Scan 23
Musical Courier 1904-05-25: Vol 48 Iss 1261, 1904
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1makes an extraordinary success at the Paris Opéra Comique.
2December 13—Jean de Reszké opens another singing school in Paris.
3December 14—The Opera opens with "Rigoletto."
4December 20—There is no "Parsifal" lecture.
5December 21—An American girl, from Hastings-on-Hudson, makes an extraordinary success at the Paris Opéra Comique.
6December 27—"Tannhäuser" at the Opera.
7December 28—"Lohengrin" at the Opera.
8December 29—"Rigoletto" at the Opera.
9January 2—"Lohengrin" at the Opera.
10January 4—"Tannhäuser" at the Opera.
11January 5—"Rigoletto" at the Opera.
12January 8—Jean de Reszké opens his third singing school in Paris.
13January 12—An American girl, from Balsam Lake, Wis., makes an extraordinary success at the Paris Opéra Comique.
14January 23—A train coupler on the Long Island Railroad is discovered to be the possessor of the finest baritone voice in the world.
15January 26—Madame Melba loses her $38,246 brooch.
16January 29—Madame Melba sails for America.
17February 2—"Rigoletto" at the Opera.
18February 4—Madame Calvé is bitten by her pet accompanist.
19February 5—Madame Calvé sails for America.
20February 6—"Lohengrin" at the Opera.
21February 7—"Tannhäuser" at the Opera.
22February 15—Madame Ternina tells a reporter of the Dortmund Anzeiger that American women have the most beautiful voices.
23February 16—Madame Ternina sails for America.
24February 18—"Lohengrin" at the Opera.
25February 19—"Lohengrin" at the Opera (matinee).
26February 26—An American girl, from Hatchville, Ga., makes an extraordinary success at the Paris Opéra Comique.
27February 27—Jean de Reszké opens his fourth opera school in Paris.
28February 28—"Rigoletto" at the Opera.
29March 3—Madame Ackté has a fatal automobile accident in Paris and is killed.
30March 4—Madame Ackté sails for America.
31March 6—Richard Strauss refuses to engage New York daily newspaper critics as his press agents.
32March 7—Richard Strauss' "Sinfonia Domestica" is not liked by the critics.
33March 8—"Rigoletto" at the Opera.
34March 9—"Tannhäuser" at the Opera.
35March 12—Jean de Reszké opens his last music school in Paris for this season.
36March 14—"Lohengrin" is not given at the Opera.
37March 18—An American girl, from Ham's Prairie, Mo., makes an extraordinary success at the Paris Opéra Comique.
38March 23—"Tannhäuser" closes the season at the Opera.
39March 28—A paper hanger is discovered who has the most marvelous basso voice in Harlem.
40March 30—End of the season. LEONARD LIEBLING.
42A complete performance of the "Ring des Nibelungen" will take place in Coburg next January and will be repeated in April. Kapellmeister Lorenz, of Gotha, will direct.
44Frankfort Opera House—May 3, "Götterdämmerung"; 4th, "Undine"; 5th, "The Prophet"; 7th, "The Bartered Bride"; 8th, "Joseph in Egypt."
46MISS ANNIE DE JONG.
48MISS ANNIE DE JONG, the Dutch violinist, whose portrait is reproduced on the front page, was born at The Hague December 6, 1882. She began her musical studies at the Royal Conservatorium of that town and her violin professor was Mulser (a pupil of Spohr's pupil Lubeck), who was also the teacher of Jan van Oordt, now at Chicago, and of several other renowned artists.
50Before she had reached her fifteenth year Miss De Jong was engaged for a tournée through Holland with Emma Nevada, who was then visiting that country under the direction of F. Strakosch. She was received everywhere with favor by the public, and the critics predicted for her a most brilliant career. In her sixteenth year Miss De Jong appeared in the Kursaal of Scheveningen, playing the G minor concerto of Bruch (with the celebrated Philharmonic Orchestra of Berlin) under the direction of the late Josef Rebicek. Having left the Conservatorium Annie de Jong went to Paris, where she studied with the excellent violin teacher of the Conservatoire, Berthelier, and afterward she went to Berlin, where she enjoyed for two years the teaching of that most eminent artist Anton Witek, the leader of the Philharmonic Orchestra.
