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Musical Courier 1903-07-01: Vol 47 Iss 1214, 1903
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1arranged provided as arduous a task as any violinist could wish; and we have no hesitation in saying that Herr Burmester fully proved his title to be considered not only an artist of a very high order, but a violinist who must be very seriously reckoned with for pride of place by all and sundry of the "young masters," of whom we have heard so much lately. It was, as we have said, in the higher walks that Herr Burmester tried himself, and the completeness of his artistic idea he showed in his beautiful rendering of the slow movement of the Beethoven Concerto, in the Bach and again in the Russian work. Tenderness without sentiment, real feeling and a good deal of breadth of style are all now characteristic of the violinist, whom once the musical world regarded as a virtuoso and nothing more.—Times, June 11, 1903.
3His playing of Bach's Concerto in E and Beethoven's Concerto was remarkable for breadth of insight and fine technic in the best sense of the word.—Daily News, June 11, 1903.
5Herr Burmester was very successful in Bach's music, the beautiful adagio being interpreted with an attractive combination of purity of style and deep and unexaggerated feeling. His playing in Beethoven's familiar composition was also very pleasure giving, and possessed qualities which entitle Herr Burmester to be placed in the foremost rank of exponents of this masterpiece.—Standard, June 11, 1903.
7Among all the violinists now claiming attention I cannot think of any other who has quite the same delicately austere style in the presentation of classical music.—New Age, June 4, 1903.
9The well known violin virtuoso Willy Seibert, the teacher of the Crown Prince of Germany during the latter's stay at Bonn, has changed his residence from Cologne to Berlin, where he bought the Conservatory des Westens. Among the teachers engaged by the new director is Josef Rebicek, the regular conductor of the Berlin Philharmonic Orchestra. O. F.
11The Heink Recital Tour.
13CHARLES R. BAKER, the Chicago manager, announces for next season the exclusive management of the piano and song recital tour of the distinguished German artist (head of the department of interpretation at the Chicago Auditorium Conservatory), Herr Felix Heink. The Chicago Auditorium Bulletin states as follows: "The name of 'Heink' has come into prominence in musical circles both in Europe and in this country so triumphantly that it may justly be said to have already attained an international reputation, even though its two representatives, Madame Schumann-Heink and Herr Felix Heink, are artists hardly yet in the prime of life. While Madame Heink has devoted herself almost exclusively to the opera, Herr Heink is known as one of the most versatile and prominent artists of Germany." It is Mr. Baker's intention to include in his bookings some educational institutions. Letters from college presidents are appended:
15Herr Felix Heink gave a most delightful piano and song recital in the assembly hall of the State Normal and Industrial College last night. The entertainment he gave would have delighted any audience, whether composed of musicians or others. His versatility is remarkable. He is an artist and a master, and I am writing this as a kindness to friends who might be induced to attend his recitals.—From the Hon. Charles D. McIver, president of the State Normal and Industrial College, Greensboro, N. C.
17The distinguished German musician, Herr Heink, gave us last night one of the most delightful evenings in the history of this institution.
19He is a finished artist, and his numbers were artistically and charmingly rendered to the great delight of the audience.
21I consider it a rare opportunity for our Southern institutions to give their young ladies the education they must obtain from his rendition of the Masters of Music.—From the Rev. E. H. Rowe, president of the Southern Seminary, Virginia (formerly of the Wesleyan Female College, Macon, Ga.).
23It gives me pleasure to commend Herr Felix Heink as a musician of extraordinary ability. His recital, piano and song, before the students of this seminar last night, was by far the finest ever given in this community, and marked him as an artist of high rank. Those are to be considered fortunate who have the opportunity of hearing him.—From the Hon. F. P. Hobgood, president Oxford Seminary, Oxford, N. C.
25LATE FOREIGN NOTES.
27LONDON, JUNE 15, 1903.
29YVONNE DE TREVILLE, the American opera artist who has been filling a successful engagement at the Stockholm Opera House, is to sing at St. Petersburg, and has closed a contract with the Opera at Cairo, Egypt.
31At the Frankfort singing festival, where the Kaiser made another memorable speech last week, the Berlin Lehrer Gesang Verein won the first prize, although it was expected that the Cologne Singing Society would prove victorious. On the announcement of the decision, the Kaiser who was present at all the concerts, sent a congratulatory message to the mayor of Berlin.
33W. J. Lavin, the tenor, is in London, and may sign an engagement for America.
35Richard Strauss did not, after all, attend the music festival at Basel, Switzerland, where he was to conduct some of his works.
37Herman Hans Wetzler and wife have left London for Usingen-in-the-Taunus, near Frankfort. They start for the United States on September 24.
39Sousa is playing in London suburbs. Then Ireland. The organization leaves for home July 31.
41Minnie Tracy and Rose Olitzka are in London. Also Ysaye. Also Gerardy. Also Marcella Lindh.
43Charles Foerster, the pianist, residing in Paris, gave a recital at Salle Erard on June 11, when he played the following program in a most commendable manner, showing fine intellectual and temperamental power, and a highly developed modern piano technic:
45Sonata, op. 111…………………………………………..Beethoven
46Novellette, E major………………………………………Schumann
47Pourquoi? (Pièce Romantique)………………………….Schumann
48Romance, D minor………………………………………Schumann
49Barcarolle, F sharp major………………………………Chopin
50Prelude, F major………………………………………..Chopin
51Ballade, A flat major…………………………………..Chopin
52Valse de Concert, F major, op. 69……………………..Moszkowski
53Impromptu, B flat major……………………………….Schubert
54Etude, Si Oiseau j'étais………………………………..Henselt
55Chœur des Fleuves du Vaisseau Fantôme………………Wagner-Liszt
56Rhapsodie Hongroise, No. 15……………………………Liszt
58Zeldenrust, the pianist, recently gave a successful recital at Salle Aeolian, Paris.
