Scan 7
Musical Courier 1903-07-15: Vol 47 Iss 1216, 1903
91 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 6. See the scan on archive.org.
1Patti has nothing to do with the musical society, and the engagement of such 'nightingales' should be left to a Schostakowsky; by no means, however, is it fit for a home of the culture of serious symphonic music." A judgment about Wagner can be found in a letter to the composer Tanejeff, which reads as follows: "The question of how operas should be written I solve, and always solved, in a very simple manner. One must write them as one's inspiration just wants them to be written. I was always endeavoring to bring to expression by means of music in most true and sincere style whatever the text contained. Sincerity and naturalness, however, can never be puzzled out, but they are the immediate result of inner feelings. In order that these feelings should be replete with life and warmth, I always am prone to select such texts in which genuine, live people, who feel as I do, are the actors. For this reason the Wagnerian libretti are insupportable for me, as there is nothing generally human contained in them. * * * I am not at all opposed to contemporary driftings. I confess that I should write differently if no Wagner had ever existed; palpably Italian music which I loved passionately when I was a boy, and Glinka, whom I revered when I was young, have exercised a strong influence upon me, not to mention at all Mozart. Never, however, have I called upon one or the other of these idols, but left it to them to influence my musical feelings one way or another as it would happen to suit them. * * *" Amusing and interesting especially to our readers is Tchaikowsky's diary from the United States, where, as you will remember, he was made much of at the time of the inauguration of Carnegie Hall. One day "two real Yankees" called upon Tchaikowsky at his hotel and asked him: "Have you written the fantasia upon the 'Red Sarafan'?" "No!" The faces of the Americans showed the greatest disappointment. "Too bad," said one of them. "Well, I shall send you the fantasia of Thalberg; please do then write something of the sort also!" "With difficulty I got rid of these peculiar guests," Tchaikowsky writes. He found much to enjoy in Mascagni's "Cavalleria Rusticana." The naturalistic subject of the book took hold of his fancy. During a short stay at Vienna the Russian composer stopped at the same hotel with Pietro Mascagni, who was then in the zenith of his renown. Tchaikowsky was eager to make the acquaintance of his young colleague. But when he found quite a number of ladies waiting for Mascagni in his anteroom Tchaikowsky hastily rushed away, and thus the two composers never met.
3At the seventh and final public examination concert with orchestra of the Stern Conservatory, which took place at the Beethoven Hall, there was some excellent piano playing and singing by advanced pupils. But what interested me more was the performance of some novelties composed by pupils of the conservatory. Siegfried Lancker was represented with the first movement of a 'cello concerto, which shows considerable inventive talent. Eugen Sandow played the difficult novelty well, but would have gained a better effect if the composer, who is a pupil of Fhtzner, had been a trifle more abstemious in the employment of the solo instrument as well as in the matter of loud orchestration. The latter is far too obstreperous throughout, and the solo instrument is hardly given a moment of rest during the entire symphonic movement.
5A perfect surprise was the piano concerto by the fifteen year old composer-pianist, Miss Flora Joutard, of Santiago de Chile. I have several times before spoken with admiration of the talent and skill of this pupil of Max Loewengard. But that this skit of a girl should be able to write a really valuable piano concerto (to judge by the first movement, which alone was played on this occasion) is something one could not have expected. It is bright and fluent in invention, which, though not s'aggering in weight, is at least original, the development is logical and the form beyond cavil. The treatment of the piano part is brilliant and the orchestration quite euphonious and clever. As the young lady also performed her work with dash and virtuoso-like technic, there is little wonder that the sympathetic audience of pupils and friends of the conservatory were most enthusiastic in their tokens of applause.
7The most important novelty, however, was Gustav Bumcke's "Hallelujah" in fugue form for chorus and orchestra. This I deem a work of considerable value, and the composer, likewise a pupil of Loewengard, will unquestionably be heard from in the future, all the more so as he also proved himself a conductor of no little ability.
9Professor Hollaender deserves the credit and congratulations showered upon him as director of a school so ably conducted and so productive.
