Scan 8
Musical Courier 1905-06-21: Vol 50 Iss 1317, 1905
127 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 9. See the scan on archive.org.
1Butt, Kennerley Rumford and John Coates. The London Symphony Orchestra will on this occasion be conducted by Dr. Frederick Cowen.
3Goethe's "Faust" has inspired many composers. The latest is Herr Cyril Kistler, who is said to have completed a work on the first part of "Faust," ending with the death of Marguerite, and to be now engaged on the difficult task of finding a suitable musical interpretation to the second part.
5Concerts for the Week Ending June 10.
7MONDAY.
8Franz Meisel's violin recital, Queen's Hall, 3.
9Lilian de Berne's vocal recital, Aeolian Hall, 3.
10Alice Mandeville's vocal recital, Bechstein Hall, 3:30.
11Mr. Hayden Coffin's vocal recital, Steinway Hall, 3:15.
12Iris de Cairo Rego's "Matinee d'Invitation," Salle Erard, 3:30.
13Emma Barnett's piano recital, Broadwood, 3.
14Hilda Stapleton's musical "At Home," the Town Hall Mount street, 4.
15Mischa Elman's violin recital, Queen's Hall, 8:30.
16Mr. Beecham's orchestral concert, Bechstein Hall, 8:15.
17The Norah Clench Quartet, Aeolian Hall, 8:30.
18Grace Jean Crocker's recital, Steinway Hall, 8:30.
20TUESDAY.
21London Symphony Orchestra, Queen's Hall, 3.
22Gladys Law's piano recital, Bechstein Hall, 3:30.
23Bertha Moore's dramatic and musical matinee, Royalty Theatre, 3.
24Otto Dressel's piano recital, Guildhall School of Music, 3:30.
25Josephine Chatterton's concert, Steinway Hall, 3.
26W. E. Philip and Conway Dixon's concert, Salle Erard, 3:15.
27Hilda Carter's concert, 11 Southwicht Crescent, Hyde Park, 3:30.
28Mr. Hillier's Belgian Festival (fourth concert), Queen's Hall, 8:30.
29Alma Mater Male Choir, Bechstein Hall, 8:30.
30Charity concert, Aeolian Hall, 8:30.
31Armand Ferte and Marcel Chailley's piano and violin recital, Salle Erard, 8:30.
33WEDNESDAY.
34Mr. Hillier's Belgian Festival (fifth concert), Queen's Hall, 3:15.
35Carlotta Stubenrauch's violin recital, Bechstein Hall, 3:15.
36Nor and Frederica Conway's dramatic and musical recital, Steinway Hall, 3.
37Harold Bauer and Pablo Cassals' piano and violoncello recita', Aeolian Hall, 3.
38Leon Sametini's orchestral concert, Queen's Hall, 8:15.
39Julian Henry's vocal recital, Bechstein Hall, 8:30.
40Mary Olsen's piano recital, Steinway Hall, 8:30.
41Arthur Faber's musical and dramatic evening, Royal Society of British Artists, 9.
42Georgina Ganz's matinee musicale, 33 Portland place (by permission of Sir James Blyth), 3.
44THURSDAY.
45Mr. Hillier's Belgian Festival (last concert), Queen's Hall, 3:15.
46Richard Burnimster and Max Lewinger's piano and violin recital, Bechstein Hall, 3:30.
47Percy Colson's concert, Claridge's Hotel, 3:30.
48Philharmonic Society concert, Queen's Hall, 8.
49Mr. and Mrs. Henry Phillips' concert, Bechstein Hall, 8:30.
50Hegedus violin recital, Aeolian Hall, 8:30.
51Marie Schade's piano recital, Steinway Hall, 8.
52Ostend Kursaal Orchestra, Crystal Palace, 7:30.
54Dunning System
55OF
56Improved Music Study for Beginners
57The musical education of the child has never absorbed the attention of the people as at the present time.
58The DUNNING SYSTEM is founded on the truest psychological and musical principles upon which a musical education can be built.
59For descriptive booklet and folder containing letters of indorsement from the most prominent musicians of the country, address
60Carrie L. Dunning,
61225 Highland Ave., Buffalo, N. Y.
62Dresden (Germany), Nov. 14, 1904; Chicago, Jan. 6, '05;
63Baltimore, Feb. 29, '05; New York, April 6, '05;
64Buffalo July 12 and Aug. 30, '05.