52Having been thus equipped in the German, French and Prague schools, Annie de Jong entered the career of the virtuosa, appeared once more at Scheveningen (where she played the concerto of Wieniawski); at Amsterdam with the famous Concertgebouw Orchestra, under Mengelberg's direction; at Cologne in the Musikalische Gesellschaft, with Isidor Seiss' Orchestra; at Antwerp in the Royal Harmony, where she was the first to introduce Lalo's "Symphonie Espagnole"; at Spa with Jules Lecocq's band; at Frankfort, &c. Of other public appearances may be mentioned that at Courtrai, Belgium, when the Dutch Congress was held there, and that at Nymegen at the festival of the Association of Dutch Musicians, where Miss De Jong introduced for the first time new works for violin (with orchestra) of Gottfried Mann and Peter van Anrooy.
54In the meantime Annie de Jong had appeared in a concert in Berlin with the Philharmonic Orchestra. She played the "Symphonie Espagnole" of Lalo and had a great success. A year later she gave a recital in Berlin with Coenraad van Bos at the piano. She played the concerto of Paganini, a Brahms sonata, an andante of Spohr and several smaller pieces, including "Perpetuum Mobile." The public received her warmly, and the press, which in Berlin is generally severe on newcomers, was very favorable to Miss De Jong. Later in the season she again appeared with the Philharmonic Society and also in Beethoven Hall with great success. After a concert at Würzburg, where she was enthusiastically applauded, the violinist made her London début in May, 1903, at Bechstein Hall, and, though quite unknown in the English capital, she made a hit with the concerto of Paganini, and still more so at St. James' Hall with Vieuxtemps' "Fantaisie Appassionata." This led to her being engaged for one of the concerts of the Philharmonic Society this summer. Since then Miss De Jong has made a tournée through Holland, playing three times at Rotterdam and twice at Amsterdam. During a short visit to Paris she appeared in a concert of Mr. Lenormand's, had the honor to have the celebrated Widow as her piano partner in one of the most exclusive salons of Paris, and was invited to play at one of the Figaro's "five o'clocks," where she had a big success. Miss De Jong will return to Paris next season.
56Here are some of her press notices:
58A young violinist, Annie de Jong, now making a tournée with the celebrated Emma Nevada, finds extraordinary favor. This young lady of fifteen promises to become a second Teresina Tua.—Le Guide Musical, 1898.
60Miss Annie de Jong was the heroine of the Wednesday concert. She played the concerto of Max Bruch exceedingly well, and her success was very great.—Courrier de Scheveningen, 1898.
62The artist was assisted by the violinist Annie de Jong, from The Hague, who is to be praised as well for her musical sentiment as for her fine tone and advanced technic.—Frankfurter Zeitung, 1899.
64The young violinist Annie de Jong, who has studied for some time in Paris, played this week in the Kurhaus at Scheveningen with the Philharmonic Orchestra, and succeeded brilliantly with the concerto of Wieniawski and a romance of August Enna by her energetic performance, full of expression and finished technic. After several recalls she added a sarabande of Corelli to the program.—Handelsblad of Amsterdam, 1899.
66Her tone is fine and large, her technic considerable, and she has the real power to express emotions in an artistic way. Miss De Jong has raised the greatest expectations. With joy, I greet this young artist.—Daniel de Lange, in Nieuwe van den Dag, Amsterdam, 1899.
68In the Musikalische Gesellschaft last night the violinist Annie de Jong was enthusiastically received. She has a ripeness astonishing at her age. Her technic is uncommon. Her delivery is distinguished by sentiment and clearness, her tone fine and capable of shades.—Kölnische Zeitung, 1899.
70This was the first time Miss De Jong was heard at Spa. Her success was as great as it was deserved. She plays with energy and with faultless purity.—Spa Journal des Etrangers, 1900.
