Scan 10
Musical Courier 1905-03-08: Vol 50 Iss 1302, 1905
50 lines. Read by computer on 23 September 2026. Printed page 11. See the scan on archive.org.
1ful engagements in New York, Philadelphia, Columbus, Detroit, Wheeling, W. Va., Pittsburg, Allegheny and Cincinnati. This military band caters both to the popular and classic taste.
3George Rogovoy, 'cellist, and Isidor Kohon, violinist, among the latest acquisitions to the Symphony Orchestra, made their Cincinnati début on Wednesday evening, March 1, at the Odeon. They were assisted by Martha Diekmeyer, soprano, and Clarence Adler, pianist, in an interesting program. The concerted numbers were the Rubinstein sonata in D major for piano and 'cello, and the concert duo for violin and 'cello, Leonard-Servais, by Isidor Kohon and George Rogovoy. Mr. Rogovoy, who was formerly a member of the Royal Orchestra, St. Petersburg, played the following solos: "Cantabile," Cui; "Arlequin," Popper; "Romanza," Popper; "Allegro," Servais. He has both tone and technic, and plays with musical grasp. Mr. Kohon's solos were a romanza, by Wieniawski, and "Zigeunerweisen," by Sarasate. He has a fluent technic, but displays exaggerated sentiment. Miss Diekmeyer has a pleasing soprano voice.
5A young Cincinnati artist has just established himself with a single bound in the forefront of recognition. Louis Schwebel gave a solo recital at the Cincinnati Conservatory Thursday evening, and it is no exaggeration to declare that no pianist for years, coming thus before his home public after European study, has so thrilled his audience. The program which he chose for the exploitation of his artistship was admirably calculated to shed lustre upon a genuine talent, or to encrust with the dullest rust a spurious one. The composers to whom the young pianist went for the materials for the construction of his program were of a surety names to conjure with, Beethoven, Brahms, Schumann and Chopin. It seems almost beyond belief that each of these great and distinctive masters could have been interpreted with proper adaption of style, but that is precisely what did happen. The prevailing complexion of the program was virile as to the works selected, and the mode of dealing with them was the same. Mr. Schwebel has ample strength, but he does not abuse it or let it get away from him and rule the performance, as often is the case with novices. But while strength and energetic decision are there, his performance is full of melodic charm, and he has a fine feeling for the poetic values of the phrases under his manipulation. Genuineness, earnestness, inward musicianship, and, in a word, aesthetic honesty, were apparent throughout the whole program. Mr. Schwebel is a Cincinnatian, and we have particular reason therefore to felicitate ourselves upon his triumph. He is a nephew of H. G. Andres, who was for forty years one of the best known and most successful piano teachers of the middle West. Mr. Schwebel has received his education under Theodore Bohlmann, of the Cincinnati Conservatory, and later under the world renowned De Pachmann. J. A. HOMAN.
7THE WEEK IN NEW YORK.
9Wednesday afternoon, March 1—Herwegh von Ende's concert, American Institute of Applied Music.
10Wednesday evening, March 1—The Boston Symphony Quartet concert, Mendelssohn Hall.
11Wednesday evening, March 1—"Die Fledermaus," Metropolitan Opera House.
12Wednesday evening, March 1—Ernst Stoffregen organ recital, Evangelical Lutheran Church, Brooklyn.
13Thursday afternoon, March 2.—D'Albert's recital, Mendelssohn Hall.
14Thursday afternoon, March 2—Oliver M. Denton's (piano) recital, Rollie Borden Low, soprano, assisting, Waldorf-Astoria.
15Thursday afternoon, March 2—Dr. Howard Duffield's lecture, "Hymns of the Middle Ages," Guilmand Organ School.
16Thursday evening, March 2—Concert Columbia University Philharmonic Society, Horace Mann School auditorium.
17Thursday evening, March 2—Oley Speaks' recital, Waldorf-Astoria.
18Thursday evening, March 2—"Die Meistersinger" (special performance), Metropolitan Opera House.
19Thursday evening, March 2—Josef Hofmann's recital, Association Hall, Brooklyn.
20Thursday evening, March 2—Concert Brooklyn Choral Union, soloists, William C. Carl, Anita Rio, Tirzah Hamlin-Chapman, John Young and Livingston Chapman, soloists, Baptist Temple.