66DR. N. J. ELSENHEIMER
67PIANIST. COMPOSER. CONDUCTOR.
68Address all correspondence care College of Music of Cincinnati.
69CINCINNATI, OHIO.
71American Musical Directory
72LOUIS BLUMENBERG, Publisher,
73419 St. James Building, New York.
74Telephone 4537 Madison Square.
76ALEXANDER LAMBERT
78THE MUSICAL COURIER. one of two readings
80(no line here) one of two readings
81A THREEFOLD GENIUS.
82Planist, Composer, Conductor.
83MUNICH, June 1, 1905.
84ONSPICUOUS among the important musical personalities of Europe today stands Bernhard Stavenhagen, pianist, composer and conductor.
85Born at Greiz, in the principality of Reuss, November 24, 1862, Stavenhagen received his early musical education in Berlin as a pupil of Professor Rudorff in the Royal High School, and was also a member of Friedrich Kiel's class of composition. When his course here was finished, he had already appeared with success as a pianist, and in 1880 had carried off the Mendelssohn prize. He now went to Weimar to complete his studies under Liszt. From Weimar he followed the master to Budapest, Rome, Paris, London and Bayreuth; living always in his neighborhood being in close and constant association with him, and receiving at his hands the most valuable stimulus and advancement in his art.
86When, in 1886, Liszt died at Bayreuth it was Stavenhagen who pronounced the funeral oration.
87After this he lived for nine years in Weimar, devoting his time and talents to teaching and concertizing, and here he established his fame as a piano virtuoso of the highest order. In 1890 he was appointed court pianist to the Grand Duke of Saxony.
88Five years later Stavenhagen visited America and gave concerts in New York, Boston, Philadelphia, Baltimore, Washington, Chicago, St. Louis, Cincinnati and other towns. Everywhere his broad and dignified musicianship, his prodigious technic, the refinement and poetry of his interpretations, and the tonal beauty of his performances created a profound impression.
89After his return, in 1896, his musical activity began to branch forth in the line of conducting. In this new field he first appeared as director of the Royal Opera in Weimar; and two years later, in 1898, he was appointed to the same post in Munich as successor to Richard Strauss, when the latter left that city to conduct the Royal Opera in Berlin. For over three years Stavenhagen remained at the Munich Opera, and during that time took part also in the direction of the concerts at the Royal Academy. When the stately Prinz Regenten Theatre, erected specially for the annual summer productions of the operas at the Wagner festivals in Munich, was opened in 1902, it was Stavenhagen who conducted the first performance of "Tannhäuser" there.
90In 1902 Stavenhagen resigned from the Opera, and thereafter until the past October he filled the position of director of the Royal Academy of Music; finding time also in the midst of his labors in this capacity to teach a large number of pupils and make frequent concert tours besides. Last fall, owing to the ever increasing strain and pressure upon his time and energies resulting from these manifold and exacting duties, he decided to resign from his leadership at the Royal Academy; but this step has in no wise diminished his activity as conductor, in which sphere his career has been from the outset one of remarkable and uninterrupted success. For the reason of this we have not far to seek. Stavenhagen is a born leader. His abundance of temperament and exhaustive musical erudition are shown in his readings of the most intricate and difficult scores; and the absolute control under which he holds his orchestra enables him to bring forth all the richness of ideas and all the beauty of tonal effects belonging to his subject.
91Although thoroughly versed, as need scarcely be observed, in every school and style, Stavenhagen's great preference and specialty in conducting is for the works of the modern masters. In fact, so ardently and triumphantly has he espoused their cause that his name as an orchestral leader has come to be closely associated with the composers of this school; and more particularly with Liszt, Richard Strauss and Gustav Mahler, of the works of all of whom he ranks as a most remarkable exponent.
92His interpretative powers and generous devotion have won for Gustav Mahler's hitherto rejected first symphony such victorious recognition throughout Germany that one of the papers—the Berlin Welt—questions how it is possible that this should be the work which some years ago was so universally opposed and condemned.