11At one of the public examination concerts of the Klindworth-Scharwenka Conservatory, of which Dr. Hugo Goldschmidt is the efficient director, the following varied and exhaustive program was performed:
13Sonata, D moll, op. 31, No. 2 (1 Satz)…………………Beethoven
14Frau Margarethe Arends (Berlin).
15Concerto, A moll, op. 16, mit Orchester (2 und 3 Satz)…….Grieg
16Fraulein Alice Blanck (Berlin).
17Ungarische Fantasie, mit Orchester………………………..Liszt
18Fraulein Wanda Flatow (Berlin).
19Wanderer Fantasie………………………………………Schubert
20Fraulein Martha Hanse (Liegnitz).
212 Intermezi, op. 117………………………………………Brahms
22Spinnerlied aus dem Fliegenden Holländer………….Wagner-Liszt
23Fraulein Hedwig Hanne (Berlin).
24Sonata, op. 10, No. 3, F dur……………………………Beethoven
25Fraulein Martha Kleinhans (Tiflis).
26Praeludium und Fuge, C moll, (Wohltemperiertes Klavier 2 Band)………………………………………J. S. Bach
27Walzer As-dur……………………………………………..X. Scharwenka
28Herr Richard Kursch (Berlin).
292 Venetianische Gendellieder……………………………Mendelssohn
30Fraulein Marie Maurer (Berlin).
31Concert G-dur, op. 58, mit Orchester (2 und 3 Satz)……Beethoven
32Frau Rachil Munblitt (Odessa).
33Lyrische Stücke, op. 48………………………………………Grieg
34Fraulein Anna Mulnier (Posen).
35Concert Es-dur, mit Orchester (1 Satz)…………………Mozart
36Miss Dorothea Nash (Ohio).
37Variationen, F moll……………………………………….Haydn
38Herr Waldemar Norden (Hamburg).
39Fantasiestücke, op. 111…………………………………….Schumann
40Auf der alten Burg, op. 85, No. 3………………………..Dvorák
41Fraulein Elisabeth Oloff (Memel).
42Sonate, C-dur, op. 24 (2 und 3 Satz)…………………C. M. v. Weber
43Fraulein Clotilde Schädel (Berlin).
44Concerto, F moll, op. 21, mit Orchester (2 Satz)………..Chopin
45Ungarische Rhapsodie, No. 12……………………………Liszt
46Fraulein Margarethe Schneider (Königsberg).
473 Bagatellen, op. 33……………………………………….Beethoven
48Fraulein Elisabeth Steinbach (Berlin).
49Jahreszeiten……………………………………………….Tschaiikowsky
50Fraulein Elisabeth Weber (Hannover).
51KAMMERMUSIKKLASSEN.
52Sonate, F-dur, op. 18, für Violine und Klavier……Richard Strauss
53Frl. Käthe Barschack und Frl. Gertrud Warburg.
54Sonate, D moll, op. 108, für Violine und Klavier………….Brahms
55Frl. Gertrud Steiner und Herr Richard Kursch.
57All of the performers above mentioned are pupils of that excellent piano pedagogue, Moritz Mayer-Mahr. Miss Dorothea Nash, who played the first movement of Mozart's E flat piano concerto with rare taste and true musical feeling as well as finished technic, altogether in veritable Mozart style, has just accepted a position as first piano teacher at a Portland, Ore., musical institution. Before finishing her pianistic studies in Berlin under Mr. Mayer-Mahr's guidance, this gifted young lady was for two years a pupil of the Royal College of Music in London.
59Incidentally I want to mention that young Walter Rummel, a son of the renowned pianist, Franz Rummel, and a grandson of Morse, the inventor of the telegraph, was also a pupil of Mayer-Mahr. When Paderewski was in the United States last he heard the boy play at Washington, D. C., where Mrs. Rummel is now living, and was charmed with his performances. He declared also that Walter was "exceedingly well taught," which, as the young fellow was for four years prior to Mrs. Rummel's removal from Berlin a pupil of Mr. Mayer-Mahr, reflects great credit upon that pianist's pedagogic abilities.
