Scan 27
Musical Courier 1905-03-08: Vol 50 Iss 1302, 1905
188 lines. Read by computer on 25 September 2026. Printed page 28. See the scan on archive.org.
1What the Jury Thinks.
3"Stabat Mater."
5The Evening Sun.
6Rand was unequal to the high D flat.
8The Sun.
9The soloists were * * * and Messrs. Pollock and Plançon.
11New York American.
12Milada Cerny played with an effect which seemed to lack strength.
14New York American.
15Milada Cerny played Chopin's scherzo in D minor.
17New York American.
18Milada Cerny played Chopin's scherzo in D minor.
20Bloomfield Zeisler Recital.
22The Morning Telegraph.
23Mendelssohn Hall is far too small for the circle of Bloomfield Zeisler's admirers.
25The Sun.
26Madame Zeisler was not at her best.
28The New York Press.
29Her interpretations in the Chopin mazurkas were far from satisfying.
31The Sun.
32In the climax of the nocturne she simply pounded.
34New York Tribune.
35Restlessness and rudeness marred her playing of Beethoven's "Sonata Appassionata."
37"Romeo et Juliette."
39The Sun.
40Emma Eames * * * one sighs at times for a livelier simulation of passion.
42The New York Times.
43Emma Eames's Juliette is lovely in song, and the ecstatic note of the music in the balcony scene has not always been so potently expressed as it was last night.
45The Sun.
46He rises to the fervor of the part.
48The New York Press.
49Saleza's voice showed signs of fatigue.
51The New York Press.
52Plançon's lung power has suffered a bit with advancing years.
54The New York Herald.
55He (the tenor) wisely transposed the high note last night.
57The New York Times.
58Mr. Rand was substituted for Mr. Pollock.
60New York American.
61Milada Cerny played with astonishing strength.
63The Evening Sun.
64She played Chopin's scherzo in B minor.
66The New York Press.
67She played – Chopin's scherzo in B flat minor.
69The Globe.
70Alwin Schroeder in the Locatelli sonata * * * in the rapid passage work there was surprising insecurity.
72The Globe.
73The playing was not always the kind associated with Kneisel and his men.
75The Globe.
76Perhaps Mr. Whiting at the piano was a little heavy handed.
78NEW YORK DAILY NEWS.
79In the first number of the Brahms quartet, "Allegro non troppo," the string instruments were dominated and often made too subservient to the piano. It sounded as if a piano solo was being played, with the accompaniment of a violin and violoncello, which is the reverse of what the composer intended.
81The Globe.
82The C minor quartet is not one of Brahms' more inspiring works.
84The Globe.
85The music at its best seemed only a virtuoso's exercise.
87The Evening Post.
88The Beethoven quartet left the audience in a listless mood.
90The Evening Post.
91There was a blunder in program making * * * the program was upside down.
93The Evening Telegram.
94The last number was the Beethoven quartet in F major, op. 59, No. 1—rather gay and somewhat light for a Beethoven work, reminding one at times strongly of Haydn.
96New York Tribune.
97Eames was in fine voice, and sang brilliantly.
99New York American.
100Eames had the perfection that the indifferent often regard as coldness.
102THE NEW YORK HERALD.
103Saleza was in excellent voice.
105The Evening Telegram.
106Saleza was in good voice.
108Kneisel Quartet Concert.
110The Globe.
111The playing was not always the kind associated with Kneisel and his men.
113The Globe.
114Perhaps Mr. Whiting at the piano was a little heavy handed.
116THE NEW YORK HERALD.
117Schroeder's interpretation met all difficulties and brilliantly disposed of them.
119The Evening Telegram.
120The Kneisel Quartet surpassed expectation at their concert last evening.
122The Evening Telegram.
123Whiting contributed in large measure to the success of the performance.
125THE NEW YORK HERALD.
126While duly emphasizing his own part, he avoided the snare into which so many pianists are led, of making the piano stand out from the other instruments. His tones and his modulations supplemented the strings with grateful effectiveness.
128THE NEW YORK HERALD.
129There are no finer pages in the literature of chamber music than those of the andante in this quartet.
131THE EVENING MAIL.
132The adagio of the Locatelli sonata proved one of the noblest pieces of writing for 'cello known to the repertory.
134New York Tribune.
135In the Beethoven quartet the pleasures of the evening reached their climax.
137The Sun.
138Last night's program was made with skill.
140Philharmonic Concert.
142THE NEW YORK HERALD.
143Ysaye did not play with his accustomed finish and purity of tone.
145New York Tribune.
146He dominated the performance only because of the amplitude and warmth of his tone.
148The New York Times.
149* * * In clarity of expression and perfect command of all the subtleties of the technic of the instrument it was an extraordinary performance.
151The Sun.
152The fifth concert of the Kneisel Quartet at Mendelssohn Hall last night was altogether lovely.
154Boston Symphony Quartet.
156New York Tribune.
157The playing of the Boston Symphony Quartet falls far short of that of the Kneisel Quartet.
159Von Ende Concert.
161THE NEW YORK HERALD.
162Mr. von Ende himself, who had been ill, was replaced by Michael Banner.
164The Evening Telegram.
165Mr. von Ende and Mr. Epstein played a suite for violin and piano.
167"Meistersinger."
169The New York Press.
170Burgstaller succeeded only in producing pinched and unbeautiful tones.
172The Morning Telegraph.
173Mr. Burgstaller sang Walther very well indeed.
175D'Albert Recital.
177New Yorker Staats-Zeitung.
178He played the "Anger Over a Lost Penny" with such rage as thought it were a million, on which the salvation of his soul depended.
180The Evening Post.
181If he plays Beethoven's rondo entitled "Anger Over a Lost Penny" as if he had lost a fortune, may we not assume that he is thus carrying out Beethoven's humorous intentions to the letter.
183The New York Times.
184It is a tremendous work—a work which affects every music lover in proportion to his capacity for appreciating the most sublime phases of the divine art. Bach himself never wrote anything deeper than the B minor sonata.
186The Evening Post.
187It is a tremendous work—a work which affects every music lover in proportion to his capacity for appreciating the most sublime phases of the divine art. Bach himself never wrote anything deeper than the B minor sonata.
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