72The young artist plays with great charm, purity and finish. She is certainly in the way of acquiring a strong personality. Though heard the same night as the celebrated baritone Noté, she obtained a marked success, well worth a hearty congratulation.—Spa Saison de Spa, 1900.
74The success of the accomplished violinist Annie de Jong was very great. She played the difficult "Symphonie Espagnole" of Lalo in a faultless way, and was repeatedly recalled after a romance of Beethoven and the "Moto Perpetuo" of Paganini.—Saison de Spa, 1901.
76We heard with the greatest pleasure Miss Annie de Jong, from The Hague. She plays with great finish and beautiful tone. The public was delighted.—Antwerp Le Matin, 1901.
78In last night's concert the public admired much a young Dutch violinist, Miss Annie de Jong, who played in a remarkable way Lalo's "Symphonie Espagnole," with orchestra, and smaller pieces of Beethoven and Paganini.—Antwerp Le Précursur, 1901.
80An excellent program of the Société Royale d'Harmonie, and there was a real artistic treat, the appearance of Miss Annie de Jong, whose beautiful playing and stroke were much appreciated. She deserved the great success she obtained.—Antwerp Le Mephisto, 1901.
82Philharmonie, Berlin.—At the popular Symphonic concert, under direction of Josef Rebicek, the young violinist Annie de Jong, from The Hague, played the "Symphonie Espagnole" of Lalo with extraordinary success. It was a treat to hear how she overcame all difficulties, with what ease and aplomb. And how warm was her delivery! Of course, this worked upon the public, that showed it had temperament to applaud and recall over and again the young artist. After such a début one need not be afraid about the future of Annie de Jong.—Berlin Volkszeitung, 1902.
84Our Berlin correspondent writes January 9: At the Symphonic concert of the Philharmonic Orchestra Miss Annie de Jong, from The Hague, played the "Symphonie Espagnole" of Lalo. The technic of the young artist is extraordinary. She plays with great energy, her tone is warm, soft and full of expression in the cantilene. Above all she is to be praised for the warmth that makes all she plays interesting. The large audience showed itself well satisfied and rewarded the artist with several recalls.—Leipzic Neue Zeitschrift für Musik, January 18, 1902.
86In the Bechstein Hall the violinist Annie de Jong gave last night a recital. Her solid technic, healthy and warm sentiment, excited interest.—Berliner Borsen Courier, December 7, 1902.
88With her second piece, the concerto of Paganini, the Dutch violinist Annie de Jong obtained a decided success. She belongs to the most accomplished of the younger generation. Her technic is excellent, her tone beautiful and warm.—Leipzic Neue Zeitschrift für Musik.
90Miss Annie de Jong made her artistic début with considerable success at Bechstein Hall. The young lady is gifted with considerable natural musical feeling, and a good ear. The training of her left hand, as well as of her bow arm, has been a most careful one, and hence her performances, in which was also apparent a natural and healthy talent in the way of musical conception, were well nigh perfect. Miss de Jong was recalled so often that she had to grant an encore.—THE MUSICAL COURIER, New York.
92There is subdued passion in the charming young lady's exterior, as there is in her playing. Her tone is powerful, her technic remarkable.—Norddeutsche Allgemeine Zeitung.
94Miss Annie de Jong, a very young lady still, gave in the Bechstein Hall evidence of very uncommon gifts. She played the difficult concerto of Paganini with the greatest ease. In the andante of the "sixth" concerto of Spohr her well equilibrated individuality showed itself to the full.—Lessmann's Allgemeine Musikzeitung.
96Now I have heard Annie de Jong three times, and always with pleasure. This time I enjoyed exceedingly the "Romance" of Beethoven in G. Each of the famous (for their difficulty) double chords sounded as one tone and faultless. The delivery was unaffected, simple, natural, real Beethovenish.—Berlin Volkszeitung.
98Miss Annie de Jong is an excellent violinist. Her tone is full, imposing; there is poetry in her delivery, which testifies as well of
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