60F. R. Comee, of the Boston Symphony Orchestra, is expected here shortly.
62There are now only nine Americans in Milan interested in musical studies, but only five actually studying, thus showing the complete decay of the Milan vocal school so far as America is concerned. And yet these people will not see that advertising is the life of Art.
64Hermann Korthauer.
66AFTER a busy season in New York, Mr. Korthauer will sojourn for the summer in Cleveland, Ohio, where he will teach teachers, as well as advanced pupils, at 76 Tilden avenue. Mr. Korthauer's recitals at Mendelssohn Hall, before the Women's Philharmonic, and elsewhere received warm praise from metropolitan papers.
68Rive-King's Summer Tour.
70MME. JULIE RIVE-KING is one of the few American pianists of international fame who are to be found in their own country this summer. During June this highly gifted artist gave recitals in several Pennsylvania towns. Some criticisms follow:
72Under the able management of the Philomel Piano Club, Mrs. King gave her public recital at the Auditorium last evening. Her playing is noted for its dazzling brilliancy and this maybe occasioned the disappearance of the electric light, which suddenly became extinct as the time approached for beginning the recital. In no way disconcerted by the darkness, Mrs. King began promptly with the difficult Sonata in G minor by Schumann and played all excepting a part of the first movement before the light reappeared.
74As the audience was intelligent and appreciative, the tone of the instrument was fine and responsive, the pianist regained her temperamental mood, naturally disturbed by the pranks of the current, which twice disappeared, and played the heavy program, including many successes, with a phenomenal command of the mechanical side of her art, strong interpretation and a masculine breadth of conception and power which amaze and astound.
76As she sweeps aside all difficulties like so many cobwebs, in movements grave or gay, dignified or playful, with pearly runs, martial intervals, rushing arpeggios, and majestic chords, the senses of sight and hearing are bewildered and one experiences an exhilaration like inhaling ozone.
78Julie Rive-King is today in the zenith of her glory as a robust and vigorous pianist. If there be anyone who doubts it, let him listen to her forceful rendering of such numbers as the Love-Death scene ("Tristan and Isolde"), by Wagner-Liszt, her own arrangement of the Prelude and Fugue, by Haberhier-Guilmant, the Chopin Ballade in G minor, and the Rhapsodies by Liszt. The Love-Death scene in "Tristan and Isolde" was orchestral in effect, while the Chopin Cradle Song and the MacDowell "Shadow Dance" were marvels in pianissimo. No words are too strong to describe her playing, and great credit is due to the ambitious women known as the Philomel Piano Club who have wrought wondrous things in the way of attracting celebrated pianists to our city.—The Evening Mirror, Warren, Pa., June 17, 1903.
80Madame King is at the very height of her power and her playing was a revelation of technical ability little less than bewildering, even to the company of musicians before whom she performed.
82In giving one's impressions after hearing this artist, one's words must be rather of appreciation than any attempt at analysis, for such versatility at the keyboard defies any attempt at technical discrimination or criticism.
84The technical resources at her command impress one as almost limitless, until her hearer almost wishes she might reveal a touch of that artful carelessness which at times has a charm foreign to such a faultless method as that from which she never departs. This partakes of the strength of the masculine nature and at times reaches a force that is almost percussive in its intensity.—Jamestown Morning Post, June 3, 1903.
86In the past two years the musicians of Jamestown have been wonderfully favored by the presence in the city of many of the greatest pianists of the world, and the culmination may almost be said to have been reached last evening, in the recital by Madame Rive-King. A more masterly musician has never delighted a Jamestown audience. From the first tumultuous Liszt number to the last selection the auditors were enraptured. The program presented was as follows: Tarantella, "Venezia e Napoli" (Liszt), "Alece de Gluck" (Saint-Saëns-Mason), Sonata, G minor (Schumann), Fantaisie and Fugue, G minor (Bach-Liszt), Nocturnes, G major and D flat (Chopin), "Wiener Bon-Bons Waltz" (Strauss-Rivé-King), "Rhapsodie Hongroise," No. 12 (Liszt).—The Jamestown Evening Journal.
88Adolph Dahm Petersen in Recitals.
90THE baritone of many varied talents, who speaks three languages and plays the piano as well, will next season give lecture recitals on the following subjects: Grieg and Scandinavian recitals—"Some Modern Song Writers," "The Master Song Writers," "The Masters' Master Songs," "Schubert, Loewe and Schumann," "Franz and Brahms," "Bungert and Von Fielitz," "Jensen, Wagner and Strauss," "Rubinstein and Tschaikowsky," "Liszt and Dvorák," "Kjerulff and Grieg," "Nevin and MacDowell," "American Song Writers." He gave the "Modern Song Writers" several times at the Board of Education lectures last season, accompanying himself. Mr. Dahm-Petersen, the secretary, has been busy revising the list of members of the Manuscript Society, which list was in hopeless confusion until he took hold of it.
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