93During the past season he has directed various concerts in Berlin, Munich and Leipsic, in all of them his splendid leadership winning for him the highest distinction and favor with both public and musicians. His series of "Modern Evenings," given in Munich with the famous Kaim Orchestra, proved also a series of veritable triumphs for the conductor. At two recent concerts with the Berlin Philharmonic—in the latter of which the versatile artist appeared not only as conductor, but as soloist in the Beethoven C minor piano concerto—he aroused the most ardent enthusiasm; and the press notices of both performances are couched in glowing terms of praise. The Berlin Welt, speaking of the former, says:
94Everyone who assisted at the recent Philharmonic concert, led by Bernhard Stavenhagen, enjoyed a specimen of thoroughly artistic conducting. His every gesture was of telling force; and swayed by his irresistible discipline, power and fire, there rose involuntarily to the mind the thought of the leader surrounded by victorious standards in the front of battle. * * * The program closed with Liszt's "Battle of the Huns," in which Stavenhagen's masterly comprehension of his subject was shown in the incisive vigor and grandeur of his interpretation.—Berlin Welt, April 17, 1905.
95Of the latter concert the Tägliche Rundschau says:
96The last of the Tuesday Symphony concerts of our Philharmonic Orchestra took place under the direction of Bernhard Stavenhagen, who also appeared as the soloist in the Beethoven C minor concerto. The hall was, of course, crowded to the last limit, enthusiasm ran high, and Stavenhagen's success, both as conductor and as soloist, was of the highest possible order. Under his direction the performance of Mahler's first symphony fairly carried one away by its fiery impetuosity, notwithstanding the fact that the orchestra had, the same day, been through an exhausting rehearsal of Bach's "Matthias Passion." * * *
97Beethoven's great "Leonora" overture also received, under Stavenhagen's guidance, a rendering of consummate finish and beauty. The climaxes were developed with great power, and the jubilant strains of the last part resounded in lordly might, without the brasses being brought into unpleasant prominence.
98The Rundschau also refers to Stavenhagen's noble performance of the Beethoven concerto, in which his powers as a pianist shone with the same brilliancy as those which had marked his conducting.
99The Chemnitz Anzeiger, of Leipsic, says:
100Stavenhagen's conducting, in its contrasting moods of impassioned fire and thoughtful calm, remind one of Weingartner; but his gestures are even more animated and expressive than those of the latter. He gives every detail with painstaking accuracy, without ever losing sight of the general plan of the work, and of the purity, warmth and roundness belonging to its whole structure. His lofty interpretations of the prelude to the "Meistersinger," "Till Eulenspiegel's Merry Pranks" and the "Battle of the Huns" were of almost incomparable perfection; the musical images being presented in purity and tenderness of outline, and in magic light and color. * * * Stavenhagen revealed himself a mighty master in the realm of tones, and holds both the minds and the energies of his orchestra alike subject to his will.
101As a composer Stavenhagen has latterly deviated from his original path, which tended strongly in the direction of Brahms, and now shows a marked leaning toward the Liszt school. Tis two concertos in C minor and B minor are striking examples of these later proclivities, though neither they nor his other creations—choral works, solo scenes, piano pieces, songs, &c.—lose thereby, in either originality or interest.
102Stavenhagen's whole musical career may be summed up in brief as one of exceptional distinction and success in every field which he has entered. Seldom indeed is it the fortune of one man to win the triple wreath of fame with which the muse has crowned this chosen favorite—the laurels awarded to the genius of the pianist, the composer and the conductor!
103ETIENNE.
105GRACE LONGLEY,
106ALICE MERRITT-COCHRAN, SOPRANO
107Telephone: 2305J Bedford.
108IN AMERICA from 15th November, 1905,
109AFTER AUSTRALIAN AND NEW ZEALAND TOUR,
110Mr. Watkin Mills' Great English Quartette.
111Miss EDITH KIRKWOOD, Soprano.
112Miss GERTRUDE LONSDALE, Contralto.
113Mr. HAROLD WILDE, Tenor.
114Mr. WATKIN MILLS, Basso.
115Mons. EDOUARD PARLOVITZ,
116Solo Pianist and Accompanist.
118ORATORIOS AND MISCELLANEOUS PROGRAMS,
119including Liza Lehmann's Song Cycles,
120"The Persian Garden" and "Daisy Chain."
121The entire World's Tour under the sole management and direction of
122W. SPENCER JONES,
123Room 794 Fine Arts Building, CHICAGO, ILL.
124Re-opens Studio September 1
12578 Fast 81st Street,
126NEW YORK CITY.
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