philadelphia during the Centennial in 1876. The festival was held under the auspices of the Emperor of Brazil. This is the way the program read:
40GRAND MUSICAL CONGRESS.
41Academy of Music, Philadelphia,
42Under the management of James W. Morrissey.
43The largest and most distinguished lyric and instrumental combination ever presented here.
45Miss Clara Louise Kellogg……………………………Prima donna
46Miss Anna Louise Cary………………………………….Contralto
47(First appearance since her three years' absence in Paris, Vienna and St. Petersburg.)
48Mrs. Zelda Seguin………………………………………Contralto
49Seniorita Esmeralda Cervantes………………………..Harpist
50Miss Julia Rivé…………………………………………..Pianist
51Signor Brignoli…………………………………………..Tenor
52Franz Remmertz…………………………………………Baritone
53Signor Ferranti…………………………………………..Bass
54S. B. Mills………………………………………………….Pianist
55Señor Joseph White………………………………………Violinist
56E. Behrens and Geo. W. Colby, musical directors.
58The Emperor of Brazil insisted on hearing some more piano music, and so an impromptu number was arranged wherein four pianists took part on four concert grand pianos. The piece was the "William Tell" overture, and the players were Mme. Julie Rivé-King (then Miss Rivé), Mme. Madeline Schiller, Dr. Gustav Satter and S. B. Mills. The enormous profits realized at the Centennial concerts have encouraged Mr. Morrissey to arrange for a similar festival at the World's Fair in St. Louis in 1904. There is talk that Madame Nordica will head the list of artists on that occasion.
60AUGUSTA COTTLOW IN HARTFORD.
62MISS COTTLOW'S appearance with the Philharmonic Orchestra, of Hartford, Conn., amounted to an ovation and added another to her long list of brilliant successes throughout New England during the present season. Some criticisms follow:
64The soloist of the evening, Miss Augusta Cottlow, chose for her effort the Concerto in E minor, op. 11, by Chopin, and she gave great satisfaction in her rendition of the work. Miss Cottlow is of pleasing presence, youthful, slight. The work is melodic throughout and in the graceful passages that abound the player's fine touch, excellent phrasing and thorough musical understanding were most enjoyed. The first movement is quiet in melody, singing over the delicate accompaniment afforded by the orchestra. The playing grows in power, however, as the movement closes, and at the end last evening the soloist was warmly applauded and received flowers. The second movement is more song over muted strings running into a passionate minor and returning in grace to the melody. An odd interlude on the piano leads to a song for the strings over the rippling of the piano part, and in this Miss Cottlow's playing was especially effective. She was obliged to bow her acknowledgments twice at the close of the movement. Then came really the first chance the player had to show her brilliancy of execution, and she played with fire and feeling, the phrasing again being noticeably good. The accompaniment at this point in the work is rather odd and tricky, but it was for the most part well played, as, in fact, were all the orchestral portions. The work ends brilliantly, and Miss Cottlow was so much applauded that she sat at the piano, after returning to the stage three times, and gave a dainty Liszt valse. Miss Cottlow may well feel proud of the way in which she was received here.—Hartford Daily Courant, February 11, 1903.
66It must be confessed that Miss Augusta Cottlow played this score with delightful clearness and penetrating intelligence, and that her sympathetic expression gave plenty of color. Chopin is of himself a master of pianos and pianissimos, but he lifts with fetching force and a whirlwind rush, in special passages. One did not get these effects, but the clearest, tenderest rendition of the melody, the most pearly runs, the most sparkling chromatics came in the production, and the entire play was pervaded by a sweetness and sympathetic color that charmed the audience. Touch and phrasing were admirable. Much applause, especially after the rondo and brilliant finale, rewarded the artist and flowers were presented. A brilliant little encore, the work of Chopin's most appreciative friend, Liszt, was given in charming style, and with sympathetic intelligence and tender touch that rivaled the concerto play.—Hartford Daily Times, February 11, 1903.
68Chopin's Concerto in E minor was the solo of the evening, and Miss Augusta Cottlow's rendition was pleasing in the extreme. Chopin was beyond all a tone poet; as a composer for the piano he ranked with the greatest, so to interpret his music one must have temperament as well as a tone producing touch, not to mention technic. All these qualities Miss Cottlow possesses, and her playing of both this and the encore, Liszt's "Waldersuschen," was a very rare treat.—The Hartford Telegram, February 11, 1903.
70Third Kingsley Organ Recital.
72BRUCE G. KINGSLEY, Mus. Bac., A. R. C. O., gave his third recital at the Second Church of Christ, Scientist, Thursday evening, to an audience which grew in enthusiasm as the program progressed. His playing of the Adagio from Beethoven's Septet was most faithful in its reflection of the original instruments; one heard the flute, oboe and clarinet as scored by Beethoven. The Bach Suite in D was characterized by the rhythm and steady tempo of the Gavotte and the merry swing of the closing Gigue. A fine climax was attained in the Prelude to "Lohengrin," with close imitation of the divided violins as scored by Wagner, while the tempo and dash of the Introduction to the Third Act won the player much applause. Jensen's song, "Murmuring Zephyrs," was most daintily done, with beautiful selection of stops. The pièce de résistance was undoubtedly the overture to "Romeo and Juliet," by Tschaiikowsky, played by request, and in this the broad sweep, the wide plan and mighty onward rush, with the startling climax, depicting the apex of the tragedy—all was played with that music impetus and vivid coloring associated with all of Mr. Kingsley's work. Plastic tempo, mature musicianship and plentiful technic are combined in his playing, along with good taste and a score of other qualifications. At the next recital he will play compositions by Weber, Bach, Guilimant, Mendelssohn, Tschaiikowsky, Moszkowski and Wagner, on Thursday evening, March 5. See detailed program in our next issue.
74A Fine Church Concert.
76THE quartet choir of the West Presbyterian Church, New York, gave a fine concert at Plymouth Church, New Haven, Conn., Wednesday evening, February 18, under the direction of P. A. Schnecker, the organist and leader. The quartet includes Mrs. Pennington Haughery, soprano; Mrs. Carl Alves, contralto; William H. Rieger, tenor, and Ericsson Bushnell, basso. "To the Light," a new cantata, by Mr. Schnecker was sung for the first time. Two other quartets by Schnecker; a basso solo, "O for a Closer Walk with God" (sung by Mr. Bushnell), and an organ voluntary were by the organist and director of the evening. In addition to the Schnecker quartets, the four singers sang the Quartet from "Rigoletto." Mrs. Haughery sang the waltz from Gounod's "Romeo and Juliet," and Tosti's "Spring." Mrs. Alves sang "My Heart at Thy Sweet Voice," from "Samson and Delilah"; Mr. Rieger,
The computer misreads some letters and numbers. Where a name matters to you, read the scan.