21Friday afternoon, March 3—New York Philharmonic public rehearsal, Ysaye soloist, Carnegie Hall.
22Friday afternoon, March 3—Reception in honor of Karl Panzner, 5 to 7 o'clock, American Institute of Applied Music.
23Friday evening, March 3—Miscellaneous bill, including "Cavalleria Rusticana," and acts from "Gioconda," "Barber of Seville," and "Pagliacci," Metropolitan Opera House.
24Friday evening, March 3—A. J. Goodrich lecture-recital, "Interpretation," 80 St. Nicholas avenue.
25Saturday afternoon, March 4—"Tosca," Metropolitan Opera House.
26Saturday evening, March 4—"Die Walküre" (last performance of the season), Metropolitan Opera House.
27Saturday evening, March 4—New York Philharmonic concert, Ysaye soloist, Carnegie Hall.
28Sunday afternoon, March 5—Ysaye concert, assisted by Vernon d'Arnalie, baritone, and Jules de Befve, pianist, Carnegie Hall.
29Sunday evening, March 5—Hofmann and Kreisler, assisted by Metropolitan Orchestra, Metropolitan Opera House.
30Monday morning, March 6—Concert for benefit of the Diet Kitchen Association, Edyth Walker, Fritz Kreisler, José Vianna da Motta, and Ferdinand Jaeger, Waldorf-Astoria.
31Monday afternoon, March 6—Severn lecture-recital, 131 West Fifty-sixth street.
32Monday afternoon, March 6—Mary Gregory Murray, lecture-recital, "The Study of Detail," Association Hall, Brooklyn.
33Monday evening, March 6—Geraldine Morgan (violin) and Laura Danziger (piano) recital, Aeolian Hall.
34Monday evening, March 6—Annual concert Brooklyn University Glee Club, Kings County Democratic Club, Brooklyn.
35Tuesday afternoon, March 7—Mendelssohn Trio Club concert, assisted by Francis Archambault, baritone, Hotel Majestic.
36Tuesday afternoon, March 7—Edith Thompson, piano, and Ferdinand Jaeger, baritone, joint recital, Mendelssohn Hall.
37Tuesday afternoon, March 7—Macfarlane organ recital, St. Thomas P. E. Church, Fifth avenue and Fifty-third street.
38Tuesday evening, March 7—The Adele Margulies Trio concert, Aeolian Hall.
39Tuesday evening, March 7—Gertrude Elizabeth McKeller's organ concert, assisted by Edwin Wilson, baritone, and William C. Carl, organist, Thirteenth Street Presbyterian Church.
40Tuesday evening, March 7—Hans Barth piano recital, Carnegie Chamber Music Hall.
41Tuesday evening, March 7—The Volpe Symphony concert, José Vianna da Motta, soloist, Mendelssohn Hall.
43Social Honors for Cottlow.
45WHEN Augusta Cottlow was in Kansas City recently, the young pianist was honored with many social attentions. Dinners, receptions and theatre parties were given for her. Press notices of her recital in Kansas City will be published in a future edition of THE MUSICAL COURIER. Extracts from reviews of her recital at Fort Smith, Ark., are appended:
47The recital given by the celebrated pianist Augusta Cottlow last Friday evening in the Bollinger Conservatory Hall, was well attended by a very appreciative audience which was simply carried away by her wonderful performance. It would be as futile as easy to dwell upon her superb technic, sympathetic expression, subtle insight and power and beauty of touch, but it would give the reader no idea of her performance. What an artist she is! Her performance was characterized by fullness, richness, variety and beauty of tone.—The Fort Smith Daily News-Record, February 18, 1905.
49There are very few pianists who have such absolutely flawless technic as Miss Cottlow possesses. Her playing is without any effort at all. There is a beauty and grace in all of her playing, a delicacy, power and tenderness in every phase of expression that fascinates everybody. She undoubtedly ranks with the greatest pianists of the day. It would be a difficult matter to state which number on the program was given the best rendition, as they were all executed in an absolutely faultless manner. * * * A composer of well earned fame, Samuel Bollinger, had two numbers on the program which were a revelation to the audience. The first, entitled "Idyl," C major, op. 5, No. 1, and the second scherzo, B minor, op. No. 1.—The Fort Smith Times.
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