61A peculiar monument and perhaps one equally as lasting and certainly more valuable than one of bronze and stone was dedicated to the memory of the late Anton Rubinstein at his native place of Wechwoytetz in Podolia. There a schoolhouse has been erected which will bear the name of Rubinstein School. Funds for the building and maintenance of the institute were privately gotten together by collections among the friends and admirers of Rubinstein. It is asserted by the journal Bessarabes "that no less than 150 children are already pupils of the Rubinstein School.
63At a concert given by the Heidelberger Liederkranz Arthur von Holwede's "Rheinlied" and C. Weidt's two folkslieder from "Kaernten" were the most applauded as well as redemanded male vocal quartets. Both authors were called upon the podium and bowed their thanks to a large and enthusiastic audience. Director von Holwede's "Rheinlied," arranged as a song with piano accompaniment, is published as an inlay in the Rhenisch Musik und Theatre Zeitung, certainly a nice compliment to the gifted Hamburg composer.
65Callers at the Berlin offices of THE MUSICAL COURIER in the last few days were Mr. and Mrs. Gilbert Ray Hawes and Daniel Visanski, of New York; Hans Ellensohn, the newly discovered heroic tenor and former chimneysweep, who has found a protector in his excellency Baron von Huelsen, Intendant General of the Royal Theatres; Mrs. Cohen and Miss Gertrude Cohen, from Los Angeles, of whom the younger lady wants to become a piano pupil of Leopold Godowsky; Mrs. Minnie Richards-Heidenfeld, from New York; Miss Edith Graham, from Noblesville, Ind., who intends to pursue her vocal studies here or in Paris; Miss Frieda Stender, the young dramatic soprano from Brooklyn and one of Madame Pappenheim's most prominent pupils, who (Miss Stender, not Madame Pappenheim) will be heard in opera in Germany next season; Hugo Kaun, the composer, and Miss Maude Luck, his talented pupil, and Moriz Rosenthal, the eminent piano virtuoso, who passed through Berlin on his way from Munich to Ostende, where he will spend his vacation.
67O. F.
69Madame Jewell Plays in Paris.
71M ME. ANNA JEWELL, who went abroad in the spring to study with Pugno, played with brilliant success at a matinee in Paris June 26. Appearing with her were several well known French artists. The matinee was the one given at the Salle des Fêtes at 100 Rue Richelieu. Madame Jewell's numbers were Sinding's "Frühlingsrauchen" and "Souvenirs Viennais," by Schütt. June 30 Madame Jewell gave a concert, at which she was assisted by Mlle. Julie Isnard, Mlle. Alice Lemaitre and M. Santa-Vicca. At this second appearance, which was at 225 Faubourg Saint-Honoré, she performed a Bach Toccata and Fugue, Chopin Scherzo, op. 30, and a Hungarian Rhapsody by Liszt. Madame Jewell was also accompanied by the violinist M. Santa-Vicca.
73The Versatile Mascagni.
75"M ASCAGNI," says the Paris Ménestrel, "is composer, conductor, conférencier, journalist, conservatory director, &c. Not satisfied therewith, he has now written a comedy, in order to further prove his remarkable versatility. This man would be capable, in order to make the world talk about him, to hop around St. Peter's Church on one leg."
76(no line here) one of two readings
78"PRODUCTION. STYLE. REPERTORY. one of two readings
79Mr. HERMANN KLEIN gives instruction in one of two readings
80The Art of Singing. one of two readings
81PRODUCTION. ENUNCIATION. DICTION one of two readings
82LIEDER. OPERA. ORATORIO. one of two readings
83STUDIO: 154 West 77th Street, New York. one of two readings
84Telephone: 2221 Riverside. one of two readings
85Studio will re-open Monday, September 21st. one of two readings
86ARENS VOCAL STUDIO one of two readings
87Third Edition (Tenth Thousand) one of two readings
88"My Vocal Method" one of two readings
89Now Ready. Price 10 cents. one of two readings
90Address 305 Fifth Avenue, NEW YORK CITY. one of two readings
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